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Insydium Cycles
Insydium Cycles


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9 Noble Beginner

About spiralstair

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    S R
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    R17.055 Studio
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  1. The river rhone

    Aha! Many thanks as always CBR!!
  2. The river rhone

    Dear all - I'm writing from my holiday and had promised to put polytools down for 2 weeks, yet old habits are hard to shake. im fascinated by the river rhone which is near our holiday flat. And am thinking about the possibility of building it in c4d. ive not yet fully moved over to realflow (I have a trial) ... and am wondering about water surface patterns in c4d materials. I've seen a couple of YouTube videos on this. is it possible in c4d alone to create a detailed water surface including current with big movements and small movements (specific turbulence etc) or is this something to aim for realwave surfaces? All of my previous c4d water surface tests have had semi-realistic 'bobbing' but not lateral streams and surface trails. is this asking too much of the c4d noise system? many thanks and regards from the Rhone @Cerbera don't laugh, I've done 3 days c4d cold turkey and then crumbled
  3. FiNAL room render

    Nice! What render software are u using? And can you say how you lit it? Is it mainly lit with physical sun and sky?
  4. Harlaxton Manor Arch Viz WiP

    The feeling is certainly mutual. I think learning is what this forum is all about and I should predicate any further comments by saying I have something of a rep among my students for being tough in my feedback, which can sometimes be read as being negative, but on the contrary my criticism - here and in other learning environments - is fuelled with respect for what you are doing and sharing here, and I tend to think that simple thumbs up support - while addictive and flattering on these kinds of forums - is not particularly useful in the long run. Because very little critical learning takes place. I feel like a problem which is visible in your approach to drawing some of these sculptures is that the process of modelling asks us to resort to known routines and forms (amazing that the core of 3D is still based on platonic forms that we call primitives). There is little that I take more seriously than drawing and finding a line. You are exceptionally good at this with poly-modelling. The scull alone is evidence that you can read 3D space in highly complex ways. However there is a basic fault with the way we are taught to draw from a young age, which involves following a system to draw a certain kind of object, the best example of which is a face. I fume, FUME with rage when I see nursery teachers telling my daughter how to draw stick men - when she had previously been drawing things in a far more liberal way. Someone on the forum that I want to mention is @Rectro who really talks brilliantly about anatomy and how to approach a drawing as complex as a human form. Yet, this advice must also be taken with the knowledge that at a certain point you should be able to draw anything with the same basic tool kit, of breaking down objects into sections and looking for the core lines. So where an anatomical knowledge of the face is invaluable in understanding bone and muscle structure, you should also allow yourself the freedom to stand back and apply a similar set of rules to any organic matter, without first knowing it's anatomical makeup. To think about weight distribution, balance, proportion etc. We get wrapped up in digital tools like symmetry, which are extremely useful, but also limit the way in which a form can be described. As is the core problem with platonic forms and why philosophy and art has spent 2000 years+ trying to move away from this form of representation. So, in conclusion, when you are drawing a figure the face is important, only because we are taught to recognise faces from a young age, but to move beyond this and to understand how a body relates to the face and the ground it is crucial to see it as a whole and therefore to apply the same kind of fastidiousness to the rolls of cloth than you wold to an eye socket. While this is all well and good for 'physically accurate drawing/modelling', many C4d users come in from the perspective of Pixar-esque characters, with far less physical complexity. Which is a totally valid approach, however I have never met a good character animator who doesn't also have a core understanding of other modes of drawing. Enormous Respect CBR !!!
  5. Cinema 4D R19 discussion!

    I would really like to see an update on the file management system - the content browser is clunky at best and the texture manager should be more powerful. It could easily borrow from the language of video editing software which has a more sophisticated approach to asset management and warnings when assets are moved.
  6. Harlaxton Manor Arch Viz WiP

    Hello @Cerbera firstly congrats again at a technically brilliant model - without sculpting!!! - it's amazing that you can think through edge flow like this. secondly, an aside - I'm slightly suspicious that there would be a reaper like this in an Elizabethan Manor House - But what the hell , you are remaking it as yours. I only say this because before we talk about the model itself and it's construction, looking and drawing in detail from contemporary sculpture would help enormously in understanding the rules of sculpting in stone IRL. A brief google search for harlaxton shows a couple of intersting pieces. ok - and thirdly (the meat) - so this is an Elizabethan building built in light (or in the shadow) of Italian baroque. You therefore HAVE to look at Benini. He was the greatest at so many things - in particular the core issues of balance, scale and verisimilitude. Since starting to learn poly modelling I've noticed a lot of similarities to stone carving. Largely to do with the kind of planning required in advance, in stone there is also a kind of edge flow to consider. Look at Benini and the ways in which he would incorporate the shape of the body with the overall shape of the sculpture. There are simple cues like the way in which the hand stands apart from the sleeve (which in the baroque would be seamlessly interwoven). Likewise the biggest (literally the biggest) feature of this model is and should be the cloth. The folds, the creases the flows. Benini made solid rock look like it was blowing in a gale and gave it a sense of lightness which is paradoxical with its heaviness. Meanwhile his sculptures still stand beautifully several hundred years later. So my main comment here is to let the cloth (the biggest part) tell most of the story. And since you are in the gothic mode think about how in gothic horror and now-gothic horror the scene and the setup tell more about the imminent mood of what will happen than any dialogue or action. In the neo-gothic mode I think a lot about the film susperia and how you always know what's about to happen based on the patterns in the wall paper (as well as the music and the pace of cutting) so I don't think you need to open up marvellous designer - but I do think that the flow of the cloth should say a lot more about the Atmos of the scene and the figure than it currently does. im breaking the fourthwall to state that I generally assume (with love) that at least 50% of c4d cafe members previously painted games workshop models (I did and i use it as a mental reference throughout most of the c4d work I do) just look at a really good GW model to see how the baroque tropes can be used to emphasise drama. Forget the eyes being the punctum of the model - it's a lie, in sculpture it's all in the cloth and jaw line. (and you are winning with the jaw line) keep up the great work CBR !!!
  7. Cinema 4D R19 discussion!

    There was supposed to be a render pause in the new 3.5 for c4d - it's there in max/maya etx. But something about the c4d architecture apparently made it difficult to impliment. ive not tried it - but I understand that the basic concept would require a lot more hard disk space (than a final rendered image) particularly if in progressive mode - to store the temp render data.
  8. Harlaxton Manor Arch Viz WiP

    excellent texturing CBR !!! please ignore this comment if you are working directly from reference - but might be worth mentioning that usually real stone sculpting might not have a gap under the rear leg/belly. due to weight of stone and rear leg/thigh muscles would be more meaty. In some cases a gap might be there to add drama. If you go with the current shape I would add in more weathering/moss etc. into these areas. FYI the Trafalgar square lions are often joked about in sculpting circles because the legs were actually modelled from a scaled up version of a greyhound.
  9. Harlaxton Manor Arch Viz WiP

    It's a massive hit CBR !! grass is a bit too even but I'm sure you will give it a brush. The central area of the building is a visual vortex. I agree slightly with @bezo that some of the outer sections look slightly boxy but only because the central segment is so rich. I think the modelling looks spot on but I think it's more about painting a bit of difference into these textures, which I'm sure you have planned. On an an unrelated note. I have an urge to try and lob rolls of toilet paper over that building. Do you think it's possible? And you need a BBQ and a parasol on the left side of the image.
  10. Realflow tutor wanted

    I'm looking for someone to help talk through workflow for several Realflow scenes. I'm using realflow 10 and have a basic grasp of the app. I have a couple of specific scenes that I want to build and would like guidance for which particle system would be most suitable, daemons and key workflow stages. Small budget available - ideally to talk via skype/email message me thanks Paul
  11. Harlaxton Manor Arch Viz WiP

    boom !!! @Cerbera
  12. Harlaxton Manor Arch Viz WiP

    Go 4 it CBR!!!
  13. Drawing with light (physical rendering)

    Ah - this is interesting - many thanks @nerv I don't know much about spline wraps - is there a way to control the falloff so that the light fades out over time? EDIT: sorry my bad - didn't look at the settings enough - just need to modify the start value ;-)
  14. Hi all - in photography there are many examples of people using camera on tripod with very slow shutter speed (1 min) and then waving a bright light (sparkler/torch etc) in front which produces light trails. ive been trying to figure out how to replicate this kind of effect in c4d first as a photo and then as an animation. Using a physical camera - and a light position which follows a spline - I can't think how I can force the light to follow the spline in the space of a single frame? How physical is a physical render? here is piccasso to illustrate many thanks paul
  15. Tiling and Grouting (arch-viz)

    Brilliant @Cerbera