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Everything posted by harrymihalis

  1. Hi, I'm working with the motion system and have some animations converted to motionclips. I'd like to know how to add some position offset to some of the joints. Like if I have a looping walk cycle, but want to lower the shoulders or head for a portion of it, whilst keeping the original baked keyframes running underneath, just offset by the amount i have adjusted the joint. Does anybody know how to go about that? Many thanks,
  2. Hi there, I was wondering if there is a way to control the playback speed of a motionclip? I've not used them before but need to currently, and am wondering if I can set keyframes to control the rate at which they playback? Many thanks, H
  3. Thanks @Vertex Helix, I did manage to figure out out following this tutorial, by just exporting my animation as fbx with 60 extra frames at the end, then making a motion clip and adding the same clip twice with one 60 frames before the end to blend between them
  4. Yeah thats what I am already doing. I mean loop seamlessly as in natural flowing motion rather than just no pops. I can easily have the start and end keyframes be the same but this doesnt look right as the creature returns to a specific pose everytime it loops. Do you know a way to fade out the influence of baked keyframes over time? Something like a pose morph than can fade the strength of keyframes. I suppose maybe if I had a duplicate of the skeleton shifted back I could keyframe the strength of PSR constraints but this seems like a lot of work, do you know if motion clips can
  5. Hi there, I'm wondering if anyone knows a good technique for creating seamlessly looping character animations. I have a creature set up with expressions controlling random movements to create some different idle animations, and ideally i'l like to bake the length of the animation plus 60 frames, then copy the 60 frames from the end to the beginning and fade their influence from 100% to 0% over those 60 frames so that I can create seamless motion. Right now my technique is copying the last keyframes to the first frame and trying to blend between those and the start of
  6. Thanks very much @Cerbera, Pose morph could be a solution i suppose but hoping I can figure something out using dynamics to have a kind of exagerated undulating motion. Kind of shooting for something pretty over the top like the tongue in the Venom movie...
  7. Hi everyone, I'm working on a lizard rig and need to add a suitably reptilian forked tongue to the set up. something like this video but with slower, more dynamic motion: I have already added some IK dynamics to the tail so could use something similar to that, or sweep a dynamic spline which is set to collide with the rest of the lizard mesh, but my questions are: 1. How to make the tongue retractable so that it can shot back into the lizards body 2. How to set up collisions in a way that doesn't cause horrible glitches 3. How to model
  8. Hi there, I was wondering if anyone one had any thoughts how to create something like these circular irrigation patterns in mograph? ideally it would be done procedurally. seems like the sort of thing Mograph should be perfect for. Any ideas appreciated, H
  9. Hi there, Im trying to create this effect perhaps familiar from ps1-2 games, or when running a modern game with lowest settings where shadows appear very jagged and not antialiased. Partly this is to free up resources for volumetrics and other effects, but also i'm trying to get that sort of shadow of the colloussus ps2 feel. Any suggestions appreciated.
  10. Thanks for your response Dan. I'm using a mixture of ragdoll and hinges as reccomended in the 2 tutorials on rigging the built-n mannequin, but the angle limit is hard to understand and the limbs on the skinned mesh keep twisting too much and joints are often bending both ways even when I have specified a limit. I'm going to have a look at autodesk motionbuilder and see if I can make something in that which I can bake out and render in c4d... shame to have to leave c4d as usually it has everything one needs but I guess no program can be perfect . Thanks for your help.
  11. Hi there, I've been trying to find a solution for making a ragdoll rig from a character model rigged by mixamo. All I have been able to find are tutorials showing how to rig the built in mannequin, and these do not adequetly take account of orientation and the angular limit becomes extremely confusing and is often seemingly inverted or doesn't accurately display how it is actually effecting the movement of the collision objects. In my current set up I have made collision geomettry for all the bones and have connected them together with dynamic connectors as explained
  12. no worries got it, something very obvious slipped my mind there
  13. Ok silly question, but what is the exact process for converting a baked softbody simulation to geomettry at a specific frame? everything i'm trying looses the deformation.
  14. awesome great idea, that was the main thing i was scratching my head over - I could also make the splines have dynamics so they move slightly around the blinds..,
  15. Fantastic thanks so much! I'll let you know how I get on..
  16. Hi there, I'm modelling a scene of an office which has been trashed or abandoned and am wondering if anyone has any ideas on how to create tangled office blinds as seen in these two images. Any ideas much appreciated. Many thanks, H
  17. hey just an update after much tearing out of hair over UV mapping in realflow i'm a little closer to a finished shot, here's a low res render from cinema. Slickspillslow-1-1.m4v
  18. sure yeah I use after effects to composit everything usually, but not aware of a way to automatically mask above a certain demarcation, say above an object buffer of the ocean rendered as white on black so useable as a luma matte in ae, so i was imaging having to tell the software frame by frame which to include, by paintbucket filling the area above or below white, and wanting to stay away from having to animate masks in AE as it never works out well for me :) maybe i can do it with a very low res rotobrush
  19. Thanks CBR that makes sense. I have a feeling i'll end up with an object buffer of the ocean and be filling the space above it white frame by frame in photoshop... obviously would like to avoid that if there is a smarter way but luckily the shot isn't extremely long, only about 30 seconds.
  20. Hi there, I need to make a shot that replicates this stock footage as closely as possible. https://www.shutterstock.com/video/clip-14617168-stock-footage--k-slow-motion-half-underwater-close-up-lost-at-sea-first-person-view-swimming-in-the-middle-of.html I will be making the water surface using realwave in realflow but my question concerns how to have two different environments for above and under water. Above water I need a sun reflecting specular highlights and some clouds in the sky (can use sprites or or any fast solution) and underwater i need to see
  21. Yeah I don't really understand it either to be honest. I got some tips from a RealFlow veteran who told me I was doing several things wrong, so starting again armed with a better understanding of the parameters. The final render will be a close up of the central portion of the mesh, so those blobby edges won't be on show.
  22. Hi natevplas, I'm making good progress with realflow now. I found an old tutorial for realflow and Maya on making lava flows which details a technique for pinning a texture to the mesh which is then deformed along with the particle movement and adapted it to work in c4d. This then bakes out to UVs that can be used to drive the transparency of the thinfilm effect in c4d. In terms of the natural motion I ended up using a grey scale version of the large scale oil spill and mapping the roughness and stickyness parameters of my collision surface to that so the fluid kind of traces the
  23. Hi natevplas thanks so much for your many good suggestions I will certainly be trying them out. Cinema's Thin Film shader already has a built in function to map noise or other shaders to the thickness of the oil film, and i'm getting some good results in terms of the material now using a GGX reflection layer with additive transparency and some high IOR numbers. I will certainly be using After Effects to add in extra detail and was testing with turbulent displacement but your suggestion of animating the liquify effect is much better. I'm not having much luck with RealFlow and am fi
  24. Hi there, I've been asked to create a simulation of a large scale oil spill as seen from a high altitude. I'm currently trying to use RealFlow and then bringing in those meshes with a thin film shader, and then applying displacement in After Effects. Is there some way I could apply a highly detailed turbulent displacement that would respect the direction and speed of the realflow meshes? Attached are some examples of the sort of image the client is looking for. Any ideas on how to approach recreating this with convincing dynamic motion, shifting iridescent colors, and a good amoun
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