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16 Noble Beginner

About munkittrick

  • Rank
    Cafe Ronin

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  • Location
    Orlando, FL

Cinema 4D Information

  • C4D Version
    18.057 Studio

Hardware Information

    AMD Ryzen 9 3950X / Dual nVidia RTX 2080i
  1. Wow! Thank you so much! I always feel like a bother when I ask for help, but folks like you make it a lot easier to figure this stuff out! You're very much appreciated!
  2. You guys ROCK! I've never even heard of this plugin! That looks amazing. Thank you so VERY much!!!
  3. Man, you're a good guy. I REALLY appreciate your help. It seems like you are, not only very well versed in the software, but you're willing to put up with guys like me. I have horrible dyslexia....so everything is SO much easier for me with visual references.
  4. Where might I find a visual reference for the PSD method? Is there a course I could buy...or maybe I can find a sample file to reference? Again, THANK YOU!
  5. Thanks for the advice. Would multiple pose morphs be able to pull it off? It's really just a cartoonish mesh, so complete realism is definitely not needed.
  6. Also, I've seen this tutorial, but was wondering if this is the better method for maximum control and flexibility.
  7. Hi all! New day. New thing to learn. I've built a rather simple model in zBrush, retopo'ed it, textured it and have a completed, perfectly functional model rig. I did this to get a better handle on retopology and fine-tuning a lower-poly model for animation in C4D. The model, in this case is insignificant to the query, but for the sake of clarity, imagine a character wearing a one-piece, superhero-type outfit. I initially used the Character Tool, but reverted to my native self-built rig to get the movement and control that I wanted. Now, because I'm feeling ambitious...and because I've been stuck in my windowless home studio for two and a half weeks (!!!!!), I'd like to try to get a better handle on the process of creating....let's say a bicep muscle that can extend a hidden, elongated sphere to make it appear to bulge when the elbow retracts, and thins as the elbow is extended. I'm pretty sure that I can do it so that the sphere deforms the skin, but is there a place where I could learn the best, most efficient way of building something to that effect? I'm contemplating the idea of making a pose morph for each "muscle", or even using multiple vertex maps to simple modify the exterior skin, but would this project be more sell suited to do with xpresso and deformers? THANK YOU ALL! Your help has proven invaluable in the last 24 months! PS - Was going to attach the model...but for some idiotic reason, I accidentally saved the unrigged model OVER the fully rigged body...so...yeah...
  8. I figured out a makeshift way. I created a spline path along the text curves and simply cut segments of the spline out so that the overlap doesn't exist. Now it's just a matter of resizing the stroke to mimic the width of the text. Thank you for your time!
  9. Hi guys! I'm trying to figure how to go about using a boolean object to reveal the strokes of a script font with a spline that traces the text along the desired path, but anywhere the spline crosses itself, there is a bit of the shape that appears as if I have used "intersect" instead of "subtract". Unfortunately, I don't have the original typeface or I'd simply do it with the spline, but the text was merged into a singular object. Any ideas?
  10. That worked perfectly. Used an additional projection camera and made it a child of the piece! Perfect! THANK YOU!!!
  11. Hi guys, I've seen a few tutorials on this, but none do exactly what I need. I've created a jigsaw puzzle with about 50 pieces. I have selected the polygon face of each of the pieces so that I can use an alpha to overlay a logo. All's well thus far, but if I want to animate one of the pieces, the texture does not "stick" to the moving pieces selected polys. How do I create a projected (or other method) logo with alpha over all of the selected polygon faces so that I can move the pieces and have the texture stay visible and bound to the moving piece? THANK YOU!!!!
  12. I meant to post this link in my reply, but this is one way of making it work...but starting on the reduction at this point is almost like starting over from scratch considering the huge number of objects. https://greyscalegorilla.com/tutorials/rendertime-object-swap-and-the-variation-map-in-r17/
  13. I don't think that the LOD does anything for rendering. If I'm not mistaken, this only helps with your viewport functionality. I need to find a way to imperceptibly swap out high-poly background objects to low poly proxy models so that I'm not calculating hundreds of thousands of additional polys in my final render. Thank you just the same.
  14. By the way, this is one of the options that I tried, and it's great for allowing for faster viewport feedback, but it's not really speeding up render.
  15. Hi guys, First, I apologize if this is the incorrect place for this...but I'm actually at the rendering stage...and it's an issue...so, please bear with me. I've got a rather sizeable "sandbox" city created for a project with a lot of distant objects, many of which are unseen depending upon the camera used for the render. There are well over 3.5 mil polys (AFTER melting, merging and reducing non essential polys) if you count everything from the Church spires to the mailboxes. This scene is, essentially a "world" with clouds, distant aircraft and so on. My question is this; Is there a means to set up all of my scene cameras to utilize the high-poly objects when they are a within a specified distance/range from the camera while utilizing minimally textured, low-poly models to use in the background? My initial plan was to use an effector in conjunction with a "field" with a soft fall-off to seamlessly swap high-poly to low-poly once outside of the field...but it doesn't offer very good results...and almost bogs down on the scene when I so much tweak the camera. I'm running a monster of a computer (AMD Ryzen 9 3950X, Dual nVidia RTX 2080i in SLI mode with just over 60GB of available RAM)...and rendering everything in high-poly isn't really that bad while I render stills....but ma-a-a-a-n, animating this scene is just crazy! THANK YOU!

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