Jump to content


Cafe Oldtimer
  • Content Count

  • Joined

  • Last visited

  • Days Won


rasputin last won the day on November 29

rasputin had the most liked content!

Community Reputation

16 Noble Beginner

About rasputin

  • Rank
    C4D worshipper
  • Birthday 02/17/1963

Contact Methods

  • Website URL
  • Skype

Profile Information

  • First Name
    david lincoln
  • Last Name
  • C4D Ver
    R20.026 Studio
  • Location
    Texas USA
  • Interests
    I lu-u-urve 3D!! It's all I do anymore.

Recent Profile Visitors

5,076 profile views
  1. Version 1.0.0


    This package consists of a single high-res (2048 x 2048px) Displacement bitmap, a greyscale and perfectly seamless PNG file, whose purpose is to simulate the look of swirled buttercream frosting as seen on a cake, cupcake or pastry, or as the characteristic undulations seen on a chocolate-robed candy bar. No Noise algorithm or Procedural shader was giving me the effect I wanted, so I made this one. Simply load it into your texture's Displacement channel--- with the Diffuse and Reflection colors of your choice, suggesting a "flavor"--- and you will get the effect of a pastry frosting applied with a swirling motion. It is recommended to switch Subpolygon Displacement active: the thumbnail sample here uses a setting of 4. Adjust your UV settings to make the swirls broad or fine; adjust the Displacement settings to get a subtle or highly-raised effect. As it is greyscale, this bitmap could also conceivably be used as a mask, say, in your Reflection channel, or even used as an AO map.
  2. rasputin

    Drak 2.png

    These are great! It looks like you've been contracted to design GUI's for a company's new VST's ?
  3. rasputin

    Volume Builder concerns

    You bet, Sage!
  4. rasputin

    Volume Builder concerns

    Hey, VST, I have encountered much the same thing when working with volumes: sometimes my computer would be made very slow indeed by a subtraction or union. And my machine is fairly powerful, too. I found that the problem was greatly alleviated if I: made sure that the primitives or mesh objects I dropped into the Volume Builder did not already have an extremely high polycount. For example, I have my sphere primitive bumped editable with a Segment Count of 60, rather than the usual 90--100 I usually prefer. With your Cubes, make them Editable with a polycount setting of 8---8---8. The trick is to make your Volume Smoothing do all the smoothing work, rather than putting high-poly objects initially into your Volume Builder. switched the viewport's current Display Shading away from Gouraud and down to Hidden Lines mode, at least while I am doing the object translation needed for a Subtraction or Union; you can even leave your scene in Gouraud, and instead apply a custom Display Tag to your Volume Mesher to temporarily reduce the demands it's making on your computer resources. and of course, as you know, the whole Volume operation is made more CPU/RAM intensive if your Voxel Count is dialed very low, or your Smoothing Iterations is too high. One trick is to perform your Union or Subtraction while the Voxel Count is set to something loose, like, say, 5cm. Then, after you've gotten everything the way you want it, dial the Voxel Count down to something finer, like 1 cm. And, as you know, the Meshes you get as a final result of Volume Building are invariably crazy-high in polygon count. I almost always then apply a Polygon Reduction to that mesh; you can reduce your polycount up to 75% or more, with no discernible loss in visual quality. All in the name of safeguarding your computer's resources and preventing a huge hang or crash. And, vis-a-vis your texturing your objects: Bear in mind that, once you drop a mesh (or other object) into the Volume Builder, it ceases to be a "mesh". It has become a voxel volume, (a whole 'nother thang) and, as such, will not take a Texture. Only the Volume Mesher (in your OM) can receive a texture. And that Texture will apply to the whole stack of objects in the Volume Builder. Somewhere online, there is a tutorial of how you can use the Correction Deformer on the Volume Mesher to enable you to assign different textures to the different objects placed under the Volume Builder. Though usually your goal is to create a whole new mesh with a single texture, as the goal of Volume Building is not so much to allow you to to do Boolean-type operations, but rather to yield brand-new objects which possess the unique "edge-smoothing" look that Volumes afford. Best, ras
  5. Here's my current WIP: a human skull. This was done entirely using the SCULPT feature in R20. I started out by using Volume Building, where I united a Cube and 2 Sphere primitives, to create my basic "chunky block", roughly in a skull shape... Then the rest was all done with Sculpt, looking at photographs. As you can see, because we're not working with voxels, there eventually occurs some nasty "bunching and stretching" of the polys. Increasing the Sculpt fineness/density does not really alleviate the artifacts, sadly; nor does using the Smooth feature. Maybe future releases of C4D will feature true voxel sculpting... What it needs, of course, is a Retopo, and I don't really understand how to achieve that in C4D. I never did figure out how to use the Polygon Pen to effect a Retopo. The skull isn't done-- I still need to etch in those teeth! Organic forms like this are jolly hard to sculpt. ras
  6. rasputin

    Rasputin Gallery II

    More of my more recent C4D renders.
  7. rasputin

    Cinema 4D: The Volume Builder

    Thanks for this, Beefdoctor... great tutorial. Yes, I'll be curious to see how Fields react when placed in the Volume Builder... especially the Random Field.
  8. Hey guys, I'm trying to find the place in the R20 Helpfiles where it discusses the features of the Hair Light Tag.... I'm not finding it anywhere. Thoughts? ras
  9. rasputin

    Clarify this passage from HELPFILES...

    Wow... very cool, Bezo. Thank you for taking the time to set this up and upload it for me. Very helpful.
  10. rasputin

    Clarify this passage from HELPFILES...

    I think I have solved my own problem: You have to drag the Vertex Map down into the deformer's Falloff region. Thus it falls under the new concept of Fields... which I am only beginning to understand...
  11. Hi Gang, I am experimenting today with Vertex Weighting. Attached here is the C4D Helpfiles entry which discusses Vertex Weights. It says that Vertex Maps can be used to affect Deformers. ie., you can use a Vertex Map to control degree of influence of a deformer (like BEND, TAPER, TWIST, etc.) Yet, how would you make that happen? Where would you place that Vertex Map to make a Deformer affect only part of your mesh? Thanks, ras
  12. Mais non. Hair looked like holy hell when Physical first came out.
  13. I just noticed that, in R20, the Physical Renderer can now render Hair effectively. When did this happen, I wonder...? (ie., what release?) For the longest time, the Standard Renderer was the only one that could make Hair look good... I think because it applied a different (or better) antialiasing solution? Just curious. ras
  14. Thanks, Kiwi. I did what you said, and have opened a New Panel View, as you see, on the right. The problem I run into is that both the main view... and the new View... both show the model with its polys showing... I guess this is because they are showing the same Perspective view. Can I have a new Perspective View window that is not linked to the main view... which isn't showing the polys? What I mean is, one view showing UV EDIT mode, the other window showing Texture mode. Thanks, ras