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Everything posted by rasputin

  1. rasputin

    Roland SH-09

    Bravissimo. I've modeled 3D synths before, and I know how jolly hard they are to texture. Specifically if you don't have a proper ("brand official") texturing source of the symbols/verbiage on the synth's interface. I, for one, know that you have to model FIVE different types of white-key shapes! I like the ageing you've done on this 1970's unit, too. Scuffed edges and yellowed keys from playing in too many smoky bars, haha. Even the dirt that tends to linger up in the hard-to-clean crevices of the keys! Did you model this, if I may ask, just by eyeballing a photograph of the synth?
  2. Hey guys, I'm wondering: Is there a proper 3D word for this thing, this phenomenon, on any 3D mesh? That is, where your polys converge on one point of a curved mesh? (Usually, UV-wise, you don't want to see your texturing converge at one of these points, hence the workaround of the Triplanar UV distribution). Thanks, ras
  3. UPDATE!! I seemto have fixed it, by manually switching (in the second view) from my Corona Camera to "default scene camera". Still not entirely sure what I did, but I'll pay closer attention next time. Thank you so much for your help, though.
  4. Playing with SOLO and UN-SOLO on those two windows has no effect on this linking. They remain linked. I've never (consciously) used that Solo button view ever in my C4D history. The only thing I've done in this particular project... is to introduce a single instance of the Corona Camera and set the first window to that view.
  5. Hey guys, Here's a pesky problem I get myself into now and then: Two of my four basic camera window views get linked with each other, and I don't know how to un-link them! Whatever view I set my upper-left window to, the upper-right one follows suit! When what I want is to have the top leftmost window show PERSPECTIVE view, and the top right window to show TOP camera view. Questions: How can I unlink them, and What did I do to make this pesky thing start happening--- what did I do to inadvertently link them? (so I don't do it again)? Many thanks, ras
  6. Hey guys, Here's a short animation I created which uses the Corona Skin Material according to custom parameters I dialed in. The Diffuse channel is a seamless photograph of real human skin. The Corona Skin Material allows you two Reflection layers and three SSS layers. How does it look? Best, ras
  7. Hey guys, I'm wondering if C4D's Sculpt will ever become voxel-based, like the sculpting in the software 3D-COAT. In which the sculpted object is always having voxels added to it/subtracted from it as you work, so the final resulting object never shows stretched and/or widely varying polys (in need of a Retopo). Thoughts? Thanks, ras
  8. Hey guys, I notice that C4D's default is to give a spline type of Ease-In to a keyframed object in motion. Where a movement will start out slowly and pick up speed along the animation spline. I wonder why C4D inserts Ease-In as its default. Instead of a perfectly Linear spline movement, which I invariably have to set up manually. You'd think they'd let the User decide when to add a fancier spline type (for whatever animator's artistic effect) as the need arose. Is there a way for me to have Linear spline interp be my every animation default? ie., from program startup? Thanks, ras
  9. I'm curious: for years, when modeling complex objects, I've thought, "Wouldn't it be cool if there were a C4D plugin that completely hollowed out my complex object... leaving just a shell?" Complex poly models very often have many poly faces that are inside and cannot be seen. Especially if they are amalgams of different shapes and Boolean Adds. Yet "emptying out" a model of its unseen polys is basically a task that has to be done manually. And the result is often sketchy and hit-and-miss. A case-in-point might be a 3D human head imported from Poser or Genesis... that contains mouth, tongue, "sock", gums and teeth polys that will not be needed for your project. Why couldn't there a be a plugin that, with one touch, simply and thoroughly strips away every polygon (or Point) that's not externally visible? Thanks, ras
  10. Thanks, fastbee and cerbera, for taking the time to educate me like this!
  11. I've used MD a lot over the past three years. Yep, you want to model there with a Particle Distance of about 12--20. Sometimes even 30 can be helpful in speeding up the Cloth Sim, especially if your "virtual fabric" is meant to flow only in large ripples, like denim, plastic, leather, etc. (Creating highly crinkled/wrinkled fabric like silk is a whole 'nother look). Choosing the right kind of "virtual fabric" is a really big deal in MD, e.g. silk, cotton, leather, etc. Lightweight fabrics like silk are always going to give you that very "busy", bumpy look. Note: it is often a good working idea to model in MD's "Leather" setting... even though your intended garment is not going to be (textured in C4D as) leather. That's how you will get a very smooth look. But just before you export your model (as an FBX or OBJ) you want to bump the particle distance down to at least 8, or even lower, to 5 or so, if you (and your CPU) are prepared to deal with a really high-poly mesh. I tend to think that MD's default Triangulation is the way to go; I tend not to use their new Retopo/Quad feature... unless you have specific reasons why you need it to be in coarser quads. If importing then into C4D, you may need to dial in a new custom set of UV mapping; otherwise texturing in C4D can be tricky. Also: when exporting an MD garment (for use in another software), you'll be given the choice of "thin" or "thick" fabric. Sometimes, "thin" can be the right choice, if your garment is meant to be very lightweight, such as silk, linen or very lightweight cotton.
  12. Here's my dumb n00B question: why is it important that models be retopologized? I have experimented with the software Instant Meshes. It always seems like my model suffers, one way or another in becoming simplified and regularized into quads. Is it all about gaming and VR ? To give a gaming engine fewer data to crunch in realtime?
  13. Agreed-- this is an hellacious task you've set yourself. Doing this as a still image in P'SHOP would be tricky enough... Doing it with moving footage in AE is going to be a nightmare.
  14. Thanks for this. This is just what I was trying to ascertain.
  15. Love that smoke effect through the glass tube!
  16. Hey guys, A rather blunt question: What are the 10 things you would want to see in a good showreel offered by a fledgling small indie 3D company? As in: They know how to model sophisticated models They know how to rig animated characters They can do fires, crashes and explosions They can do amazing Cloth Sim They can do amazing Archviz exteriors and interiors They can do really cool Science Fiction spaceships They can do amazingly convincing virtual nature landscapes They can do really horrifying monster villains They can make amazingly detailed and convincing textures They know how to populate a moving crowd scene of characters They can well simulate moving cars and vehicles They can do amazingly convincing fruit, vegetables and food They can do amazingly abstract Motion Graphics They can do killer Voronoi crumbling rocks They can do amazing Hair sims They can do great water flow simulations They can do great caricatures And possibly other related characteristics of the company, such as: The group have speedy output turnaround They are located nearby Their prices are good etc., and so forth. What would YOU say the Top 10 were, and in what order? best, ras
  17. What YouTube policies were (allegedly) breached?
  18. Somebody needs to make a video tutorial on using the new Corona 3 dedicated Hair material within the C4D environment. There is almost no information on how to use it online, and Corona's helpfiles are very terse and brief...
  19. I'm a huge fan of Corona. I use it for archviz... and everything else. I just really like the look of it, and yes... it does look different from other renderers. It seems to have a "buttery" and "warm" quality that other renderers don't possess. Corona renders never look cold, washed-out, overly metallic or clinical. The lights you deploy within Corona really do look like light in the real world... the falloff of Corona lights is especially naturalistic and good-looking, I think. Corona's AA is very smooth and natural. My subject matter very often uses a warm palette--- reds, oranges, browns, yellows, golds, etc., and for me, Corona does warm-toned imagery better than other renderers. (Am I talking nonsense? Set up a comparison if you don't believe me). I use Corona even though I have a fast, high-powered GPU. Corona's render settings , it must be said, are not choked with options, either; you basically set up your render... and go. And it always looks pretty. With Vray, Redshift and Octane I find I really can get lost in the infinite amount of buttons and sliders and settings it possesses, and find myself gradually "losing the forest for the trees". YMMV. That said, Corona's helpfiles tend to be very terse and brief, and there do not appear to be a lot of video tutorials available online explaining its particulars in the C4D environment. Case-in-point: I've been experimenting with Corona 3's new Hair shader... and there is little-to-no documentation online as to how to use it with detailed sophistication. So I am forced to do many, many little proofs and experiments of my own just in order to figure it out. Sa-a-a-y... maybe I should publish my own video tut on YouTube on Corona Hair... hmm...
  20. Here I am, experimenting with using the new Corona 3 Hair Material in a simple trial project. I say "new", even though Corona 3 has been out for a while, to distinguish it from earlier releases of Corona, where C4D Hair could be rendered only via a slightly tedious workaround of setting C4D Hair to "geometry". Anyway-- the most recent Corona 3 includes its own proprietary Hair Material. It's intended to be used in conjunction (in parallel) with the native C4D Hair shader. The C4D shader provides the procedural modeling tweaks (like Curl, Wave, Frizz, Displace, etc.) while the Corona 3 Shader is what you use to give the hair its Color particulars. It's kinda interesting the way the Corona Hair shader takes the scientific approach to hair color: instead of dialing in your own random colors, Corona takes the model of how real-life human hair is colored by melanin and pheomelanin: a little bit of melanin gives you blonde hair, and a lot of melanin gives you brown-to-black. The Pheomelanin adds in reddish tones, just as in real human hair. Have any of you experimented with the Corona 3 hair shader? I am very surprised that official Corona documentation is VERY VERY sketchy on how to use it, and it also appears that no-one has yet made a Help Video tutorial specifically for Corona Hair within C4D. The result being that the end user must resort to loads of independent trial-and-error experiments, stabbing in the dark, in order to make any sense at all of the Corona 3 hair shader. Your thoughts, comments, observations? best, Ras
  21. Wow... can you imagine a Compositor built into C4D ! That would be amazing... To do all your video work "in house", so to speak...
  22. Cerbera, am I the only one who's noticed that Align Normals almost NEVER works? On an extremely simple low-poly mesh, it might, but if the model is even slightly complex, Align Normals does not yield any appreciable effect at all. And my copy of Selections Suppletives gives me a menu... in POLISH! Which I can't make sense of at all, and I don't know how to change its language to English....

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