Jump to content


Regular Member
  • Content Count

  • Joined

  • Last visited

  • Days Won


Posts posted by rasputin

  1. 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

  2. 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


  3. 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

  4. 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

  5. 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. 

  6. 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?

  7. 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

  8. 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...

  9. 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


  10. 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....

  11. Hey guys,

    You know what I would like to see in a future release of C4D?      Better selection tools.     It should be easier,  I think, to make sophisticated selections of all kinds.    Above all,   I'd like to be able to,  on a mesh object,    select only Front-Facing Normals Polys...   Or only the rear-facing normals.

    Also,   the Phong Selection mode should be perhaps more effective...   making it easier to select polys that fall along a slope.

    As the years have gone on,  I find that my objects are often very high-poly...   especially with the advent of the Volume Building features.     With high poly objects,  it's tedious and frustrating to make precise selections,  especially if there is a jumble of Front- and Rear-facing polys in evidence.

    So,  I say,  I'd love to see  R21 have some more  advanced,  clever and sophisticated Poly Selection tools.

    Thoughts?       ras

  12. I'll prolly go in and tweak some edges to make that cushion look separate...   :306:   usually with a finished VB model,  I'll run it through the Polygon Reduction process....    You're right,   some of the smooth perfection is lost that way,  but not too much of a problem if the model is not sharply focal in a complex scene...

  13. Here's a 1950's Moderne-type sofa chassis I designed this afternoon.   It was all done using the R20 Volume Builder.    Basically a thick Torus primitive with various chunky shapes Subtracted from it.   A shape like this would've been a nightmare to model using just the old tools,  I think you'll agree.    But it was not too hard to do with Volumes.    I'm lovin' the buttery-smooth shapes you can make with the VB.      I'll have the rest of this room scene built in the next couple of days and will show it to you when I do.




  • Create New...