Jump to content
RenderStorm Farm

BigAl3D

Bronze Supporter
  • Content count

    2,177
  • Joined

  • Last visited

  • Days Won

    1

BigAl3D last won the day on January 11 2013

BigAl3D had the most liked content!

Community Reputation

44 Noble Beginner

About BigAl3D

  • Rank
    Respected community member.

Profile Information

  • First Name
    Alex
  • Last Name
    Campuzano
  • C4D Ver
    19.053 Studio
  • Location
    Near Washington, DC
  • Interests
    3D of course, Motion Graphics, Character Animator Wannabe, Realism

Recent Profile Visitors

3,498 profile views
  1. There is old post here on the Café from five years ago asking this question: But it was posted in the beginners section and got no love. I have this same question and thought it might be a job for a Python script. Having something like this could be very handy and save lots of time. Thanks.
  2. Holy smokes thanks for this! I had no idea they updated the Roll-It plug-in to work with modern 64-bit applications. It hadn't been updated for many years. Works great as long as you don't need any dynamics interaction.
  3. Render Time

    Not to mention is that a gas simulation for the clouds in your animation? That in itself can take a long time to render.
  4. Render UVW template similar in c4d

    @thanulee I just saw a tip from PixelLab suggesting you speed up playback on tutorials fast enough to save time, but no so fast that you can follow it. You can easily save 30% to 50% of your time. I will try it soon. Also, just thought I'd throw this link here that a saw courtesy of EJ Hasenfratz from Eyedesyn. It show a small shop setting up a model for an animated TV show they are trying to get off the ground. Anyway, it's a really good overview on the UV tools in C4D. They even export a template for Photoshop.
  5. OK, I feel dumb now. I was rendering with GI and made a version of my material using the Luminance channel. I had used this lighted material on the camera. Switched it with non-lumanet material and all is right in the world. Obviously having luminance washes out the shadows.
  6. I'm doing a little volunteer thing at my son's middle school. It's career day and I will be talking to a couple classes and showing a bunch of stuff about video production and 3D. I wanted to do something a little fun that they will connect with. I grabbed a shot of their school from Google's 3D view. Set up the Camera Calibrater and built a simple shape version of the school, then dropped a material set to Camera Mapping. My objects "disappear" as expected. I'm having a bunch of spheres shooting up and landing on the building, bouncing and rolling around the scene, but looking like they're actually in the photo. Everything looks as good as it can using the rough 3D image as a base. The one thing I can't figure out is how to get shadows to composite into the image. I can see AO. If I remove the material from the group of objects, I get shadows, but no shadows with the material set to Camera Mapping or any other setting. I've tried a parallel light, Omni, and others. What am I missing? I suppose I could do the shadow catcher thing, but I shouldn't have to to. I'd post a screen grab, but it won't give you any insight. One more question, I though I would be able to do a slight camera move and still keep the effect, but it doesn't work. Is that technique only with Projection Man? Thanks for any advice.
  7. Struggling with Motion Tracker

    Thanks for the tips. I was watching Noseman on Cineversity and he's a big believer in a survey shot. In his example, the survey shot solved a focal length 12 point different than just letting the solver look at the main shot. I'm processing a new test now and will post back soon,
  8. I am trying to add a car to this image. I shot this with my iPhone 6 (haven't made a lens profile yet). Figured this should be fairly easy with the lines in the spaces and decent parallax. The top image is the beginning of the shot and ends up at the bottom. Just a few seconds of slow-moving, hand-held video. I tried the full-solve option, manual track and after adding a planar constraint, one attempt looked close, but then objects would slowly slide on the ground and seem to scale down as the camera got closer Curious how any of you would track this shot and are willing to share any tips. I'll be watching more tutorials now.
  9. My other theory is that I still have different version of C4D and maybe there is an issue with using the same port number. Either way, the nodes continue to render, but it is a little bothersome.
  10. Wow thanks Jed! I actually follow you on Vimeo. Your solution works great. I removed your cubes and just started dropping random objects in that folder that the script looks at and boom. Thanks for the share.
  11. OK so imagine I want to create a city street with a cloner. I have several building models, but some are small and some are very large. If the largest object is 500 units wide and the smallest is 100 units wide, is there a way to tell the cloner to just space the objects evenly, let's say by 100 units so they are all the same distance apart from each other? Right now if I put 550 to accommodate the largest building, there are huge gaps where the smaller buildings are cloned. Thanks for any info.
  12. Render Times

    Cinema is rendering all those passes anyway, you just don't see them before they are merged together. In my example, the main image renders in 3-5 min. on the slower machines. On those same machines, rendering the passes like AO, shadows and buffers using my settings I mentioned previously, those frames render in about :40 sec. and that each frame with ALL those passes at the same time.
  13. Render Times

    A Take system example. One take can be set to render the RGB beauty shot with Physical to a PNG sequence which will be the main image. This take has it's own render setting and the camera assigned to it. You make a copy of this Take and rename it Buffers or something. Then make a new Custom Render Settings like using the Standard Renderer and all those options turned off. Also the Regular Image off too. Tell the multi-pass where to save (I like to create a Masks folder just to keep things tidy). Make sure the orange dots are on for your two Takes and click Render Marked Takes to Picture Viewer and go to sleep. C4D will render two jobs. One for the beauty and it will fill up the masks folder with all your masks. It's wise to render to image sequence by the way.
  14. Render Times

    @ErickM My example is not a great example for a beginner, but once you learn it, it will be easy to set up. Each Object or group of objects you want to have a Mask for needs a Compositing Tag. In that tag, you will see a place to set a Object Buffer. Each object will also need a unique number assigned to it. You can, however, assign the same Object Buffer number to different objects that are not in the same group for some reason. In this case, you will get a white shape for BOTH on the same pass. I have found that passes render very fast using the Standard Renderer. When rendering passes that are black and white, I also turn off things in the Options section of the render settings. Reduce the Ray, Reflection and Shadow Depth settings. Something like 3, 2, 3 can work in most cases. Turn off Refraction, Blurriness, Default Light, Textures, Volumetric Lighting, Render Doodle, Su Polygon Displacement and Subsurface Scattering. Every little bit of time helps. This can get confusing very easily, but don't get discouraged. You'll get it. You need to go into the manual and learn about Compositing Tags, External Compositing Tags, the Take system and Multi-Pass.
  15. Render Times

    I'll chime in on this for a spot I made. This relates to this discussion in the sense that if you set your scene up the right way, you will spend less time rendering and more time finishing projects. In this first image, you can see the final comp. The second images shows all the passes for this shot (see lables). I also export the After Effects Composite file (.aec). I render all this in two takes. One for the beauty pass and one take for all the buffers (luma mattes). Renders much faster if you separate them like this. The beauty pass uses the Physical Render and the multipass (with Regular Image turned OFF) uses the Standard Renderer. Now in AE, you import that .aec file and it has all my buffers and, more importantly, all my 3D layers which I set up by adding an External Composite tags to each object I need to work with in AE. External Compositing tags = 3D Layer in AE. In this scene, the screen with the video and the offer will get replaced in AE. What I do is make a new 2D comp in AE with the new price and one with the new video footage. Then I select the 3D layer for the offer, hold Option and drag my new comp onto this 3D layer. The layer is replaced with my comp, but it's now in 3D space which matches the rendering perfectly. Here is where the masks come into play so I can keep the car in front of the screens. I do this for any screen I need to change. One problem is this new comp does not have any shadows or AO that should be there. That's when I drop those passes on top (with the mode set to Multiply) and reuse the masks. This makes for a lot more setup time, but also makes it super easy and fast for anyone (even a non-3D editor) to just double-click that 2D offer comp, change the price and now you have a brand new graphic in 3D space instantly without having to go back to Cinema to render. The MOST important tip I'll give is to make sure to render from C4D at 30 or 24 fps instead of 29.97 or 23.976. C4D likes even frame numbers. Your AE comp should also match this number then everything will line up perfectly. Now just add your logos, disclaimers and audio tracks and you're done.

×