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Everything posted by BigAl3D

  1. Nitroman also has a cheap plug-in that makes effects like this easier. I haven't used this one, but usually hit stuff is pretty good.
  2. Our friend Nitroman has a free plug-in for just this situation. It's called Magic Merge. Give it a try and see if it does what you need. You might also want to check out his other plugins too. He has many free tools, as well as, many cheap paid ones. https://nitro4d.com/product/magic-merge/
  3. @rasputin I am a Corona user and can tell you it's amazing. I haven't done too much with hair lately since most cars don't usually have hair. haha You mention "Corona 3 Hair Material" several times. Is that the actual Corona HAIR version, or are you saying the render engine version? I ask only because it's up to version 5 now and many things have improved since v3. The only issues I have with them is how long it's taking them to finish all the tutorials, materials pack and finish promised features and major fixes. There are still a bunch of Mograph issues and some motion blur problems, weird Team Render behavior and material problems. Aside from that, it's such a good render engine and it's all CPU so it works on almost any computer. At home, I use it with a very old 2008 Mac Pro tower running OS 10.11. Of course it's not as fast as a Threadripper, but I get work done.
  4. Just like a music file or a walk cycle, just find the in and out points of one complete cycle and you've got a loop. Granted, the dynamics will be the same, but that's what a loop is right? I realize this might not be a new-to-C4D-choice, but what about utilizing the Motion Clip system? Once you determine the loop and it plays smoothly, you can extend it as long as you need.
  5. Did see a better place to post this, so here it goes. We like using the Render Queue when doing animations since it really puts the rendering in the background so you can keep working. The question I have is let's same computer A sends two jobs to their render queue and they're both using Team Render. Now, computer B also has some jobs to render and they too send it to their Render Queue and utilize Team Render. Both workstations' Team Render are using the same Render Clients. How does C4D handle these jobs? When the first computer (A) finishes all their jobs, it will allow computer B to render its jobs? I can't test it myself right now, since their is a job rendering which should go another 6 hours. Right now, to be safe, if another computer already has a queue running, I'll go onto THAT computer and add my jobs to that queue. Any clue on this?
  6. I don't think this one will help with your scene since there are other items colliding with your letters, but it gives you some ideas. I'm trying an experiment and will post back the results.
  7. Are you saying these items will fall into the toolbox AND the letters will spell a word? Check that, I didn't read your title carefully. Yes, there is a way to do this and I'm trying to remember how. I remember seeing a tutorial with dynamic lotto balls rolling down the tubes, but always ending so you could read the numbers. I'll post back if I find it.
  8. OK so in my mind, I've read about this workflow over the years. CAn C4D render some sort of UV or Material pass that can be utilized in After Effects, giving me the ability to add and/or change reflections of objects already rendered? I feel there is a plug-in that enables this in AE.
  9. I'm just guessing here as I use Corona and not Arnold, but could it be the packet size being sent over the network? In Corona, there is a setting, for very large still or animations, where you can tell Corona not to send chunks of information as frequently over the network and also to wait until the chunk size is minimum size. We had an issue like this that overwhelmed the render clients and the jobs would fail every time.
  10. Yeah. I'm confused as to why you need three keyframes for this.
  11. @kbar Yeah, I thought there was a Cineversity tool similar to this, but didn't remember if it was as powerful.
  12. One way... I would render a short animation that covers just the area you need. Use a Compositing Tag and assign each object an ID. You could give each group their own ID, i.e. 1, 2 and 3. Turn on Multi-Pass and add three Object Buffers and assign the same numbers. You can now render masks for just those objects. With these masks in AE, you can ad these clips on top of that section of your video, drop a solid color and use your mask as a Luma Matte. Then play with the transparency, layer mode, etc. to get the look you want. There are other ways too,, but this seems to be the least complicated method to my brain. Try not to always think you need to get an effect in the one rendering. You will box yourself in that way. If your client comes back and says "Did I say blue? Sorry, I meant red." You would likely need to re-render instead of changing the color layer in AE and be done. Let me/us know if you need further explanation.
  13. There is also Image 2 Plane from Pixel Lab. Not only will it import a folder full of images and create a material, but will also create a plane object at the proper proportion and apply that material. Doesn't sound like you need to planes right now, but it's very cool if you do need them. Simply delete the planes and you have your materials. Image 2 Plane from PixelLab Edit: Not having used this for a while, now I see you have many more options than I remembered, including a Materials Only button. Very nice.
  14. Aha! That works. Thanks for the tip. I thought there was a randomize all colors, but maybe that's from the old CDTools back in the day. Or I'm just old.
  15. I can't find anything in the Weight Manager either. If you double-click the color swatch, it just gives you the option to change the color of the joint, not the weight. Seems odd you can do that in a program that is famous for customization.
  16. Wow, what a lonely forum section. Am I crazy (don't answer that) or do I remember the ability to randomize weight colors in a rig? Not the joints, but the weights themselves. Sometimes, when looking at a leg for example, it's difficult to see where all the joints have influence when the color for the first weight is dark blue and the next one is slightly less-dark blue, followed by medium-dark blue. I'd like to have a red, next to a bright green then a blue. Just easier to see. Anyway, I thought there was a button for that, but I can't find it in C4D or searches.
  17. So are you saying that the Timeline only shows one object at a time and its keyframes? If that's the case, look in the View menu in the Timeline window. There are some options there, but I've been confused with these in the past. Another option, if you're only seeing one object at a time, is that you can drag objects into the Timeline window to force it to be shown. Not sure if that fixes your issue or not. Maybe you can post an image to show us exactly what you're seeing.
  18. This post is marked as "SOLVED" in the list, so I assumed you found an answer.
  19. It's good practice to post your solution, even if you solved it yourself so other can learn.
  20. I was just about to mention the 3DKiwil tutorials, but I can't find anything in the tutorial section. @Jennifer One other video I watched before was posted by EJ Hasenfratz and it's quite good. https://www.youtube.com/watch?v=O72fjPg4YX8
  21. First thing, I've never have complete materials import into C4D, only basic colors. What I've found is that if you put your 3D scene file in the same directory as all your MTLs and texture files, this will give you the best chance for things to link up. It's as if the file paths are absolute instead of relative.
  22. Select your character, make sure you're in Polygon mode. Go to the Select menu and look for Fill Selection. This selects just the shirt nicely. Then right-click and near the bottom, you'll see Triangulate.
  23. Well let me say that character rigging is one of the more difficult things to do in 3D, for most people. Taking a quick look at your scene, I see several issues. Number one is that mesh is not optimal for deforming since it's made from triangles. You want to stay with quads whenever possible. The mesh isn't lined up at the bottom with the base of the Character Object. The mesh isn't designed to bend properly in particular at the knee and elbow joints. Many of the joints are not in the best spot or are in the wrong place for good deformation. You mentioned you "tried weighting" but this entire process is all about weighting. The Character Object tries to do most of this work for you, but usually you'll need to adjust things. If your mesh is not good and your joints are not in the right spot, this will fail every time.
  24. I always thought the purpose of the Physical Renderer was to mimic the real world. There are not more blur tags, for many years now. You have to think like a photographer and adjust the camera to get the effect you want. If the camera is the one moving, then everything will have blur. Make sense? If your camera is set to 400 iso and 250 shutter speed and f13, you won't get any blur unless an object is REALLY moving fast. I always found that I needed to exaggerate the setting in C4D, so instead of f1.8, I would need to go to .5 or something. I don't have r21 so maybe it's different now.

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