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Everything posted by BigAl3D

  1. If you mean to sweep a circle spline, for example, along your Illustrator spline? If you mean that, then you only need half of that spline. The circle will provide the basic tube shape along the path. That indeed, can be animated to grow along the path. Here's my 10 min example. I know this is a simplified version of your example, but I think this could get you going in the right direction. The variable width along the object is created in the Sweep Object. Water Sculpture.c4d
  2. You know what they say, no pain no gain. Now, there is another thing that just popped into my head. You can grab all your morph keyframes in the dope sheet timeline, hold Alt or Option and drag the last one to the left. This will "scale" the entire set of keyframes to whatever size/time you need. You could do hundreds in a matter of seconds. Maybe that will help your situation.
  3. Technically, you are specifying each camera in the keyframe, as long as the camera you want for the third keyframe, is also the third camera in the list. I just made a quick scene where I had three cameras morphing at 33% intervals over 100 frames. I then added a fourth camera to the end of the list. All I had to do was slide the keyframes back so they were at 25, 50, 75 and add a new keyframe at 100. Doesn't seem that tedious to me. Maybe I'm missing your point.
  4. Yeah, I was more seeing how the HDR and the back plate played together. In that respect, great. Yes, I can see having the sun in the background can seem undesirable, but totally realistic. I did open up the aperture a bit to brighten up the car. I suppose if you were on the far end of the street and faced the opposite direction, you would at least provide more light an reflections on your subject. Also, in the past, I've seen full-range HDRIs that appeared very dark to naked eye, but actually contained all the detail you need when you turn up the brightness. I'm not seeing those ty
  5. To do what the original poster needs, simply open the Earth texture file in Photoshop (or equivalent) and you can easily adjust the color there. Save. Come back to C4D, click on that material and in the texture channel, next to the image, there's a pop-up menu. Select Reload Image. Boom. Done.
  6. Seem pretty good to me. I dropped a car from a scene I'm working on and it's very convincing, as long as I need a wintry and in-the-shade shot. P.S. Rendered using Corona Render v7.
  7. @JBlongzYeah, I have one for you and you already have it. Go into the Content Browser and find a scene called "Grapes." Just click Render to Picture Viewer and let it fly. That scene is fairly intense using the Physical render engine and reflections, SSS, depth of field, etc. For example, I have an 8-core trashcan at work and that scene renders in about 8.5 minutes. The 12-core in about 7 I think. The fastest I've done is 2 min 30 sec using dual E5 v4 CPUs with 20 cores each. Give it a shot. At least it's more tangible than a random bench score.
  8. If you read the comments on that Lab page, it does nothing to help if you have a r11 file. I didn't know anything was new on that site. I stopped looking after a while since nothing seemed to be added. I'll have to give it another glance.
  9. Forgot to reply. Thanks for the ideas. I'll have to investigate further. I would probably go the route of making lighter versions of models (car models so would delete all unnecessary parts you can see and simplify materials), and just swap those background cars out for simpler versions. Thanks again.
  10. I can't remember if C4D has a feature like this or not. Say you have a Cloner set to Grid Array and a complex model. Is there a way to tell C4D, at render time, to reduce the resolution of the most distant meshes to reduce render times? Technically, I'm using the Corona engine, but it uses most native C4D features and I don't know if Corona itself has anything like that. Thanks. --Alex
  11. Gabriel covered a lot of great points. I would throw in a couple more. Just because you have cool software, don't dismiss the importance of actual design and composition. I always tell the younger people I've trained over the years (mostly After Effects), "when your animation stops, it still has to look great." Would also be helpful to be familiar with traditional photography techniques and lighting. Render engines like Corona, which is what I use, attempt to be as real-world as possible. Depending on what you create, make your scenes real-world scale. This will help to get predict
  12. I feel your pain. I occasionally have this same issue using Corona's Interactive Viewport vs. the Interactive Window or final render. Haven't found a solution yet. Good luck.
  13. In a related comment, I think MAXON should fix an issue that bothers me. Like me, many people have sizeable C4D assets and scene files from years ago, or they purchase pre-made 3D models. Every time I purchase a model, usually created in Max originally and saved out in r11 format. This cannot be opened in r20 or later. Luckily, I still have r19 which can open them. Once saved by r19, it is now compatible in r20. Either build in a converter or put out a free standalone app that only serves this purpose to make it compatible with r20+. Recently, I had to use another computer which did not have r
  14. I pretty much got it now. You have to bake the entire character group first, then it works. Funny thing is, the Mixamo rigs are already set up with keyframed animation, so that initself seems pre-baked. After baking, I was surprised to still see the joints. I assumed those would be eliminated, but it worked nonetheless. It's slow until you use Render Instances or Multi-Instances. When I do that, the joints appear huge and wacky, so I made them invisible. Still trying to get the Push Apart Effector to work. They just walk through each other.
  15. I'm experimenting with Mixamo rigged models to add to the backgrounds of some shots. I thought I'd try to make a small crowd using a Cloner. Everything clones, but the meshes stay in place while the joints walk on there merry way. Is this even possible with Mograph? I would think it is, but i'm no doctor.
  16. Not a lot, but you can never have enough render power, right? I started with a 2015 i7 iMac, so this trashcan is much better. I just see all those Threadripper people out there and am very jealous. The new Apple chips seem very promising though.
  17. Many render engines can give you photo-realistic renders. With GPU, you are limited on the Mac, but you have a couple of options. For CPU, personally I use Corona Render engine and I love it. It is surprisingly fast for a physically correct CPU engine. It also has decent real-time previews as well. The output quality is fantastic. Pretty cheap to get started and has a 45 day demo. You also get 3 extra render nodes. I have also seem people set up an E-CPU system (external box with NVIDIA GPUs) and use their Mac Pro Trashcan with Redshift and works very well for them. I imagine Octan
  18. Like many others, I'm stuck working at home with the best hardware that was available to bring home. I'm excited what this new ARM chip road Apple is paving holds for production desktops next year. Right now, I'm using a 2013 Mac Pro Trashcan with a: 6-Core 3.5GHz, E5-1650 v2 Processor, 12 Thread / 12MB Cache / 130W There's an upgrade I could do for $350 to replace it with 12-Core 2.7GHz, E5-2697 v2 Processor, 24 Thread / 30MB Cache / 130W Any opinions on the worthiness of this upgrade? I mainly use After Effects, Cinema 4D (Corona CPU Ren
  19. The project that finally got me to post this was only 200 MB total, mostly because of an HDR. There were some missing textures from a .lib4d I didn't have installed. I will install it and try again and see if that helps. I'm also wondering if my VPN connection has something to do with this. Maybe C4D is looking at the network drives at my office for stuff. That would certainly slow things down. I'll post and update later. Thanks.
  20. The texture manager window is a great and convenient feature. My issues is, whenever I try to use it, it will take several MINUTES for it to come up. Then a few more minutes to allow me to do anything with it. After that, it works great. I just did it on a scene with only 30 textures, most of them on the small side. That was at least 15 min. ago and it's still not ready. This is the same on small and large scenes. Could it be that it tries and tries to find missing textures that are on missing volumes and just gets in a loop? I don't get it. I'm running r20 and a Mac. Thanks.
  21. I tinkered with V-Ray years ago, and now I use Corona which is similar. With these types of render engines, it's all about the number of passes. Corona doesn't have an AA setting, just the passes and the Denoiser. Try increasing the number passes. Not sure what V-Ray calls this, but I'm pretty sure it has a setting like that.
  22. Ah OK. You might want to check out Eyedesyn's tutorials and, when you're ready, his plugin Bendy Limbs which is exactly what you're looking for. Don't forget to post your results! https://www.eyedesyn.com/tutorials/modeling-rubber-hose-style-characters-in-cinema-4d/ https://www.eyedesyn.com/tutorials/rubber-hose-style-rigging-in-cinema-4d/ https://www.eyedesyn.com/product/bendy-limbs-rig-for-cinema-4d/
  23. From all the hands-on reviews that are out now, these Apple chips look very promising.
  24. Let me start by saying that character modelling and weighting is difficult, at least to me. Since you're a beginner, you need to read up on this stuff. To my semi-educated eyes, your mesh has many issues that would make it nearly impossible to bend correctly. Your elbow weights are all wrong. Since the green blends all the way to the orange shoulder, it bends as expected. Look at the image I posted. I added two loop cuts on either side of the center of the elbow. Also notice the angles. This is so when it bends at the elbow, the back won't stretch too much and the inside won't crun


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