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3D-Pangel last won the day on August 8

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About 3D-Pangel

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    Custodian of the (now defunct) 3D World Database

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    Christian Theology, the history and future of special visual effects, exercise (weight training and cycling), American football (New England Patriots), MS-Excel programming, financial analysis, any good fiction action novel rooted in science fact, cooking (always on the lookout for a good pasta recipe).

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  1. I thought I would pass this one along. I use a Quadro P600 graphics card for my every day computer. After a recent update from Nvidia (Release 391.74), I noticed that C4D viewport performance stopped being smooth, went completely black in some instances or the entire program would freeze. I would ctrl-alt-delete out of the program, but no crash report would be generated when I restarted C4D. Without a crash report, I am not exactly 100% sure what to report to MAXON. So, thinking that it had to be something with the new Nvidia release, I started looking for what changed. I noticed that "Nvidia WMI" (for Windows Management Instrumentation) was a new addition to the start up programs. At this point I turned to iolo's system mechanic for further help. It showed that Nvidia WMI is a "dangerous" start-up program based on its user-response data. So I had System Mechanic remove it and all worked fine again. I thought I would pass that along. If anyone has any other experiences with Nvidia WMI, I would be interested in hearing about it. After reading up on it at the Nvidia site, I am not sure exactly what it does for me. Best I can tell is that it provides more control to system's administrators to manage graphics drivers over a network. As such, I had not concerns with uninstalling it. If you want to remove it, may I recommend this site Dave
  2. ST III Spacedock

    I am using the Physical render. Render times are pretty long (around 30 minutes on a 4 core 3.7GHz Xeon E3-1245 V6 processor). For all but close ups the port hole luminance maps do not need to be GI enabled which they are right now. Turning that off could speed things up a bit. I am not really worried about polygon count. I used to be, but computers are so powerful these days it is not that much of a limitation. The whole project has been slowed down a bit due to work (traveling to Juarez, San Jose, back to Juarez and then to the Czech republic on business) and family (lots of great weekends spent with pretty much everyone). Also, a very good comment was made Vizn about the paneling that has got me going back a bit to redo. It is more work than expected, but he was spot on. Put all that together and progress has been slow. I hope to get to spend a bit of time on it this weekend before my next trip. My perfect retirement job (hopefully 7 years away) would be to do something (anything actually) with C4D as I find myself really looking forward to being able to spend some serious time on it....but time for my hobbies is so limited right now. Dave
  3. Space scene lighting setup?

    A great source of inspiration for space lighting is the classic “2001: A Space Odyssey”. In that movie, all the exposures were set for the fill lighting which left the areas hit by the key lights a bit over exposed. So most of the framing of the models was to show mostly the areas being illuminated by fill with a small edge of over exposed key. Now the color of the fill light would be based on whatever planet the ship was near: slightly blue if near earth, slightly yellow if near Jupiter, etc. That style always read the most realistic to me simply because it matches what we tend to see in how real space based photos are shot. Dave

    I do see relationships in how the core is being implemented. For example, with OpenVDB implementation and the complete lack of any improvements to C4D's native particle system, I would not be surprised that a fluid simulation capability is somewhere on the roadmap with a new particle system capable of supporting it. But all that WON'T happen until the core is turned lose and C4D can handle massive quantities of objects. But fields had to come first....and just imagine what would be possible with fluid simulation being governed by fields. I would say it would give Realflow's daemons a run for their money. Unfortunately, August 20XX is such a long way away....so please MAXON, give us some insights!!! Dave
  5. Don't sell yourself short....I still learned a few things and aspire to that "nothing special" level. Dave
  6. Is it safe to assume that your personal 3D interests tend to favor hard surface sci-fi subjects? I ask because I still marvel at your TIE fighter. I love sci-fi subjects as well because essentially 3D for me is a way to escape back to the early 80's when I used to dream of working with motion control cameras, optical printers, cloud tanks on those genre-defining films of that time (Star Wars, Star Trek, Blade Runner, Close Encounters, etc.....it was a great period in film history). Really nice work. Could you post a picture of the mesh with Sub-D's turned off (for those of us who sit at the feet of the masters and need to soak up as much technique as possible)? Thanks, Dave

    Okay....I have been watching a few more videos on R20 and it is beginning to sink in that this is a pretty significant release. Also, you need to look at R20 as follows: the sum of the parts is so much greater than the whole. If we only think about fields, material nodes, volume modeling in the traditional sense, then you are understating what those features mean to R20 because their implementation by MAXON throughout the entire architecture of the program just seems pretty brilliant and well thought out. If this is what the new core gets us in the future for other features, then I need to learn a greater level of patience - which will be hard but I am confident it will be worth the wait. I have also been thinking about the delays in Bodypaint. UV management is at the core of the program as it touches modeling, texturing and rendering. As such, I honestly think that it will be last on the release pipeline not because it is low priority by MAXON but because it has to be with respect to all the other features they need to implement. If new features are going to have the same level of integration that we are seeing in R20 due to the new core, then it just makes sense for Bodypaint to be close to the last thing to be implemented because UV editing touches so many other areas. Think of it this way: do you put up the curtains in a home while the building is still being framed? Same idea. There is a logical order to how things need to get done and MAXON is definitely logical. It is a no win situation for MAXON given their current culture because they can't explain why the most anticipated feature update is going to be at the tail end of their implementation pipeline unless they divulge what is coming before it. They also can't say it is a high priority --- because even though it may be a high priority in their development workload it will still need to be implemented after most everything else they have planned. So statements about priority will seem pretty hollow as we are kept waiting. That is just the way it is. Thus the eternal tap dance on the part of the MAXON employees. They want to scream out that it will be worth the wait but even statements like those beg more questions on when? and why? and how come not now? because to answer any of those questions gets into the order in which features and capabilities need to be released and that is an area MAXON will not go. So they stay quiet. Maybe that will change with the new CEO and we can only hope. Dave

    So the annual deal offered prior to a release that if you upgrade from R18 to R19 you get R20 now includes 1 year of MSA? That is a good deal. If there was a guarantee that was offered every year, I would seriously think about skipping MSA's every other year. Dave.

    Cool. I would imagine the good folks at GSG are busily looking at their Signal plugin right now!

    Okay....I am beginning to see the light. Spline based modifications has many interesting applications and possibilities. Not sure how much better control time field modifications provides for simple field applications than keyframing, but I would imagine that for complex field set-ups, they provide a huge value. Can you drive them with a midi soundtrack as well? That capability might drive 3D-Kiwi back into C4D. ; -) Can time fields also apply to the settings in lights as well? For example could they control intensity such that you can now create animated chaser lights without the need for Xpresso or tedious key-framing. A bit of a stretch as I would imagine it was designed around polygonal objects, but it would be pretty cool if that was possible . Dave

    Did you mean that MAXON waivered the cost increase to MSA's for this year (and only to MAXON USA customers) or did I seriously miss something?

    Thank you....if it is selection tag based, then I would imagine that it won't work with primitives. No biggee, just wondering. I would love to see a video on how fields can be used in a polygonal modeling workflow.....not that you probably don't already have a "few" requests for tutorials. But this could help change the perception that "modeling" improvements were not fully addressed in this release. Dave

    I have been watching a few of the fields videos. After one example, there was a post that said that they would work with OpenVDB meshes. If true, then would they also work with standard meshes (that is, take action on the individual polygons in that mesh)? Will they work with primitives such that you now have a completely non-destructive workflow? Just wondering if fields will give you more control and options than with the current set of deformation brushes in C4D. Dave

    Thanks for the clarification as I just assumed it was just breathing hard

    Pull out the 2009 Star Trek reboot and watch the opening scene where there is this amazing close up of the hull of the Kelvin spaceship. Just look at the multiple levels of metal reflections off of the hull. Just gorgeous. Please try to duplicate that! You can find it here: Also check out the work done on the Enterprise's hull at 1:02 mark. Dave I met Roger Guyette (Star Trek ILM VFX supervisor) before he worked on Star Trek. We talked about the work he did on Mission Impossible 3 and the lighting of the Hong Kong that he had to recreate in the scene where Tom Cruise jumps off a building. He has a tremendous eye for lighting and texturing in all his work.