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deck

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Everything posted by deck

  1. I wonder if you could set up the scene with the skull face and hand as desired, then render a depth map to use as displacement on the plane but before that take it into pshop and kind of paint / blend in the blanket areas. May even be something you could do in a layer shader. Not something Ive tried, just a thought. Deck
  2. to use the hair collider you would have to push the red text into the green, taking advantage of its dynamic properties, so animate into the hair. Or the other way around obviously, moving green into red. Deck
  3. Probably best to look into displacement mapping, i.e. create a texture of your text, put it on like a label and then use the greyscale values to push it up or down, blurry image equals softer edges. The above technique won't work going inwards. You need a nice evenly spaced mesh for displacement, ideally. Sometimes you can get away with it if not. All in the manual. Deck
  4. I would start by changing all the tags to moving mesh instead of mo dynamics, you could do the pillars with a cloner too tho not necessary. Your pillars may well fly about because at the moment they are solid and getting catapulted around as the would in real world if unbreakable. So maybe some sort of fracture option there too, possibly with some sort of impact / collision threshold. Also no intersection of geometry before going dynamic as it doesn't like that. Deck
  5. Cheers Vizn That problem went away in the end as the client changed direction. My big issue with it was having a separate texture for each leg as the files were real world print size and I couldn't have made a single map big enough to hold them all. Had I gone ahead I was thinking about projection painting some marks on each leg for say 100cm, which would have allowed me to just render out a slab of texture and then measure it up in pshop. Or on a similar note to test run it with a chequer shader over my main texture. It was a weird one, as rather than putting texture on model I was rendering a big flat slab of texture and then re applying that to the model for visuals, originally texture wasn't required to be on model but only printed, and finally just a big 4m slab of texture was what was supplied. Im still a bit confused over the need for everything to be square and need to look into the BP interface a bit more, if I have a pack sleeve or something at say 40*20cm and i bring that in as a texture, I end up with my UVs jumping from square to stretched etc, but using a square just adds lots of wasted space. Another thing on the study list. Deck
  6. maybe you could use hair for something like that, as its just simple cylinders. Couldn't swear it will be quicker but imagine it would be. Ive not played with hair for a while but you can distribute them in all kinds of ways as I recall. Deck Just noticed CBR already mentioned hair, that would be the way Id go
  7. If you draw in one of the orthographic views, left top front etc, then it should all stay flat. you can add a point with the spline pen tool or cut it with the knife as you would with polys Deck
  8. Hi Cafe I have a job where I have to unwrap some legs of a monster type beast for printing and create the generic texture. I have to unwrap each leg separately and then UV Map each one and apply the same texture. No problem with that but how can make each map the correct scale to each other. The only way I can think of would be to put add a cube or something to the geometry of each one and then scale each map so that the cubes match. Hope Im making sense I don't do UV mapping of weird shapes very often. Im retopoing the legs so have a decent mesh to work with. As usual all tips, tricks and advice gratefully received Deck
  9. Ah, I sort of read it like that in the manual, but just seemed so improbable. Cheers bezo, thought i was loosing the plot for a moment. Deck
  10. Ive solved my particular problem with no rail, but would still like to know how the rail is implemented on a sweep. Deck
  11. Hi Cafe Im just trying to sweep a spline in the usual way, and I have a rail spline to try and keep the thing straight, but i can't see the box to drop the rail in. Where does it go, what am I missing today as Im sure Ive done it before. Cheers Deck
  12. I figured it would be more complex, bit above my pay grade I think. The only thing that sounds similar to me is the follow position option when things are dynamic but I don't think that works when cloned onto an emitter. I imagine one of the cafe mograph expresso heavyweights will sort you out, seems like quite a challenge. Deck
  13. Not entirely clear what your after, do you want clones on an emitter like below, if so you use a regular cloner in object mode with the emitter as the object. Deck emitter cloner.c4d
  14. Heres a little side take on this subject using the polar co ordinates filter in pshop, which doesn't solve the impossible problem, but does solve the squiffy pole issue but then introduces a problem at the equator if we can call it that. But it seems to my simple brain that some sort of extra distortion at the equator might solve it, tho I guess there is something I haven't thought about. A sort of reverse distortion of what you get when creating a HDR or panorama. Changing the V offset on the tag opens up the pole. I couldn't find a herringbone pattern in my content browser so not sure how that would look I will attach the texture as separate jpg. Deck Brick sphere 02.c4d
  15. deck

    New Mac pro

    Thanks for putting my mind at rest guys, Im not too clever with electronics. Maybe save those pennies after all, it would be a big jump from my 2009 mac pro :)
  16. deck

    New Mac pro

    Seems there might be some room for a slightly lesser machine, I like to expand but I don't need eight pci slots and that much ram. I probably couldn't afford even a smaller one but it seems they have made a huge leap towards the very top of the market and all us poor mac freelancers waiting for a decent box to buy will have to wait some more. And its got a 1500 watt power supply, it will be like having my kettle on all day. Deck
  17. where you have the capsule you need to place a circle spline Deck
  18. Here we go, my final attempt. I didn't realise initially that you had done the inner extrude on all 3 flaps together and that in turn made me wonder about the 3 edge loops cos I could only see 2, but once I worked out the first part then the 3 loops made sense. I forgot to put the loops in on the panels so mine is a bit looser around there. It all got a bit lumpy in the transition to cylinder and Ive pushed a few points out of place, probably had a better one earlier, but Ive got the principle of it. After the talk of carving candles I wondered if it would work with sculpt, but that wasn't like making 3 cuts at all. Thanks again Deck
  19. A lovely job again CBR. Im always amazed at how complex some apparently simple shapes can be in 3d. Considering in the real world if that was a candle or something you could do it with 3 well placed knife cuts. Thats a bit more of a challenge, will post results later if I manage to get there, but you've laid it out well so shouldn't be a problem Many thanks Deck
  20. Hi CBR I will try that square one tomorrow, and not quite happy with the slice here, i thought it was forward of centre but not so sure now. Your method makes it really easy to redo it, don't think I would have arrived there myself, brain still isn't making those intuitive leaps yet. Thanks again Deck
  21. Wicked, that went really well. started with loft which just seems easier to rotate and position. Then the loops and scaling from one side. I wanna make one really pointy at the top and I think I need to start again and move some of he points nearer to the top point if that makes sense. No hair pulling at all, great fun when it works well. Deck added a bit of weighting to the left one
  22. Hi CBR Thats nice, i though about a loft but not a simple one like that. I saw a completed one on turbo squid that looked like your final one and I wondered how the guy had rotated the loops, doh ! Of course with the top and bottom established they just slot into place, perfect. I see you went 16 rotations too. I will have a crack at that, any thoughts on that second squarer shape. Many thanks Deck
  23. Hi Cafe Im guessing this is a simple thing for all you topomasters out there, i think i could get this done but thought i would ask for tips and best methods before I start the hair pulling. This is just a test project, so its not this shape specifically Im after but more the principle of chopping this wedge off of this cone. Ive set this one up with a boole to get an idea of the shape, I did clean one up to an extent but Im wondering if I should start with more rotations. Part of me says to make the cross section and then model off that but maintaining the cylinder then becomes tricky. Then there is the second shape with two flat sides and a more rectangular top, now that looks a bit tricky to me. All tips tricks and advice most welcome Deck Liptip test 03.c4d
  24. The way to go is do it as if you were doing it with a camera in the real world, i.e. set up for a single shot, rotate it around and shoot say every ten degrees until you have gone all the way around. With these renders you have what is called a single row vr, you stitch this together with an app like object2vr by garden gnome. If you want to look over the top of it you need to rotate the camera up and shoot more rows, so at 10 egress yo have 36 images per row. The app spits out the spinning file with the appropriate web code etc. Im sure there are other apps and it docent have to be 10 degrees but that works quite well and seems smooth, 20 degrees is a bit steppy Deck
  25. I dont do much animation but when i do stills i use a compositing tag on my floor and tick the compositing BG option. Once thats done the image stays exactly as the original. Colour space will play a part too. Deck

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