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Everything posted by deck

  1. Im with CBR on this one re doing it in post. If you want it 200px in cinema then you just set your render settings to that ( plus enough width ) and make sure your object just nudges the top and bottom of the frame, but that's a lot of faff and finding later your missing a pixel or two. Also bigger is generally always better when it comes to pixels so I would be rendering it bigger with a little padding top and bottom to not cut off any pixels. Once rendered you could adopt a smart object workflow in pshop, if you render with an alpha the smart object will crop to the edges, then you can
  2. Could you use the surface deformer for that. Deck Grab here from the manual
  3. I couldn't get my brains around this one, but here's a cheat version for you using plain effectors to show and hide two different cloners at the same time, using one effector with inverted falloff. To keep the effectors in synch Im scaling them in a null, you could also select them bot together to change any parameters to also keep them in sync. Deck example-Hiding01.c4d
  4. you just need to move your H bend above the other one in the object manager. Deck
  5. Traditionally the sphere goes inside the cloner, you set the cloner to object mode and then drop the spline into the object slot in the cloner. Deck
  6. here's a displaced noise version, endless possibilities between changing the various distortion noise settings. This one isn't quite as pointy but you could probably address that with the gradient before doubling up the Knots 10 times or so. This gradient is very even. Maybe even some bigness and contrast over the top of the gradient / distort, possibly even feathered in and out with a layer mask. A fun thing for just a few minutes set up. File below Deck Displaced waves 01.c4d
  7. Im not quite sure what your after either as that file was empty for me, probably cos Im on R18. Traditionally you can drop an animated sequence inside a cloner with the play mode set to fixed, and then initiate that with an effector with its time offset set to the 12 frames. Ive used a shader effector here as I don't have any wav files for the sound effector, but it should transfer to sound ok, weather that's what your after or not is another issue. Example file below. This one is pulsing a bit cos its noise driven but a plain effector dragged thru it with linear falloff will just run it
  8. Now Ive got it, its the target profile you requirere as I suspected. We expect so much from Mograph / cinema its hard to believe their isn't a solution sometimes. Deck
  9. at first glance it looks like the reflection of the edge of the floor maybe. Deck Edit: or maybe not, I only just noticed the line on your model
  10. Hi Bjov I have to say Im still not quite able to visualise what your after, but I looked at your files and wondered why you used instances of mospline instead of a cloner. here's my variation on the theme, maybe you have a target shape to aim at in which case this wouldn't be appropriate. But there are a gazillion parameters to tweak between the mospline the cloner and the single effector currently in there, so its a good bit of fun. Deck Mospline loft 02.c4d
  11. Isn't this one of those cases where you would just draw up all the splines and extrude them, not that I wanna discourage anyone from modelling but for me this is extrude all the way, either having drawn them up in illustrator or cinema. Deck
  12. Hi Roei 1. Load the images into the cloner as you did before with the multi shader, but you don't need the random effector so delete that as it will affect the colour I imagine. 2. I think you answered that one yourself re the luminance. 3, I cant get my brains around the mapping when its on the shader effector and having seen this method in tutorial somewhere I find it much easier to visualise. 4, you just set it playing and then save it whilst playing. You should also now be able to use the falloffs, box linear etc to make our transition. I wouldn't rule out comping
  13. Not entirely clear what your after here but maybe you might find some use for Nosemans edge to spline plugin for converting the radial ends of one of your shapes. Deck
  14. Is this the kind of thing your after, its not so much colorizing as replacing, the only choices are Default add divide and multiply I think. Anyway the file below has a random effector to replicate your hundreds of photos with coloured squares, so you can ignore that. The plane carries the image ( from the internet ) and covers the area you want to effect, the shader effector refers to that image to colour the clones. I had anticipated that changing the strength parameter in shader would fade it in and out but it has no effect, but you can achieve the same thing by animating the weight in
  15. You can do it by cloning the sperm onto the emitter. If you use two clones with different animations you can blend between the two so they don't all look the same Deck sperm problem_0001.c4d
  16. No worries Keith pshop is my thing so it only takes a minute or two. gluck with the job deck
  17. deck

    CBR Model Wires

    Hermond Im assuming you may know Cerbera re your comments, otherwise I would point you here. https://www.c4dcafe.com/ipb/gallery/album/2933-current-stuff/
  18. Its really between the two of you what you wanna see in the set, when I mentioned skinnier, I was talking about the central screen, in that if it was thinner then you could zoom in and still see the panels, you should really have some sort of visual from someone to give an idea of what they might want in bg. The rear window could equaly be a video screen where you could play graphics that might otherwise appear on the panels. Its all looking good from your side really, especially since its all new to you. I don't really do video so Im not sure what is best practice, but my advice would be
  19. That looks much better, just sits more comfortably, ceiling looks much more appropriate above his head. I can understand him wanting the panels, if that's what he wants its up to him, clients often choose the worse option. I think it sits well and defo done your job but for me personally I would have the set much bigger, or him closer to the back, I would sacrifice the panels for less floor and ceiling. I can see you needing another skinnier set Deck
  20. deck

    CBR Model Wires

    You must be pretty fast too as you seem to get so much done, awesome stuff. Deck
  21. I think the Bollywood image is just a matter of art direction as its pretty square on it seems, maybe even looking slightly up at the guy. this is almost a matter of just art direction / composition. He could possibly be a bit high in the set and there's a lot of floor going on, for me I move the set up as it looks like its just about a foot above his head right now and at the moment he's taller than the screen at the back, I would brig it much more forward too ( bigger ) so its almost just the centre panel filling the screen and the bottom green line more under his elbows and the top green li
  22. Hi Keith One final thing that we touched on briefly is the idea of rouging in some geometry for your set, tho you probably only need it for these tricky cases. Quite often with camera mapping product shots you may build the geometry for the product so you can use it to reflect in something your adding or whatnot, so you build your geometry and apply your camera mapped material to it, when its all done you can convert that to UVW and the textures stick without the camera. So in your case you can take the whole shoot set with camera and drop it into your main set, just to give you a fe
  23. No worries Mike, we can all learn something, Ive generally found the calibrator a bit wooly unless having a real nice image to calibrate, never seems to get the scale right even when I put in a known distance. I never do the the lens correction in pshop you mention either, do you think that makes a difference, Ive always figured to leave the image as original as I could. Not an easy job on Keiths hands if he has to deal with the less than ideal footage. Deck
  24. Hi Keith The only way your gonna see off into the distance like that is if the camera is perfectly level. You can change the field of view because as you notice it doesn't change the camera position and therefore perspective. To clarify perspective has nothing to do with filed of view / focal length. Perspective is entirely about the distance between subjects, mainly camera to subject distance but also subject to other items in the scene, in your case there aren't really any other items in the scene so you just have to worry about the set matching the angle of your footage, which you cann
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