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  1. Today
  2. Thank you for your interest and kind feedback! If you are interested in our free giveaway, send me a message here with your ID/Name with the class you are interested in at Coloso.us I will give you more details in the message as well!
  3. Yesterday
  4. Very interesting solution Cerbera. I'll certainly give that a go. I know I didn't explain very well in my first post. Anyway I am doing the final render on The Kelpies. On this scene day turns to night and as they do at the Kelpies, they are lit up from the inside. After a few tests, the scene look really good. I thought I could use a Multi Shader to rotate through a colour sequence to colour the light inside the models. I suppose I could simplify it by key-framing the light colour inside the light settings. Around The Kelpies there are a lot of light going on. Deck lights, Lampposts and behind the camera in the pictures, there are 32 spotlights. I'm not a lighting expert but I will have to play around with the light intensity to get the balance right. I also have to project images onto the models. I'll have to go back to my old Pink Floyd project to remember how to do that one. Thanks again for your help.
  5. I have a couple of ideas. 1. Instead of using single lights - use 3 closely coincident lights, R,G, and B and vary the relative strengths of them, imitating the way LED lights behave these days... 2. Go old school and make a slowly rotating gobo-wheel offset in front of a white light. You could put a radial gradient of either gently transitioning, or hard defined colours you define in the transparent portion of this, and then Xpresso the rotation angles to lock into each colour, or set it to rotate to slowly shift round the colour wheel. CBR
  6. Note: This is only "random" insofar as you can paint a random transition pattern into the Range Mapper curve, which then repeats (but would you want true randomness anyway?). And it's not the same as controlling the light through its FCurve, as the color is set there as RGB and not HSV, which may not be the proper way to control the light. If you want true randomness, it becomes more complex, as you will still want the soft transition which means that you need to calculate the next target color in advance, so you can slowly change the hue towards that goal. That's actually something I don't know how to solve in XPresso, I would program a Python tag for that which at frame 0 randomizes the inbetween target hues and their timing, and then calculates a linear transition depending on the frame.
  7. Cool Cairyn, I'm not a fan of Expresso but your setup is pretty straightforward. Thank you for taking your time and solution. Jacobite
  8. The interesting part here is how you want the colors to change. The easiest way to solve it in XPresso would be to use a Random node in Vector mode and feed the result into the light's color, but this is fairly unsatisfying since the color would wildly jump all over the place. I assume you want a continuous color change with soft transitions. You could use a Noise to feed the Hue of a color, but while this guarantees soft transitions, the color would stay mainly around the noise's "center". You can influence that with some math, but it's still not optimal. Here's the most flexible way: Time node feeds its output (as Real) into a Range Mapper. The Range Mapper is set to Modulo, with Input Lower/Upper defining the time range (here: 0 and 5); Output Lower/Upper defining the color hue range (0 and 1), and the spline defining the transition between colors (here I use a sawtooth curve to cover all colors equally, but you can make it more interesting). The output goes into a Reals2Vector node as X (hue) value; the Y and Z values (brightness and saturation) can either be set as constants or get another input source. This is now a HSV format, so we use a Colorspace node to transform it into RGB which feeds the light's color. Done.
  9. No, nothing has changed. People don't know all the things it can do since I don't advertise it enough. I am Just playing around now in my evenings having fun with it.
  10. Does anyone here happen to be using Asset Browser with Royal Render? We're trying to get this to work, so far without success. We have our own Asset Browser database that is on our server and is loaded on every workstation via the C4D Preferences. I created a test scene with different assets from this database. As long as I render in the Picture Viewer, all textures are found, but unfortunately not via Royal Render. I suspect this is because Royal Render uses the Comadline version of C4D and the database may not be loaded there. Anyone know how to load an Asset Browser Database for C4D Comadline? Or does anyone have another solution to this problem. I am very grateful for every hint!!
  11. I am trying to create random coloured light using the Multi Shader. Just like what you would see at a concert. I am only using two lights, each will project the same colour. I setup the light and the Multi Shader and I cannot connect them both. I tried a Random Effector with no joy. I then put the light in a cloner with Random Effector, again nothing. There must be a simple way to override the light colour I would thing. I suppose maybe Xpresso. Jacobite
  12. If you want a properly realistic result with zero distortion in the thickness of the strands of the metal meshwork then you really have to model that panel in that shape. But I don't think we do want that. In the real world a flat mesh is press deformed into the shapes required, so we should try and mimic the physical consequences of that, which will include some distortion of the perfect pattern, but no variation of wire thickness. However, because the curvature is only slight , or at least the bits where it's not slight are only at the very edges, and mainly hidden by the frame, I suspect the distortion you'll get with something like an FFD or Mesh Deformer might be OK to get you a decent result despite a tiny amount of thickness variation that will get introduced along the way. So, assuming this end section is likely to be made from a circular section of mesh, your first job should be to boole intersect a square section of mesh with a cylinder, and make that a single editable object. At that point you may be able to try soft selection to pull a nice curve out of the end section, or you can try it with less scope for human error with deformers, of which I think mesh deformer will be most successful, the cage object being a cylinder with about 6 cap segments. A mesh deformer, yesterday. On another note, you may want to fix the rogue triangles and near coincident polys that is making your main metalwork look scrappy round the edges, and I suspect we need some phong breaks there as well for truly clean, sharp cornering. CBR
  13. So, I take this to mean that other than subdivision, nothing else is permissible, like cloners and symmetry. An example that would not be permitted (if I understand): I make a quarter of a circle that contains 20 polys. I then use two symmetry objects to make it a full circle. I use a cloner to duplicate circles into a corrugated tube. This is would not be allowed even though the total physical polys used was 20. Is this correct? I have no problem if this is the rule, I just wanted to clarify this. Thanks
  14. I'm modeling a microphone and need to make the screen at the top. I'm hoping I can use the same screen I made for the sides but I don't know how to form the curvature in the photo
  15. btw, How its situation about permanent licence holders? Looking over region reseler web, but didn´t found any info about upgrade permanent licence to latest one. Only subs route?
  16. Here is a bit more elaborate setup, in this case purely nodes based. Essentially it is an inheritance effector where clones reach transformation of target object with temporal offset. Sounds complicated but effect is quite known. Following controls are provided You can choose what is active (what transforms), duration and gap. The main part of the setup is located in inheritance group To use, simply set final transformation with null object Press play and clones will transform from original state defined by distribution to new transformed state. You can easily swap the distribution. The challenge would be to make this a capsule 🙂 112_Inheritance.c4d
  17. C4D does store the visibility and the camera for a scene though? If you mean "several such settings" within one scene, yes, Takes are one answer, scene cameras are another (but the screenshot shows different scenes?). Also, there are selection objects (to group objects for later multiselect purposes to change visibility on the fly). And then there are filters and layers to change visibilities and group objects beyond the object tree hierarchy. And if you want a scene to reference external objects so you have several scenes with cameras and containers but only one master object each, then you may want to look into the XRef system.
  18. In Cinema this sort of functionality is usually handled with the Takes system. CBR
  19. In Sketchup, I can setup scenes that save the visibility states of objects and the view. Sharing a screen recording below. scene state.mp4 Is there a similar technique in C4D that allows such workflow?
  20. Hardcore Star Wars fans will wag their finger of shame at me. I almost forgot the "Fabritech Sensor System." Can't navigate or shoot down enemies without that! FYI...these are all viewport/Eevee screen grabs, not renders (This is my viewport when working). Frequently change the HDRI and lighting for testing. Just now noticing I need to slightly rotate a couple UV islands...
  21. Kent, that looks really good. Did you do anything new with the fluids?
  22. Just back from holiday yesterday, still hanging a little but back to the grind, did some topo adjustments this morning.
  23. Was lazy with the bottom of the fighter. I'll see how my limited work ages on me to determine if I push further. Also added the same striping to the wings insets seen in the recent movies. In this interpretation It's actual a very light normal map so it catches the light in different ways when animated. Its combined with that muted tech pattern texture for now. Next: work on the pod sides and top.
  24. Last week
  25. And a render using Redshift in S26 with Greyscalegorilla materials and HDRIs. (Was in a hurry and didn't notice the overlapping geometry so there is some z-fighting going on unfortunately). p4d_jetfluids_stairs.mp4
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