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  1. Dear members We are happy to announce brand new Youtube channel with focus on C4D node system. In our research we realized that training content for nodes is very sparse and lacking in quality and depth. We already have two lessons available which will be part of ongoing series. Humble request from our side is that, even if you are not into nodes, please subscribe in order that the channel grows which will enable us to monetize it down the road. On longer timeline this can enable us to reduce the subscription period or even remove it alltogether and open up forum for many more artists. https://www.youtube.com/@CORE4D Thank you and enjoy the content! P.S. Any member willing to contribute to the channel is more than welcome - drop us a message : )
    10 points
  2. Paul established a US-based entity for Maxon, to serve North and South America and introduced Cinema 4D to The Americas in 1998, His initiatives included strategic partnerships with industry-leading production studios and design firms, along with orchestrating product bundles with Adobe After Effects and Apple Final Cut Pro. Paul's leadership and strategic planning played a pivotal role in Maxon's unprecedented growth. Today, Cinema 4D stands out as one of the fastest-growing and widely-used 3D products for digital content creation. He takes pride in being part of a team that facilitated the emergence of 3D in the motion graphics industry. In 2016, Paul was honored with the Studio Daily 50 award, recognizing influential creatives and technologists. Known for his creative energy, customer service advocacy, and support for training and education, Paul is often invited to speak at industry events, particularly on the subject of motion graphics. Describe yourself in a single word Enabler (the good kind 🙂 ) How did you get into C4D/ Maxon and 3D in general? In the early 90’s I got my first job in the 3D industry – marketing managerfor ElectricImage (a 3D animation product on Mac). This was in the early days of 3D. I was there for a few years (learned a lot about the industry, artists and studios). They were purchased by the company Play (wellknown for the Snappy). Play was formed by former marketing people from Newtek. I was pretty sure my position was redundant, so, I went back into freelance marketing. Maxon started out as one of those freelance jobs. Which area interests you most? Facilitating, inspiring, motivating and helping creatives be successful in achieving their vision. What other apps are you using and what for? I assume this question is more geared towards artists. How about I tell you one of the things I find really interesting out there? I think Rive (https://rive.app/) is an extremely innovative and unique new offering and a significant breakthrough in the creation of real time vector graphics. At its core, Rive is a new graphics format. Rive graphics are not just static; they can be animated, interactive, and functional. The format and its players are open source so designers can create interactive content forproducts, apps, websites, and games - and Rive runs anywhere (web,iOS, Android, Windows, Unreal, Unity, C++, etc.). A huge advantage is how greatly it speeds up workflow by reducing designer-developer handoff. Which learning resources you used and would recommend? This forum of course, Cineversity, of course! School of Motion, Linkedin Learning, and YouTube/Google searches for anything useful. Do you think talent is overrated and can be offset with a lot of hard work? I’ve always felt there were two types of 3D animators and digital artists ingeneral - those who are naturally artistic and less technical, and those who are more technical with less artistic background. We used to call it right and left brained, (but I’ve recently read some scientists call that a fallacy). And there are those amazing exceptions – the people who seem to have both artistic “talent” and an innate understanding of technology. Talent is an intrinsic skill (as in something that comes natural to you). But it is a skill. So yes, I do think those not born with it can develop artistic sensibility. Your best advice for newcomers, tip or trick to pick up regarding marketing and industry? Create. Even with talent, nothing comes without practice and execution. Create what you love, what inspires you. Be inspired by others. Inspire others. Thoughts on AI? Artists worrying about how AI is going to affect the industry and their careers is completely understandable. But it cannot be ignored. It’s here and it’s not going away. The best thing to do is figure out how it canultimately serve and empower you. Part of being a creative professional is adapting to what is thrown at you, whether it be a client’s desires or technology advancements. Top 3 wishes for C4D a. That it will continue to humbly serve the artistic community. b. That it will continue to innovate and impact the industry. c. That it will be remembered as having a positive impact on the industry and secure a place in design history. Message for Core4D Stay positive, stay passionate and keep the community spirit. Tell us something we could not possibly know about you but you find important or funny : ) In my early 20’s I was an actor. I did mostly stage musicals, but I did doone film. I was a pirate in the movie Hook. I was also in the Hook Coke commercial – like everything else it can still be found on YouTube https://www.youtube.com/watch?v=FUIAPbXevaA For fun, I still perform in a band with my buddy and my daughter https://thelaurelcanyonband.com/ Plans after a long journey with Maxon? Clear my head, look out into the horizon of the industry and get a good idea of what’s happening in the industry and where it’s going. Hopefully, I will find something where I can focus my passion and energy. Yes, I am actually looking for a job (it’s been rumored I am retiring – no way!! I have too much energy left.) – hopefully, it will besomewhere in the industry. This industry is my family. Also, some exciting news. This week I've accepted an invitation to be an Advisor for the team at Rive. It’s not a job. I took an advisory position for a product I think has a tremendous amount of potential in the interactive design industry. I encourage everyone to check it out. Really innovative and fun. If people want to contact you https://www.linkedin.com/in/paulbabb/
    4 points
  3. AHA ! I knew I could crack your NDA with erroneous unfounded assumptions ! (kidding) There you have it people, it's a new shiny system 😆
    3 points
  4. It really isn't a port of any kind, it is a new development from the ground up and any similarities to TP are simply due to it being a particle system as well.
    3 points
  5. pm request, spline morphing : ) There is some help from delay effector to add secondary motion 224_Spline_morph.c4d
    3 points
  6. Updated stream from our closed alpha release:
    3 points
  7. Donovan made some quick introductory videos for Nodes, check them here 🙂
    3 points
  8. Well we made it boys! C4D on the cover of 3D world magazine ! Was commissioned back in January to create a character for the cover , and an article with an over view of the modelling process. Brief was -Disco Astro naught, so I went with it, was changed quite a bit over the length of the process but quite happy how it ended up. This marks a significant miles stone for me as an artist, definitely something cool about seeing your work published!
    2 points
  9. : D You are seriously overestimating my capabilities. I found some pieces of obscure math paper and managed to convert it into nodes.
    2 points
  10. Here is a nice setup I spent too much time on - Lorenz attractor! There is some fancy math inside and controls are available. If you want more performance turn the capsule into spline one without geometry and vertex color generation 210_Lorenz.c4d
    2 points
  11. Someone get the Maxon guys drunk immediately, if one of them is spilling the beans, it shouldn't be hard to get the others to crack. Something new is coming and it's got particles in it somewhere! Hang on, I think we figured this out a couple of pages ago.
    2 points
  12. Thanks! We intend to go from basics all the way to nifty, complex TD stuff. There is obvious shortage of quality training on this matter. I'd like to take the opportunity to thank one of our members who is sponsoring the creation of videos who wishes to stay anonymus. Thanks You ******!
    2 points
  13. .max for a modern 3ds max file. .3ds is ancient. Its limited to 16,000 polys per model, 8 character long file names etc
    2 points
  14. Have you tried using the Collider Deformer ?
    2 points
  15. Well, you won't believe this. When trying some of the ideas you suggested, I got the spinning wheel of death. Might have come out of it, but after 5 min., I forced-quit. Now, I still had r19 open. Many models sold online are build with Max and provided in a couple of formats such as r11. I have r19 so I can open and save a scene to open in newer versions. Anyway, I thought, what the hell. I opened the same scene in r19. Broken textures as expected. I brought up the old Texture Manager, which for me anyway, used to be super slow to load fully. It loaded instantly and I tried Relink Assets and BOOM! It fixed all the links properly in 3 seconds. I reopened the scene in r25 and all is well. I have my workaround, but not explanation as to why the scene cannot be fixed in r25.
    2 points
  16. This is a very unwise move and it will kill Cinema 4D in the long run. No students = no future users. Cinema 4D is already dead in a lot of Universities and Colleges in the US. The absurd price and all the shenanigans with the student license made it a non-starter for most schools. Although this price hike won't change much the situation, because what happened last semester (Maxon canceling the student licenses MID SEMESTER!!!) already killed any good will schools had with the software. This is just the nail in the coffin. Keep in mind that Blender is not the competition here. Even though most of my students come to my classes (I teach around a hundred students per semester in a high ranked Animation program in the US) with Blender experience they are really interested in learning the industry standard software. And Maya student licenses are free and super easy to get. And after graduating they will have Maya Indie for U$305 bucks only. Meanwhile, Cinema4D charges a stupid high price for the student license, takes forever to get said license and has no indie version for former students. Considering this, Cinema4D is simply not an option anymore. Unfortunately, I understand why @DMcGavranis doing this. Even though this will kill Cinema4D in the long run, schools and students will keep paying for the Maxon One Student licenses not because Cinema4D but because Zbrush and, in some cases, Redshift. Zbrush is really the 3D cash-cow for Maxon now. Zbrush simply has no competition in the industry. 3D schools are hostage of Maxon in this case. And Redshift is the choice of schools without big budgets (like State schools) who need a faster renderer for students using Maya. It's cheaper to use Redshift than buying more powerful desktops or building a renderfarm for Arnold. And Octane's (the only other option) implementation in Maya sucks, while Redshift is super well integrated. Anyway, in the end I just feel really sad because Cinema4D is my favorite 3D software. It's pretty sad to see it going the way of Lightwave 3D.
    2 points
  17. Attribute Transfer SOP. It won't be perfect because your topology is wildly different, but it might be close enough to do the job:
    2 points
  18. You can do it even easier, if you convert a vector into a float, by connecting a vector port into a float port, you will get the length of the vector as a result.
    2 points
  19. speaking of, I actually wanted to implement manhattan distance as well... 🤣
    2 points
  20. Looks like there is an issue with the triangle mesh option in the collider tag. Use convex hull or box. And if you can try to keep the "thickness" higher. It is used in the collision calculation and larger values make it more robust. Between rigid body objects this won't lead to a gap. In only adds to the gaps between rigid body objects and collider objects. And: Avoid initial setups with intersections of collision shapes. If you have a stack of stuff with all objects sitting flush on top of each other and the bottom one intersects with the floor collider, the fist execution will have a collision resolution that propagates through the whole stack. You can start we a relaxed state with a bit of a gap and let them fall into the stack via the simulation. Once they have come to a stable rest you can set that as the new initial state for the simulation.
    2 points
  21. i use my plugin UV splinemapper for this, we extra made this for curved or polygonal folder elements in building streets, furniture etc: https://3dtools.info/shop/spline-uv-mapper/ it generates a UVW map tag, that can be rendered in any engine and the result can be also rendered in other c4ds that not have this plugin. one controlls the fow of the UV via a simple c4d spline. no unfolding or bodypaint needed;)
    1 point
  22. April Fools is right around the corner. Expect: "Maxon merges with Adobe..." , "Insydium confuses themselves with their licensing so much they sell to Maxon", "Maxon releases C4D 2025, with new integrated particles, fluids and pyro 3.0"
    1 point
  23. There is only one step down from 3ds and that is stl
    1 point
  24. First of all your mesh and skin objects are lost in another universe... how did you do that ? After that I had to think like a game dev... so what do they do ? They put their animation meshes inside an invisible box and have the box just move, no bones no deformations. I did the same thing with just a Connect Is this OK ? character_path HP.c4d
    1 point
  25. https://www.newscientist.com/article/2423087-artists-who-use-ai-are-more-productive-but-less-original/#Echobox=1710921061
    1 point
  26. Someone's had fun designing the new icons, check the cool little apple logo in the Object manager.
    1 point
  27. well, that's just sad... I understand this type of pricing for indie license but student licensing? pretty lame... even autodesk gives free student license if you verify. I guess for maxon verification isn't enough.
    1 point
  28. It's making the rounds again on Reddit and Discord. The number of responses with "blender" is pretty interesting. Maxon is making money now but setting up the next generation of artists and the studios they will open or supervise with Blender,
    1 point
  29. so simple yet so creative & powerful! I went a tiny step further and added an extrude generator on top, just to see how it acts with a mesh. It works 🙂 Don't forget to check the 'close spline' checkbox on the nodes spline first tho so the extrude has caps 😉
    1 point
  30. Nice one! But in what way is it better from the one we already had ?
    1 point
  31. made a really quick thing that allows you to calculate the distance between two points: did this in like 5 minutes but i want to play around with it more one day as I believe some really cool things can be done with just this simple calculation 😉 for now, i have it prepared for further experimentation later down the line... sn-distance-between-two-points.c4d
    1 point
  32. Cerbera, you're a wizard!
    1 point
  33. Ok, here's a closer look at stage 2 where we have just made our overlapping extrude editable... and then on the right, once we have added loops top and bottom and at 50%, which helps with SDS tightening later. The entire bottom and top loops get scaled in on XZ (presuming Y is up) with subtly different amounts, and we use the Remove A / B option in Plane Cut to decapitate it flat at both ends... Solving that to quads at the ends can be done a number of ways, all of which are quite hard to put into words, so I'll show you a closeup of what I did at the top for example... we don't actually have to be this tidy (will be covered in black wrap) but it's nice if we are... This gives us the following SDS result, which is looking fairly decent, but of course remains cylindrical so far, so we need to sort that out next... CBR
    1 point
  34. If you need assistance at that level of detail you may be waiting a while I'm afraid - quite a heavy workload at the moment, and those sort of posts take hours to compose. However I have built it (to proof-of-concept level), and so can give you edited highlights now... There are about 4 principal stages, thusly... 1. Helix spline in Extrude, but with very specific settings. In the helix the number of points is 8 x number of complete rotations. The end angle is -360 x number of rotations. Do 1 more spirals at each end than you need (I did 8 total), as you will be slicing this flat at both ends later. There should be zero spline interpolation, so that each full turn contains no more than 8 points in the resulting geometry. The Extrude should also have no (depth) segments initially, but should be deep enough to overlap itself by about an 1/8th of the depth of each band. 2. At this point we need to take an editable polygon copy of that via CStO, so we can edit and add loops to it. We need to add loops using Loop Cut (K,L) to both top and bottom of the spiral, so that the border edges can be scaled in on XZ to fix the overlaps and tuck the wrap under itself nicely. A further loop can be added to define the narrow darker strip at the bottom of each wrap at this point. 3. In the next group of steps we need to re-orient the model (but not its axis) by 22.5 degrees on H, top and tail it to flat, non-spiral borders at both ends using Plane Cut (K,J), solve the ends to quads and scale groups of edges apart to better match the elongated shape, before selecting the edges and bevelling them to gain additional support loops there, and harder creases on the corners. 4. Last stage is FFDing that with a great many Y segments so you can match XZ curvature around the handle from top to bottom of it... I will pop back to add further detail as time permits this week... CBR
    1 point
  35. This post is a list to contain all plugins I've encountered across the web. I will be updating this post regularly so keep visiting it every month or so... I will only provide links to the plugins/scripts, not the plugins/scripts themselves unless the author gives permission. You can p.m. me to add things to make the list grow faster. Scripts : Gabriel Smetzer Callout Rig Bounding Box Vidar Nelson Fake Diffusion Limited Aggregation Effector (R16-R19, Read comment for R20-2023) Lightning Generator (R19-2023) Frank Willeke/fwilleke80/C4D-Jack Oscillator FlockModifier TrainDriver 1.2.1 (R20 - R23) PointProjector 1.4.4 (R20-R23) SplineDataVisualizer (R20) GearBuilder (R16,R18) SceneDocumentor (R16) CanStack (R18) RotaryKnob CustomGUI (R18) SwitchObject (R18) Sidewalk (R18) Maksim Bitiukov Ihor Dmytrenko Quick Copy Paste (R24-Present) iDTools (R22-Present) Free Plugins : fwilleke80 PointProjector(R20) SwitchObject (R18) RotaryKnob 0.4 (R18) SplineDataVisualizer (R18) Oscillator (R23, S24) SceneDocumentor(18) GearBuilder (R16) TrainDriver(R20 - R23) FlockModifier(R23,S24) Valkaari Py-Timer (R12-R13) Easy Light (R13-R16) hot4D (R14-R21) Spider Web (R15-R18) Uniform Resizer (R16-R21) Safina NES EMULATION Torus Knot (R20-2024) L - OBJECT (R20-2024) SELECTIONS TO OBJECTS (R20) OBJECT SWITCHER (R21-2023) RANDOM COLOR (R20-R23) ZARABIC (R14-R23) FLAPPYBIRD (R19-R21) SNAKE (R19-R21) SPACE SHOOTER (R19-R21) TETRIS (R19-R21) Lasse Clausen Import Adobe Color CC Swatches (R18) PickFocusDistance (R18) Toggle Deformer, Effectors & Forces (R18) Instance Renamer (R18) C4D_Renamer-Pack (R18) Add Null to Selection (R18) Group Objects / PSR-Zero (R18) Transfer all Objects to last selected (R18) A_Simple-Spline (R18) Delete All Tracks (R18) Toggle Visibility of selected Objects (R18) Welters Site All are compatible up to R25 with Insidiums' Bridge UVtoObject CopyPastePolys Smooth Point Collapse Tool Transform Duplicate Object Noise Deformer SplineConnector SplineNoiseDeformer UV Deformer Atmosphere Shader Cellular Shader Extended Starfield ThingsOnSurface Shader Time Shift Simple Colormap Vidar Nelson Color4D (R15) Softbox shader (R14) Ola Sikström Ocean Wave Effector (R13) Microbion About Object (R19 - R2023, S22 not compatible) ArrowMaker (R19 - R2023, S22 not compatible) ChemLoader (R26, 2023) LightShade (R23 - R2023, S22 not compatible) Mirror, Mirror (R14-2023, S22 not compatible) Nudge-It (R19 - R2023, S22 not compatible) Plotter3D (R23-2023) Quick Render (R16-2023, S22 not compatible) sIBL Loader (R26, 2023) AutoRename (R14-R19) DarkTree simbiont (R14-R21) Insydium INSYDIUM Bridge (R20-S26) Cactus Dan's CD Tools (R14-S24) Curious Animal Cluster Effector (R15-R21) Difference Map (R15-R21) Super Source Falloff (R15-R19) Boole Falloff (R15-R19) Noise Falloff (R15-R19) Grid (R14-R19) Membrane Deformer (R15-R21) Rebend (R15-R21) Motion Stretch (R15-R21) Seam (R15-R21) Expand (R15-R21) Poly Edge Spline (R15-R21) Populate (R15-R21) Shadow Falloff (R15-R19) Spline Faoff (R15-R19) Snap Deformer (R15-R21) Impact (R15-R19) Sphere Wrap (R15-R19) Scroll Roll (R15-R19) Twirl deformer (R15-R19) Velocity Effector (R15-R21) Robert Hitzer InstanceMan (R18-2023) Eggtion egg object . 2.1(R20-Present) AL'EM . py 1.2 (R20-Present) roll it (R20-Present) Code Vonc Selections (R22-R23) Utils Deform (R22-R23) Tools (R22-R23) SVG Import (R22-S24) Proc3Durale (R18-R25) Point deformer (R20-Present) Gélatine (S22-R25) Spline Guide (S22-R25) Subdivision inverse (S22-R25) Aturtur CAMERA FRUSTUM OBJECT (R21-2023) SHOW INDICES GENERATOR (R21-2023) MIRROR GENERATOR (R21-2023) WIRES GENERATOR (R21-2023) RANDOM INDEX EFFECTOR (R21-2023) TEXT ANIMATOR (R21-2023) NODE TOOLS (R21-2023) COLOR DELAY EFFECTOR (R21-2023) SEPARATOR NULL (R21-2023) SELECTOR FIELD (R21, 2023) ALIGN OBJECT TO PLA POLYGON (R21-2023) AUTO ADD EFFECTORS TO GENERATOR (R21-2023) CINEMA 4D LOG VIEWER (BETA) MOGRAPH TO SPLINE DATA (2023) FIXED RANDOM PSR EFFECTOR (2023) QUANTIZE PSR EFFECTOR (2023) Master Slider 2 (2023) CUSTOM COLOR EFFECTOR (2023) FADE CLONES EFFECTOR (2023) INHERITANCE PYTHON TAG (2023) ZERO SCALE FIX EFFECTOR (2023) MIX GRADIENTS (2023) CINEMA 4D SPLINES TO AFTER EFFECTS MASKS (R19-R20) CONNECT X-PARTICLES EMITTERS (2023) TURBULENCE FD DIRECTION TOOL (2023) DELETE EFFECTOR (2023) COLORISE PLUG-IN (R20-2023) PILE UP EFFECTOR (2023) TAKE CONTROL EFFECTOR (2023) IMPORT AND PLAY OBJ SEQUENCES (2023) FOLDERLINK (2023) DISTRIBUTED SLICES WITH VORONOI FRACTURE (R23) DATA FROM PROCESSING TO CINEMA 4D (R21) BPM IN XPRESSO (R19) VERTEX MAPS AND PYTHON TAG (R19) DATA FROM MOGRAPH TO X-PARTICLES (2023) CONNECT SPHERES (2023) SOUNDFLOP – A MISSING PIECE OF THE SOUND EFFECTOR (2023) CLONE OFFSET WITH A PYTHON EFFECTOR (2023) X-PARTICLES COLORS TO OCTANE RENDER (2023) TURBULENCEFD (2023) Aturtur's Cinema 4D Scripts (R25-Present) kaktak Drop To Floor (R25-Present) Chain Effector (R25-Present) Organic Effector (R25-Present) MoTracer (R20-Present) Kengo Ito Motion Manager for Cinema 4D (S24-Present) mikeudin Advanced Instance (R12-R25) Duplicate with Materials (R12-2023) FastPinNulls (R16-R23) Images To Planes Importer (R16-R23) Import Colors Script (R20-R24) Merge Objects Script (R12-R21) Multi Spline Mask (R14-R21) Open Folder (R12-R23) Sequence tracks (R12-R20) Shuffler (R12-R23) Spline Flow (R12-R25) Step Offset (R12-R23) Commercial Plugins : Insydium X-Particles (R19-Present) NeXus (R19-Present) Taiao (R19-Present) TerraformFX (R19-Present) MeshTools (R19-Present) Cycles 4D (R19-Present) Code Vonc UV Projector (S22-R25) Unfolder (S22-R25) Alvéole (S22-R25) Influence Point (S22-R25) TexTerrain (S22-R25) kaktak CopyPoints (R25-Present) Legacy Bundle (R21-2023) MoConnections (R20-R26) Kengo Ito Gemgen (R23-2023) Matthäus Niedoba Spline from Edge (R19-Present) Spline Outline (R19-Present) Spline Chamfer (R19-Present) Selection to Object (R19-Present) Aturtur HAWKEYE (R25-2023) Redshift Proxy Exporter (R21-2023.2) VARIABLE TOKENS (R21-2023) florenoir Building Generator (R24-2023) CityBuilder Pro (R21) CameraRIG (R21-2023) RetroRIG 1.0 (R21-2023) CITY RIG 1.9 (2023) MANTIS (R20) mikeudin File Sequence Exporter (R17-2023) Batch Processor (R18-2023) Custom Buttons (R17-2023) PolyDivider (R20-R25) Target 4D (R17-2023) UV Colorizer (R14-S26) Terrain Builder (R17-S26) Fast Spline Connector (R17-2023) Flash Buffer (R17-S26) TakeMatPass (R17-2023) Valkaari Delta Mush (R20-R21) Prizrak_KD Terrain Builder Cinema 3 (R23-2023)
    1 point
  36. He's been tagging astists when posting particle videos like this... This time it's a freelance artist. Are these artists in beta testing ? I would assume there's some kind of custom icons invovlved but they are too Maxon-like to be custom icons... And they are not some Plugin icons like XParticles either... On the other hand, so many new tools for an upcoming X.5 version is very uncommon. Spline Emitter ? Updated Mospline ? Possibly a "Split Particles" type of effector Partcle Tracer / Particle Viewport Visualizer ? some kind of group object maybe for paricle forces ? Paint Particles ? This is the same icon used by BP (Breakdown Color). This looks familiar... I can't remember where I've seen this before though That'a a collider tag icon... I've no idea what role these two play... maybe they are deactivated. I think they made the TParticle system look like the SceneNodes... They made Capsules out of the nodes to be used in the OM... Or it's new SceneNode capsules for particles.
    1 point
  37. DigitalArtDeathmatch Now accepting artwork submissions for the DigitalArtDeathmatch at BeepleStudios with beeple!!! Submit your artwork for a chance to be featured at the event or compete in a LIVE digital art tournament at the event!!! https://beeple-studios.xyz/event/digital-art-deathmatch/
    1 point
  38. Pm request - rolling sphere! : ) Important note about this is that nodes (at the moment) require keyframed values since system needs to have access to previous values in order for proper rotations. 81_Roll_it.c4d
    1 point
  39. What would I advise a young artist to do vis a vis a future where AI will increasingly compete for a larger and larger share of people's time and attention? Number one. AI is already alive in the sense that it is never going away and it will forever hereafter compete for people's time and attention. The important thing to note about it is that it does not and will not ever need facilitators or human shepherds to steer its future direction or influence. Rather, how people collectively respond to it will determine where it goes and where its influence ends. AI will eliminate the need for many different kinds of jobs that exist today. On a massive scale. This societal upheaval and the resulting population of unemployed persons will result in many looking to make themselves employable by studying and looking for jobs in AI, but AI itself doesn't have nearly any need to employ humans. Its strength comes from mining all of human digital history and a feedback loop with how all of humanity responds to it. It has no need for employees and there won't be jobs requiring people who know how to use it. Everyone will both know it and know how to use it by its very ubiquitousness. Thus, it's very likely that the very idea of work itself will have to change. All we humans can do in response is to foster and develop the innately human advantages we have as humans that AI can never fully possess. Mobility and dexterity for starters, but also the power to physically, materially and spiritually comfort and support one another. AI will probably make a lot of beautiful music, but AI will never be able to sing through your vocal cords, or those of the persons you love; make your body dance in rhythm, spoon feed a baby, or paint a landscape through human eyes on canvas using real paints and pigments. It may inspire us, but it cannot animate us. So to an artist of the future I would suggest to focus artistic energies on non AI things that animate and move you and others. Figuring out exactly what that is will be art in itself, but forget digital arts for now and focus on traditional human arts like drawing, painting, singing, dancing, gymnastics, acting, tilling the soil, etc. Beautiful and artistic synergies will surely arise between humans and AI, but only between AI and those who are good at non AI things. Artists in the future won't make names for themselves by being good at AI, or using AI, or shepherding AI, but rather by being good at things AI can never do. With the exception of an IT job or similar, put the notion of making a living with AI or having some influence on it or through it out of your mind: AI doesn't need humans or humanity except in the collective sense, but it will never be able to satisfy human desire for what is real.
    1 point
  40. I accidentially used the standard transform, use the Transform 2D node for better results.
    1 point
  41. Yes, that theory holds water, unlike the balls themselves 😉 So here, in this fully parametric setup, we have 2 cylinders, a smaller one doing the top 4 holes, and then a larger one providing the 2 rows of 8 underneath that. These are all variously offset radial cloners using a target effector on all 3 to make the cylinders point down Z at the centre of the sphere. Those 3 cloners are then given Y symmetry to get the other half, and dumped wholesale in a Connect where they can be used as operand B in a Boolean Set in 'A without B' mode. If we set cylinder and (standard type) sphere to atypically high segmentation (64 and 192 correspondingly in my example above) then we get perfect spherical representation and no visible faceting without further help. Live remeshing (ZRM mode), which is an option that can be deployed above all this, can actually have negative visual effect here, as it can compromise a) the look (no phong tag on remeshed objects by default) and b) inconsistency in edge distribution around the holes which can lead to visible artefacts you then have to work to fix. For those reasons I was getting cleaner results (though less toplogically sound) without remeshing. We mustn't forget that 99.9% of clients don't give 2 shits what the mesh looks like anyway, as long as it's fine in render... Lastly we can bevel the hole edges a suitably tiny amount if we need to, which I like to do on a CStO of the main setup using a selection tag (U,N / Select All, Store Selection) for additional realism; they may be sharp, but not infinitely so. Lastly we should consider that these balls are made out of weak, insubstantial plastic, and get twatted about, meaning their likelihood of remaining perfectly spherical is... low. So should we wish to show that too we can pop a crafty displacer (large scale perlin noise) or an FFD (for more directly art directable wonkiness) in with our parametric setup, or, as I would prefer, under the copy of it I made later (avoids constant remesh recalculation if you use it)... CBR
    1 point
  42. more scary than real news. At least when the news lies to you their mouth and voice are in sync and don't have a dead pan look in their eyes. Also, you know who physically is telling you the news, their bias and agenda. With AI, the idea that it can be without bias has already been proven wrong with chatGPT. Also, someone is funding this AI news channel, and who is a vested partner with that corporation funding the channel, and so on? As it stands nefarious governments, corporations and individuals are already using AI to promote their own interests. I still see a time when AI will he hacked and poisoned to promote false information purposely. After all, we will be conditioned to trust AI 100%.
    1 point
  43. Use transform geometry node. As mentioned, geometry by itself is not transformed at all, think of it as simply always sitting at 0,0,0 with no rotation or scaling applied. Transformations are applied by matrix which is position, scale and rotation alltogether. clone_transform_geo.c4d
    1 point
  44. I was going to propose the Track Modifier Tag. https://help.maxon.net/c4d/en-us/Default.htm#html/TCAANIMATIONMODIFIER.html?TocPath=Object%20Manager%7CTags%20Menu%7CAnimation%20Tags%7CTrack%20Modifier%7C_____0 There is a Quantization effect that acts like a stop-motion effect. So you could animate the second hand as usual and have it quantized at constant intervals.
    1 point
  45. I found the solution with a little help from GPT-4 and some experimenting. Here is the solution for anyone searching for it in the future: An Xpresso setup that takes the rotation of a Null -> Dividing by 3 -> Floor-Formula -> Multiplying by 3 -> Output to the rotation of my Second_Hand
    1 point
  46. Ephere Ornatrix Hair Fur & Feather plugin: Review/Preview Part 1. In part one we will take a in depth look at this plugin and why you may use this over Cinema 4D built in solution. Cinema 4D own solution is robust, stable and very capable, but if you want to take things a step further Ornatrix is the way to go.
    1 point
  47. Thats a good question, and your right there should be a good reason to justify a plugging in which is aimed at a feature set C4D has. I will address this in more detail in the video. What I can say on a simplified level for now is Ornatrix takes off where C4D hair system end in its abilities. This is mainly around control over particular guides, hair groups, its consistent interpolation methods, and its powerful modular approach. Modular: In C4D you have a single material with one set of attributes that change the outcome of the hair, these are called Operators within Ornatrix, lets take Frizz as an example. You can make and apply a map to control how much is applied and to where in C4D native hair system. This is also true with Ornatrix but things can taken much further. Due to Ornatrix modular methods you can apply as many operators as you wish in any order. A frizz operator is applied to the operator stack. like C4D it applies to the the entire hair. You may want one type of frizz on the top of the head, and another type on the sides. The only way to do this in C4D is to make multiple hair objects to have multiple materials. In ornatrix you can simply select the top of the hair guides, make it into a group, invert the selection make the group for the sides. Add two frizz operators and apply one to one group, and one to the other. No texture maps needed. What if within the settings of the frizz you wanted some hairs to receive more frizz not just the full length but just at the tips of the length? This can not be done in C4D, its all or nothing. You can use texture maps for the entire length in C4D but not on a per vertex level. With Ornatrix not only can you assign a group such as the top of the hair only, but within that group you can assign particular guides to receive more or less frizz, again no texture maps needed. These are called channels and can be painted with a vertex brush directly on the guides, or flood filled either as a value between 0 = Back to 1 White and all values between. You can make as many Channels as you wish either on a per strand basis or a per vertex basis. If you use a per strand basis the assigned value applies to the whole guide. A value of 1 would get 100% frizz, 0.5 = 50% all the way down to 0 no frizz at all. If you make a channel on a vertex basis you can brush with the vertex brush tool any value you wish down the length of the guide. This lets you apply frizz right at the tips for example. Not only do you get this additional control but no texture maps are needed. You can have has many frizz operators as you wish, this applies to all operators in which some operators gives you control on not just the amount but other attributes. Clumping: Clumping is essential to get realistic looking hair or fur, C4D clumping abilities are not only limited but very hard to use. In reality there are multiple layers of clumping from larger clumps to very fine layers. C4D only allows you to add one layer. With Ornatrix you can add multiple clump operators each one can take the last into account to further split larger clumps into smaller ones. You can again choose a group of guides, and particular channels for individual guides. Where Ornatrix takes things to a whole level higher is you can choose individual hairs and clump them, or remove clumping, or edit individual clump sets. You have so much control over clumping that C4D does not. Direct Hair grooming: You can make your groom using guides, add multiple operators to fine tune it, then actually groom the hair directly. This means you can use all the brushes directly on the hair itself. Bake operators to your guides: You can force certain operators to be baked to the actual guides, this means you can remove them operators which makes simulations for example faster. Remember you can apply operators to both the hairs or directly to the guides. Interpolation: The interpolation for how the the hair responds to the guides is essential for a good outcome. C4D is lacking in this area. Ornatrix really shines here. Some styles need different interpolations and Ornatrix gets you so close to the style your making with the guides. Other mentions: The Surface Come tool lets you draw arrows in the direction you wish the hair to flow. v2 has made this even better but C4D does not have this feature. This is especially useful for animals, but can be used on human hair. Push Away From Surface will push your hair away from the head, this is a one click fix for intersections. It works and works well. You have further operators to help add additional details such as more verts to certain strands, smoothing, collision prevention. You can save hair styles for later use, export for Unreal. These are just a few things to mention. The outcome is that you get the hair under control spot on to how you want it. Dan
    1 point
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