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Posts posted by Cerbera

  1. No I meant the Iron Tool as a way to relax a segmented cube into a much more organic / spheroid form initially.


    Those cracks and whatnot could be handled with displacement maps OR sculpting, or both ! I think probably aim for at least the larger wrinkles and whatnot as part of a sculpt, because there is special Pose morph functionality designed to work with sculpt objects that would invariably help here...



  2. Not seeing a lot of character-specific stuff there; perhaps not even a jointed rig - I think that can be largely done with vertex map controlled soft body dynamics and posemorph / deformers on a sculpted mesh. I suspect they are using deformers on the hands and arms because they stretch in a way they wouldn't if properly jointed / weighted.


    Modelling-wise we'd probably want to start with a medium poly hexasphere, or ironed / subdivided cube and Matrix Extrude / Normal Scale will be how we get the wobbly tendril bits. You'd want to cut the mouth and eyes in fairly early on, maintaining all the even quads so it works with sculpting later.


    I think this is the sort of polygon density to aim for in your starting base mesh, which has enough detail to support the overall mouth and eye outlines, and the tendril bits...




    Spherize deformer very useful in early stages to keep overall shape nicely inflated as you add loops and move points.



  3. You mean the material used on the narrow bands specifically ?


    If so that looks very simple, like it could be some form of smokey coloured plastic. I don't have Vray, but if I was doing that material in Native Render I'd be popping a few layered colored noises in the color (diffuse) channel, and in Reflectance I'd be using a middling reflection level and roughness of around 40-50%, with a dielectric / PET type fresnel. I'm sure that sort of thing is easy to recreate in Vray.



  4. I suspect that if we want ultimate realism then Joints are gonna be the way to go here, but I couldn't resist checking my initial suspicion that something much quicker and simpler to orchestrate like a basic Pose Morph doing Points and Position would have issues with keeping the length of each segment during the transition. Here's what happens with just start and end poses...




    And it does, so I guess we can eliminate that approach from your enquiries !  Which is shame, because it only took a minute or so to sort that out ! 🙂

    Now, we could fix that by doing some intermediate poses that make it preserve certain segment lengths at certain points, which may still be quicker than setting up some multi IK type joint thing. But I would need to see the actual thing you are working on to know if such an approach would be practical / feasible in your case...



  5. Yes I too would say 300 DPI is totally unnecessary here, but also accept that some print shops require it.


    I would just add that stitching renders together is a thing that people do sometimes if they need images larger than Cinema's biggest render size.. check out the tiled camera preset in Cinema if you do need this. Help for that here. I can't find it in my R23, but pretty sure it was there in R20.



  6. Displacement, which I think you will heavily need in this scene, depends on evenly spaced polys all the way across and around the model. Yours are pretty even, but not even enough - you need square form polys everywhere for that to work best, rather than inconsistently sized rectangle ones. See those extra loops at the base and half way up your model ? Those have gotta go - you need even poly density everywhere.


    But if you are doing a still shot, then I would model the 2 halves separately from the outset and build the break into the model, which to be honest, will offer you more control anyway than any procedural setup / auto-fracture setup.



  7. Maybe there is dedicated software, but I am not aware of it either ! It's difficult to know what to do with that until you know exactly how it would be projected in the real world. But seams are inevitable with UV mapping - it is simply not possible to wrap a 2D object around a 3D one like this without one or more of them, so that footage on your reference will have been created specifically and carefully to have a seamless meeting point at the designed seam(s), so the colours at one edge will match those on the other side, so that the join is not noticeable. In less sophisticated setups like these they may not even bother with that, and will just position the seam at an angle where nobody can view it - ie they hide it round the back of the display somewhere where the public / audience can't get to !


    The more I think about it the more I think your second option above is the best one. With the first option you mentioned, and indeed with the 3rd option I thought of, (which was to do a top down projection and relax that) the distortion is simply too great to make these work with regular aspect video footage. Then again, I haven't done this before either, so maybe wait for additional input from those that have before making any firm decisions !



  8. I would say if you have watched, and adequately understood that course then you shouldn't need more tutorials for a good long while, and the next stage of your learning should be all about the 'doing' rather than watching the videos ! 🙂 But now you have a solid understanding of the modelling toolset for example, then a whole load of modelling tutorials that were beyond you before should become useful now, because now you should be able to watch (for example) any Youtube modelling tuts in any DCC, and should be able to translate the various tools and techniques used in them to Cinema's own toolset. To that end I recommend the modelling work of Arrimus 3D in 3DS Max / Blender. He's a bit hacky-slashy sometimes with the knife tools, but he has some valuable insights into modelling strategy that only doing tutorials on it for 20 years will get you...  




  9. If you are running R23, why did you put R16 Prime in your profile information ?! Please update that so people are not confused.


    I don't know for sure, because I don't know what version MILG11 was created in, but the slide tool has undergone some changes as it was migrated more fully to the new core. So have other components you have used to get to this point,  so it is quite possible that ngon lines are not being placed identically to how that happened in previous versions, which may affect the functionality of subsequent ctrl-sliding. 


    However it does work in R21, and usefully so, so I will make sure MAXON are aware.


    Fortunately there are many more ways to get that done in Cinema, and so that's what we should do instead for now...




  10. I would try with standard particles personally, and like you say, more than 1 emitter, doing different rates and densities of particles.

    Both X-particles and Realflow take quite some getting used to, although if I had to pick one as being 'easier' than the other that would be XP, although I don't have much experience in 3rd party simulations so perhaps am not best person to comment on that...



  11. This is considerably more complex a rig than can be handled with simple bend deformers on individual pages, because they do not take into account the movement of any other pages or the covers, which must change shape every time a page is turned. So that you get some idea of the complexity involved in such operations I suggest you load the Modular Magazine Rig from the Content browser (if you have it in your version), and look at what is involved in the construction and control of that, which is fairly epic in scope and variation.


    Now I don't know if you can use that rig with some customisation, or if you need to build a new one that more precisely deals with the much thicker pages... I suspect the latter, because although you can parametrically alter the overall magazine depth, you don't seem to be able to do that with individual pages in the preset rig.




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