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Hello community, my tasks the past few years never had me really using any of the two. They're both amazing pieces of software and staples in the industry for what they do. My licenses are 100% legitimate and registered with Next Limit and MarvelousDesigner respectively. Selling/Transfering license at a fraction of the price I got them: Realflow 10 Perpetual: 290 euros http://www.nextlimit.com/realflow/latest-release/ Marvelous Designer Personal perpetual: 240 euros https://www.marvelousdesigner.com/product/overview PM me if anyone is interested

Hello everyone, I am selling my single node licenses of Next Limit's REALFLOW and Esoteric's SPINE 2D Animation package at prices considerably lower than what I bought them. They're both fantastic pieces of software (but my 3D Generalist tasks the last few years hardly ever involved the need to use them) Contact me for prices and license transfer details

Congrats CArpuzzese, that was a lot of hard work!! Best of luck at the Festival

Not sure why but my fuse 's been kind of short lately. Been feeling drawn to Travis Bickle these last few days and decided to do something non violent about it

Absolutely disrespectful & disgusting....they're going to lose a substantial chunk of client base and even if they revoke the policy, the community will always remember. (I think they may be getting these ideas from the way greek government operates the last 8 years...)

Not sure to be honest @DasFrodo! Let me look it up. Ok, so: The oily/soapy effect we get to see in nature is light beams splitting to their spectrum as well , it's just that in the case of an oil bubble: "the wavelength corresponding to the constructive interference differs among the beams due to the oil surface curvature and this causes the reflected light to have various colours". Maaah.... I suppose what it means is that the rainbow effect in this case in not due to one beam splitting to full spectrum through a prism, but it's the collective of a number of beams splitting to a different wavelength and thus giving different colors, while forced to disperse through different angles ! Looking at the effect in the displayed poster above, I think is not something we would naturally get too see either though. It was crafted by the designer for enhanced impressions (and beautifully so) and could be crafted with a particular render engine in mind, or perhaps it was even crafted in post (and fairly easily too I suspect) Let's wait for @nandthepand to see where he gets with it. ps. It's too late in Athens for optics! I think I need a beer

C4D's own thin film effect will take you there

Perhaps I need to take some animation lessons from you!!!

Μπαμπη θελει δουλιτσα αλλα θα τα πας μια χαρα!! All of the guys made great points! Not killing the joy as @Cerbera mentioned and picking your fights are paramount. My two cents are these: 1. Quite often I would aim too high only to find myself getting stuck. The problem was never C4D, it was my luck of fundamental understanding of 3D protocols and pipelines in general. 3D is almost like nothing out there, it has its own termninology, written and unwritten laws. Your 3D knowledge of C4D or any package for that matter should better go hand in hand with your deeper understanding of 3D. 2. My most valuable progress is when I do what I call my 3D experiments. I would form a problem in my head (ex how would I go about rigging a 4 jointed limb in IK), lay it down in the simplest of forms and then start playing until I spot what's stopping me of getting the desired result. When you spot the obstacle you're already making progress. 3. You know you're doing better when you're in position to anticipate these obtsacles and plan ahead. Best of luck, we'll be around if you get stuck or feel demotivated.

@Freemorpheme it's in your sculpt layout menu near the bottom: Project mesh (that's via raycasting) In the new menu you will be asked for Source and Destination mesh: You choose a subdivision for the new model C4D will create, that matches the poly count of the source, but the new model will share the same topology and UVs as your destination mesh while preserving the sculpted detail.

Hi @Freemorpheme, there's 2 ways to go about this: - You sculpt whatever you want and then retopologize (and then UV the retopoed version. Then project the mesh details of your high poly sculpt on that retopoed version via raycasting, which in turn will generate a new high poly model with the proper topology and UVs. Then you bake the maps of this model and use the normal &/or displacement map backon the low poly retopoed UV model) - You have a base shape in mind and you create the right topology from the start. When the shape looks alright you UV and check the result with a checkerboard texture to check for problematic/stretched areas. If happy, you duplicate your model and subdivide it further to start scultping until you have what you want. Then, most often you end up baking the maps of the high to the low poly. So the note is: You'll never be able to UV efficiently if topology doesn't allow you to. Good topology makes your life easier every step of the way. Finally for a rock in C4D start with a Hexaedron sphere, use an FFD defromer to taste and a displacer deformer with a noise to get you started. Keep everything parametric until you have an acceptable shape; UV that, test it with a texture, and then start step 2 above. You can bake the high poly maps in Substance later. Hope that helps VH

Great stuff!

Ok, so as for the mouth deformation, what you would need to do is (after unbinding the skin from the mesh) adding a number of loops around the lips starting perhaps a little higher than the nose in this character's case. Then you could sculpt the pose morph (while keeping the same poly count) with the mouth at the desirable position. Try to have as little poly stretching as possible in your final position and that will give the texture a much easier time too. The unfortunate part is you'll have to reskin. As for the arms bending what exactly is the problem? (Make sure your splines 100% in alignment with each joint chain, that they're set in bezier mode and they only have 2 handles) . If you want softer deformations hand paint joint weight extensions with the weight smoothing brush (auto normalize on), but given that all weights are balanced in your arms chains, overall thickness should remain the same when using the handles. Just like the mouth there's a topological weak point (lack of loops) at the shoulder that may give you problems. You can rectify that (and you should) along with the mouth and reskin or resort to the power of smoothing deformers after you have created your stifness maps. In your case you'd have less stifness around the shoulders. Let us know how it goes VH

@DrDisco perhaps we'll be able to help a little better if you could upload pictures of the topology and the strecthing of a checkerboard texture. To be able to stretch the mouth all the way to the eyes means your topology must be allowing that degree of deformation. Also do you have a reference vid what you're trying to achieve? As I understand it you want a bendy rig, but you chose to use 2 lateral spines for the bending instead of a typical centered one. Is there a particular reason for the lateral splines?

Regarding the deformation check to see if there's any other joint apart from the obvious 2 ones that has values/influence over the deforming mesh. Otherwise turn auto-normalize off and try to repaint the weights of those two joints, then turn back on normalizing during smoothing influence between them. Jumping wise perhaps in frame zero there's a keyframe on the root or the root joint. To be sure make a project copy, remove all motion clips and keyframes and see if the problem persists.

Hi @Bigor, I'm not sure I understood you well: - Are you talking about the soft deformation on the left knee on 0:25? If so then your problem is the skinning between thigh and sheen - Are you talking about the translation jumping at 2:03? In that case your problem is most likely that the joints on which the skin is bound are already keyframed.

... man, you were not kidding about the autotune, almost got a skin rash! on mute it's a whole different video

PS: Julius RIG and topology

After texturing in SP

Dude!!!! Binky's colors are very interesting. Quite honestly when I gathered the refs to do the modeling part, the close ups made me feel pretty uncomfortable. It was only by the end of the whole project I started feeling kind of at ease with their anatomy....strange animals.

@Cerbera: Want to share a photo of your pal Jay?