HappyPolygon

https://help.maxon.net/c4d/en-us/Default.htm#html/OSDS.html

Lesson of the day: Don't try to render the void on HD or it will void you CPU.

I've been watching Guy Michelmore's YT channel for a long time but this is the first time he shows us how he wrote a music score for a tv animated series. Yes the title is totally a click-bait but I didn't know how to write a better one. My question has nothing to do with how horrible the animation is. (feel free to comment on that though) I'd like to know what kind of info do those sections on the screenshot mean (any external bibliography welcomed). Apart from the timer in the middle and the name of the studio. Why does the timer appear twice ? You might want to follow his channel. The video is down below. If you do watch it, is it just me or does the recorded dialogues sound very amateur ? Could it be that they recorded some sounds just for the feeling before actually hiring voice actors ? So how do things work to lip-sync ? Do you record a voice and then animate or is it the other way around ? I've seen backstages even before the CG era when voice actors where recording while watching the animated scenes. How did animators know how to add character and lip-sync without any audio reference ? And lastly, it really strikes me as odd to have someone like Guy Michelmore score for a project of that level. He's probably getting paid more than the animation studio.

Posts like this : is the reason we shouldn't abandon paid subscription.

How would you rank the Sausage Party movie ?

I knew that some AI was used to make the ad but didn't quite know to what extend or for what effect because nothing seemed impossible with conventional technology. Very impressive nonetheless.

See the USS Enterprise destroying the Borg Cube in Outpost VFX's VFX breakdown for Season 3 of Star Trek: Picard.

I don't see how Clipping materials can help in this case but if someone does not use Octane can have a look at this plugin I believe it does the same thing.

Maybe one of the splines is not set to Closed Spline... or the Spline Mask works on the wrong Axis. In your screenshots I don't see the Edge Liner plugin, is it not a procedural generator ? The Edge to Spline is free from Noseman and probably works in 2023 video with plugin link Now that I've seen the whole concept scene, the way I would approach this is that I would bool the original fish with the original sea geometry (which I think you make waves using a Shader Deformer). This way you don't have to deal with booling multiple splines, just one geometry. Then proceed with VoronoiF on the booled fish. I don't think you'll ever see intersections this way. If you do, just bool with the "negative" sea a bit further up. If you see weird artifacts with the bool try testing some combination of these two parameters

It creates an instance of the object in time. In other words brings a ghost form of the frame past. I thought you needed that particular cross-section to be laid forward in a time-lapse photograph style. In other words layers of how the spline changes through time. Why do you need to do it like this ? You can still use one spline to cut multiple splines. My plugin connects all splines as one that's why the mess at the bottom.... Does that happen to you also ? Do you need to also have the cutting rectangle animate ? Other than that I don't see any reason why the operation should happen inside each clone. That plugin does the same thing +100$. But does offer some less setup and configuration. But it's basically a Voronoi Fracture inside an Edge to Spline inside a Thicken...

Looks like you need to apply this cross-section on a MoInstance of your animated model using the History Depth parameter. time instance.c4d

Maybe I'll need to clean some cookies or cache. My internet connection as I wrote this post was at 24MBp/s.

Has anyone else been experiencing slow results with the Online help ? First it seems to take some time to load, like loading the entire index/contents tree. When searching it takes even some more time to show any results. And when it does if I click anything from the contents menu it might freeze and show nothing unless I refresh. Just now I searched for the term "symmetry" and I just don't get any results at all. Just the Loading icon spinning.

Check 6) Tension Tag and 3) Smoothing Deformer from this post https://www.core4d.com/ipb/forums/topic/118226-10-most-overlookedunappreciated-features-in-c4d/?do=getNewComment

AI getting closer to replacing artists ... actually it already has. Anyone with the money to afford a Photoshop subscription can now create anything. No real Photoshop experience needed nor degree in Arts.

I think it's easier if you use a new Cloner as a Field. Use it on a Matrix Selection on your initial Cloner. (I can't do it 'cause I use R20) You can even do it with some simple Cubic Fields or a Shader Field. But you need to keep the cloner still and not change the number of clones or their distance from eachother from the Cloner parameters. fields.c4d The Formula Effector is an iterative condition on every instance. You can easily define a condition to move every Nth instance but you want a slice which is a complex condition. In your case you need to move every 12th AND 13th AND ... AND 23rd. Probably a Python Effector is more efficient...

1) Move the scene "bit away from the" camera (can't be done if the animation path is not close to a straight line but contains turns) 2) Change "a bit" the camera Field of View (expect some slight differences) 3) You can edit the animation path on viewport by selecting the Object Mode or Animation Mode. 4) You can change an Animation Path to a Spline and vice-versa from the TimeLine window Menu. With a Follow Spline Tag you assign the spline to a new Camera as an animation Path.

A very interesting video was posted last month, and this time not by 2-minutes-papers. It's a new research paper on acoustics with applications in game design offering dynamic audio simulation based on surrounding materials. Like in real-world, the acoustic waves get distorted depending the material on surfaces changing the amplitude of a noise.

I was amazed how realistic the return of Egon was on the last Ghostbusters movie. The movie was released very close to the Mandalorian featuring the deepfake of the young Luke Skywalker which although impressive still had that uncanny-valley look. I was wandering if Egon was also a deepfake. He wasn't. MPC did amazing work recreating a CG aged Egon. And fortunately the producer did not go too far using any AI to reconstruct any dialogues avoiding ruining the perfect illusion of the CG.

New update ! Also new styles Cartoon (90's cartoons) Storybook (looks a bit anime) Holographic (Tron style) Super Art (like watercolor bleed) Claymation (nice depth of field)

Have you increased the Luminance to more than 100% ? 100% means that the object is just bright enough to not be obscured by other environmental absence of light.

What kind of Bullet Dynamics interaction with characters are you after ? Ragdoll ? Soft body - skin deformations ? Automatic animation conformation to environment elements ?

Just found this! https://vcai.mpi-inf.mpg.de/projects/DragGAN/

While writing the previous one I had a better idea. I hacked a bit the procedure to make it compatible to R21's capabilities. go 2.c4d You won't have to manually keyframe every move but you will have to manually draw the paths. Procedural angular movement was an old problem I've been asking around here even to Rocket Lasso. For unknown reasons the Cell Noise in a Shader Field used under the Force Field won't do the trick. Someone (I think Srek) had written a Python Script for this Py Random Walker.c4d but it won't help you much in this case.