Digital Dave

Hey guys, Getting a lot of crashes with s26. one specific action that forces a crash is trying to create a new attribute manager whilst having the node editor open. When I try to reboot C4D I get the s26 splash screen but it quickly disappears again and nothing else happens. Whilst I'm trying to reboot c4d, the task manager shows 'Cinema 4D' in the background processes but then quickly goes away (when the splash screen disappears). 2022-05-02 08-48-36-1.m4v I've also noticed that once the initial C4D crash happens, other programs such as After Effects crash on startup as well so I think it might be something hardware/GPU related that the first C4D crash triggers. I've tried multiple game ready drivers and am currently running the latest Nvidia Studio drivers but the issue still remains. I'd really appreciate any insight into what the issues might be, whether hardware or software related. I've uploaded the bug report file in the hopes it might be useful. _BugReport.txt Cheers, Dave

I think that would solve the issue, do you know how to open a second attribute manager? If I undock the current default one (bottom right of interface) and place it inside the node editor, it works but obviously all my other attributes for my scene are now inside the node editor as well

Oh I thought the new standard material was locked to the new node system, thanks for clarifying that it works with the xpresso interface. This pretty much solves all my questions for now 🙂

Gotcha, I do recall Rick saying something along those lines during his stream with Chris Schmidt. I've tried using the new node system but I just like the xpresso ui for it's simplicity, compact nodes and the ability to actually control the respective attributes in the same window - really hard to live without this using the new nodes. That render you posted before looks great, you said you used it as a test for the new redshift standard material but since the new nodes don't support c4d shaders did you create that radial gradient externally in AE or something similar?

Thanks for asking, I love the speed of Redshift and my current scene is already built with Redshift lights & Materials. It's awesomel that Physical has that built in but I'd rather put in a small bit of work for the cymbals rather than have to deal with my entire scene previewing/rendering at the abysmal speeds of Physical.

Love it! those small bump normals look excellent! I'm on RS 3.5 and am trying to follow your steps using the new standard material, but can't seem to get the c4d shader node to appear in the new node material graph. I'm still able to add the node when using the legacy xpresso interface, how did you tackle this with the new standard material?

Absolute legend! You definitely nailed the look I'm after. I'm going to pull it apart and create it from scratch by following your tips, thanks Mike 🙂

Cheers, there's definitely a lot more to it than meets the eye, I might follow John's Substance tut, he's a super knowledgeable guy. As a drummer myself I do appreciate the skip joke 😆

Hey guys, I'm creating some drum cymbals in Redshift and am wondering how to create a material that looks like these, particularly those highly stretched reflections that look like they lead out of the centre. Mine are looking like this, I've cranked the metalness to 1 and added a bright yellow to both the diffuse and reflectivity but it's not looking right.

This is awesome! I definitely want to learn Xpresso, it's super powerful. Have you got any tutorials/courses you'd recommend for learning Xpresso?

Hey guys, Can't seem to wrap my head around how to create an infinite floor with reflections. I'm following these steps: 1. Place sphere into scene 2. Adding a disc for a floor. 3. Adding a dome light with a HDRI with background enabled. 4. Redshift object tag on the disc with these settings - Which gives me the following result: The presence of a shadow is great, but I want the sphere to be reflected by the floor (hdri is just a placeholder, obviously grass ain't reflective) So I then increase the reflection scale in the redshift object which doesn't do anything on it's own, so I add a default redshift material onto the plane. This gives me reflections but the floor appears to be reflecting the hdri itself, not just the sphere - giving me an obvious border where the disc geo is: Does anyone know how to do this properly? I've tried following multiple tutorials but all of them seem to have no issues with the background reflecting like this. Might be something different with the latest versions of redshift? Cheers, Dave

Hey Guys, just finished up a 3D animation inspired by my favourite racing game, Forza Horizon 2.

Gotcha, still so much I need to learn regarding hair. Thanks for the help 🙂

I think I better understand now. I ended up painting a black and white map in substance with a slight blur to get somewhat of a transition between lengths. I used the image as a texture driving the length. Here's what I came up with: I'm curious in your example is your greyscale map an image? I tried to avoid creating an actual texture by using vertex maps but didn't see any changes, so ended up biting the bullet with a painted texture.

Cheers, that makes sense in order to give a bigger buffer room. When you say maps do you mean vertex maps or a black/white texture that's uv mapped correctly?

Hey guys, pretty new to hair in Cinema and am running into some issues with the hair looking blocky around the edges. Here's a screenshot of what I've got, ignore the bald top he's going to be wearing a hat 🙂 So you can see the guides aren't looking too bad in the viewport but in the IPR there's pretty noticeable blocking going on around the sideburn area. I'm pretty clueless if I'm being honest, I tried using the cut tool for hair but doesn't seem to fix anything. So I'm wondering if this because the head's mesh subdivisions not being high enough? Also how would I go about making the transition of the beard nicer? e.g make the hair shorter/less dense around the beard hairline? Any suggestions would be greatly appreciated. Cheers, Dave

Yeah I've noticed when I move the goal closer to the start it helps somewhat but is still very janky to work with. You're spot on with the swimming animation and how it should be the opposite of ik, I've just never known a way to replicate it properly until you mentioned the auto overlap tool. Will definitely check the plugin out, seems like a game changer! Cheers, Dave

Hey guys, I'm trying to rig a fish-like character and am having trouble with figuring out the animation of the creature's body. My current attempt is through an ik chain, with the start being the chest joint and the end being at the tail. I've then added a vibrate tag to the end goal to add some random movement. I've run into an issue where the joints snap violently when nearing each respective joint's original position, as seen in the included video. To try and rectify the issue I've added some squash and stretch to no avail, as well as enabling spline dynamics but this snapping/popping issue remains. I'm honestly stumped as to how I'd animate this, I thought ik would be my best bet however this issue compromises the whole method. There's also a screenshot of my ik settings, would appreciate any feedback 🙂 Cheers, Dave Gx9js6wcw7-1.m4v

Cheers kind sir, It was my year 12 major work which I completed in 2019, I was just using a 2012 mac that I had when I was a kid. I have been dabbling in film/3d since I was around 10, so that helped build a solid foundation. I finish Uni in 2022 and will look for an internship/junior position around Sydney, since that's where I'm located. Unfortunately no Corridor Digital here 😞

Cheers, I knew for those closeups that I'd need to have live action for it to be believable, the CGI photoscan I had works well for wide shots but falls apart upon closer inspection. Yeah it's handy having 3 brothers to act as a film crew, considering they were stuck at home during lock down they may as well do something 🙂 Haha my parents are actually mentioned in the first film before this one, which was my high school major work: I created the previous film on a 2012 mac mini, and I've learnt so much since then but check it out if you're interested! Cheers that'd be the dream, and in regards to the Newton's Cradle - it's set in the future so maybe there's some magnet tech that keeps it running endlessly?

It's such an immersive game! Thanks very much, appreciate it!!

I used C4D to create a fan film based off the game 'Subnautica' - Super fun project that took about 2 years to finish. Rendered with Arnold/Redshift

"the specular pass contains specular reflections from lights only" This hits the nail on the head and clears up my confusion between the two! I think you'd be right in saying the headlights can't be broken down further, as both reflections/specular are from the one source. I actually went for a drive today in the rain and analyzed the car headlights traveling the opposite direction, and they're long and streaky - quite similar to my original shot. I'll be sure to share the final project here and get some feedback. Thanks for all of your help Mike 🙂 Thanks very much Keppn!

Cheers Mike, I'm pretty comfortable with rebuilding AOVs in comp, really love the flexibility it allows for tweaking the final image. Regarding the light group AOVs would I be correct in saying I'd have to render all the different passes (specular, diffuse, emission, reflection etc) for each separate light group? which would mean the amount of information has to be doubled or tripled according to how many groups I have? That makes sense, I guess the redditor was suggesting I could mask out the headlight from the reflection pass of the respective light group. But as you say the same could be done without the use of light groups. I think my problem stems from my confusion about the differences between specular lighting and reflection. Here's the beauty from a previous scene in my sequence: and then here's the specular lighting pass: and the reflection pass: So what confuses me is that the road's specular highlights from the bump map are visible in the specular lighting pass, but aren't in the reflection pass - Which is why I thought that specular and reflection could be separated. For context the scene is light by a hdri and an infinite light with GI turned on. Would really appreciate if you could help me thoroughly understand how the two passes differ, apart from the obvious visual deviation. Thanks again for the help 🙂

Thanks for the response, I now understand separating the reflection of the light source and the specular lighting isn't possible 🙂 It's an animation unfortunately so gonna cause me a bit more grief. I don't fully understand light group AOV's so would you be able to explain why they wouldn't be beneficial?