3D-Pangel

A couple of other YouTube channels to keep in your subscription list: C4D Cafe - I believe this YouTube channel contains some of Hrvoje's tutorials from his Vertex Pusher days. Not sure if they are redundant to the tutorials also posted at the Cafe site itself, but regardless of where find them, these are the go-to source for the beginner modeler. Just outstanding. PolygonPen - Takes on some really interesting modeling and retopology challenges with his/her tutorials that involve curved surfaces and asymmetry. Again, not for the beginner modeler but you will get there some day. John Dickinson - A really good set of short tutorials on tackling common modeling problems Noseman - Yes...Anthanasios Pozantzis has his own YouTube channel. So no Cineversity subscription required to benefit from his clear, concise explanations on various topics including MoGraph (which does provide some interesting possibilities with modeling). One of my favorite instructors. Digital Meat - A Cafe Regular so probably a bit redundant but he touches on everything! EyeDesign - EJ is a regular on the MAXON Podcasts and another set of YouTube tutorials that touch on everything!!! Dave

I just wanted to share with everyone a free resource I found on the web on creating volumetric effects in C4D using shaders and volumetric lights. Based on the 2018 date of the tutorial, it is centered around R19 (definitely pre R20 as there is no nodal shader system mentioned) but still the techniques and background information provided still make it relevant and worthwhile. The instructor, Marc Potocnik, also explains things in a very straightforward and clear manner. Marc also solves a long standing problem I have faced and that is the realistic creation of volumetric clouds in C4D without the need for plugins, particles, Xpresso and/or fluid simulation. This will be very handy for those who want to create hyper realistic shots of the earth from space where the clouds actually have some volume to them and are self-shadowing. I also found the rendering times to be quite acceptable. My first attempt following his techniques are shown below: The tutorials can be found here: Surprising Volumetric Effects in Cinema 4D Part 1: The Magic of Visible Lights Surprising Volumetric Effects in Cinema 4D Part 2: Erupting Plasma and Sliced Clouds

I had no idea you were in Croatia as well otherwise I would have expressed concern for both you and Hrvoje. In fact, I checked your profile and the location said Germany before posting as I thought you had some ties to Croatia. I know...horrible when the earthquakes or hurricanes hit. We even have earthquakes in New Hampshire (which is very rare - I guess that is why we are known as the Granite State) but the worst we had was a 3.0 and that put a crack in our wall and ceiling. But we have lived through all manner of storms, ice storms, blizzards, hurricanes and new events such as cyclonic bombs and "winter-canes" (a blizzard with hurricane force winds). Nothing like trying to sleep through the night when you can hear trees cracking and hitting the ground from all the snow at least once or twice an hour. A really good exercise for your core is dragging a fallen tree or huge branch through about 2 feet of snow so you can get out of your front door. After spending 6 hours clearing out the yard, a tree branch came crashing down right next to me. Just a year prior to that "winter-cane", a cracked tree branch was stuck in a tree after a storm and then fell the next day to hit and paralyze a women in our town.....so I was freaked. On top of all that we had no power. Loosing power in the winter is pretty awful....just watching the sun set and knowing that the house will be getting dark and cold. We did get a generator about 6 years ago and amazingly haven't lost power since. That is one purchase I do NOT mind not getting my money's worth from. Again, I hope all your families are safe both now through the new year. Dave

Happy New Year to all Cafe members! I was thinking of unleashing the destructive power of X-Particles on a "2020" banner but by the time I am done with it, it would by February. Nevertheless, my deepest gratitude to all the Cafe moderators for your dedication through-out the year and our esteemed Community Leaders: Igor and Hrvoje. I also hope Hrvoje is doing well given the earthquakes in Croatia. Having experienced a 4.5 earthquake that scared the daylights out of me (no fun watching a building wobble), I can only imagine the 6.3 one that hit Croatia (a 100 times stronger). Hopefully the epicenter was no where near him....but if not, I wish him and his family the best. 2020 is ending soon....you will get through this. Take care everyone and Happy New Year. Please stay safe and healthy. Dave

I love hardware threads...if only because I love hardware. There is a lot of discussion around GPU but what has not been stated is whether you are going with C4D native renderers or a third party rendering solution. I did pick-up on a mention of "cycle" but given the context I was not sure if this was a reference to Cycles 4D. Personally, I use Redshift and am loving the experience. So my next machine will be wrapped around Redshift hardware requirements (excellent article found here). Note in that article that the number of cores is NOT as important as the number of PCIe lanes between the CPU and GPU and processer speed. This makes sense as Redshift offloads all rendering to the GPU and therefore you want as wide and as fast a bus as possible between the GPU and CPU to do that. If your rendering software is NOT optimized for the GPU but is multi-threaded, then a large number of cores helps. As for me, I am looking at the 4 core 3.6GHz Xeons. Interestingly enough, Redshift hardware recommendations do NOT include the Ryzen thread-rippers or any AMD CPU. Given how much cheaper they are than Intels, I would like to know if not listing AMD is just an oversight or if there is a stability issue. Relative to GPU's, there is always the old argument between Quadro's or prosumer or game cards. Personally, I have been told that nVidia is more responsive to resolving driver issues between professional 3D applications and their professional 3D cards (Quadro's) but not so with the other cards. Well, I did find an issue with Optix denoiser in Redshift (library failed to load) and the solution that Redshift offered was to install a driver version that does NOT apply to Quadro's....so not sure what to believe now and it is par for the course as it is 2020 after all. Dave

I have a confession to make: I have never played a console game in my life. I am highly prone to motion sickness and when the games first came out, the motions were just so choppy I found myself getting both eye-strain, headaches and nausea. Then the graphics started to become so good, that I stayed away in fear of becoming discouraged. The bar is set very high by these games - so high and in real time, that in order for your work to stand out you need to be at the professional 3D level. As an un-trained hobbyist, I am quite content to not compete in that area....there is enough inspiration from the talented artists on this forum that I don't need it created for me in real time with all the ease of turning on the PC. Personally, I think that abundance of outstanding CGI out there in all forms of media really warps the public perception of just how much work, training, and time it takes. Little do they realize that when you open the program all you get is a plane in a 50% gray world...and then you start from there one polygon at a time. They also don't realize how technical it is and that it requires people who are both right brain and left brain adept. Because it is everywhere, it must be easy to produce? Right? I mean if you can spend 8 hours in a fully realized 3D world playing a game then it has to be no harder than cutting and pasting with PowerPoint art. True? Yeah....who needs to be reminded of all that when you are looking for down time. Dave

Admittedly I have not used C4D's hair system that much, but some of what you describe sounds similar to what is in C4D. Where would you say V2 really outshines C4D's system to warrant the cost (which is rather stiff IMHO: $50/month or $600 for a perpetual license). You don't have to answer in this thread but please make that a point to discuss in your video tutorial Dave

Replace the trees and people with 3D objects and a lot of the problems would go away (they do look like billboards). There are 3D models of people for architectural visualizations and her is a link to 6 models: Free 3D People for Max, Maya, C4D & more | RENDERPEOPLE. Note that 3 of the people are rigged so by changing the poses and color grading the textures a bit to make the clothing look different you could stretch that into 9 people total. In general though, everything lacks some level of reflectivity -- even bricks and concrete are reflective (though with a very high roughness value). The windows in the back also need to be a bit more reflective and should have a slight specular highlight as I think they are being hit by the sun. Also, there should be some level of ambient occlusion around the building, trashcan, etc. And now the small nits: What temperature is it in this scene? You have the lady in the shadows wearing a winter coat and stocking hat but the little boy is in shorts and the guy on the right has a short sleeve shirt. The guy in the back has a winter coat as well. Who is the guy on the bench talking to? He is making a gesture with hands like he is explaining something and looking intently into the background. True --- he could be using his cell phone with a blue tooth headset but that doesn't read as real --- unless he is just talking to himself --- you know, old school crazy before cell phones. When going for realism you also need to think about how things get used in real life. Try to tell a story with all the little bit of random things that you could add...for example: Put some trash around the trashcan and/or hanging out of the trashcan. Maybe a half full bottle standing next to it on the ground (they didn't want to make a mess in the trashcan so left it out) Put some small smudges under the lamps on the wall. Water would probably pool up on those lamps in a rain storm and then drip down over time leaving a stain. Put some black smudging on the corner of the building closest to the camera about 2 meters up. Nice corner like that will always get touched by people as they come around the corner to head towards the building entrance. Over time that corner will darken from all the handling. You have trees...so you need leaves on the ground. Maybe a pile of leaves against the wall of the building on the left because that is where the wind will blow them. No building signage? Nothing to point people to the lobby? Nothing that says "Main Entrance"? No one said realism was easy. Remember that the goal is to add things that people will only notice if they are NOT there! Dave

Is your profile out of date? I am confused as you said you downloaded them into R23 but your profile says you are using R19. I think the biggest issue with C4D Depot is that they, like most other developers, are impacted by the recent changes made to the file structure with the release of R20 and beyond as MAXON continues to roll out more of the new core with every release. If there were compatibility issues, they would have been increasing their release numbers but they haven't changed for quite some time....so I am not sure. I do find it strange that something you downloaded would can no longer be found on your hard drive once it could not be activated. Have you checked your trash bin and/or download file history? One major gap they have as a company is that there is no customer account portal on their web-site where you are provided permanent download links to all your products. They just send you a download link which expires in a few days. I always back things up once downloaded so I have never run into the issues that you are encountering. They are a legit company as I have purchased from them before but nothing since 2018 and everything worked when I got it. I have received promotional emails from them as late as last July -- so they are still active but I will admit that they have slowed down considerably with product development, providing free stuff (via their background) and general promotional emails. I have always found them to be responsive to email, so please keep trying to contact them. In the strange pandemic world that is 2020 they could be dealing with issues beyond their control so give them the benefit of the doubt that there is no maliciousness in their failing to get back to you. But...with all that said, I would not recommend anyone purchase from them as they do show all the signs of a struggling company. Sorry to say it as they did make good stuff. Dave

Interesting article. One area of lighting that I think is largely overlooked is thinking about how the lighting informs us about the atmosphere. Every CG scene, including the quick demo scenes of cities and barns in that article, proceed under the assumption that the air is dry and perfectly clear. When was the last time you were in a city or on a farm and the air was crystal clean? The air is always filled with something: moisture, fog, pollution, etc. Air always creates diffusion and saturation on objects at varying levels depending on their distance into the background. Where this is most noticeable is when the artist leaves it up to the background image to impart that sense of atmosphere but then the black levels don't match between the foreground objects and the background image. Or if there are lights in the scene, those lights are crystal clear rather than having some sense of volume to them. Also, don't think you ONLY need to worry about background saturation in large outdoor scenes --- they are just as crucial to making a great still life as seen here . Look at the contact shadows on the objects in the background compared to those in the foreground. DOF will blur the background shadow more than lighten them so this is NOT just the effects of DOF. Honestly, crystal clear renderings are a bit passé (IMHO) -- a hold over from the days when computer lighting could only do so much. Dave P.S. My own lighting exercise to really push my lighting skills - no GI or HDRI used...all done with manually placed lights (old school)

Just noticed that some of the Pixel Lab products are sold at the HelloLuxx site for 40% off while Pixel Lab is only offering 30%. Now not all Pixel Lab products are sold by HelloLuxx but it may be worth looking into if you are interested in their products. Dave

They just had a 30% off perpetual license deal in June. So they could offer it again 6 months later...or they could not. I am hoping - in honor of MAXON Corporation being 30 years old - that MAXON offers 30% off all perpetual license upgrades. I would jump on that in a heart beep. Probably not, but as they say Christmas is the time for miracles so I remain hopeful. Dave

Do you need a magazine or would a video tutorial work just as well? Everyone learns differently so I would imagine that for some, printed page works better than a video. But with that said, some on-line tutorials on YouTube do come with text annotation as well .... unfortunately, I remember seeing it and thinking it was cool but I can't remember where. If you do have trouble following video tutorials, then do what I do: slow the playback speed to about 75% percent. Sometimes I struggle with a video tutorial if the instructor is moving too quickly through the screen commands or mentions a hot key amidst a flurry of words which (if missed) really throws me off. Therefore slowing down the playback slightly helps me absorb everything. So if you are looking for good tutorials, there are a ton of resources should you decide on the video format rather than the printed page. Two good places to start are Cineversity and right here at the Cafe. Hrvoje's course which are offered here can't be beat --- he explains everything in a very logical way. Similar to Hrvoje is Noseman (Athanasios Pozantzis) from Cineversity which is also very, very good. I also love Rocket Lasso's tutorials (Chris Schmidt) and EJ Hassenfratz from School of Motion. And of course, should you ever venture into the wonderful world of X-Particles, Bob Walmsley is outstanding. Dave

A glowing article in "Computer Arts" is what got me interested in C4D back in 2005. I was a trueSpace user at the time and just growing completely frustrated with the programs lack of development, instability and broken tools. My litmus test is again to open up the demo program and see how far I can get with it without reading a manual and the C4D UI was just so well done that it was a no-brainer. What clinched the deal was discovering the Cafe and all of it C4D tutorials. What a gold mine! Also finding out that 3D-Kiwi and 3D-Crew (anyone remember him?) were running the site was a big plus because I knew them from before as they were also ex-trueSpace. 3D-Kiwi's little blue airplane tutorial really paved the way for me to get into the program. Wow! 30 years! That is about as old as you can get in this industry! Okay....how many Cafe members were not born yet in 1990? Actually....on second thought....I really don't want to know. Dave

Apply two tags to you curtain model: a cloth tag and a cloth belt. Now In addition to the curtain you need to model a curtain rod object (if you are using a cylinder primitive you need to make it editable). Set the points on the curtain you want to collapse using the cloth belt tag pin setting (do not use the pin settings in the dresser section of the cloth tag). By saying “points you want to collapse” I mean the equivalent of the parts of the curtain attached to the curtain rings that loop onto the curtain rod. The cloth belt tag is also going to need you to select the “belt” object. This is where you assign it to the curtain rod object. Once they are selected and set, then to open and close the curtain, simply use the object scale command to increase or decrease the scale on the long axis of the curtain rod. Hopefully that gives you an idea of what to do because like Cerbera, I am only guessing at what it is you are trying to accomplish. Dave

Yes...that would be very hard to pass up...even though right now I am good until 12/2021.

Up to 50% off announced at Kitbash 3D --- more details when the sale is launched on Monday (11/16). Also Insydium announced a Black Friday 50% off sale on everything BUT maintenance plans and merchandise (which I take it mean the new line of very expensive T-Shirts they are now offering and other such SWAG such as notebooks and skate boards with various Insydium logos. Personally, I think $41 USD for a T-shirt is a bit high....but then again, I only want new clothes on my birthday and Christmas...so judge for yourself). To hear about the discount when it is announced you need to be on the Insydium news letter. Also, if anyone has access to the "Perks at Work" programs through your employer, insurance company, auto groups, etc. then Lenovo is having "up to" 70% off sale on PC's and 9X points (which means about 9% of the purchase price back to you on a future purchase through that program). As I love to torment myself by configuring high-end workstations that I won't be buying, I configured a Ryzen Threadripper 3.9 GHz 16 core, 128Gb Ram, 2 x Quadro RTX 4000 GPUs and 2 x 2Tb M.2 SSD's (Raid 1) for around $5600 USD. Having fallen in love with Redshift, you can see where I am going with this dream. Personally, I am waiting for the Pixel Lab discounts - so if anyone has news on that, please post here. Dave

What keeps me in love with C4D is the object manager and ALL its functions (tags, parenting, etc.). If Blender is inspired by C4D in its future UX improvements, then that starts to lower a big barrier keeping people away from using Blender....though I would imagine that C4D's stability is still keeping people in their licenses. Look, C4D's UI has a ton of stuff going for it which we all just took for granted until we actually started to use other programs. Honestly, I don't know why Blender's parametric objects ONLY stay parametric at activation. Such a simple thing but it kills my work flow. Opps...double pumped the mouse key and now I have to delete the editable cube and start all over again. And Blender has a ton of issues like that...simple stuff that just makes the software feel "klunky". I find myself scratching my head in bewilderment and saying "Why did they do it that way?". Have you ever said that about C4D? As I read this thread, I am amazed that it sounds like C4D is the ONLY program out there with a UI that just makes sense pretty much through-out the program (there were some subtle inconsistencies across the board to be sure, but they are knocking those down). Honestly, they make it look easy --- so easy that we completely take it for granted. And now with Neutron (or Neutrino as I like to call it --- but only to annoy "Neutrino Man" 😆) some of our biggest gripes over viewport performance go away as it seems that scenes with massive amounts of objects are going to be possible. Large object counts not only present amazing opportunities by also HUGE challenges for the Object Manager and the overall UI as well. I believe that MAXON is up to that challenge...and when they do, we won't be taking the UI for granted any longer. Dave

I have had the opportunity to talk to a few industry VFX artists about life as a VFX artist. I have come to the conclusion that I am glad ILM was done hiring back in 1983 and that opportunity passed me by. The rejection letter (with the ILM logo on the letterhead) made it all worth it though. I do agree 100% with Mike A. There is a great deal more in the world of 3D than VFX. Not sure how many jobs are out their though in comparison to what the multi-billion dollar games and entertainment industry produces....but they are an option. Regardless of the industry, the worst case scenario is to find yourself the freelance 3D specialist bouncing from one assignment to another -- and usually one country to another or one state to another -- in the pursuit of keeping yourself employed. They face all sorts of tax issues - and most importantly - health insurance issues. Usually the jobs do not come with health insurance or they promise health insurance ONLY after being on-role for 6 months. So the best case scenario is to hold off on any medical or dental expenses for 6 months at a time as you shift between jobs. But that has risk....especially if you do have health issues. And let's not even talk about what impact that nomadic lifestyle has on a persons family relationships. I have heard horror stories about how freelance artists were treated as they faced the birth of a child during those transition periods. Hopefully, as more powerful communication networks are implemented with tighter security encryptions across their VPN framework, COVID-19 has convinced studios that it is okay for artists to do their work remotely without fear of losing their IP. Of course, that does kill collaboration but again maybe Zoom or Web-Ex conferences can overcome those barriers. Should VFX artists working from home become the new normal, then maybe that puts an end to their nomadic existence....but you still have to contend with time zone issues....and the lack of health insurance. The best case scenario is a full time job with a top shelf studio....but I understand that those "core" jobs are rare as most studios like to keep their permanent headcount as low as possible and only scale freelance help on an as needed basis. Sounds daunting...doesn't it? But probably no different than many other industries. The days of the 9 to 5 job that offered life time employment ending in a nice pension ended 40 to 50 years ago. There are no guarantees. So if there is risk, then take that risk in something you are passionate about. But you've got to want it...and want it bad because the path to success in this industry is probably no different than any other industry: You need a hunger to succeed, the discipline to keep working hard and giving it everything you've got, a desire to keep learning and improving yourself, a passion to partner with and help others, and the humility to always be critical of yourself ONLY (keep asking "is there a better way" or "how can I make this better"). Dave

The last version I have is Vue 2016 and Plant Factory 2016. This was before they were sold to Bentley, had their site hacked and everything went completely off the rails in terms of development. When they came back from all that they were offering a subscription model and I had moved on to Forestor (with high hopes for a soon to be released Rock Engine....but that does not seem to be happening). Are you looking for something more recent? Dave

I recommend this book for anyone thinking about a career in the VFX industry: Admittedly (as you can tell by the cover)...it is not a happy tale and the villain's of the book are producers squeezing the VFX company to the point of bankruptcy and anyone you report to with less talent than you but a bigger ego. If you read this and are still enthused about the work, then you have faced the worst case scenario's and are going into it with eyes wide open. Of course, all VFX experiences are different and mileage will vary. But this did strike a chord with me based on my own experience.....and remember, I am a hobbyist who has never even been to a VFX studio. It happened at Siggraph 2009 held in Boston, MA. Roger Guyette (ILM VFX Supervisor) was presenting on Mission Impossible 3. He said at the beginning that we could ask questions. So I did...just to get clarification. Usually the questions started with "well wait, you had to transition at some point back from the live action camera to the 3D camera" or "well wait, HDRI doesn't work that way". With the first two questions his polite response was "Yes. You are right...I have left out steps to simplify the presentation". And then I raised my hands for the 3rd question (okay....as I write this, I realize that I was annoying but didn't mean to be as I do have a passion for this stuff)...and that is when Mr Guyette lost it. He screamed "WHO ARE YOU!!!". Every head in the audience turned to look at me....but it felt like every head in all of Siggraph was looking at me. I slowly lowered my hand and muttered "No one really". After his presentation ended, I walked up to him to apologize. Mr Guyette actually apologized to me first before I could say anything. I asked why he yelled at me for asking questions when he said we could ask questions, and his response amazed me and gave me some insight to what life is like in the VFX industry - even for top-shelf companies like ILM. He said, "I thought you were sent by a rival VFX company to discredit me". I said, "Really...no I am worse than that. I am a VFX enthusiast sitting in the movie theater picking everything apart". He laughed. I then mentioned that magazines like Cinefex always paint VFX studios working and collaborating together all for the "advancement of the art". He laughed again. "No, we are not a loyal brotherhood like the magazines portray. We are very competitive companies just like in any other industry". Fair point. He then took the time to sit down with me at the ILM booth for a good long time (I think 45 minutes) to talk about the industry, where it was going, making the change from mechanical/photo-chemical processes to CGI and fluid simulations. He is really great guy (IMHO). Kim Libreri showed up (now CTO for Epic Games), he sat down with us for a short bit. John Knoll was also there, but he did not join us (though I did get a picture with him). Best day ever. In 1983 I graduated from an engineering school in New England (on the US east coast about as far away from California as you can get) with a degree in mechanical engineer and applied to ILM. They were all staffed for Return of the Jedi and no longer hiring but I still have the rejection letter. In 1993, Pete Travers graduates from the exact same school with the exact same degree in mechanical engineering. He is now a VFX supervisor working on movies like Midway (2019), Terminator-Dark Fate, etc. Life is funny. Dave

Congratulations on the side jobs! I think it is therefore time for you to upgrade your hardware with a 5th machine. In the US, there is a program amongst big companies that buy and sell goods to other big companies to get discounts on all sorts of things for their employees. They go under the banner name of "{your company name} Perks at Work". Some auto clubs (like AAA in the US), credit card or insurance companies also offer similar benefits to their customers as well. Also, with each purchase through these programs you get points for each dollar spent (each point is worth about $0.01 discount on a future purchase) or about 1% back. So Lenovo is now offering some pretty significant discounts through the Perks at Work program (like 48%) . As I love to dream about big hardware that I can't afford, I configured this beauty (won't buy it but dreams are cheap so I dream big): Also comes with a 5 year in-home service extended warranty plus 12 points for each dollar spent or $694.78 to a future purchase (that should cover the cost of a new monitor)!! I would love to see how Redshift performs on two 8Gb Quadro RTX 4000 cards humming along with a 3.9 GHz processor. Go check out if your insurance company, auto company, credit card company, etc offer a "perks" program as well! Dave

Three machines with a fourth just for rendering! Wow! Are you really a hobbyist? If so you are my type of hobbyist! 🙂 I wish there was a option to make "close and free license" the default. I do have two machines -- an every day computer and my graphics workstation and sometimes I forget to free the license on the graphics workstation when I exit. There are times (like right now) when I am on the every day computer, reading the Cafe or tuning into a tutorial and want to run C4D and forget that I forgot to free the license on the other machine. Small nit but annoying nonetheless....unless there is an option to log onto the MAXON site and free the license remotely. I looked for that option once but could not find it. Dave

Wow....really great work. Not sure how long it took to render but I find myself wanting to see it at twice the size just so I can feast on the modeling and lighting. What has NOT been talked about but needs to be highlighted is the color pallet and the placement of the complimentary colors. It all just works. Why is my eye drawn to the astronaut? Tiny little thing tucked away in the dark but yet he is the first thing I see. I think it has a lot to do with the balance in color between him and the similarly shaded windows on the left and right and at the same level. He is framed by it as they are the only three non blue/pink or darkly shaded objects at that level. Trust me, if that astronaut was glowing pink, he would not stand out. I mean we all get hung up on modeling reality and detail but it is really composition and color that makes great art (plus lighting! 🙂). This piece has all that!!!! But with that said, I would increase the luminance on the astronaut just a bit as what was done on the first rendered WIP you provided was perfect.....sorry....small nit.....I know. Dave

I love it. Really creates a unique take on many existing genres: cyber punk, dystopian futures, etc. I love the lighting. As soon as I saw the astronaut with the glow I thought of Daft Punk....not sure why but it has that vibe. Kind of like a Blade Runner inspired slum in the land of Tron. I would love to know what inspired you for this. If the final piece is going to be that dark then some of my comments don't apply as it is adding details that quite frankly won't be seen and more importantly don't need to be seen. I can't wait to see more. Dave