CINEVERSITY

Hi reading-card,

Please have a look here:

CV4_2023_drs_23_TXis_01.c4d

I hope that works for your project.

Cheers

Thank you reading-card.

You might know that, but since I write in a forum, I like to share this.

For high quality, photographing the face in a very evenly lit setup from many points of view is perhaps the best way; then, taking all the parts and stitching it to fit the UV mesh. A Polarization filter might help to eliminate any reflections.

Cheers

Thank you, Bar3nd,

It sounds like you found a workable solution. If the per frame generating of data isn't slowing down the process, then that is certainly great.

My best wishes for your project.

Hi Tom,

You didn't mention this.

Please have a look here, traveling along the Spline. Adjust the Plane's segment count to your needs.

CV4_2023_drs_23_MOkt_21.c4d

All the best

Hi MaverickMongoose

How about this?
CV4_2023_drs_23_MGrn_11.c4d
Instead of a texture, use an object.
Please note that the settings are crucial here to keep integer numbers.

Cheers

You're very welcome, juice-list.

Enjoy the exploration.

Thanks a lot, Adam,

Cheers

Thanks a lot, Dave.

Ver kind of you.

Cheers!

Hi Zappa,

Yes, there is always too little time.

My suggestion to help that a little bit, keep asking questions. Besides that, set up small scenes and render privies in Stamp size. The primary stop in learning is a slow response from your "machine"; no matter the speed of your computer, it is always slow when it holds things that don't matter for that moment. I understand when little time is given, one like to have at least one thing rendered out as a reward.

A good mix is the best approach. Just a plane object and a sphere plus material and light, one light! Never toss too many things in a scene. A typical mistake is the illusion of progress by loading things in the scene because one has them. (… based on my observation over nearly two decades of mentoring artists)

Keep it super simple. Then explore while rendering in 1/4 of HD or smaller, just enough to get feedback. The more you learn, the faster you will be. No beefy CPU will replace this. 😉 (I have rendered as preview three projects this evening in 480x270 to get an idea of the speed and progress of a scene in terms of color and animation. That makes me faster than anyone who always renders as large as possible. I learned that in 2004 from an ILM artist.

The more you get familiar with the mix of parameters, the faster you get where you like to be, and so, the little time you have is better used. Yes, that is a little bit slower at first.

Your question, some materials can be reproduced quickly, but some need more complex calculations. This is all I can say, based on a general question.

Enjoy

Hi Bar3nd,

Sounds like you got everything you need. Thank you very much for updating your own question. 🙂

My best wishes for your project

Hi ship-complex,

Please open a new thread in Site Issue Forum, and have only your access problem as them in it.

I will move this soon to the Q&A forum.

Here is an example with the Spline Projected.

I have no other idea. Perhaps Rocket Lasso has something; eventually, give him an email.

All the best

CV4_2023_drs_23_MOss_01.c4d

Thanks for the Dropbox Link, shin-negative.

As mentioned, sometimes information is conflicting. We use AOVs with Takes and Multipass-Compositing to get all that anyway.
Multipass compositing is the favorable way anyway, as many "post" adjustments can be made without re-rendering.

You can set up the scene as you need it in one Take.
In the next Take, you must produce and Puzzle Matte to separate the scene; in your example, the Floor forms the object (Platonic).
Besides that, an AOV for the Light that is in question is needed; with the Puzzle Matte taking the object out, you can then Compositing the Light into the image (Add).

This leaves the question, is the Spot-light, the Dome-, and the Area-light driving GI for the Light that the Floor would bounce off to the Platonic?
If so, the Floor need to have the HDRI used in the Dome Light projected onto the Floor to give a proper setup. In the scene, the Floor is blue, so the bounce of any light could be based on that blue, simplifying the setup.

https://stcineversityprod02.blob.core.windows.net/$web/Cineversity_Forum_Support/2023_PROJECTS_DRS/20230319_CV4_2023_drs_23_RSbg_21.zip

In your file was only one image file. So the attached result is missing the ".hdr" file.

As a side note, for example, radiance AKA'.hdr" is fine, but in any production, I would avoid those. They have no color management, and one never knows what color spaced they originally were based on; they are only 8bit/channel, multiplied by a fourth to get the higher values (RGBE). Nothing that should be used if the quality is critical.

My best wishes for your project.

CV4_2023_drs_23_RSbg_21.jpg

Hi itsmikem,

I can't reproduce the problem. For future questions, please share an example.

Please have a look here:
https://stcineversityprod02.blob.core.windows.net/$web/Cineversity_Forum_Support/2023_PROJECTS_DRS/20230319_CV4_2023_drs_23_MGvc_01-11.zip

There are two files in ink.
One tries to reproduce the problems.
The other shows an alternative to getting colored Cubes while being able to define them.
The MoGraph Color Shader is set to ID, producing Gray values that are then translated via the Colorizer.

All the best

Thanks for the feedback, Greg.

I assume you know the mechanics of Voronoi. Writing in a forum makes me want to share needed information with everyone. Sometimes that is seen as an evaluation of the one asking, which is not the case at all.

When one designs shapes, no point lives alone. A pair always creates a line in the middle distance each other. At the moment, another pair is closer to the new line taking over. As a result, the Voronoi pattern is created.
This relationship is a bit challenging to design and requires some practice.

Enjoy your weekend

You're very welcome, Dutchbird.

https://help.maxon.net/c4d/2023/en-us/Default.htm#html/10631.html#PLUGIN_CMD_465001209

Enjoy your weekend

Hi Larson Monkey,

From my exploration, I conclude that this is not possible. It doesn't appear anywhere, even if you select the Vertex map during Export. From my point of view, it would kind of defeat the idea of a proxy.

But perhaps check with the support, just in case I don't know the secret handshake.
https://www.maxon.net/en/support-center

All the best

Hi Larson Monkey,

Is clicking on the layout name "Standard", for example, resetting things for you?

All the best

Hi bwa-jose,

I exported an FBX in text format and can't find any information about Time-Code.
The manual has no idea, either.

If you know the start and end points, set the project accordingly.
Typically the animation is mapped onto the exact time in your timeline.
At least I have tried all combinations in the past hour, and it works, no matter what.

For a second opinion, please get in touch with the Support, or open a ticket as a "Share Your Ideas" to submit this as a feature request.
https://www.maxon.net/en/support-center

Time code would be only critical if it is not congruent with the time settings of the project. Otherwise, it should be frame by frame. For anything below 1000 frames, if NTSC is used.

All the best

You're very welcome, Lightning. 🙂

My mantra here is "information flow" and "differentiation".

Perhaps how to filter information or make them accessible is the idea.

You get there, I have no doubt, keep in mind that I had so far "some" time to play with it 😉

My best wishes