Adam Trachtenberg
Forum Replies Created
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You might try going into project settings>dynamics>expert and increase the steps per frame setting. That tells Cinema to evaluate collisions more frequently. Sometimes objects move very quickly from frame to frame and collisions can be missed.
Another option would be to bake the dynamics animation and then delete all of the Z keyframes.
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The way I would do something like that in Cinema would be to apply an animated noise in the displacement channel of a reflective material. Then I’d place some kind of diffuse HDRI on a sky object to be reflected.
Example: 7784_displacednoise.mov.zip
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Assuming the models are error-free in Rhino, it’s really just a matter of playing with the poly conversion settings to get a good result. Can’t really generalize too much because it’s a case-by-case thing.
If you can get the Rhino file I’d be happy to give it a shot. It shouldn’t be that big a deal if the models are sound. Otherwise, it can be a big deal and possibly beyond my Rhino skill level.
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Good luck. If they can give your a STEP or IGES file I could try to get you a better polygon object by converting it in Rhino.
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No problem. QMC can be slow but it’s the most accurate and trouble-free GI method.
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[Kelum Jayasinghe] “Talking about multipasses, I have never used them…Is it a very complex thing..
It’s a little complex but not terrible. I think a good way to get into it would be to set up a scene that has a few relevant properties, like shadows, reflections, a few separate lights. Then enable the appropriate layers in multipass. If you use After Effects, install the plugin that comes with Cinema. You’ll find the plugins in the Maxon>Cinema>Exchange Plugins folder.
After you get everything set up, go to the Render>Save menu and enable AE export. When you render the file Cinema will create an *.aec file that you can open in AE. This will import all your passes and create a composition with all the passes assembled in the appropriate order and with the correct transfer modes.
Then it’s just a matter of experimenting with the passes to see what you can do with them.
If you do this in Cinema do you need color keying??
No, Cinema takes care of this for you. If you want to isolate an object in post the way to do it is to give the object a compositing tag in Cinema and enable an object buffer in the Buffers tab. Then, in the multipass settings, enable an object buffer pass and set the number to the same number that you have in your compositing tag.
That will output an alpha image of your selected object. Inside AE you use that as a luma matte to separate out the object.
I’ve heard in bigger studios they have custom-made software and extreme resources…Cant we achieve the same with our normal home PCs if we work hard?”
Yes, I think with requisite skill and hard work almost anything created by film CG departments can be recreated with off-the-shelf software.
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Hoo boy, that is some nasty geometry. Someone did a lousy job converting a NURBS model to polygons. I don’t think it has anything to do with Cinema’s obj. importer. Is there any chance you can go back to the client and ask for a cleaned up model, or barring that, get one in a common NURBS formats (like STEP or IGES)?
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I don’t work with game engines so I don’t know what’s available in that area. Are you producing an environment for a game engine, or are you just trying to create the look inside of Cinema?
If I was doing something like that in Cinema — rendering a very very long road — I would do it procedurally — creating a texture with multiple layers of different noises. I just slapped a bunch of noises in a layer shader as a quick (not great) example: 7779_proceduralroad.c4d.zip
Otherwise, yes, you would need very big textures, or a series of smaller textures that tile. Or a combination….
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There is a “close polygon hole” tool, but you’d have to do each hole individually. First make sure that they really are holes and not reversed or degenerate faces. I would probably start by running the align normals command.
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I find it’s generally best to melt all of those lines before beveling, though it doesn’t seem to make much difference in this scenario. What could help is selecting the outside edge loop of the bevel and manually breaking phong shading.