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Hello everyone I am happy to announce that of Decemeber 1.st adsense will be removed. This will make the forum browsing experience become much nicer Thank you!

Started so people can keep track of deals in the industry. Does Maxon have any deals for the holidays… if not, they should. Insydium: BLACK FRIDAY HALF PRICE SALE* Coupon code: BLK50 11th November until midnight (UK) 4th December 2024

Can't tell exactly how many nubbins there are on the base there, but if I guess 8, then we can set the segments on our initial geo to a multiple of that number, so here 16. I started with a disc, added a single loop cut where I wanted the nubs to stop, and then selected pairs of segments to extrude (no caps) or ctrl-drag an arbitrary amount to get the bumps... We can't do all them in one go if they are next to each other, so I did them 4 at a time. And then it's over to SDS to do the rest of the work for you... I quadded the centre to avoid a nasty SDS pinch there (close poly hole / patch mode). Without seeing the bottom view of the bottle, and without any similar ones lying about at home for refs, I don't really know how the bumps fade out towards the centre, but we can easily adjust that by moving the inner circle of extruded points, or we can add one more loop cut half way between edge and centre to better define that transition. You don't want to add more than 1 loop though, as then shapes will start to become too defined under SDS. The little grip bits in the cap are such relatively tiny details, nobody is going to notice if you do it in texturing, but TBH it is quicker still to just model them separately and slightly intersect them with the main model, and we certainly don't want the rest of the mesh at the sort of resolutions that the grip section would require if it were part of it ! So if you want to do that just start with a tall cube in a radial cloner, add enough Y segments to it so they SDS with the correct amount of roundness, and then set the radius in the cloner and adjust the amount and size until it looks right. It's hard to see from the pic, but it looks to me like the plastic wrap stops before the ridged bit, so we shouldn't need to worry about that ? But no matter if we do. To get the plastic wrap layer we can directly split the wrap polys from the base mesh, and then just manually adjust a few loops so it gets round the bumps OK and add parametric thickness with Thicken generator or manually via a tiny 'caps on' extrude. CBR

Obviously biased here but C4D is quite a package at the moment 🙂 Regarding Modo, abandoning such a large code base must have been difficult decision. There must be a lot of tech that will be extracted and placed elsewhere. There is also a remote possibility, pure speculation of course, to create new3D package.

Here is a simple slicing a spline : ) 140_Slice_Spline.c4d

Despite the fact about the constant whining on the forums about C4D and that it was considered an amateur tool a decade ago it has now outlived a good number of competitors.

Yes indeed, I am also thinking about GeoJSON support and load from OpenStreetMap, but the way the road are designed is different. However, there is a new big update with the support of median stripe (not sure about the translation) : - Median - Better performance - Undo / Redo - New bike texture https://code.vonc.fr/pathphalt You can try this configuration : {"roads":[{"prio":1,"curve":"centripetal","sub":40,"shear":0,"tex":"wear2","texL":"","texR":"","lineOnly":false,"points":[{"id":0,"prio":1,"width":30,"wLine":5,"texL":"","texR":"","pos":{"x":-100,"y":0,"z":0}},{"id":1,"prio":1,"width":30,"wLine":5,"texL":"","texR":"","pos":{"x":0,"y":0,"z":0}},{"id":2,"prio":1,"width":30,"wLine":5,"texL":"","texR":"","pos":{"x":100,"y":0,"z":0}}],"modLignes":[{"id":0,"tex":"empty","width":"3","offset":"0","shear":"0","side":"gauche","color":"#ffffff","pos":{"x":39.396875316,"y":0,"z":-15}},{"id":1,"tex":"empty","width":3,"offset":0,"shear":0,"side":"droite","color":"#ffffff","pos":{"x":38.086987303,"y":0,"z":15}},{"id":2,"tex":"empty","width":"3","offset":"0","shear":"0","side":"gauche","color":"#ffffff","pos":{"x":-62.123474544,"y":0,"z":-15}},{"id":3,"tex":"empty","width":"3","offset":"0","shear":"0","side":"droite","color":"#ffffff","pos":{"x":-67.302948819,"y":0,"z":15}},{"id":4,"tex":"empty","width":"3","offset":"0","shear":"0","side":"droite","color":"#ffffff","pos":{"x":-30.103290328,"y":0,"z":15}},{"id":5,"tex":"stop","width":4,"offset":-9,"shear":0,"side":"droite","color":"#ffffff","pos":{"x":27.00899457,"y":0,"z":15}}]},{"prio":1,"curve":"centripetal","sub":40,"shear":0,"tex":"wear2","texL":"","texR":"","lineOnly":false,"points":[{"id":3,"prio":1,"width":30,"wLine":5,"texL":"","texR":"","pos":{"x":20,"y":0,"z":-100}},{"id":4,"prio":1,"width":30,"wLine":5,"texL":"","texR":"","pos":{"x":20,"y":0,"z":0}},{"id":5,"prio":1,"width":30,"wLine":5,"texL":"","texR":"","pos":{"x":20,"y":0,"z":100}}],"modLignes":[{"id":6,"tex":"empty","width":"3","offset":"0","shear":"0","side":"gauche","color":"#ffffff","pos":{"x":35,"y":0,"z":-17.837263259}},{"id":7,"tex":"empty","width":3,"offset":0,"shear":0,"side":"gauche","color":"#ffffff","pos":{"x":35,"y":0,"z":24.403466582}},{"id":8,"tex":"empty","width":"3","offset":"0","shear":"0","side":"droite","color":"#ffffff","pos":{"x":5,"y":0,"z":-59.900413914}},{"id":9,"tex":"empty","width":"3","offset":"0","shear":"0","side":"droite","color":"#ffffff","pos":{"x":5,"y":0,"z":31.585357038}}]},{"prio":1,"curve":"centripetal","sub":40,"shear":0,"tex":"bike","texL":"","texR":"","lineOnly":false,"points":[{"id":6,"prio":1,"width":10,"wLine":5,"texL":"","texR":"","pos":{"x":-70.627555784,"y":0,"z":51.190721316}},{"id":7,"prio":1,"width":10,"wLine":5,"texL":"","texR":"","pos":{"x":-13.172042513,"y":0,"z":-35.25534822}},{"id":8,"prio":1,"width":10,"wLine":5,"texL":"","texR":"","pos":{"x":84.80652565,"y":0,"z":-76.60485278}}],"modLignes":[{"id":10,"tex":"empty","width":"3","offset":"0","shear":"0","side":"droite","color":"#ffffff","pos":{"x":-4.494001118,"y":0,"z":-35.631325338}},{"id":11,"tex":"empty","width":"3","offset":"0","shear":"0","side":"gauche","color":"#ffffff","pos":{"x":-13.691259738,"y":0,"z":-41.16251629}},{"id":12,"tex":"empty","width":"3","offset":"0","shear":"0","side":"droite","color":"#ffffff","pos":{"x":-52.492035814,"y":0,"z":26.206269416}},{"id":13,"tex":"empty","width":"3","offset":"0","shear":"0","side":"gauche","color":"#ffffff","pos":{"x":-62.304384741,"y":0,"z":23.369488233}},{"id":14,"tex":"yield","width":3,"offset":-2,"shear":-1,"side":"droite","color":"#ffffff","pos":{"x":-33.318294531,"y":0,"z":-5.56126942}},{"id":15,"tex":"empty","width":"3","offset":"0","shear":"0","side":"gauche","color":"#ffffff","pos":{"x":-43.506444211,"y":0,"z":-8.426703539}},{"id":16,"tex":"empty","width":"3","offset":"0","shear":"0","side":"droite","color":"#ffffff","pos":{"x":40.084634038,"y":0,"z":-57.833407636}},{"id":17,"tex":"empty","width":"3","offset":"0","shear":"0","side":"gauche","color":"#ffffff","pos":{"x":39.832640212,"y":0,"z":-68.339736675}},{"id":18,"tex":"yield","width":3,"offset":-2,"shear":1,"side":"droite","color":"#ffffff","pos":{"x":13.538677417,"y":0,"z":-46.528428659}}]}],"modSols":[{"id":19,"tex":"asphalt","color":"#ffffff","rot":"0","fill":"medianBevel","lineTex":"lineUsed","lineCol":"#ffffff","lineW":3,"lineOff":-1,"pos":{"x":60.003474111,"y":-0.1,"z":-33.761216957}},{"id":20,"tex":"asphalt","color":"#ffffff","rot":"0","fill":"medianBorder","lineTex":"lineUsed","lineCol":"#fbe01c","lineW":3,"lineOff":-1,"pos":{"x":60.284636448,"y":-0.1,"z":25.249393975}},{"id":21,"tex":"asphalt","color":"#ffffff","rot":"0","fill":"medianBevel","lineTex":"lineUsed","lineCol":"#ffffff","lineW":3,"lineOff":-1,"pos":{"x":42.885203556,"y":-0.1,"z":-82.208960311}},{"id":22,"tex":"asphalt","color":"#ffffff","rot":"0","fill":"medianBevel2","lineTex":"lineUsed","lineCol":"#ffffff","lineW":3,"lineOff":-1,"pos":{"x":-18.403487882,"y":-0.1,"z":-56.121304811}},{"id":23,"tex":"asphalt","color":"#ffffff","rot":"0","fill":"medianBevel2","lineTex":"lineUsed","lineCol":"#ffffff","lineW":3,"lineOff":-1,"pos":{"x":-0.159001486,"y":-0.1,"z":-24.258869672}},{"id":24,"tex":"asphalt","color":"#ffffff","rot":"0","fill":"medianBevel","lineTex":"lineUsed","lineCol":"#ffffff","lineW":3,"lineOff":-1,"pos":{"x":-77.120233245,"y":-0.1,"z":25.41978791}},{"id":25,"tex":"asphalt","color":"#ffffff","rot":"0","fill":"medianBevel","lineTex":"lineUsed","lineCol":"#ffffff","lineW":3,"lineOff":-1,"pos":{"x":-16.930274425,"y":-0.1,"z":31.746082441}},{"id":26,"tex":"plain","color":"#2687fd","rot":"0","fill":"","lineTex":"","lineCol":"#ffffff","lineW":3,"lineOff":0,"pos":{"x":-23.515035174,"y":-0.1,"z":-26.680503951}},{"id":27,"tex":"plain","color":"#2687fd","rot":"0","fill":"","lineTex":"","lineCol":"#ffffff","lineW":3,"lineOff":0,"pos":{"x":18.996212676,"y":-0.1,"z":-54.284936783}},{"id":28,"tex":"plain","color":"#2687fd","rot":"0","fill":"","lineTex":"","lineCol":"#ffffff","lineW":3,"lineOff":0,"pos":{"x":46.37003041,"y":-0.1,"z":-65.996907718}},{"id":29,"tex":"plain","color":"#2687fd","rot":"0","fill":"","lineTex":"","lineCol":"#ffffff","lineW":3,"lineOff":0,"pos":{"x":-45.21484908,"y":-0.1,"z":-1.738057586}},{"id":30,"tex":"plain","color":"#2687fd","rot":"0","fill":"","lineTex":"","lineCol":"#ffffff","lineW":3,"lineOff":0,"pos":{"x":-59.130172915,"y":-0.1,"z":28.602254614}}],"markings":[],"background":{"x":0,"z":0,"sx":1,"sy":1,"rot":0}}

a quick and dirty menger sponge effect. of course, my method is always weird and dumb... 08-sn-menger-sponge.c4d

Righty - here's how I'd go about modelling that base... We have 12 way rotational symmetry, and within that 2 way planar symmetry, meaning we only have to design topology for a nice small manageable section. And we don't need to go to the centre with that, because that is on a dual axis curve so we don't want any poles there. We'll make a patch for that later. 1. I started by outlining the main nubbin with as few polys as I thought I could get away with (whilst still keeping them mainly even)... I am using HB retopo for this, but if you find yourself without that, then polygon snap will do just fine in a pinch, and you could even shrink wrap onto the CAD model to more rigidly stick to that surface as you work)... I am working with symmetry here, so have only modelled the right side... you can optionally use the symmetry Hub / mode, but for technical reasons, I didn't on this occasion ! 2. Next, let's patch that any old how, expecting to need to revise it later, and expand the upper border... mostly using poly pen here, and frequently utilising things like smooth edges and equal spacing to keep things neat... 3. We need to continue out to half way across the square block bits, so did that, trying to keep edges as even as possible. 4. But now my modelling spidey senses kick in to suggest we'll be needing some harder edges and corners on the inner edge of the square bits, and that we should continue the lower loop around the indent on, to keep its outer control loop flowing around it (rather than down towards the centre), which led to the following topology changes... So I've run an extra loop across the square bit, and slid some edges about to get tight control loops for those corners, but, crucially, have got 4 evenly spaced edges at both inner and outer borders, which is vital for perfect SDS circularity (top) and partial sphericity (inner). I actually went on a bit beyond this to tighten those corners further before the next stage, and added some consistency as to how I did the cornering and additional loops round bevels for better base mesh definition. 5. So, having got one segment of the 12 mostly right, we can radial clone that x 12 to get the complete outer ring for the base. That'll need to be in a connect (weld on) to join those together. Having done that, we can make that connect editable, and count our border edges, which in my case was 48, which we can divide by 4 to conclude that we need a 12 x 12 plane for that centre section, and we will need to make that editable, Fit Circle it, relax / iron the inner points, project it to the CAD model (shrink wrap deformer) so we match the curve exactly and then CO&D that to the connect we made earlier, which should match perfectly if plans have gone well thus far... This means we don't have any complex poles in the base on that subtle curved area at the centre, which is important, because even though the slope is quite gentle there, it curves in 2 directions at once, so triangles or pole counts more than 4 will produce SDS artefacts that will be variously noticeable and not fixed by adding more SDS levels. SDS L3 is perfectly sufficient for this unless we choose to use SDS edge weighting (not necessary here), which would necessitate an extra level of it. ...and that leaves us a very manageable 48 radial polys with which to work our way up the rest of the bottle... We conclude that section with an Optimize, and checking it with Mesh Checker to hopefully reveal all quads and no borders, isolated points, or other errors ! 🙂 Hope that helps CBR

Vonc Material Cleaner : Code Vonc - Tools AR Scripts : GitHub - aturtur/cinema4d-scripts: My collection of Cinema 4D scripts

Cinema is much nicer to use, but that alone doesn't make it more professional than blender. There are thing about blender that are worse and things that are better. Cinema makes it much easier to love it for its UI constancy and overall logic of use. But right now Blender with cycles is so much more stable than cinema with redshift. You can download all old versions of it if you want to open an old project or if they droppend a feature. The node system in Blender ist more consitent than cinemas and much easier to use and then there are features that are not available for cinema like the compositor (yes it actually is really usefull) or eevee. But yes blender pisses you off every day when you are used to use cinema. Imho blender is just for another industry and another style of working. Anyway less competition is always bad! I personally see this as a sign that the market for commercial 3D software is going to get really problematic in the future. RIP Modo

Blender. I set up E R T for move/scale/rotate and 1 2 3 for the navigation, which is how I did it in C4D. (Chad Ashley's video on setting up preferences, plus a couple more recent ones, were helpful). Rotation is different as you have to immediately specify the axis with a second key stroke, otherwise it free floats, though I might be missing a trick there. Courses are cheaper. I'm seeing fully fleshed out courses on various topics going for $20 or $30. The CGCookie guys did an excellent looking bundle of several redone courses for 4.2, and the whole batch of them is $90 total. There's more training. C4D has the Maxon Training Team, a few guys like Polygon Pen making modelling videos when he can, Chris at RL, Tim Clapham doing a good Hello Luxx course every six months, various YouTubers, and a handful of courses popping up on Udemy or Skillshare or whatever. That's all good and useful, but I'd say Blender has at least 5 x the quantity of courses coming out, or higher. The annual BCON list of presentations just had two different talks on improving the UI, one with Andrew Price making some smart points, the other with five guys including Pablo Vasquez discussing how they'd just spent a year working on UI improvement, and were about to do the same thing for the foreseeable future. C4D has better UI but they showed the before and after for the Blender colour picker - a minor thing in the scene of things, I know - and the before had a jankiness that I found off putting, and the after had the intuitive layout that I associate with C4D. C4D is still even higher here but at a certain point other elements become an elephant in the room beyond how super polished you can make the UI, and C4D has sat rigid in that territory for quite a while. I don't view Blender as 'better', I just view Blender as different, but its difference now strikes me as interesting and intriguing rather than off putting. Even though C4D has the word 'Cinema' in the title, I suspect I was gaslighting myself into believing that C4D was an all-purposes app and it would settle into being fully featured for generalist use. I no longer believe this to be the case. I think C4D is certainly expanding its toolset, but I think it's doing this under the guidelines and purpose of using these tools for mograph above all else. The above isn't an exhaustive list at all, and I'm not closing the door on C4D, which I still like a lot, but if I sit down and try and make a short film over the next year and change with the tools available both, I'll get further ahead with it in Blender than I will in C4D, despite the improvements finally coming into the latter. I've been interested in learning nodal workflows for a while. Nodes landed in C4D more than six years ago, but what can you do with them yet? And how widespread is the training for it? Meanwhile the Blender Geometry Nodes developers and users are just getting on with things, and still adding functionality and improvements. In the Blender UI presentations they made it clear they were aware of their shortcomings in usability and design and were dedicated to improving things. The jankiness in Blender is going away with each release, and the functionality is getting stronger. Blender 4.3 comes out Tuesday next week. I'll follow what C4D brings to the table in the near future with some interest, but it's an interest that sits just below my interest in learning how to settle into Blender, and I think this is a healthy place to be, as I don't need to wait for important feature improvements, or worry for now about budgeting the cost of the app. I'll stop this ramble here for now.

Bit late to this, but found the solution. Thank you @Hrvoje for the suggestion. I did end up contacting Maxon and they basically replied saying that couldn't help with any Octane related issues. The way I finally fixed this was by disabling the "Use ACES Color Space" checkbox in the Octane settings, and instead loading in the OCIO config manually through the color management settings. Basically going back to how ACES worked in Octane before they added that checkbox. Will check if anything has been mentioned on the Otoy forum and submit a bug report if not.

D5 Render First released in 2021, D5 Render is an increasingly powerful architectural renderer with linking plugins for a range of DCC and CAD applications. As well as rendering scenes directly from a linked DCC app, users can import models in FBX, Alembic or SKP format, apply PBR materials, and assign HDRIs, lights and LUTs. Other features include object scattering and shot dressing tools, support for volumetric and particle-based effects, and path-based animation tools for crowds or vehicles. The software supports DXR-based hardware-accelerated ray tracing on NVIDIA, AMD and Intel GPUs, and is capable of rendering 16K still images, and 4K videos. Key changes in D5 Render 2.9 include the new terrain system, which makes it possible to sculpt and paint surrounding landscapes for visualizations using a brush-based workflow. Artists can edit a 4,000m x 4,000m area of terrain, using brushes to move the ground surface up or down, smooth it, flatten it, or erase previously sculpted details. It is then possible to assign textures to different parts of the terrain – ground, slopes and peaks – with the option to blend between up to six separate materials. As well as sculpting terrain manually, it is also possible to import height maps: either custom maps, or preset maps from a new category in D5 Render’s accompanying asset library. The software currently supports up to 10 height maps simultaneously. The update also introduces a new template-based phasing animation system. It is intended to make it possible to create animations showing how a building is constructed or how the components of a product fit together without the need for keyframing. Users can import their models into readymade animation templates and adjust parameters to control the order and direction in which they appear, and the timing and style of the movements. The AI Enhancer feature added in D5 Render 2.8 for adding detail to rendered images has been extended and renamed the Post – AI tool. As well as increasing the image size limit from 4K to 6K, the tool gets a number of new capabilities, including image sharpening and denoising. However, the biggest change is a new AI-based Style Transfer system, making it possible to apply a range of readymade visual styles to a render, or match its look to a reference image. Readymade styles include both photorealistic and stylized looks, the latter including watercolor, pen sketch, pencil sketch, cartoon, scale model and voxel styles. In addition, the Text to 3D system added in D5 Render 2.7 for generating low-poly models from text descriptions now supports voxel looks. Other changes include a new Random Placement feature, which automatically randomizes the size and rotation of 3D plants being added from the asset library. Under the hood, a new FPS Booster for Complex Geometry option “significantly” improves on-screen frame rates when rendering complex scenes with large numbers of assets. Dimension 5 Techs’ launch video cites a 433% increase in frame rate when rendering a scene with 415 million faces at 1080p resolution. There are also a lot of smaller feature and workflow improvements, Outside the core app, D5 Render’s integration plugins have been updated, with the live sync plugin for Blender getting support for camera animations and Blender’s Geometry Nodes. As well as height maps for the terrain system, the asset library gets over 160 new 3D character models, and over 160 new materials, including tiles, flooring, fabrics and ground materials. In addition, users with Teams subscriptions, intended for multi-user collaboration, get a new 3D Gaussian Splatting (3DGS) system. A new 3D scanning method, 3D Gaussian Splatting generates reconstructions of 3D objects or scenes from source photos or video. Interestingly, rather than being for rendering imported 3DGS data, as in the upcoming V-Ray 7, D5 Render’s implementation is for generating 3D Gaussian Splats. It transforms rendered animations, like flythroughs of a 3D scene, into lightweight 3D models that can be explored in a web browser, providing a convenient way to share assets with clients. You can see an example model on the D5 Render website. D5 Render is available for Windows 10+. It requires a compatible GPU: Dimension 5 recommends a NVIDIA GeForce GTX 1060+, AMD Radeon RX 6000 XT+ or Intel Arc A3+. Integration plugins are available for 3ds Max 2014-2016 and 2018+, ArchiCAD 21+, Blender 2.93+, Cinema 4D R20+, Revit 2018.3+, Rhino 6.1+, SketchUp 2017+ and Vectorworks 2024+. The Community edition is free; the Pro edition, which includes advanced features, frame sequence rendering, and access to the full asset library, costs $38/month or $360/year. Teams subscriptions, which add further features including simultaneous editing and support for 3D Gaussian Splatting, cost $75/month or $708/year. https://forum.d5render.com/t/what-s-new-in-d5-render-2-9/38759 https://www.d5render.com/privacy (The firm is based in China, and is governed by Chinese law) Blender 3.4 The big new feature in Blender 4.3 is Grease Pencil 3, the long-awaited overhaul of Blender’s storyboarding and 2D animation toolset. Originally due in Blender 4.0 last year, it’s a “complete rewrite” of the toolset, intended to lay “a solid foundation for the next 10+ years”, particularly to improve performance on large projects. Although the focus of the initial release is simply to get the updated toolset to feature parity with Blender 4.2, there are a number of new features. The most significant is that Grease Pencil is now compatible with Geometry Nodes, Blender’s procedural modeling, scene layout and simulation system. That makes it possible to modify Grease Pencil objects with Geometry Nodes – “many” of the existing nodes that work with curves have been updated to work with Grease Pencil data. You can get a sense of the new workflows that this opens up in our this story, which includes a demo of Geometry Nodes in use to convert a Grease Pencil animation to claymation-style 3D. Other new features include color-codable Layer Groups, making it easier to manage large projects, a new Fill Gradient tool, and updates to the exiting drawing tools. The changes aren’t backwards-compatible, and a few features have been deprecated, including drawing guides. Although Eevee, Blender’s real-time render engine, got a major overhaul in the previous release with the rollout of ‘Eevee Next‘, there are further updates in Blender 4.3. The biggest is that Eevee now supports light linking, making it possible to set light sources to affect only specific objects in a scene, providing more artistic control over lighting effects. Both conventional lights and emissive materials are supported, as is shadow linking, which makes it possible to choose which objects in the scene cast shadows created by the light. The change brings Eevee in line with Cycles, Blender’s main production renderer, which got support for light linking in Blender 4.0. Cycles itself gets support for a new phase functions in Blender’s Volume Scatter node, traditionally used to add effects like fog or smoke to a scene. Each is geared towards a particular type of real-world scattering: the Fourier-Forand function mimics underwater haze, while Rayleigh scattering is used for skies and ocean surfaces. Two are literally out of this world – the Double Henyey-Greenstein function is intended for planetary atmospheres, and Draine scattering is “mostly use for interstellar dust”. For material authoring, Blender’s Shader Editor gets a new Metallic BSDF node. It’s intended to simplify the process of creating realistic metal materials, exposing existing but “hard to access” shading controls in a single dedicated node. Two configurations are available: the F82 Tint Conductor Fresnel approximation used in the Principled BSDF node, and a true Conductor Fresnel configuration. The latter – previously restricted to custom OSL scripts – provides “subtly more accurate” results, but is harder to use, and is currently only supported in Cycles, not Eevee. Blender 4.3 also changes workflow for managing brushes when sculpting or painting models. Rather than being stored in the main .blend scene file, brushes are now stored in separate asset libraries, making it easier to reuse sets of brushes between projects, or share them within teams. And rather than the toolbar, brushes can now be selected from a brush asset shelf, which appears across the foot of the 3D Viewport and Image Editor when working in Sculpt Mode. Instead of being grouped by tool, brushes are now organized into ‘asset catalogs’, with users able to configure the shelf to show only the subset of catalogs needed for a particular project. There are also some quite significant improvements to sculpting performance: brush evaluation is now “about 8 times faster” when sculpting a 6-million-face mesh. The user interface gets a number of workflow improvements in Blender 4.3, including previews of images, movies and fonts in the tooltips that appear when hovering over assets. The UI can also now be rendered using the experimental new Vulkan backend for the viewport. It’s supported on Windows and Linux, on AMD, Intel and NVIDIA GPUs, but still has a number of limitations, and may currently be slower than the existing OpenGL backend. New 3D modeling and UV editing features include a new Minimum Stretch mode for UV unwrapping, based on the SLIM algorithm: you can read about it in detail in this story. For procedural modeling and scene layout, the Geometry Nodes toolset gets a number of new features, including a For Each Element zone to simplify complex workflows. It is also now possible to add gizmos to node groups, making it possible to edit their inputs directly in the 3D Viewport, rather than having to switch to the Node Editor or modifier stack. The character rigging and animation tools get smaller workflow improvements, including updates to motion paths, keyframing, and a new ‘bone eyedropper‘ system. Cycles finally now supports hardware-accelerated ray tracing on AMD GPUs via HIP RT on Linux: something Windows users have been able to choose since Blender 3.6. The Compositor gets support for multi-pass compositing when using Eevee. The Video Sequencer gets performance and workflow improvements, including the option to connect and disconnect strips, and support for snapping in the preview area. Pipeline integration changes include the option to export point clouds in USD format. Blender 4.3 is currently in beta. It is due for a stable release on 12 November 2024. Blender is compatible with Windows 8.1+, macOS 11.2+ and glibc 2.28+ Linux. https://developer.blender.org/docs/release_notes/4.3/ https://builder.blender.org/download/daily/ Enscape 4.2 Enscape 4.2 is a smaller update than other recent releases – Chaos says that it is shifting to a ‘more dynamic’ release schedule – but it does build on two of the key changes in Enscape 4.1. First, Enscape Impact, its accompanying building performance analysis plugin, is now officially out of beta. Second – and more relevant to CG artists – the new Artistic Visual Modes system, which applies readymade visual styles to images, has been extended. Changes include adjustable texture controls in Watercolor mode, and proper handling of transparent materials in Watercolor and Colored Pencil mode. The update also improves the visual quality of software ray tracing, adding support for multi-bounce global illumination and ray traced sun shadows. There are still some limitations, particularly for sun shadows. Application-specific changes include support for up to six clipping planes in Rhino, and for Clip Cubes in Vectorworks, both for rendering cutaway images of models. Rhino users also get support for World Coordinate System (WCS) mapping for materials Revit users get a new Graphics Override feature, for creating material and color overrides defined by Revit Filters in rendered output. Enscape is compatible with Windows 10+ and macOS 12.6+. It integrates with Archicad 26+, Rhino 7+, SketchUp 2022+ and Vectorworks 2023+ on Windows and macOS, and with Revit 2022+ on Windows. The software is available rental-only. Node-locked licences cost $84.90/month or $562.80/year; floating licences cost $958.80/year. https://blog.enscape3d.com/enscape-version-4-2 Continuum 2025 Boris FX began to add AI features to Continuum in its 2024 releases, beginning with machine learning-based filters for denoising, upresing and retiming video. In Continuum 2025.0, they are joined by BCC+ Motion Blur ML, a new motion blur filter that combines a new hardware-accelerated optical flow algorithm with machine learning. It provides controls for both the intensity and direction of the blur, and also makes it possible to apply motion blur data from another clip, helping to connect elements in a composite. The other new AI filter, BCC+ License Plate ML, automatically anonymizes car license plates, isolating the plates in a shot and applying blur, mosaic or brightness/contrast effects. Continuum 2025.0 also features four other new filters, BCC+ Grain, BCC+ Linear Color Key, BCC+ Two Way Key and BCC+ Pixel Chooser, all faster and more controllable versions of existing filters. The BCC+ Light filter, for adding new lights to shots, gets 33 new gobos. There are also four new transitions, BCC+ Atmospheric Glow Dissolve, BCC+ Orbs Dissolve, BCC+ Smoke Wipe and BCC+ Smoke and Fog Dissolve, shown in the video above. Particle Illusion, Continuum’s particle effects system, gets new options to copy and paste data between particle type nodes, including color and alpha gradients, and particle sprites. Other workflow improvements include a new Repeat option for creating looping effects, available for any animated parameter, and updates to the UI for the emitter library. Continuum 2025 is compatible with a range of compositing and editing software, including After Effects, DaVinci Resolve and Nuke, on Windows 10+ or macOS 10.15+. It is priced according to host application, with new perpetual licences costing from $295 to $1,995. Subscriptions cost from $195/year to $695/year. https://blog.borisfx.com/boris-fx-brings-greater-ml-power-to-continuums-vfx-toolkit Gigapixel 8 Gigapixel is designed to enlarge digital images while preserving their sharpness, using machine learning techniques to fill in the missing details. Its algorithms are trained using a data set of “millions of images”, with Topaz Labs claiming that it can enlarge images up to 16x before image quality starts to drop visibly. Although it’s marketed primarily at photographers, it can also be used on rendered imagery, and has had a dedicated AI mode for CG images since version 5.3. As well as upscaling low-res renders to generate high-res images more quickly, users can remove noise from renders by upscaling them, then reducing them to their original size. Topaz Labs describes Gigapixel 8.0 as the “first upscaler using generative AI models to create high-quality photorealistic results”. The software’s new Redefine model uses generative AI to fill in missing detail when upscaling images to very high resolutions, or repairing damaged images. It is also “surprisingly good at denoising and sharpening in some scenarios”. The model comes with a Creativity setting, which determines to what extent the image is stylized: low values result in realistic sharpening, while higher values produce progressively more and more stylized results. For high Creativity settings, users can also enter text prompts to guide the content of the AI details generated, in a similar way to a conventional generative AI tool. The Redefine model currently runs on the GPU, and there are some known issues with AMD GPUs and on macOS Gigapixel’s existing Face Recovery model has been updated, with the Gen 2 model improving performance when upscaling faces seen in profile. Gen 2 also results in “cleaner teeth and eyeglasses”, and performs better when recovering “obscure faces with little-to-no facial attributes”. The other major change in Gigapixel 8 is the option to process images in the cloud as well as on your local machine. Cloud rendering is available when using the generative AI models: both Redefine and Recover, which was introduced in Gigapixel 7.1 for upscaling very low-res images. The service is priced on a credit basis, with cost depending on image size – outputting larger images costs more – and the AI model used. Gigapixel 8.0 is available as a standalone application for Windows 10+ and macOS 11.0+; and as a plugin for Photoshop and Lightroom Classic. The software is OpenGL-based, and supports AMD, Apple Silicon, Intel and NVIDIA GPUs. New licences of the standard edition cost $99. The new Gigapixel Pro edition for studios is subscription only and costs $499/year. Cloud render credits cost $5 for 20 credits. Credit subscriptions start at $9.99/month for 80 credits per month. https://community.topazlabs.com/t/gigapixel-v8-0-0/79692 Howler 2025.1 Originally released two decades ago, Howler – originally Project Dogwaffle – is an idiosyncratic sub-$100 digital painting and content creation tool. Its core strength is natural media painting, but it also features basic 3D rendering capabilities, primarily for landscapes and foliage, and animation features including a timeline, onion skinning, frame repair, retiming, and an exposure sheet for lip sync animation. New features in Howler 2025 include LiquidFX, a new tool for brush-based freeform deformation of images, along the lines of Photoshop’s Liquify filter. There is also a new halftone gradient fill. The existing Text tool is now supplemented by a new Text Object tool, which provides a greater range of options for formatting text, including outles, drop shadows and perspective warping. For greenscreen removal, it is now possible to sample multiple color values from the screen when using Select by Color to help refine the matte and reduce color spill. For object removal, a new Advanced Feature Removal window makes it possible to mirror or rotate a source area of an image before blending it over another part of the image. The update adds WatercolorFX, a Rebelle-style watercolor painting toolset that mimics the way in which real paint flows and blends, shown in the initial proof-of-concept video above. The Text tool gets a further update, adding the option to flow text along Bézier curves. Howler 2025.1 is available for Windows only. It has an MSRP of $56.99, although the software is usually available at a significantly lower price. Watercolor FX is available as a standalone tool with a MSRP of $17.99. http://www.pdhowler.com/WhatsNew.htm O3DE 24.09 The Open 3D Foundation has released Open 3D Engine 24.09 (O3DE 24.09), the latest version of the open-source game engine. The update introduces a new dedicated mobile rendering pipeline, improves performance on mobile devices by “up to 400%”, and reduces start-up times for the O3DE editor by “up to 90%”. It is also now possible to create projects without the need to compile them, using only Script Canvas, O3DE’s visual programming system, and Lua scripting. First announced in 2021, O3DE is an open-source, cross-platform “AAA-capable” game engine” pitched as a successor to Lumberyard, AWS’s free engine. It features a modular, SDK-like design, open-source build system and new networking stack, and includes hardware-accelerated ray tracing renderer Atom. The engine is the first release of the Linux-Foundation-backed Open 3D Foundation: a games counterpart to VFX technology body the Academy Software Foundation. Although the latest sizzle reel (embedded above), is still heavy on AWS’s own projects, O3DE is starting to be used on commercial games, like Team Plutinite’s State of Matter. Open 3D Engine 24.09 – despite the version number, it was actually released in October – is the first update to the engine in for a year, and is being pitched as a “huge milestone”. Key changes include greatly improved mobile performance: the release notes cite performance improvements of “up to 400%” across iOS, Android, and AR and XR devices. Part of that will be due to a new mobile-specific rendering pipeline, described as an “extremely performant … pipeline built for tiled GPUs”. It includes materials and lighting features tailored to mobile hardware, including an “optimized BRDF” and support for analytical approximation of image-based lighting. Users can “easily … disable features as needed” according to the capabilities of the target device. It is also now possible to control visual quality on a per-device basis, with a default of three performance levels – low, medium and high – based on the device’s CPU, GPU and memory. New graphics features include a Silhouette material type that displays meshes it is applied to as filled-in silhouettes. O3DE also now supports lighting channels, for controlling which lights affect which in-game objects. There are three channels for “each kind of light and light-able objects”. In addition, simple spot lights now support gobos, and can cast shadows. For developers as opposed to artists, a key change in O3DE 24.09 is the introduction of ‘script only’ projects, making it possible to create games without the need for a C++ compiler, using only Script Canvas, O3DE’s visual programming system, and Lua scripting. Projects can also now be exported using a dedicated UI, rather than having to be done via the command line. It provides “full support” for Windows, Linux, iOS and Android. Other changes include a new framework for interfacing with AI Large Language Models (LLMs) within O3DE. In addition, PhysX 4 and 5 have been split into separate Gems, making it easier to switch between versions of the physics engine. There are also a number of new features targeted at industrial simulation rather than games work, including a new Georeference component, and the ability to parse Gazebo data. Performance improvements include a reduction of “up to 90%” in editor start-up times. There are also a lot of smaller feature improvements and bugfixes. Open 3D Engine 24.09 is available as compbiled binaries for Windows 10 and Ubuntu 20.04 Linux. The source code is available under an Apache 2.0 licence. https://o3debinaries.org/ Toolbag 5.0 The update, described as a “game-changer”, adds support for UDIM workflows, making it possible to create, bake and render materials that follow the UDIM UV layout format. Other changes include material layering, new vector texturing tools, a new hybrid render mode, the option to render imported hair grooms, and speed boosts of 2-10x in ray traced renders. A lightweight system for look dev, compositing and final rendering, Toolbag is widely used by games artists, but is also increasingly being used in other sectors of the industry. It enables users to visualise imported models quickly, setting up PBR materials and lighting, with 2021’s Toolbag 4.0 also adding a 3D texture painting system. Users can then either bake texture maps for export to other DCC software or game engines, or render stills or animation directly. Users can now author materials with multiple UV tile sets, including the UDIM UV layout format widely used in VFX pipelines. All of the software’s key texture-creation tools – including 3D painting, Fill and Procedural layers, and masks – “work seamlessly over [UDIM] tile borders”. It is also possible to bake and render UDIM materials. Conversely, Toolbag 5.0 makes it possible to use UV-less workflows, with support for Triplanar texture projection as an alternative to UV texture mapping. The software also now supports material layering, making it possible to create complex blended multi-material set-ups. Toolbag 5.0 also introduces support for vector-based texturing workflows, including a new vector layer type, and tools for drawing and editing vector shapes. Marmoset describes it as a quick way to add geometric forms to materials, from large features like pipes, wires, panel lines and vents, to smaller details like nuts, bolts and stitches. There are also a number of new texturing features, including Sync Points. The interesting system makes it possible to edit a material’s normal or bump map, and have Toolbag automatically generate matching ambient occlusion, curvature and height maps. Another new feature, Carve Groups, makes it possible to blend multiple texture layers using a single “height-style blend” mask. The update also makes the Clone tool available for Paint Layers, and adds support for painting flow maps and anisotropic direction maps for materials like hair and brushed metal. Toolbag 5.0 introduces support for interactive baking, making it possible to preview the output of baking operations in real time. It is possible to adjust baking settings interactively during the preview, rather than having to wait until the baked texture maps have been written to disk before making changes. The update also adds a new Bevel Shader, for mimicking rounded edges and corners on a model at render time, with the option to bake the output to normal, AO and curvature maps. The update improves rendering performance, with speed boosts in ray traced renders ranging from 2x for typical scenes, to 10x for those with “high bounce counts”. A new Hybrid render mode, similar to those in game engines, balances “the raster renderer’s interactivity and the ray tracer’s image quality”, providing further render speed boosts without the need to sacrifice too much image quality. It is also now possible to render realistic hair and fur in Toolbag, importing hair grooms in Alembic (.abc) format, and use the new Hair Reflection model for rendering. Toolbag 5.0 also updates the software’s UI, which should now scale better on high DPI displays. Mac users finally get native Apple Silicon support, which should improve performance on current Macs: pretty much any macOS laptop or desktop less than four years old. Toolbag 5.0 is compatible with Windows 10 and macOS 13.5+. It supports AMD, Apple Silicon and NVIDIA GPUs. Perpetual licenses now cost $399 for individual artists, up $80 from the previous release, or $1,299 for studios, up $300 from the previous release. Subscriptions now cost $18.99/month for individuals, up $3/month, or $49.99/month for studios, up $6/month. https://marmoset.co/posts/marmoset-toolbag-5-official-release/ Inkscape 1.4 Inkscape is an open-source vector design app, with a good range of freehand and path-based drawing tools. It has a layer system; includes toolsets for grouping, transforming and simplifying paths; supports on-canvas text editing; and exports to a range of standard file formats, including PNG, SVG, EPS, PDF and DXF. Although the software was first released in 2003, the pace of development has increased in recent years, as has uptake among professional artists, leading to the milestone Inkscape 1.0 release in 2020. As well as graphic design, the software is used to create vector shapes for motion graphics or 3D modelling. Inkscape 1.4 improves workflow in a number of the software’s key toolsets. Key changes include a new Filter Gallery dialog (shown above) for quickly previewing and filters within the software. An experimental new unified font browser does a similar thing for fonts, providing a sortable, filterable list of font previews, replacing the Text and Font dialog. The Swatches dialog has also been reworked, again to make it easier to preview and filter color swatches. The Shape Builder tool introduced in Inkscape 1.3 has been updated. Initially a way to build up complex vector forms by performing Boolean operations on simpler shapes, it now supports raster as well as vector images, making it possible to clip selections from imported images, as shown above. The update also adds support for modular grids, making it possible to create more complex layout guides for vector designs. Changes to file import and export include support for Affinity Designer‘s native .afdesign file format, making it easier to import designs from the commercial vector design app. The update also makes it easier to import color palettes from other applications, with support for Adobe Swatch Exchange (.ase) and Adobe Color Book (.acb) files. Support for .acb files is primarily for the CIELAB color space: support for CMYK is “limited for now”. There is also a long list of smaller feature and performance updates: you can find a full list of changes via the links at the foot of the story. Inkscape 1.4 is available free for 32-bit and 64-bit Windows, Linux and macOS. The source code is available under a GPL licence https://inkscape.org/news/2024/10/13/inkscape-launches-version-14-powerful-new-accessib/ https://inkscape.org/doc/release_notes/1.4/Inkscape_1.4.html https://inkscape.org/release/inkscape-1.4 Maya 2025.3 Key changes in Maya itself include an update to Boolean modeling. The software’s Boolean algorithm has now been updated to match the one in 3ds Max, also improving the predictability and reliability of Boolean operations. According to Autodesk, the improvement is quite significant: in its internal tests, the old Boolean system would fail in 6% of cases, reduced to 0% with the new algorithm. The change should be most noticeable on problem geometry, such as meshes with coincident vertices or coplanar faces, and on complex Booleans with multiple source meshes. Animators get workflow updates to the Graph Editor. Change include a new Auto-resize keys on zoom option, which resizes keys when zooming out, and new settings to control the appearance of tangent handles in the Graph view. Outside the core application, there are updates to the key plugins included with Maya, including LookdevX, the new look dev toolset introduced in Maya 2024. The big change in LookdevX for Maya 1.6.0 is support for OpenPBR, the new open material standard developed by Autodesk and Adobe. A unified successor to the Autodesk Standard Surface and Adobe Standard Material, it is intended to increase interoperability between of material between CG applications. Other changes include the option to save compounds – groups of nodes within the shading graph – for reuse in future projects, or to share with collaborators. There are also three new gradient types, Radial, Circular and Box, in the Ramp node. OpenPBR is also now supported in Maya’s integration for the Arnold renderer. Arnold for Maya 5.4.5 introduces a new OpenPBR Surface shader, and tools to convert Arnold’s aiStandardSurface shaders to OpenPBR Surface. The release also updates Arnold’s own Ramp shaders, which get new 3D ramp modes, and the option to add procedural noise to the ramps generated. The Tonemap imager gets a self-descriptive heatmap mode, which generates heatmap-style effects in renders. Volume rendering workflow has also been improved, with volumes now displayed in the viewport, and two new parameters for controlling light scattering. For denoising renders, the OIDN (OpenImageDenoise) denoiser is now supported on AMD as well NVIDIA GPUs on Windows, and on Apple Silicon processors on macOS. Under the hood, GPU rendering performance has been improved, particularly on scenes containing large numbers of lights or instances. There are also a lot of smaller feature and workflow improvements, so check out the release notes for a detailed list. Bifrost for Maya, Maya’s multiphysics plugin, gets an interesting update, with Bifrost for Maya 2.11 introducing an experimental modular rigging framework. Users also get the option to ‘wedge’ simulations, generating variant simulations with a range of parameter values, in the cloud. We wrote about Bifrost for Maya 2.11 when it was released, so check out our original story for the full details. Maya’s USD integration gets a more workflow-focused update, with USD for Maya 0.30 making it possible to use Maya’s native camera controls to manipulate USD cameras. It is also now possible to reload references, payloads and nested references for prims in the Outliner, and to set custom text colors for prims. Autodesk has also released Maya Creative 2025.3, the new version of the cut-down edition of Maya aimed at smaller studios, and available on a pay-as-you-go basis. It has the same key new features as Maya 2025.3 itself, although Maya Creative is not able to author new Bifrost graphs, only to run existing ones. Maya is available for Windows 10+, RHEL and Rocky Linux 8.7/9/3, and macOS 12.0+. The software is rental-only. Subscriptions cost $235/month or $1,875/year. In many countries, artists earning under $100,000/year and working on projects valued at under $100,000/year, qualify for Maya Indie subscriptions, priced at $305/year. https://www.autodesk.com/customer-value/me/maya https://help.autodesk.com/view/MAYAUL/2025/ENU/?guid=GUID-E30563A9-74A3-4E4B-A955-CDDD25A562FD Marvelous Designer 2024.2 Marvelous Designer 2024.2 improves the accuracy of the software’s simulation system, used to simulate how clothing drapes over a 3D avatar under gravity. Simulations running on the GPU now have the same collision handling accuracy as those running on the CPU: in particular, they properly take account of multiple layers of clothing. In addition, Trims – detailing not part of the main body of a garment, like buttons and patches – now support collision during simulations. When used during a simulation, Marvelous Designer’s Pinching function now supports soft selection, making it possible to control how a garment fits the avatar more intuitively. It is also now possible to set the direction of extrusion when exporting a mesh with Thickness. The software’s GoZ plugin, for exchanging data with digital sculpting package ZBrush, has also been updated to support the latest versions of its host applications. Marvelous Designer 2024.2 is available for Windows 10+ and macOS 12.0+. The software is rental-only. Personal subscriptions cost $39/month or $280/year. Enterprise subscriptions cost $199/month or $1,900/year for a node-locked license, and $2,000/year for floating licenses. https://www.marvelousdesigner.com/learn/newfeature?v=2024.2

Thanks ! New big cosmetic update : - New name : PathPhalt ! - Color selection for materials - New marking textures - New icons - Ergonomy improved - Mobile responsive - Markings can have an X offset setting when it's magnet to a road - The shear parameter can be set to a road texture (can be improved) - Bug fixes https://code.vonc.fr/pathphalt If you want to try the example : 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Thanks ! New update with a big performance improvement and we can now add markings on the road like arrows : https://code.vonc.fr/roadmaker

In my opinion the best node usage for windows is to recreate them from polygon selection tags without the need of boolean operations. One part of nodes create extrusion in walls other part create windows and doors object ( frame, sill, glass ). It works fine for my experimental version : Using polygon and edge selection tags is very important to make complex structures : and vertex map for different frame materials :

That looks awesome! web version i guess will be useful to people outside c4d 🙂 good call!

Oh, thank goodness you'll find it now - that is a very helpful thing ! Middle toolbar, cog wheel next to magnet (snap). Those double arrows let you auto-select any type of the flagged components, so you can easily find, select and remove isolated points for example. The only downside of this, and the reason you probably wouldn't leave it on all the time whilst modelling, is that it can make your edge selections less clear if they are overlaid with (say) the green border markers for example... CBR

@Cerbera Wonderful modelling skills, I applaude! 👏

Aha ! If we have the CAD, then things become a lot clearer / more accurate, and indeed I can now see that the bottom of this bottle is not very much like the coke-style one I guessed it might be originally ! 🙂 The principals I highlighted above though still hold true, in that we should still start at the bottom and work our way up. So this is the ref for our base... So, if we want to throw this at ZRM (usually a good idea, just to see, and sometimes we can be pleasantly surprised by how good the result is !) we should rotate the model first from its default position so that the Symmetry options in ZRM can usefully apply, thus increasing our chances of getting mesh consistency across the model... And as we can see, we can get a really pretty reasonable easy quick result, that would be sufficient for getting fairly close to the object with the camera if we do that... But perfection it is not, and if you are one of the few remaining artists for whom modelling nicely is a pleasure in and of itself AS WELL as getting us to a much more perfect result, then I would say it is worth the effort of doing it properly with SDS modelling. The downside of re-mesher is that its polygon efficiency is arbitrary / based on user-input number / percentage, it can't detect flow very well automatically (see those indents at the off-axis angles) and we that need quite high numbers of polys in the base mesh to accurately gain those shapes, which is quite inefficient and nearly always leads to it using way more polys than it should have to. However, even if we do intend to model this 'properly', we can gain a good understanding of the sort of polygon density that should be possible, and get ideas for the flow of certain (on-axis) features that might not have occurred to us initially, so it's all good XP... I have some spare time later today, so will pop back then with a new plan for that base, hopefully demonstrating the optimum topology there. CBR

Is there a handy dandy retopo solution for a squiggly mess like this? Or is it best to just start again? I would be tempted to break out the Boole for the base section now - maybe if I made one and then put it in a radial cloner? bottle.fbx Some investigation has led me to discover they have incorporated zremesh into C4D when I wasnt looking, which I will investigate, but I would probably prefer to remake it just because we all know it's the right thing to do 🙂

Actually I've managed to get old of the CAD file and can see the bottom of the bottle now - quad fans you might want to take a deep breath when you see this one:

Very educational as always, Cerb, thanks.

@DALII Here is how you can split any spline into parts between control points. This makes it easier to process since you will always work on single spline with two points. You can then resample that any way you find useful split_control_points.c4d

I'm guessing these won't be around forever. The Foundry have provided free download links for the latest version of MODO here https://support.foundry.com/hc/en-us/articles/360019180479-Q100595-Download-links-for-previous-Modo-versions And you can grab the ten year license for it here https://campaigns.foundry.com/modo-eol-license With the officially given license reprinted below in case that link goes. Sad news obviously but some might have fun having another solid app on their desktop to play with. LICENSE foundry modo_i 2025.1107 14-nov-2034 uncounted hostid=ANY share=h min_timeout=30 start=30-oct-2024 issuer=foundry issued=30-oct-2024 _ck=191ec77102 sig="60Q04580QANXKRND9V0D9UG14XXQ NEK71BYF4UVX08AG15XEFJ8GM4DSUJDSPMTNJR9UN3YU7HFY0"

The education licensing thing is the biggest thinkable mistake. its plainly stupid.

@zeden I confirmed it myself. Bug is assigned and will be addressed. The issue is not in fact in delete node, rather something else so support was not really capable in this case to determine that on required technical level.

Hi folks, I have a perpetual C4D R21 and Redshift up to 3.6.04 version that I am not using. If you're interested let me know.

actually I think they lost majority of their userbase to blender years ago... they actually had a concept design and concept art userbase that was strong at one point. those guys are now all on blender.

I too mourn its passing. Although I never quite committed to using it as my main 3D tool there was a lot about it I liked (and more so than either Max or Maya) and I used to often check their progress and new features and was consistently impressed by their very expansive modelling toolset, particularly their unusual boolean / SDS workflow. And of course it upsets me on a wider level to think that another one-time giant of the modelling world isn't there any more and didn't think it was worth pursuing as a focus. My focus remains very much ' the modelling', and I still it enjoy that more than I do any other aspect of 3D. Fortunately Cinema has come on in leaps and bounds in that department in the last 5 years, and continues to get more comprehensive to the point where it can rival Modo's former glories and go beyond them with multi-threaded power... CBR

I recall there was such enthusiasm years back around Modo, when C4D modelling tools were not updated and improved, even to a point where it was postulated that it will replace C4D alltogether. I have tried it myself and it was obvious it was completely built for modelling in mind, with little consideration for becoming more than that, and I suspected that it's architecture simply isn't suitable for such task. Either way, After that I never looked at it again, but seeing it being abandoned is quite sad.

I might need to go in and change some preferences. After assigning the industry keycap, I tried the quick method of right-clicking on the move / scale / rotate icons on the left of screen to reassign the move / scale / rotate to E R T, as this had worked for me before. Blender seems to add the new ones there but also keep the old ones, as the old ones are listed as 'shortcut' and the new ones are listed as 'shortcut cycle'. I'm used to E R T so I'll see if there's a way to fix that. But the gizmos for all three choices appear automatically rather than free floating so that's an improvement. This was the other UI presentation. It's worth a watch but particularly for the bit at the end where they give you a big page full of the many improvements they likely plan to spend the next few years on to better what's currently there.

Very good point and that was (and is) one of the most annoying things of Blender in my journey to customize it. So, basically when you create a new hotkey, Blender does not show you any existing and conflicting Hotkey and an option do delete or replace the old one, like C4D, Maya and 3ds Max do. And it should, because there is some hierarchy of hotkeys. As far as I could understand, the Global hotkeys have preference to modes hotkeys (i.e. 3D View Global vs Mesh Mode hotkeys) and, I think but I could be wrong, the standard hotkeys have preferences over custom ones. The solution? After you create the new HotKey, you have to check for any conflicting hotkeys and delete them. For example, I changed my QuadView toggle to Spacebar, to act like Maya (not middle mouse like C4D, because the middle mouse is important in Blender for move, rotate and scale). But to do that I had to look for conflicting hotkeys and the one that needed to be deleted was the Play Animation hotkey, which is spacebar by default. Oh, that's awesome! Thanks for the link! I'll watch it today or tomorrow and comment here. I do know that Andre Price knows what he is talking about. I remember watching a presentation he did YEARS before Blender 2.8 about improving Blender's UI. That was back when Blender forums were still full of people defending Blender's right click select...lol

That's really useful, I'll let you know how I go. This whole 'here's another new version, and it's free' upgrade process is something I'll happily get used to. And I just saw that the Foundry have ceased development of Modo. https://community.foundry.com/discuss/topic/163616/the-end Sad news. I wonder if Nigel is content to sit with the version of Modo that he has, and how many Modo users in general might shift to Blender. Edit - here's one guy who did. https://community.foundry.com/discuss/topic/163625/thoughts-for-the-modo-diaspora

You're welcome. I forgot to add another one that is essential for me: the "Render Time Estimation" addon. Let me add a little description of what each add-on does and how they make Blender easier for Cinema 4D and/or Maya Users. This could be useful for other users interested in Blender but without time to research and investigate hundreds of addons: "Pie Menu Editor": Let's you create Pie Menus and other types of menus. Very powerful, it lets you create Pie Menus equivalent to the Maya Marking Menus, 3ds Max Quad Menus or Cinema 4D V-Menu (or the old Dials addon). "All Material List": Creates a list of all the materials in your scene on the side-bar. Lets you select materials, create new materials, delete, etc.. In sum, it works like Cinema 4D Material Manager or 3ds Max classic material editor. "Xport": Corrects the quad view behavior so it acts like in Cinema 4D, Maya and/or 3ds Max. Then you just need to change the Quad View shortcut (Spacebar in Maya, middle mouse in C4D, Alt-W in 3ds Max). "Matalogue": Creates another list of all materials but this time in the Shading workspace, so you don't need to select the objects to work on your shading nodes. "Render Time Estimation": Creates an extra tab on the side bar in the Rendering workspace with a rendering progress bar, completion time estimation, render time of last frame, average frame render time, etc... So, it basically give us the info that we usually get in the Cinema 4D's picture viewer. With those 5 addons and my own custom variation of the industry Compatible Keymap, Blender became a powerhouse, very similar to Maya/C4D and VERY easy to use. Which surprised myself because I used to hate working in Blender. Honestly, I think these 5 addons should come with Blender.

5.mp4

Fantastic work! I will give it a try.

New update : - We can now draw a single line for specific usage (not necessarily a lane) - The shear line can be adjusted - New arrow textures - Centripetal interpolation improved at the end points https://code.vonc.fr/roadmaker

Let's see this : node_wind.mp4 node_sill.mp4

Dear @EAlexander, thank you very much for the suggestion. I did exactly as you suggested and the result was excellent! Hugs, Eudes

Dear members Our yt channel is growing, there is a lot of new content - don't miss it! Hope that you will also subscribe if you haven't already : ) https://www.youtube.com/@CORE4D

Liquids, Realtime Rendering and Bodypaint update.

dear members We are stadily growing with or youtube channel and have 18 videos already. Subscriber count is rising. Pelase consider subscribing to the channel. Here you can post suggestions for lessons as well. Currently there is focus on nodes while we are also working on other lessons https://www.youtube.com/@CORE4D thanks

dear members, we now have 7 videos on Youtube channel! Hop over and subscribe even if you are not into nodes, it will help the channel grow which will help us make more quality content, thank you!

We have a new video with properly normalized audio, thx everyone for the tips https://www.youtube.com/@CORE4D Everyone, please consider subscribing even if nodes are not your cup of tea, this will help us grow the channel and produce more content!

Sorry for the double post, but I am so glad to show you the first test of a roundabout !