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@Igor My proposal is to keep the paywall but let people see the content of the website for free. Currently everything is behind closed doors, no one can see what exactly we are doing here. Only those who want to comment or post a topic should have to pay a membership. This way we keep unwanted firestarters and trolls away. I don't think there would be someone willing to pay just to have the ability to rant for anything. You will also have a worthy revenue because more people will be willing to pay the small annual subscription just to post their question having seen the quality of help in this site.

Shoes could use some bulginess indeed, but decent cartoony shoes are pretty hard with all those fine details and shapes. Great model of shoes either way! Also loving the shapes of the fingers and hand behind his back! Maybe some lines are a bit harsh/hard, but they really define the shape of the fingers quite nicely.

Motion graphics pro Robert Hranitzky shares the tips behind his parody from a galaxy far, far away. Robert is a motion designer and creative director based in Munich. He uses Cinema 4D and Adobe Creative Suite in his work for commercials, film and various corporate clients. www.hranitzky.com Hranitzky built a blaster to go with the armour, while other dials and buttons were created from spray-painted toothpaste caps and bottle tops. Two Elgato greenscreens were used as a backdrop with three lights mounted in softboxes, while three of Blackmagic Design’s Pocket Cinema Camera 4Ks were used to film the action. He designed a lot of the background CG elements in Illustrator, before importing and extruding them in Cinema 4D. The models were textured in Substance Painter and rendered using Cinema 4D. “Once the models were created and textured, I used a combination of Cinema 4D’s Physical Render Engine and Redshift to render them,” says Hranitzky. “Adobe After Effects was used to composite every shot of the film, with the keying done using Maxon VFX Suite’s Primatte Keyer. I used Mocha for some tracking, with additional effects from Boris FX and a lot of the Red Giant plugins available from the Maxon VFX Suite. Cinema 4D’s Physical Render Engine is quite slow; for my scenes it took on average three hours to render a frame in 4K resolution. When I wanted to add an effect like blinking lights on the wall, my shortcut was to render just one master frame and create separate alpha mattes for each light in After Effects. I selected all the lights with masks and activated them separately. I spent an hour in After Effects adding animation keyframes to turn the masks on and off and ended up with a blinking animation. If you layer that on top of the wall, it looks like a blinking panel.

So what abour your Patreon? Will you be keeping that up? I'd hate to lose all of the tips accumulated there over the years! Or, perhaps you could combine it all into a PDF or something for us to download?

Ouch ! 600$/month ! for 30 objects ! I thing there is a real intelligence behind the "Generate" button waiting 24/7 for an input !

Impressive progress being made for sure.

1. No - it's just a plain blue sky type of set up. 2. Often you'd use a 'backplate' image with the domelight. You can use the domelight image itself as a background, but because you would typically be viewing just a small part of the domelight 'sphere' - depending on camera focal length - you'll need a very high domelight resolution to give you reasonable 'image resolution' in your render. Also - because the domelight is calculated at 'infinity' you can't move it up or down - it would have no effect. You can rotate it of course. So, typically you'd use a 'backplate' image - see settings in the domelight, which just covers the camera view, to be your rendered background image.

Yeeeeeeesssss! Thank you!!! That setup works like a charm! 🙂 Haha, yeah. I added a control, that would simply turn that one off after 1 frame. It still gave me the same value for every duplicate on Frame 0 unfortunately and I was lagging the knowledge of how to change that. 😄 It's working exactly how I imagined now though. Thanks a lot to the both of you for taking the time!! 🙂 balloons_success.mp4

@JohnDo All of this can be done as a linear sequence of modeling and selection operations without any branching. It can even be done exclusively with node capsules. I've attached an example of your setup done as a "modeling stack" and as a single Node Capsule with the parameters exposed. Both cases use Field to select the points to be chamfered. ScenesNodes_RD_0002.c4d

Take a look at this video around the 15 minute mark. Elly explains how she does backgrounds, which might help you out.

As someone who paid for a yearly subscription five minutes ago, I would also support the idea that everyone should be able to read all the posts. The paywall should only be for commenting, uploading images and tutorials. The quality content should advertise for itself.

Hi everybody, I'm Henning. My Brother Axel and I run a small 3D Animation Studio in Cologne / Germany, called Lumatik Film. https://www.lumatik.de/ We are currently a Team of 4, doing all kinds of film and animation stuff; mainly with C4D and Octane. Happy to be on board here! 😉 Cheers!

Whoa, nice reel and very good comedic timing!