HappyPolygon

If you're going to play with Pyro the more RAM you have the better. Also useful for video editing in high resolutions. Also mandatory if you plan on experimenting with AI. GPU RAM is an investment. Buy the best you can afford now because the future looks bleak.

Pen and Paper my friend ! Your question is very open to interpretation as any artist here could take a shot to answer you and every answer will have a different result. I will answer by asking further questions to establish some artistic direction and then we will help with the technical. What do you mean professional ? If you are talking about the advertisements on TV they are very professional. What they are not is certainly medically accurate. Are you saying that not even their demos were professional enough ? Do you have an Art Director ? Does anyone provide a concept art about how hair and skin should look ? For example are we going for a photorealistic model or will it be the usual pastel-colored tones for elements ? Will it be like a cross-section of the skin with visible skin layers below or will the camera see everything from skin level and above ? What would the animation involve ? In your description you mention hair and skin. Is this the only thing you will need help for or will there be other elements also like product placement, or some kind or artistic presentation of "fresh", "healthy", "healing" ? See hidden image below - here are some references you can choose to get going from there :

@Daniel Seebacher is there an online download section for the manual for Vue ? Also in this link there is a text code typo showing a "[object Object]" at the end of every description.

Couldn't find how they managed to do that particular scene but found how they did CG and compositing. I wonder if these software were made just for the movie as in-house developed or if they were actually commercial.

I wonder if multiple simulations on different regions and then combining them in post is a viable method to avoid VRAM capacity... You can't really contain the smoke in strict boundaries, I wonder if it would look good if the layers overlapped in post...

2012 ?

1899 - TV Series Genres: Drama, Mystery Synopsis: 1899. A migrant steamship heads west to leave the old continent. The passengers, a mixed bag of European origins, united by their hopes and dreams for the new century and their future abroad. But their journey takes an unexpected turn when they discover another migrant ship adrift on the open sea. What they will find on board will turn their passage to the promised land into a horrifying nightmare. Trivia: This is the first project which the German Motion Picture Fund awarded its maximum funding sum, 10 million euros. Netflix canceled the series, so there will be no more seasons.

R18 is quite old, the oldest version I use for experimental reasons is R19. I don't even remember if R18 supports Fields. If it does then we could show you a method involving vertex maps. For now take a look at Curious Animal's Super Deformer Pack. The Impact add-on creates ripples. The downside is that it that it dependents on splines. I guess you could also use the collision deformer with an invisible proxy model but animating a simple X scroll in the Spline graph can be a bit time-consuming.

Wait, what's the intended scenario here ? I like this explotion. Many ads of chocolates have that kind of interior exposure. In your case I was expecting the wrap to tear with the cloth simulation and the base of the bar to break with the Voronoi Fracture.

Did you make a blueprint before designing him in 3D ? Or maybe you have a ripped model from the game as reference ? Or have you designed the human first so you can start modeling his suit after to keep the proportions correct ?

Famous Cornelius Dammrich has completed recording the process of his latest artwork. Much of what you can see in this short film was broadcasted live on Twitch. It shows his interpretation of Bobs workplace plus additional pieces that highlight the sticky and moldy nature of his business. Everything’s been touched before, nothing is new. Mint condition, but not really. His last recorded work with C4D R18 of 6088AD was a hallmark for his career. Now this 64-part streaming that started 4 months ago has come to a conclusion with a short video filled with colors, emotions and detail. C4D S24, Octane

Recently Nvidia released a binary executable for windows making the process of viewing and generating new NERFs much easier and faster. Default Cube has made a couple of introductory videos about it.

Everything looks perfect except this: It there a particular reason it's off center ? even the zooming. I guess you could get away with "artistic license" but I hope you fill the rest of the image with enough details to avoid eye-wandering to emptiness. When there is so much space available, by reflex the eye wants to explore, and the casual viewer might think there's a reason why the director chose to do this - there might be something there he wanted us to get a glimpse of -. I don't know, just my opinion.

The neat free web app, created by industrial designer – and former Weta Workshop senior 3D modeller – Jorge Valle lets you create custom checker maps, and download them at up to 8K resolution for free. UV Checker Map Maker lets you customise pretty much any aspect of a checker map, including the size of the grid and microgrid, the numbering convention (letters and numbers or coordinates), and the colours. Settings are controlled via radio buttons or on-screen sliders, and there are nice usability options like the one to have the colour of the text change automatically with that of the background for maximum legibility. Once created, you can download the checker map at resolutions between 1,024 x 1,024px and 8,192 x 8,192px in PNG format. http://uvchecker.byvalle.com/

If you right-click on a custom spline's point you can set a smooth interpolation. If your spline is of linear type (like the rectangle primitive spline) changing a hard interpolation to smooth will automatically change it to Bezier.

I think that scene was made using Vertex Maps all over. Even the logo is a vertex map. I think it's a blend between the logo and a voronoi noise. The vertex map wasn't only used to influence the inflation but also the stiffness.

I agree with Cerbera. It can also be done using a Spline Wrap do avoid too much geometry. dashed lines.c4d But I think the most straight-forward solution would be Sketch & Toon

Oh... well that raised the difficulty bar to new heights ... Yes you do need a ray-cast. A bunch of splines casting towards a direction until they hit something. Make them all line-up linearly and use them as a field. It definitely can be done with Scene Nodes, not in S22. Maybe ricochet can do that for you.

What you're asking for is a 2D Camera Projection Falloff. I've suggested something like this in the past. It involved SceneNodes. Since there isn't something like that implemented you'll need to construct it yourself. The camera's frustum is a pyramid so with this in mind I constructed a field that is a child of the camera to be on par with it. Note that I'm working in R20 and the Use Fields in the MoGraph Selection hadn't been implemented at that time, so I tried to affect clones directly. You can add them later. Unfortunately there is no Pyramid Field, so I used a Pyramid object as a Point Object Field. Well that didn't work either because the Invert Layer Effect apparently does not apply to generic Point Object Field. I don't know if this has been resolved in later C4D versions. So I had to be more creative. I don't use Octane, I'm not sure how much that will affect your project. Use the From parameters in both Tubes to affect as many rows or columns you like from the camera's point of view. Affecting objects from camera.c4d

This is awesome MighT ! Also happy to see you around. Your SeneNodes approach worths mentioning on a old scenenodes post.

You can't change the simulation bounding box (green). C4D uses a sparse voxel tree for the simulations. This means it will generate as many voxels in the 3D space as it needs to depict the simulation until it runs out of VRAM in which case you will get a waring message. This voxel tree has no bounds, so the green box will expand as needed. Turbulence4D AFAIK has a constant user defined simulation bounding box that prevents any simulation taking place out of it. What you can change is the Padding. These are yellow voxels and you can view them from the Pyro object->Pyro tab or Project -> Pyro. Padding is a reserved layer of voxels around the "core" simulation as a "safety" net to catch any simulation data that may exceed the occupied simulation. It's like having reserved simulation space because you can't predict exactly how far the simulation will spread. If you don't see nice edges of smoke increase the Padding by one, If you're talking about the banding, making smoke look like marble, remember that what you see in the Viewport is a representation of the actual simulation. If you don't see that banding in rendering you don't have to worry about it.

Nvidia has announced its latest updates to Omniverse, its real-time 3D design collaboration platform. Highlights include a new version of the Omniverse-compatible version of Blender that adds ‘one-button’ integration with Audio2Face, Nvidia’s free AI-based tool for generating facial animation from audio. Nvidia also announced that Canvas, its free AI-based painting tool, will be added to the Omniverse Launcher, and posted a teaser video for the next release. The update – available later this quarter – will make it possible to generate 360-degree images suitable for use as environments in 3D scenes, as well as conventional 2D images. 230104_OmniverseJanuary2023Updates_Canvas.mp4

I think your implementation describes a special Modrian Tilling method with only squares. It's actually a rectangle packing algorithm ! mondrian.c4d

That's how I like my cheese... Apollonian ... 😆

Wow ! Hard to figure out how you did that. Looks like a sky animation used in the reflection channel of a torus. But the symmetry of the stars breaks after a while from clouds as if the were mapped differently from the rest of the sky. Well done.