rasputin

Hey guys, Take a look at my attached screencap: Yes, it's that infamous "Geoboil" type object I'm experimenting with. You use a Collision Deformer to make the balls poke out from the sides of your Torus, right? I then used the Phong Angle Select tool in order to select only the torus, minus the balls. Gold metal material applied to that. Then, using a simple Invert Selection, I created a selection of only the balls, then gave them a green glass material. All very straightforward texturing. However, I'm not liking the region where the two materials abut on the object; because of polygon structure, I'm getting a jagged, sharp delineation between the two (see circled in red pencil); this is to be expected, of course. But is there a trick, a more advanced texturing operation, that will make the two materials softly and smoothly and seamlessly change from one to the other? Help me put my thinking cap on... Thanks, ras

The trick is manipulating two of the Hair dynamics parameters: Rest Hold, as Rectro points out, above; and also Drag. The higher your assigned Drag percentage, the more restrained and predictable is your animated Hair's fall... ie., the hair droops in a more uniform, graceful way, with no wild "flyaway hairs". Of course, if Drag is TOO high, your hair starts looking like it's moving in heavy syrup. 10% Drag is all you need here.

Hey guys, Focusing on creating Hair in C4D. Last night I authored this short, lo-res tester video of an animated humanoid figure as it waltzes across the floor. Specifically I wanted to see how Hair Dynamics functions when made with Vertex Map tags influencing various parameters of the "hairdo". ie., could I make the hair dishevel a little bit with the figure's motion, while still retaining its basic overall shape? Best, ras

Yes: Volumetric sculpting like in 3DCoat. Where your sculpting does not warp and misshape your UV's.

Whoa-- amazing! It was only when camera dollied back that I perceived what you had achieved. Amazing and very tricky to do. Is that a phi (golden ratio) spiral?

Good god. Absolutely amazing. I saw the movie three times over the Thanksgiving holiday, and not once did I twig on that there might be some digital trickery going on with their faces. The illusion was seamless. I'm guessing ILM possesses some extremely powerful computers; anything less would make this process a nightmare. Wow. And I guess ILM has enough money and power to completely commission a new dedicated proprietary software expressly for their purposes from code programmers. Somehow, at the end of the day, they had to construct a mesh for the actors' faces, that they could then play with. And that mesh is surprisingly low-poly, yet flawlessly topologized and rigged with custom morphs. Maybe the three-headed camera did a kind of photogrammetry? Even still, I'll bet they still couldn't fully automate this process; ie., they still had to do a lot of frame-by-frame editing. It also looks like they made meshes out of the surrounding walls and furniture... I guess they had to do that to keep perspective and focal length correct? Kinda wild that DeNiro still remembered his monologue from GOODFELLAS, 25 years on; do all movie actors do that? Hvala na ovom videu, Igore!

Thanks, fastbee and cerbera, for taking the time to educate me like this!

Here's my dumb n00B question: why is it important that models be retopologized? I have experimented with the software Instant Meshes. It always seems like my model suffers, one way or another in becoming simplified and regularized into quads. Is it all about gaming and VR ? To give a gaming engine fewer data to crunch in realtime?

Thanks for this. 👍 This is just what I was trying to ascertain.