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About EAlexander

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  1. @barkest anywhere online we can see your work? Curious about your workflow. I use Cinema and Corona, but have tried Arnold and liked it - Autodesk is a no go for me. But still curious to see what your doing with it from VW geometry. Sorry to hijack the thread.
  2. I would sweep a rectangle around a locus and offset the pitch of the sweep. Distance from profile to locus should be the Radius of your overall curve. The SEG field will let you adjust how many profiles are used to make the sweep - so you can adjust the "resolution" of the sweep. I believe this number changes based on what your 3d settings are : low, medium, high, very high - but you can dial in any number you want. Lower number= more profiles. Trim to fit as needed.
  3. That works - thanks Jim! e.
  4. Hi @JimW- looks like search is broken. Search for 'Extrude' is giving me zero results I was trying to find something else common with no luck, so I tested some key phrases and I'm getting nada. Chrome Version 62.0.3202.89 (Official Build) (64-bit) on OSX 10.11.6
  5. I wish there was a better way forOpen GL to handle intersecting Geometry. I understand the conflict of two objects occupying the same x,y,z but many of my open GL renders and quick presentation graphics get messy because of the garbled looking effect I get at overlaps. I don't know if anything can be done, but just tossing this out there. Oh and please add an AO checkbox from Lighting options to the Open GL menu. e.
  6. Well this is kinda great - but why so hidden? Add this button to Open GL options! Love the look!
  7. I would draw that proscenium in front view with SCREEN PLANE active in 2D and then extrude it.....or draw it's footprint in top/plan view as 2D then extrude it. I would then draw another rectangle for the proscenium opening, extrude it tot he correct height and SOLID SUBTRACT it from the first extrude. Not that this is better, just offering a different perspective on how to approach this.
  8. Canvas doesn't look perfect, but the Surface pro is just way too underpowered for the price and 3d work: though I want one for photoshop and post production work.
  9. Honestly, not sure. I saw a lot of fuss over this when it launched, but as of yet, haven't seen on in the wild. Just remembered it as an alternative option that was cheaper, and not all in one with a low grade GPU.
  10. Tom - why not look at a Cintique or this thing from Dell: http://www.dell.com/en-us/work/shop/cty/pdp/spd/dell-canvas-kv2718d/s001pdc27us And then attach it to whatever hardware you want. e.
  11. I actually do it manually starting with just one seat (A hybrid symbol). I never use the seating tools - I haven't found them to be accurate or easy to work with and I like to keep it simple. I'll start at centerline, x number of feet back from the stage and build out my first run. I usually only put 14 seats per run to keep fire egress in check, and then add a row gap (4' or 6' depending on the job). I build out the whole first row this way and this gives me an idea on width and numbers per row. From there I group and duplicate array or use the move to points tool to create rows. Standard for me is to leave 2 feet from chair back to chair front. Some people try to do 18", but I prefer 24 for comfort if possible. I'll add left to right aisles (parallel to the stage apron an d 6 feet wide) at a logical break point. I try to build out the whole thing, only working on House left or house right. Once I'm satisfied, I mirror everything over centerline. I put all the rows and blocks into one master group - go into that group and ungroup all the rows. This way, I only have one group envelop and by hitting select all, I can get an accurate count from the OIP. Important to not duplicate or double up seats or rows as this will really throw your numbers off. Angled seating is more finicky, but I use the same basic method. I never put one chair alone, even if it fits - people like to sit together. For sweeping rows (curved). I make sure to have an accurate locus origin point for everything and tend to use the Rotate tool in ROTATE AND DUPLICATE mode. It takes a while to do this, but I start with one, then grab two and turn that into 4, then 4 into 8, etc. You have to do each row (different radius) manually, so it's slow going, but it works. I've tried Duplicate along path for this, but never satisfied with the results. I use a low poly 3D chair as part of the symbol. After I move the model into Cinema 4D, I usually swap out the master chair symbol for a higher poly one and then all the instances update. As long as things are tidy, centered, and the same size, you're good. All that said - massive seating layouts are one of my least favorite ways to spend an afternoon - but not as bad as actually setting up the chairs on site e.
  12. Hi guys, I just wanted to say thank you to all who contributed to this thread. I've just used this technique for a big rotated truss structure for the first time and it works great. I used to make a copy and convert all the truss to groups and have special lighting symbols that weren't hybrids and it was a lot of extra work. This works really well. One note to future users - I am accustomed to making my viewports by drawing a rectangle over the objects and then using that as the crop. This can create problems in other viewports down the road. I was making a front elevation of the whole stage and half the truss structure was clipping due to limitations of the crop. So I remade the viewport, but just selection the truss structure and then Modify>Create viewport. Works perfect now. Thanks again. e.
  13. +1
  14. Not to take away from the EAP discussion, but @cberg - in the example you give above, I would just draw the side profile of the object and extrude it. Always more ways to catch that fish