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EAlexander

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Everything posted by EAlexander

  1. B - the slight bump as indicated above is good - will make it feel more like drywall or plaster then a perfectly smooth wall. To get the sheen thought, you probably want to change REFLECTIVITY to Mirror and then hit the EDIT button. Take reflection way down - like 5-10% and then play with the blurriness. Best to experiment on this shader in a separate file to keep your overhead low while testing. Note - the blurry reflections can slow down render times dramatically, so watch that and make sure it's worth it visually. e.
  2. Hi - I would approach this differently - see attached. Let me know if that helps. e. VW_TP_01.vwx
  3. Can you show a visual of what you're trying to pull off?
  4. Just chiming in on the C4D side of it all - yes, you could flatten this out in Cinema very easily since you can manipulate points, edges or polys there. However - it would not respect proportions and would distort the size/spacing of vertices making it not an accurate option.
  5. Not sure what the problem is, but you could try converting the sweeps to Generic Solids before exporting. So select all sweeps then go to MODIFY>CONVERT>CONVERT TO GENERIC SOLIDS. See if that helps. The fact that you're sweeping a line instead of a polygon or polyline might be the problem, but I wouldn't think that matters.
  6. If I understand correctly, what you need is to create a SECTION VIEWPORT through the center of your alcove from the View menu. This will give you a section through the middle that will show the depth, and profile for the shelf.
  7. I've got a student having this exact issue. She's on the educational version of 2021 Designer (not sure which service pack) and these GL menu items are greyed out. There is also no texture options on the OIP in the Render tab - not just greyed out, but actually not present at all. @Tamsin Slatter any thoughts or ideas? Thanks.
  8. There is no gallery on this forum, but I bet if you post and ask for constructive criticism, you'll get it. The community is pretty good around here. I'll give you some feedback.
  9. You could also build this as a sweep and that would let you adjust the segment angle, so you can control the "resolution" of the arc. Lower number = smoother curve.
  10. Nice to see you @L_M! Miss you. Let's catch up!
  11. A few ways to approach this: You could draw a nurbs curve as the backbone of what you want and then extrude along path with a simple profile. I'd run the profile "long" so it burries into the deck and then trim/slice the bottom flat at deck height. You could also draw a nurbs curve for each side (and maybe even centerline) and then loft them. Again, trim the bottom flat after the fact as well as upstage and downstate edges. With any approach, I would get the mass of the shape correct and then slice it up into stock and custom decks or any way you want. Hope that helps some. e.
  12. I'm not sure about putting the product into context, but have you looked at Sketchfab?
  13. For a quick hack: I would render it out with the texture blowing out to what ever lights the room correctly and then overlay clean artwork on the screen in post (Photoshop).
  14. Thinking about this more - some things that may or may not help you (forgive me - I don't know if you use Cinema yourself, so ignore if you know all this): 1. I always name my objects in VW - or at least name the group they are in. Those names will carry over to Cinema so your client can see the names in the Cinema object manager. If not named, they will get 1000 objects named extrude...... 1786 objects named Solid Addition, etc. 2. I try to solid model as much as possible instead of POIs and convert things to generic solids once I'm ready to export final model. Keeps things cleaner - though if you do this, name it AFTER you convert. 3. In Cinema, you have to be careful of complex or PIO objects splitting into dozens of polygons and should be fused back together to keep the file running efficiently (Connect objects + Delete command in Cinema. For example - a stick of truss will come into Cinema as a folder with each chord and each piece of lacing as a separate object. Multiple this by all the truss and your got thousands of objects slowing down the scene when not needed. I go through and connect them for efficiency sake. 4. Layers translate to master folders in Cinema (called Nulls) - so if you have all the truss on it's own layer, your client will automatically get a folder in cinema with all the truss in it (and anything else on that layer) - so use layers with that in mind. I certainly use more layers then I normally would in VW, knowing that this will help me stay organized in Cinema later. 5. I always use "Export to Cinema (3d Only)" and never use Send to Cinema. I found it buggy, but haven't tested in recent versions. I prefer to export and open the generated file in a clean shuttle file and then copy and paste into my master document. 6. Find out what render engine they are using. If native cinema, then you can texture in VW and they will carry over. But if they are using a 3rd party render engine (Redshift, Octane, Arnold, Corona, etc.) they would have to rebuild the textures anyway. So you could still make texture for unique materials (concrete, glass, Iron beams) but those could just be all white with no dialed in properties. Then they come through as white and assigned correctly, and the client can just swap your blank concrete for their, say, Redshift concrete and go. Make sense? No point in using specific materials in VW if they are using 3rd party materials in the end since they will have to rebuild. There are material converters, but honestly, they don't do a great job and get messy fast. 7. If you are adding lighting instruments (as lighting instrument objects instead of just symbols) - do some tests with client. Lighting instruments lose their rotation and focus when you export a lot, so dial this in with some test files first. I realize a lot of this is more on your clients side, but might be useful information. Let us know how you get on.
  15. Following with interest. I'd set up a test file with one version of everything you have going into file (PIOs, truss, hybrids, lighting instruments, walls, etc.) and kick that back and forth a few times before starting the actual build out.
  16. Also: Delete or Backspace key (can't remember off the top of my head) will undo your last point, and you can keep hitting that and back up point by point.
  17. ...annnnnd, if you miss the end point, you can check the CLOSED box in the object info palette to close the shape (must be closed to extrude correctly if going to 3D.)
  18. Hi Nick, If you ever think you want to do any rendering - be it via blender/Cinema 4D or right out of VW with Twinmotion or Lumion - I would go with Nvidia hands down. Modern rendering leans heavy on GPU and it's fastest on CUDA based cards. If you are just using VW, I'm not sure it matters anymore, but I'm not up to date on AMDs latest offerings for GPUs. The question will be when can you actually get your hands on a 3xxx card.....
  19. Wow - amazing! So which way is north then? *runs
  20. I wish, with clip cube, I could create a 3D object and use it like a boolean directly to viewport. I'd be able to move and manipulate that parametric object like any other solid (or add solid/subtract solid/generic solid) and be able to build variation in length, height and depth. Then update viewport.
  21. @Charlie Winter any insight on the Stage plug in?
  22. This is one of my big gripes with the spotlight to C4D workflow. If you have lighting instruments focused, they come over in the correct orientation, but all as raw geo. If you make them symbols, they come in as instances, but not pointing in the correct orientation. Maddening.
  23. I tend to make one floating Window on a second monitor and put this into open GL in perspective and then on my main monitor I work in wire frame ortho views. It gets confused sometimes, but in general it's nice to see the perspective while adjusting the model in front or top/plan. Admittedly, I never use saved views, and I could see that making havoc to the system.
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