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Everything posted by EAlexander

  1. Not sure, but I assume the tightness of some of your grooves would make for self intersecting geometry and VW doesn't like that. You could duplicate the geometry, scale it down slightly, raise it up, convert both to nurbs and then Loft them together. That might work better.
  2. Well I can't help your issue - just here to say the model looks great! Good luck.
  3. Sadly no - the 2D and the 3D are still separate pieces of geometry. The Hybrid part just keeps the 2 locked together in position and only shows the 2D when in Top plan view and the 3D in all other views. They are not parametrically linked. You should take a look at Autohybrids through - these generate the 2D for you from the 3D and you can use classes to control the attributes of the 2D. I'm too much of a control freak and like to control all of the 2D myself. But worth looking up in the help files/you tube. e.
  4. I build everything as 2D/3D hybrid objects - so I get the full 3d model, but I have a solid 2D ground plan of each object that lives with the 3D. So best of both worlds. Yes - it takes more time to model everything, but think that all your elevations and sections can be made from that model, so you gain a lot of time back that way - especially for revisions. Free tutorials here: http://www.evanalexander.com/training - these tutorials are from the POV of a production designer. e.
  5. I don't believe so, but are you using Custom Selections and or the Select Similar tool? Both these things will help speed up your selections of the unwanted hatch objects. Check them out in the help files. e.
  6. Perhaps I'm being daft...... I have Spotlight on VSS. I can't for the life of me find a model of an escalator in the RM or on the VSS download section.... does this not exist or am I just missing it? Thanks in advance. e.
  7. Ethan - I believe (and please - someone from VW tell me if I'm wrong) you are trying to go a from polygonal based modeled objects (Blender, C4D, Maya, basically all 3D DCC Apps) into a CAD program that uses Nurbs/polylines (and math) to create objects between points. So I don't think you are ever going to get anything but meshes coming into a CAD program. The reverse is easier since faceting those nurbs into polygons is an obtainable (destructive) workflow. It's not perfect (hence the triangles we deal with), but it works. The reverse - not so much. e.
  8. Great - there is no substitute for just playing with the software yourself. Feel free to ask Corona questions - there are a few of us on here that use it.
  9. I guess my question back is - how often are you doing volumetrics at at what amount (i.e. a beam here or there or a whole wall of moving lights)? My experience with Volumetrics in Corona was a no go for theatrical use. It worked pretty well for exterior sunlight situations or single god ray through the window. I found it all slow to clear up and was an all or nothing situation. Redshift for me was really easy once I watched a few videos and did a few experiments with putting the right sample counts in the right places. You can control it per light with Redshift which to me is huge as I want beams from some lights, but not all lights. Understanding that this is an additional cost - my recommendation would be to get started with Corona and just use the volumetrics from native Cinema for now. You can always add in Redshift later. If you felt strong about going with a GPU renderer, I'd tell you to go all in on Redshift, but since you lean towards Corona (and certainly have a machine that will rip through renders) - I'd start with Corona. Again - it's really a personal decision. Also - keep in mind - I spent YEARS doing volumtrics only in Photoshop as part of post production. It's more work, but you can still get good results. I bought the OPTICAL FLARES plug in for After effects and made a library of single beams of all shapes and sizes to pull from. e.
  10. @Tanner Shelton yes, I make the Corona light a child of the lens and use an area light as a disc and control the spread/directionality. When I jump to Redshift, I swap out the Corona light for. Redshift light (using PSR reset). Thanks for the kind words! Corona has an amazing denoiser which really let's you cut down on render time. I render 16:9 at 2500 pixels wide and I don't think I've waited more then 8 or 10 minutes for any of my client renders unless the set is complicated or all glass :). I think I abuse the denoiser and under render, giving a film grain look that I like. I do a fair amount of color grading and exposure adjustment in post. Corona also let's you adjust exposure and bloom and glare before, during or even after the render. Look at light mix in Corona also - you can have full control of all light levels and colors after you render... It's amazing. e.
  11. Also - both engine have free trials - so the only way to really know if to take them for a spin yourself.
  12. @Tanner Shelton - here's some thoughts on this: 1. I put the lights into the vectorworks as much as possible - especially on sets or concerts where the lights are exposed and essentially part of the scenery. I want them in my sections and ground plans. Most of the major lighting companies have 3d models of there products online in CAD form - though they tend to be pretty simplified. For electrics that are overhead or far away, these will work just fine 90% of the time. I have a collection of hi poly 3D lights for Cinema that are a combination of purchased lights and ones I've built (mostly in Cinema). So if I need something close to camera or to be the hero of a shot - I'll use those. Since the units coming in from Vectorworks are Symbols - I can just replace the master symbol and the whole plot will update for me. My lights are built as nested children - something like this: Base>Yoke>Head>Lens. So If I rotate the yoke, for example - the head and lens move as expected. I'll put a luminous material on the lens so I get a glow from the head and with Bloom and Glare in Corona (or Redshift) - I can get a nice flare out of it if I want. See below for info on getting volumetric beams. You should take a look at the STAGE plug in for Cinema as it's built for controlling and manipulating movers. I don't use this, but it's a great product: https://hantmade.com/stage/ 2. Redshift and Corona are great engines and you can't really go wrong with either one. I prefer Corona for it's ease of use - Redshift has lots and lots of controls and lets you dial in the samples and clarity of each and every component - and while that's great - I want it to be simple. Corona has the least amount of sliders and functions of any engine I've used and thats it's superpower - you get great results simple and easy. Corona, however, doesn't handle Volumetrics well - so that is why I added Redshift. I have a complicated workflow where I'll render in Corona and then copy the whole file and switch to Redshift to render volumetrics. I put a black texture on everything and add Redshift lights to the lens of the lighting and dial in the beams and render - then I comp it all together in Photoshop. If you did it all in Redshift - you could simplify the process. Redshift seems to do okay with larger scenes. Corona is pretty bulletproof. I just prefer Corona - it's so easy and well integrated and it handles light really well. I feel like I know what to expect from the engine, so my work is not experimenting with the render engine - its just experimenting with lighting looks. Keep in mind - Corona is a CPU render engine and Redshift is a GPU render engine (specifically - only on Nvidia CUDA based cards) - so what hardware you have matters here. When I started with Corona, I was on Mac and had no choice. Now I am on Windows and have a machine with 2 graphics cards, so I can use either engine. Outside of hardware - it really just comes down to personal preference. But I would say the learning curve on Corona is about 1/3 of that of Redshift to get good looking stuff. Sorry to ramble on and on - I love talking about this stuff. Hope that helps some - happy to talk more about it. e.
  13. I hear you! For the ballroom layout example you're showing - I feel like you could lay it all out with one chair symbol in about 15 minutes and be done with it. There are so many repeating seating sections, once you get the downstage most sections laid in, you just copy and paste. I usually drop in some rectangles to lay in my aisles first for reference - then delete them at the end. You could even lay out one side of the room and then mirror it - then knock out those areas at the bottom of the drawing for Tech. I usually have to knock a few out for ADA as well and if they are symbols, it's easy to do. I would make each seating section a group and put all those groups into one master group. As long as you don't have hidden stacked duplicates - going into groups and selecting all will give you accurate chair counts per section I make my chair symbols hybrids - so I'm getting the 2D and the 3D at the same time. If your machine is struggling during layout, you can change the 2D part of the hybrid to a simple rectangle while you do the layout work and then once you have it all dialed in - swap out the 2D part of the symbol for the real chair line work. e.
  14. I just build all sections manual from a seat hybrid symbol everytime. It takes time, but less time then troubleshooting that tool.
  15. I get this when there is something really really far away from the origin or my model is way off of 0,0. If you copy and paste that stool (don't just select all, since you might grab the offending geometry again) into a fresh file and make sure you're around world origin, does it still happen?
  16. Check out Align and Distribute with your objects preselected. Cmd/ctrl + =
  17. Chaos Group also owns Corona Renderer which they ported to Archicad last year (as well as Cinema 4d). That might also be an avenue to explore with Chaos group. Just tossing that out there. Any and all external rendering options for VW would be welcome.
  18. Sometimes it is desirable to draw in a scale similar to your intended viewport scale to see and keep an eye on lineweights. Somayya Abu Hayeh: I don't know the exact answer to your question, but you should be able to hit Cmd/Ctr + 3 to center on all visible objects after you perform the rescale. Maybe try that. e.
  19. Corona does have volumetrics, but to be frank, they aren't very good. More about exterior god rays and less about Sharpys in a ballroom or arena. This is what led me to Redshift which does amazing volumetrics. So my convoluted workflow is to do all the rendering with Corona, and then to jump over to Redshift to do volumetric passes that I then comp together in Photoshop. Attaching some volumetric pass examples from Redshift. TL;DR If volumetrics are important to you, you should look at Redshift.
  20. No, all the texturing and lighting is happening in Cinema using Corona's material and lighting system. I only model in Vectorworks and move the raw geometry to Cinema before texturing, lighting or cameras. In VW I make my plans, sections and elevations and in Cinema I do the rendering.
  21. Okay, that all makes sense. I don't know what is happening with soft goods for you, I believe they have a texture applied upon creation, so you'd need to be tweaking that. I don't have any examples with Renderworks, but if you look at my website, everything there is built with Vectorworks and rendered with Cinema using Corona or Redshift. www.evanalexander.com
  22. You'll have to try them out. Some will work if you just add a Tag from that engine, others would require you to replace the whole light. Focus on the engine that speaks to you most in overall workflow once you try a few out. Corona was not what I was looking for, but it spoke to me right out of the gate with ease of use, integration with Cinema and the way that it handles light (the best, in my eyes). Redshift and Octane have given me great stuff as well.
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