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Everything posted by grant_PD

  1. I agree with you that the information in the OIP is often crytpic. While one could put in a custom record for each symbol, it might be easier to somehow put the original object info on the info panel of the symbol's OIP.
  2. You're going to want to push/pull that back face towards the front to get your 200mm depth. If you need it separated, then extract the face first.
  3. You can't edit the 2d like you can on a 3d shape like that. But you could use the rounded rectangle tool and achieve what you want. Rounded rectangles would allow you to change the fillet.
  4. "Send to Cinema" is indeed buggy. Sometimes it works, sometimes it does nothing. On days when it works, it is a great workflow. But going the other way, "export to Cinema" opens the save dialog which allows you to have an additional layer of certainty about what you are exporting. So if you updating, say...Trusses, you just overwrite the Truss file and you have a poor mans' version control that way. When opening the saved .c4d file you will get a master Null under which all exported geometry will reside. If you have an auspicious day and Send to Cinema is working, and you choose to update the Cinema file all geometry under that Null will be replaced with the incoming geometry. And consequently any changes you have made inside of Cinema will be gone, therefore I recommend the shuttle file method. Regarding texturing, I'm not sure but I think it might be advisable to put some kind of bitmapped (non procedural) texture on items so that they get an UV map. I recall having issues with that for a while. My workflow, when possible, is to assign a vectorworks texture to the objects that gets me close to the output renderer (I use RedShift), with the name having a prefix of VW. That way, when I get the model into Cinema, I can drag and drop my RedShift textures (prefix RS) over the VW ones and be done. @zoomer I think that was one of your tricks. YES, name everything in VW! That they relegate the naming box down to the obscurity of the bottom of the screen is a major UI flaw in VW. I wish that VW had an object list like C4D does. With a search bar. With filtering.
  5. If you are handling the venue and technical and they are pulling into C4d as they design, I would do as Evan says and make sure you are confident that what you are sending is what they are getting. Shouldn't be any issues I can think of, but I have had problems with railings made from the railing tool corrupting, floor objects being ruined...so you never know. On their side I would recommend that they import into a shuttle file first, and then pull into their file. If everything is put into a master null (c4d speak for group) they can delete the old and replace with the new. You can get as crazy as you want with that type of organization and get pretty seamless with swapping out parts On your side, pulling in their model may be a bit of a pain as VW is not going to retain a lot of that organization for you. Sometimes I would ask collaborators to send things as piece by piece .obj files just to save the pain of reorganization on my side.
  6. grant_PD

    C4D Import

    like a .max file, C4D files are proprietary. The industry "standards" have become .obj, .fbx, and .3ds. But bear in mind that you are importing things from a polygonal model to a solids based modelling program. There will be issues with all of them. Here's where you can go down the rabbit hole and read all about the inner workings of modelling programs: https://www.okino.com/default.htm
  7. Just out of curiosity, @digitalcarbon what part of building the model and setting up the views do you think took the most time?
  8. There's a tick box for "tangent to path" that rotates them as you duplicate. It's a very vague and odd tool, you'll have to play with how your banner is oriented to see how that affects the duplication. In your case I had to use a polyline as a path, not nurbs, and offset the original path to the center of the banner as it wants to orient the copies from there. Then, it was flipping them around as it duplicated, so I flipped the original to make the duplications work.
  9. @Peter Tellemansomething like this? You can use the duplicate along path tool and set the distance to be fixed. My least favorite tool btw. I had to offset your curve to the middle of the banner and then flip it around to get the orientation right. You may find it a good place to start and then manually adjust a few of them. Or do it in quarter sections and then mirror.
  10. I was thinking 10 minutes to draw the markups on the plan and 10 hrs to reproduce it in vectorworks. My math is probably wrong! and yes, @CipesDesignthat is the argument I always use in favor of 3D. It's time consuming to build the asset, but once you do the outputs far outstrip the utility of the 2d.
  11. Is there a way to batch change all of my data inside record formats and notes database to all uppercase? I can get to the name of the record format, but not the data inside it.
  12. Agree 100%. It would seem that moving from 2d to 3d increases the time by a factor of 10.
  13. Very nice tests, and a good way to learn the various settings for rendering output. Some things to consider: Ambient occlusion will create contact shadows where things meet, and combined with GI might obscure the effects of GI. GI sort of works in the reverse, bouncing light around to fill in areas, leaving behind those contact shadows. Is the overall look of the scene what you are intending for the final output? It seems very underlit to my eye. If those are the only light sources you are intending on using, would you in a real world increase the exposure times for your shot to get in some more information to your shot? I adjusted the levels in photoshop and got this just out a screenshot. of your render.
  14. You can look up some resources explaining GI calculations on the web. Maxon's C4D help file has some pretty good articles about it, and that is the rendering engine you are basically using. The more you understand what is going on, the quicker you will be able to troubleshoot these types of situations.
  15. grant_PD

    VW 2020

    Hi Marcie, there are variety of professions represented on this board, so it would be helpful if you listed what your profession is so that the right person can help you.
  16. It seems you are encountering a few issues when you speak of "quality." Your first one seems to be the output resolution, which is what a lot of this thread is about currently. 300dpi across the board will help with that. You should notice then less jaggy lines at the edges of things, if you anti-aliasing is set very high. You seem to have some noise appearing along some of your textures surfaces, which can be caused by the "blurriness" setting. Low settings or bad scaling of the textures will cause that. Higher settings will give you that fantastic brushed metal look, or multicolored blurry reflections on plastic surfaces, but the render times will go up a lot. Your mention of greyscale covering everything is an effect of your lighting. That your carpet shows the edges of your light beams is an indication that your lighting solution is probably not ideal. In workspaces such as the one you are rendering, the layout of the fixtures in the drop ceiling is very specific to give an even distribution of light for work purposes. Either there is not enough light bouncing around (GI solution) or there is not enough ambient light (either in ambient light settings or through careful placement of fill lights) to give the lighting look you are after.
  17. @Mark Aceto Have you tried going deep into the symbol structure of those S4's and making sure that all of the geometry is set up to show the correct fill color and texture? I often find that lighting symbols are a mess of nested geometry. If you want, send me the file and I'll take a look and see what I can do.
  18. @Mark Aceto I think you will find that adding more lights in a grid helps for less spotiness. And you might try building an area light, which I have had some success with in VW. I am also a fan of ambient light+ ambient occlusion, which some people say is heresy in this age. But these are just all tools in your toolkit in my opinion. I certainly would at least try turning it on before I switched on maximum bounces in a GI solution (I would never turn on maximum bounces in a GI solution 😎).
  19. Yes, your soft lights are spheres of light, and since you can't control the falloff (in VW) you can only play with the intensity/distance to get them to read less. I have worked with files were there was literally hundreds of omni lights all at 15% all throughout the room. Here's a quick test of showing 4 surfaces illuminated only by 1 point light at their intersection. Clockwise from 9 oclock each quadrant's rgb values are: 0,0,0/10,10,10/20,20,20/30,30,30. I started the point light at 12' above, then moved down by 3' each time. While it's true that the true black never turned grey, in real life that would never happen. So you must choose where your black point is and adjust. An array of lights would give a more even look, hence the use of area lights. I'm not sure if panoramas support those lights.
  20. Are you sure that GI is what you want for this type of presentation? You have a lot of negative space and most of those bounces are so low energy there is no real need for them. I usually like to start off with a little bit of ambient light and ambient occlusion, to get the feel of the shots. If GI really seems necessary, add it back in and remove the former. But it is not the magic wand that most people think it is. There might be more reward in setting up your cameras with different exposures. Black textures should never be completely black, and all textures should be "rich" in that they should contain at least some measure of all three pixel colors. While it is true that all surfaces are reflective to some degree, I often question the merits of adding in reflectivity to everything. Again, I would start off with reflectivity disabled, then add it back in and see if the increased render times are worth it. Overall I think your panorama is quite nicely rendered. But it is important to ask at what point in time you are trying to make this rendering come from. To me it looks like what you would see the first 10 seconds you walked into this room from another, lit room. But after a few more seconds of being in the room your eye would adjust to the low levels of lighting and you would see more. A photographer might capture this by opening up the lens and gathering more information (hence my note above about exposures).
  21. My trial of Enscape has expired. But I was hoping that you could use the clip cube tool that is native to vectorworks and have Enscape render that. It does not seem to update with my version however. Cutting sections as described in the Enscape help is pretty old school. I would hope that in the future they could recognize viewports.
  22. How does Enscape deal with the clip cube? That might be a possible avenue to try.
  23. Can you post a file to look at? It's hard to say what is bogging down render times without seeing it. I think "final quality" is way overkill for almost all projects, and the solution is indeed to set the custom renderworks options to optimize your rendering. That said, dropping everything to "low" is also not the answer.
  24. This doesn't have to be so complicated. VW just needs to list the cameras in the dropdown of the OIP of the viewport where you pick your projection. I see no value in "linking" the camera to the viewport at all.
  25. I'm no museum designer, but when I've tackled problems such as this in my own work, I've used the extract surface tool and unfold surface tool to create flat elevations of the walls needing such treatments. I then create the graphics in 2d, and save them as an image file for reimporting as a texture. Since they are 1 to 1 with the walls I pulled from, scaling and tiling is usually not too big of an issue. I would suspect that a lot of that type of rendering is done in a separate rendering program :3ds Max/C4D etc.


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