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bezoing

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About bezoing

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    MoGraph Regular
  • Birthday 10/25/1986

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    Athens, GA

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  • About Me
    Let's see... I'm a Christian husband creative professional/editor/mograph artist who loves books, movies, tutorials, music with no words, and my wife's sense of humor. I love Jesus, my wife, my dogs, and mograph, in that order. I think that's all for now...
  1. Hey guys! Been awhile since i've been on the boards, but I have another problem that's stumping me. I've always gotten good answers before, and would love some help. I'm trying to create a field of wheat, with a simple crane camera move. I'm using C4D's Hair engine, hoping to get some good slow wind movement. There's a few issues I'm having... I'm not sure how to create the stalks of wheat. Ideally, it'd all be a hair/feather (possibly both?) material so there would not be too many polygons in the field. Otherwise, I'd just model one stalk and use Mograph to clone it, but then I'd lose the soft wind dynamics you get with the Hair engine... Is there a way to have tall stalks of wheat using Hair, and attach a Feather object on the tip to look like the grain? That'd be great... Just not sure how to do that. Also, does anyone have any idea how to get grass/wheat dynamics to look natural? All my attempts have the stalks all appearing entirely too stiff, or way too loose and flopping all over the place. How do you have that natural, loose yet firm look to the hair so it isn't bouncing around? What parameters to you mess with? I've been messing with the Rest mix/Rest hold values, but can't find anything I like. This is my first foray into Hair, so maybe I'm just not sure what to look for... Any words of advice would be amazing. I'm sure this isn't that uncommon of a request, but I cant find that much online on it... Again, any words of wisdom would be appreciated! Thanks in advance.
  2. Thanks for all the help, guys. For the curious, volumetric lights in C4D are extremely powerful with a little tweaking... Thanks especially to scott frizzle; that idea worked beautifully, and allowed my materials not to get too weird. Anyway, this is what I ended up with: Thanks again guys... As always, you were super helpful.
  3. Hello all; it's been awhile. A new day, another problem to solve. I have a client that wants a sun peering out from behind earth, flaring up, then a logo reveal. Seemed like a pretty easy task at first. Sure, I have Andrew Kramer's Optical Flares plug-in, Cinema4D's 3d capabilities, a good knowledge of After Effects... What could be the problem? Realism is the problem I'm running into; or not making it look crappy. More specifically, this effect is what I want: Ignore the blue shift and all that; the sunrise bleeding over the horizon... Or another, this is more the angle I'd be trying to animate around... Does anyone know a good way in AE or C4D to simulate this kind of effect in 3d? The light bleeding over the edge, the rim of the earth lighting up, the progressive lighting across the surface of the planet... All that stuff is eluding me. All I have right now is a very static-looking sun flare rising behind a static-looking earth. Dynamism, I need you! I have textures of the earth's atmosphere out the wazoo, and I have a cool-looking lens-flare inside AE that I like if that's the best method (although of course if it works better to use volumetric lights in C4D, I'm game...), and a good logo. But I feel like this kind of stuff is requested fairly often... Has anyone dealt with this before? If so, even just an old scene file or screen grab or something... Throw me a bone, because this here isn't going to cut it. Thanks a lot guys; you're great.
  4. I think that effect can be done entirely in AE without plug-ins. To me, that looks like a pretty good use of CC Ball Action. You have two copies of your logo, apply CC Ball Action to your first. Keyframe the dispersion of the balls. Then, as your logo forms, come by with your second copy of the logo on top, using a mask to reveal it. Andrew Kramer went on a CC Ball Action spree a few months ago. He's got a couple good tutorials on the subject: http://www.videocopi...all_dispersion/ Hope that helps!
  5. You've got me. I've scrubbed through it dozens of times, and I'm still at a loss for exactly how it was done. The only thing I can thing of is hand-animating each paint swatch on, which could work for one element, sure, but seems very unwieldy considering the scale of this spot. I'd say this is where my lack of experience in the software is really shining through. I'm loving the discussion though.
  6. For instance, the tree building on eight seconds in. That seems like one of the more basic structures in the spot. How would you do that in C4D? Certainly a Cloner Object is incapable... right? Thanks for all the discussion. There are certainly plenty of people on this board that know a lot more than I do, which is both a reassuring and daunting fact. Thanks again for all the advice!
  7. No offense taken. That's a major problem these days, though, isn't it? Which is why we see a market glutted with the same-looking animations. Everyone has seen that tutorial, or bought that plug-in. I get what you're saying. I guess my question was based merely out of curiosity. Trust me, if I was planning on copy-cating Buck here, not only would I want to keep it on the dl, I'd also need to take a few dedicated years to do it. I might liken this to a magic trick. I'm wanting to know the how little bit of trickery worked, the palming that made the coin disappear. The bravado and panache it'd take to actually pull the trick off and elevate it to a performance is 1) not teachable, and 2) un-immitatable.
  8. Thanks for that breakdown; I hadn't noticed that before. Ah, ambiguity. My mistake. I guess what I meant by "something" was the basic building-block of the piece: the color-swatches that build the environment. You're right, the framing, composition, color are all top-netch, both technically exquisite and clever. And all that takes hundreds of hours of dedicated work and buckets of raw talent. That, in my belief, is something you can't really just teach or transfer. You need experience. Which, to be very honest, I don't have. So, my question, was really a much simpler one. I am just curious how, from an rough animation standpoint, Buck created that paint-swatch environment. Certainly that piece goes well beyond the realm of Cloner Objects and SweepNURBs... Or perhaps there is a fundamental underestimation that I have for animating in Cinema4D. I'm pretty new to C4D (only a few months in) and when I look at that spot, I say to myself, "Self, there is no way you could do that. At least not with the knowledge you have now." So where do I go now?
  9. Every day I am completely shocked and amazed by the work that top-notch mograph artists are churning out these days, but every now and then I just need to pick my jaw up off the floor. http://www.buck.tv/library/bees/bees Not only the technical expertise that this spot would require, but also the creativity that just flows out... I'm just stunned. I wouldn't even know how to begin to achieve this type of effect, let alone polish it to that extent. But... just for an early-week challenge, would anyone know how to do something comparable in Cinema?
  10. It is a pretty easy thing to achieve. First, draw your spline. Then right-click your camera in the object menu, then go to Cinema4D tags, and add an "Align to Spline" tag to your camera. Then merely drag your camera spline into the object field in the attribute manager, and you're good as gold. You can then keyframe the camera's position along the spline! Also, it's handy to note you can add an Align to Spline tag to any object. So, if you wanted your camera nested in a null, just apply that tag to your null object and you can have the entire Null Object/Camera travel along the spline.
  11. So I have this series of pieces of glossy text that I really like and a complex camera animation around them. Simple, but with GI turned on, it looks good. Now, I want to see in the text a reflection of some footage (a person in front of a green screen; I already have him keyed out and it looks great) Your opinion: would it be easier to position the video C4D so that you can always see the footage reflected in the text, or somehow do it in AE? And, if the latter, how would one do this? The tricky part is that I want to see the same footage as I move from one peice of text to the other... I'm still trying to tack down the transition from Cinema to After Effects. I get how to export the .aec and all that, but outside of understanding exporting basic object buffers, I have no idea what to do with all the other multipass options once I get into AE. Or maybe this would all just be easier to do in Cinema? Any thoughts?
  12. Point taken. The sweeps are the real bread and butter of that animation, and I guess the look's of those is what I'm after. Whatever materials/methodology they used, it works.
  13. Saw this linked on Motionworks last week... This fellow made a plug-in to create a similar, pixellation effect. Hate throwing around links too much, but this seemed relevant (and cool.)
  14. I totally did that on the first few projects I did in Cinema. "15 minute to render one frame? Gee, that seems really long. But hey, that's 3D for you..." I thought to myself. Foolish me. I didn't catch on to the blurriness thing until a few very long weeks later.
  15. Wow, thanks for the fast responses! Trying the Water Shader/Inner Glow now. Didn't even realize C4D had these tools. Thanks!
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