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  1. The cubes in the first cloner are set to rotate infinitely at 90 degrees per second (90 degrees per 25 frames) and then the weight of each clone is randomized. The cubes of the second cloner are inheriting the animation of the cubes of the same index in the first cloner. When you key the inheritance strength from 0% to 100% over 80 frames, the cubes of that second cloner are static and then over 80 frames they are catching up to match the current rotation of the cubes in the first cloner but after the time effector's offset cycle renews (every 25 frames) it seems to get confused and each clone resets to zero and catches up again until reaching 100% at frame 80. The best way I can think of to fix this while retaining your current timing for the keyframes on inheritance strength is to make everything line up on a frame at the start of a second. Since your project is at 25fps, this would be 25 50 or 75. The popping is most noticeable around frame 50. (removing the random effector reveals that it is at frame 50). I'm using C4D r19 and have linked to the file below. Here's a breakdown of the values I changed to get it to work: Inheritance Effector: change the time of the 2nd key frame to frame 50 and adjust the easing or make the key linear. Time Effector: Set the Strength to 160% and set the rotation to 56.25 degrees per second. (this stills produces a rotation of 90 degrees per second but allows you to put the end key of the inheritance effector on frame 50 instead of frame 80). The math used is 50/80 = 0.625 --> 90 * .625 = 56.25 --> 160% or 1.6 * 56.25 = 90) Alternatively you could just skip all the math above and simply set the end key on frame 50 instead of 80. https://www.dropbox.com/s/ea9oypyj512lruc/cloner_inherit_problem.c4d?dl=0


    I'm not 100% sure what you are referring to without seeing the scene but if it's because the perspective camera has moved then in the viewport itself > viewport menu > View > Frame All should do that. If you have a camera in the scene, make sure that camera is active and that the perspective viewport is set to "Use as Render View" (located in that same menu) In the render settings dialogue, under "output", make sure "render region" is turned off. There are a number of other possibilities but it's hard to tell from your description. If the camera focal length has been changed then: If this is a camera object then selected in the object manager > goto the attribute manager > object tab > adjust the focal length if it's the default perspective camera: with nothing selected goto the attribute manager and change the mode to "camera" > object tab > adjust the focal length You can also use the command "Camera Zoom Out" - I'm not sure of a default shortcut for this one but you can access it from commander (Shift + C) or find it in the Customize Commands dialogue.
  3. I actually stopped the video right before the button press at the end in the first version. I like it...works great for the ending. Overall, with just a few changes it's much better. Good luck with the interview!
  4. Lots of nice logo animation but maybe cut out some of the simpler ones and remove all the time-lapse software demos. Put the XTerra bit with the bicycle and jogger closer to the start followed by 1st Exam Service followed by Naish. The music works for me starting at :43 but personally I like to see everything cut to a beat and the music intro feels like it doesn't match up with the motion. It's a great looking reel and works 'as is' but you asked for a crit and these are the things I'd do to it.
  5. Buy yourself one of these and take it with you! http://www.ergotron.com/en-us/products/stand-up-desks/desk-conversions


    You can create splines for each loop of the threads and then sweep along the splines. Add in the Reeper 2 plugin for the render version. Create one spline that covers a single stitch on the front, then duplicate and offset a little and adjust points. Do that over and over or build polygon meshes with edges that match up with the pattern then with those edges selected you can convert them to splines. If you want the splines to start loose and tighten up against the surface as they are threaded through then use deformers, point level animation, or drive the points with nulls and some xPresso. I'd be happy to help out with the project if you need it. I can do all the necessary rigging or just consult to get you started.
  7. Hi Joey I'd try object tracking the individual markers to get a set of nulls and then create a series of splines whose points are linked to the nulls using xpresso. Then after the spline points are animated, use the loft nurbs and stick the texture to it. With the amount of blur and obscured points this may be difficult to do and become a manual process, however. You may also consider planar tracking with mocha to get corner pins for the page corners, then just using a warp mesh in your favorite compositing app to fake the bending frame by frame.
  8. I haven't seen this before but might be a cool before and after transition from concept art to the screen graphics: Display some concept art first that matches up with available gameplay or mobile screen graphics. The concept art displays full screen with maybe some ken burns. Have a mobile device animate in on top of the concept art (leaving concept art in place) and where the actual screen on the mobile device is: create a slight magnify effect showing the same concept art that is below the mobile device but pixelated. Blur the concept art in the background. The slightly magnified version of the same concept artwork that is now pixelated dissolves into the actual screen capture of gameplay or other final mobile graphics. Transition out by grabbing an element from the mobile screen and having it pop out of the screen, mobile device wipes away, then morph into another element for the next sample. ...a little deep handed but may be fun to setup.
  9. On the Emitter add the Question: Particle Age In the particle age node set the mode to "Is greater than" and then play with the value for "Age" below it. Create a new Action also: Object Actions > Change Trails In that action node under the "Per-particle Effects" section, turn on "Shrink trails" Select the Particle Age question node and drag the Change Trails action node into the actions list If this doesn't make sense, send me your file (PM or post a link here) and I can send back a simplified version of your setup setup with the above added.
  10. You can PM a link to the scene file and I'll take a look. Are the leaves all individual polygon objects or combined into a single polygon object?
  11. ...since you are changing from summer to winter the same technique will work for changing the colors of the leaves over time. Use a new Shader effector for this and instead of working with the material's alpha just apply the mograph color shader to the texture of the color channel or in reflectance. Then in the new shader effector > Shading tab > Shader -- set to noise but change the Color 1 and Color 2 values of the noise to something like green to red. If a bitmap already occupies the texture field of the material's color channel then turn it into a layer shader and stack the mograph color shader on top of the bitmap texture with the mix mode set to add or multiply (depending on luminance). Sample: https://www.dropbox.com/s/8e3fr4qudi6qfx2/Mograph-Random_Offset_Color_Animation-v1.c4d?dl=0
  12. Okay. This is still possible and in fewer steps: Create a MoGraph Fracture object and set the Color parameter on the transform tab to pure black. Set the fracture mode on the Object tab to "Explode Segments & Connect". Make the Leaves (assuming a single mesh object for all leaves) a child of the MoGraph Fracture. For all leaf materials turn on the Alpha channel and set the texture to Mograph > Color Shader. Use that same Shader Effector as above and drop it in the Effectors tab of the MoGraph Fracture object. **If the leaves are all individual polygon objects it's best to combine them into one mesh to increase performance. Select all of them and in the viewport > right-click > Connect Objects + Delete or from the object manager > Objects menu > Connect Objects + Delete Go to sleep happy. Here's a new scene: https://www.dropbox.com/s/nwmk2bjbpxbjw3c/Mograph-Random_Offset_Transparency_Animation-v2.c4d?dl=0
  13. There are several ways to do this. One way that comes to mind is by using a shader effector with noise and high contrast: In the mograph cloner, on the transform tab, set the color value to pure black. With the cloner still selected create a new Shader effector. Turn off "Scale" on the Parameter tab of the Shader effector. Color should already be set to "On" In the Shader effector go to the Shading tab and select Noise as the shader type then click on the "Noise" button to edit it's parameters. You'll need to play with the noise scale and noise type to suit your needs but first I'd increase the contrast to around 75 percent so it's not so soft...this may not matter. Now go to your material for the leaves, turn on Alpha channel and set the texture shader to MoGraph > Color Shader. To make the transition occur, go back to the Noise shader within the Shader effector and pull down the brightness level to just where the last leaf disappears and key the brightness. Then on an earlier / later frame pull the brightness level up until the last set of leaves fully appear and key again. Then right-click on the brightness parameter and select Animation > Show F-Curve. Select a key and change to linear interpolation. Let me know how it goes. Here's a little sample scene (press play): https://www.dropbox.com/s/695fjbzh1lrf9an/Mograph-Random_Offset_Transparency_Animation-v1.c4d?dl=0
  14. Cool, I'm glad it helped. I figured you'd need to tweak some values to fit your project settings as this was thrown together blindly. I am working on setting up a slightly more advanced rig that will simply take your render settings and the camera settings and apply those dimensions directly to the plane object and do some other fun stuff with it. This example was done in reverse just to flesh it out.
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