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Everything posted by ChrisC

  1. Quite often full timer staffers start off as freelancers that do the job well. Can't hurt to try! Sign up here if you like: http://www.c4dfreelancers.com/
  2. Modo does the job for me, quick and straightforward with a nice distortion view. A bit of an overkill if it's just UVing you need it for though. I've always hated the mapping in C4D - the split between UV and model polys makes no sense at all - it kills the workflow to have two separate sets of tools to work with polys in the different spaces - UV/3D.
  3. Hi - anyone tried this yet? http://aescripts.com/layer-groups/ Looks like a step up from GM Fold Layers, which I've been using on most projects since the glorious day it was made. Is it from the same developers, or a collaboration? Looks similar workflow, adding special characters to nulls etc - a bit more fiddly than the simplicity of GM's version but more powerful too. I'll give it a test drive soon, but was wondering if anyone had already had any experience. Cheers - C
  4. There's some interesting points in this one, some pure marketing comedy too. I like the bit where the guy gets all 'frank', and says how they got left behind when HTML5 came out because the CS cycle was too slow... neglecting to mention that Adobe were 'frankly' ramming Flash into everything and anything they could in an effort to displace HTML5. But the good stuff, and where I actually go along with this, is when he mentions smaller, focussed micro-apps, rather than monster do-it-all bloat apps. I've been getting into a ton of 3D utility apps, starting with modo but then topogun, sculpting apps etc and the agility and focus this gives me is definitely helping. Having that granular approach in 'CC' (*nice initials* ;-) is interesting, especially if they're rolled out as included in the bundle. The funny ending though is where he says how all the 'cranky customers' got twisted up about how CreativeSuites were bundled, but now 'we all love it' and the added value they give. Ummm... sure about that are we?
  5. We've got one here, bought in as an experiment really. Cheaper than a MacPro, and beefier - but I wouldn't want to rely on it as a workstation, we use if for straight rendering but it's flaky, and under performs for its spec.
  6. The 800 x 600 limit is what you can render out of C4DLite application - but bring the project into an AE comp and you can render whatever size you like.
  7. Been having some luck recently by sticking a 'contingency' amount at the end of every quote to cover unforeseen problems. That way I can keep the quotes looking realistic, and actually reward the good clients who follow approval process well, and for the ones that don't I've got a pre-agreed sum I can stick on top. Another benefit of this is that the client gets made fully aware of when they've gone over their allotted time - so the next day when they come snivelling back saying that they now decided that it they've changed their logo or whatever, I can be straight and point out that they've already run over their time, and it gives me the option to push for extra if they've really been remiss. A little bit of carrot, a nice wallop of stick
  8. There's a stray space in your link: https://vimeo.com/57471320 As for the project - goes to show that arch viz isn't as easy as it looks ;-) What sort of animation are you looking to get into?
  9. I love winning, even if it is for the most predictable forum member competition. Wait - what's that? A lifetime subscription to creative cloud? Aw, you guys!
  10. Hate to tell you this, but looks like you forgot to add timeline folders in that feature list! Don't worry, sure they're included, and if you sneak them in now I won't tell
  11. Adobe CEO Desperately Tries to Avoid Answering a Simple Question:
  12. I use it - but I make sure to restart my Mac before doing any long renders with it. 32Gb RAM, on a MacPro. I've spotted the same behaviour jsolterbeck mentioned - AE will gradually run out of RAM and grind to a dismal halt if AE has been used for any length of time before export. A clean restart always seems to speed up AE's rendering. Also I've started rendering out of AE as frames, rather than big QT files - this seems to help keep render times consistent through the length of the comp. Then use QTPro to export the versions needed.
  13. Hey Ryan - trouble is I think if that you're controlling the particle on every frame, by sticking it onto the clone, then it's not having a chance to collide with anything - it's one side of the surface on one frame, and the other side on the next frame, but has no 'knowledge' that it collided with anything; it's just doing what it's told. Instead of starting with particles to check for collisions, have a look at the Dynamics Collision node - should do what you're after.
  14. I'd probably use both behaviours you describe, they solve slightly different problems. Why not do one now, and the other when you can? It's like sitting in a café starving because the cakes are all better next door. You could probably milk this for two CS releases by adding the feature in one and improving it as you suggest in the next one. Zorro's fine but requires a bit too much management from the user for me. GM Foldlayers however has gone from nothing to now being used in 100% of my projects, it's invaluable in keeping complicated comps clean and readable. Everyone I show it to immediately runs to the site to download it. For the rest, I'd probably go with kitkats suggestion of 3D navigation as my biggest hangup, along with the cumbersome and troublesome multi-processor option, which has eaten weeks of my working life. The fcurve editor gives me eye twitches. The final gripe is how difficult it is to 'read' a complicated project, so if nodes are too tricky for a teeny weeny company like Adobe then something else that shows inter-related items on a timeline - perhaps just a bit more info in the matte tab might be a good start? (colours are just to show what's going on)
  15. Tracking looks solid enough, but the compositing has let you down. The first shot is pretty nice with the long raking shadow, and the mini-detail looks tasty. On the second shot it's a bit shaky where the coins seem to bounce about off thin air then suddenly disappear... but the last shot needs work - the reflection of 'MORE' looks lazy, it needs to break over the edge of the phone - and the text seems ghosted on to begin with? Maybe it's deliberate but it looks like a mistake. In other news, Syntheyes is one of those apps that once you've got it you wonder how the hell you survived without it. You'll get your money's worth, never fear!
  16. Great info. For anyone struggling with SimpleDEM viewer, use v3.95 - the newer 4.1 doesn't want to read the geotiff files. Thanks for posting! C
  17. Setting all cloners to 'Render Instance' can really help viewport speed, assuming your scene allows it.
  18. I like this news. modo is a tasty product, losing its instability, gaining some useful features. A bit quirky, materials are a drag, but it's solid enough. The two seem very compatible, in all ways... except pricing. They mention that modo won't be rocketing upwards, I wonder if the Luxology influence will drag Nuke a little further into our reach; I've been nibbling around the edges of Nuke for a while now - basically every time Adobe fail so desperately in their AE releases - so it would be great if the price became a little more manageable for freelancers/small studios. I've been thinking about how motion graphics is having a bit of a schoolgirl crush on VFX, the tools are virtually the same and I'm doing more and more work on live footage.
  19. Or Paul's grunge shader maybe: http://www.tools4d.com/?p=1644
  20. Yeah storage is probably the main bottleneck, I'm running an ol' fashioned HD Raid. I can hear it whirring now. So quaint. A certain Mr gmunk has been raving about this one recently, I guess it's the same sort of thing. Thanks for the info!
  21. That's a great read, thanks for the link. Curious if there are there any advantages of using the ProEXR plugin, over AE's one, if you're not using layered EXRs? Also wonder if layered EXRs will reduce the delay in AE's timeline, if there are a bunch of passes wrapped up in one file... it sounds like it might. Will investigate...
  22. While we're here... so which is best? I understand the first 5 are lossless, and the rest are (a bit) lossy - but any preference as to which are the best to work with in terms of decompression, quality & size? I've been using EXR in AfterEffects of course, and the grading lattitude is great, but there's an immediate penalty in scrubbing speed. The manual is funny: "Which compression method is best for your particular purpose should be ascertained by conducting tests to determine the most acceptable correlation between quality, file size and speed of editing." ie you work it out, we're too busy ;-)
  23. Sounds like GMFoldLayers to me - destined for greatness methinks.
  24. It works. It rules. Only drawback - it hijacks your shy settings, which is how it does what it does. So if you have projects where you use a lot of shy options to view the comps, these will be overwritten. Small sacrifice though for something which can make projects so clean so quickly.
  25. The first stage, for me, is trying to get a proper handle on what the problem is. What _exactly_ am I fishing around for? It's often something rather nebulous; an atomsphere, a feeling, an emotion. But it could just as easily be something fully concrete. I'll use the Nike example, you're looking for a type treatment to accompany how a particular trainer material works. The next step is to wallow in the problem, I roll around in it like a hippo in mud. Saturate my brain with it, until you can't look at a cloud in the sky without it turning into that damned trainer. Methods for this vary depend, but are loose and uncensored. They never start by sitting at a computer. Blinky's research is definitely a key part. Sketching's great as it activates the brain in all sorts of subtle ways, you see patterns in scribble, you can make mistakes which turn out to point in the right direction. Sometimes I make a target, like a bullseye, and write words around the periphery until one hits the centre, the perfect word or phrase that encapsulates the whole. Sometimes that's enough - a problem well defined can provide its own solution. But, more often, nothing has jumped out - so I go off and do something else totally unrelated, preferably something that is a bit repetitive, and not itself mentally straining. Take a walk, run some errands, clean the office, shave that stubble that's turning into an actual beard. And more often than not, without any particular extra effort or will power, something will make itself visible that fits the problem exactly. It's like the brain has it's own sub-processes that carry on the work while you get on with the other thing, and when they're done they dutifully bring you the answer on a tray and set it out waiting for you to look at what it's done. Maybe at first, like an over-eager intern, it comes up with something totally unpractical, and I have to send it back to do the work again, but once the process starts it always seems to grind out something useful in the end. The execution part is the next tricky part of course, that's where the hours sat in front of a computer play their part. For this, I'd recommend running dozens of little tests in your own time, not worry about portfolio pieces or anything like that but little motion tests to see what clicks. I've come to motion graphics via print design and understand the hurdles you have to clear - timing really makes or kills a piece, and it's hard, harder than learning how to use a font properly or colour theory or any of that stuff. People with musical backgrounds seem to make excellent animators, the rhythm that pulls an animation together is something I always have to force rather than it coming naturally - I often use 'invisible' soundtracks to time out an animation - a bit of music that has the right feel & pace, and animate to that even though it's never going to be heard at the end. Whatever works for you, but you need a good bag of tricks I think to guide you into and through a piece of work, and that's only going to happen through fairly endless experimentation...
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