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Everything posted by iMACHINE

  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.
  15. No Problem. Let me know how it goes...and PM me for my contact info if you ever need more of this kind of help.
  16. Create a new camera and set position and rotation transforms to zero. Create a plane and set its X and Y values to the dimensions of the video (such as 1920cm X 1080cm) Set the plane's orientation parameter to +Z Make the plane a child of your camera and then use the reset PSR so that the plane's center is the same as the camera's center (may not be necessary). Set the plane's relative Z position to 1920 and leave it as a child of the camera OR Unparent the plane, Set the Camera's Z position to -1920 and then contains the plane to the camera with tags. To keep it simple I'd just keep the plane as a child of the camera. Next, you can take it a step further and rig the plane to scale based on distance from the camera. Here's a link to a sample setup - Keep the camera focal length and sensor size at the same values the same or it'll break - more xPresso required but this should get you started I think... Select the plane and move it along the Z axis to see. https://www.dropbox.com/s/w0fm9fx7muq4jru/Camera%20with%20Plane%20Attached.c4d?dl=0
  17. using the set Matte effect: Go into the preComp where the matte object is nested, twirl open Transform and option/alt click on Position, then add this expression to it and change the values within quotes: (((comp("Comp 1").layer("Deep Red Solid 1").transform.position)-(transform.position))*(-1))+(transform.position) The above looks to the comp containing the layer you want to animate and takes its current position and subtracts the matte's current position from it, inverts the value and adds the result back to the matte's current position....it makes the matte move exactly the opposite direction of the layer you are animating. It may help if your preComp is larger than the main comp but you will need to add some math to the expression above to make it work.
  18. Your splines are all segmented because not all the points on the mesh are connected (two points occupying same 3d space). To see what I mean, turn off the loft, select the first spline and go into points mode. Each spline segment has a gradation from start to end point. You will see many but there should only be one that begins and ends at the same point. You may already know this (basic stuff) but here it is for the sake of completeness (which a lot of replies are completely lacking): Optimize the mesh first, then select and edge loop and then use Mesh > Commands... > Edge to Spline You will also want to make sure your splines all start at the same vertical edge and all point sequences are in the same direction to keep things clean. To set the first point do this: Select a spline, go to points mode, select a single point and right-click > Set first point. To make sure all spline point sequences are moving in the same direction (such as point B is to the right of point A and point C is to the right of point B ): Select all splines and make sure the gradients are moving in the same direction (I have a custom color scheme but I believe the defaults are blue to white). To change the direction of a spline, select it, change to points mode and right click > reverse sequence.
  19. Try adding an adjustment layer to clamp out based on luminance so anything that is not full brightness will be crunched down to 0. Another option is to just use a luma key on the layer to knock at everything below a certain value. I'm guessing at this as I can see what you're working with.
  20. cool. I see what you mean. Try it with the shader effector in place of the time effector. DL the file below and replace the version in the zip https://www.dropbox.com/s/5qp9stux33ebasz/Animted-tex-offset-example.c4d?dl=0
  21. You CAN do this with the mograph multi shader in the texture field and a time (or other) effector as a child of your plane effector. Use the plane effector just for scale, translate, rotate and use the time just for color (set color mode to: user defined, color: black, use alpha/strength: ticked). You may have to invert the time effector's falloff. Set the Cloner > Transform > Color to: white In the material, set your color or luminance texture to MoGraph > Multi Shader and select "Add from Folder" and point to folder containing an image sequence. Be careful with this and save versions before and after. Download the sample project file I created here: https://www.dropbox.com/s/7qf1rbmfny2nlej/Animted-tex-time-offset-example.zip?dl=0 The texture used in this example is stock video that comes with C4D exported as tiff sequence.
  22. A much better tactic if pricing become the main point of interest is to briefly divert the conversation toward the scope of work. If you already have a clear understanding, then just rehash and make sure you and the client are on the same page. Lead that conversation. After you have reiterated everything that will be involved or what the client is expecting, then go back to the pricing. Explain that you believe your quote is fair and accurate for what is expected. If the client hasn't divulged a target budget, then now is the time to just ask. "What number are you trying to hit / stay under?" If they can't tell you then it's a stalemate. If they say something like "We want it as low as possible", then this is an opportunity for you to start trimming at the scope. Instead of simply adjusting your rate or providing a discount on top of a discount, reduce the amount of work. Ask the client what they can do without. If they can go down a bit on expectations then you should be willing to go down a little bit on pricing to meet in the middle. A good negotiation is when all parties feel like they are losing a little on something!
  23. I've read stories from and know some people who bid low because they don't feel 'qualified' to charge higher rates but I think a lot of freelance people think about their rates the wrong way. Your rate, whether we're talking hourly, day rate or fixed bid is for a package that includes more than just you making money in exchange for working some hours and then putting that money in the bank to feed the family. You are a business. You should always think of yourself as a business and should absolutely form an LLC for your company of one. Your rate includes overhead costs, your personal fees that you take away from the job for the physical labor / time you spend on it that job, and profit margin. Even if you are employed full-time somewhere and have great benefits provided by that employer, when you freelance, you client doesn't know this and it shouldn't be any of their business. You don't need to justify why it costs what it costs. If the client is only interested in getting the work done as cheap as possible that is a huge red flag and you should move on. You aren't missing out on anything but you are taking yourself off the market and potentially passing up good opportunities. Think about when you buy a new retail product that is a little expensive but not an item you buy very often. Let's say I'm a client searching for a new vacuum cleaner. They come in all shapes and sizes and the price range is vast. I'm not an expert on vacuum cleaners. I know I want one that works great and won't choke on my dog's fur every minute. Because I don't know much about what's what, but I do know the max I'm willing to spend on a new vacuum, I'm going to go to the webbernet and see which brands / models get the best reviews. I'm also going to ask my trusted friends for recommendations. I'm also going to compare various models side-by-side to see which has the features closest to what I want. Am I the client you want to sell your vacuum to or that guy over there that came in in and said: "just give me the cheapest one you've got. If I don't like it after I've used it I'll bring it back and demand a full refund."?? My point is: You provide a valuable service and people want it. If you're talented and easy to work with, they will want YOU more than just the service you provide. How much should you charge? Don't care who you are or what level you think you're at - Nobody in freelance who is running their own business should be charging less that $500 a day - period. This is for any type of work. If you're freelance, you made a choice to do things your way and this is a career move, not "can't find a job so..." move. That's $500 day to cover your pay to yourself for the hourly work while working on a specific project, covering your non-productive time which is a part of any business, covering your overhead expenses such as software licenses, renewals, upgrades, computers, printers, ink, paper, fees for training services, dental plan, health plan, vision plan, marketing (identity, website, video hosting, memberships, time writing emails and replying to job ads, etc.), office space, furniture, electricity, and the list goes on. These are all costs of doing business and most of us are in a line of work that is shifting more and more and more to a freelance base. Price all this stuff out over a year and divide by the number of weeks YOU want to work in a year and then number of days per week YOU want to work and subtract that from $500. If the result looks good to you and you are able to sustain steady work day to day throughout an entire year then go with it. Even the best out there can go over a month without paid work so that isn't a realistic number. Looking for work and uping your game is still work and part of the package. The clients should pay for it indirectly. It's not a per-project line item, but it is built into the hourly / day fee since your fee covers non-productive time. Larger studios may have a handful of permanent employees but from what I've seen, it's very talented senior levels or partners and entry level workers and they pull in really talented freelancers per project needs. It's the smart thing to do. One more thing: trash your hourly rates if you've got 'em and just charge a day rate - everything takes at least a day and you DON'T want to overbook so pace everything based on a day rate. I charge a day rate and keep track of time in half days (3 to 5 hours) and full days (6 to 10) productive hours. If the number of days until deadline is greater than quoted days of work, then I may mix in other work. It makes the math easy, you do the work you say you're going to do and meet the deadlines. Working a half-day on one project and then giving it some time to breath is a good idea. Creativity takes time.
  24. The FITC Tokyo titles video has a nice pace / rhythm to it. The ripoff feels too busy / crammed. Makes me uneasy, especially the first sample on that page. Think I saw a plugin on AEscripts.com or somewhere that helps with making this sort of nonsense. I once has a prospective client that wanted to make an exact clone of a video. The video was for a service in the same market as the client. The money would have been decent but wasn't enough to compensate for the extra boredom I'd feel while blatantly ripping off someone else work. I turned down the project. The irony is that I found out months later that the video they wanted to rip off was a rip off of another video!
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