View Full Version : General Tips and Tricks

07-05-2002, 03:59 PM
Did you know that you can use the Bridge tool to reduce polygons?

Simply select two rows of polygons (or more) in the polygon mode and with the Bridge tool connect two outer points (they doesn't have to be in one line). See picture.


Disadvantage: it only works with closed rows.


07-05-2002, 04:03 PM
Looks like a clean mesh already. But why not take it one step further. These things can be under your eyes without seeing it.



07-06-2002, 04:04 PM
Here is what to do if the rows don't loop.


pic 1) shows the rows you want to turn into one
pic 2) Turn to the point mode and connect the front and back polygons
pic 3) Back in the Polygon mode select the new created Polygons as well.
pic 4) Connect a top and bottom point with the Bridge tool.
pic 5/6) Selet the "new" polygon and delete it.

That's it.

07-06-2002, 04:34 PM
Currently, there is no way to import NURBS from another platform into Cinema4D, a drawback for CAD users who also use Cinema.

However, there is a work around which allows 3D Data to be manageably imported without creatting a mesh.

Select your NURBS patch or Curves and Convert Loft Curves or Edge and Isoparms into Polylines and export to DXF R12. (do not use DXF R13, Cinema4DXL6.3-7 can't read it).

These can then be imported into Cinema4D and used as loft curves.

The attatched Zip contains a DXF and C4D file with examples.

07-11-2002, 03:03 AM
Great tip bunk!

On a simular note to the bridge trick - you can use the stitch and sew on single tris and quads to colapse them. S&S plus triangulate, swap diagnals, untriangulate, and flatten are my most used tools for optimization.

When you get a mess of points (often from modeling in a single perspective :insane:) The plug iron can often sort them out.

The free hand selection tool + "grow selection, create selection and add to selection" + the magnet = very handy :thumbsup:


For plugs try: http://homepage2.nifty.com/aquawave/index.html and http://ambre.soladida.net/plugins.html and of course the plugin cafe!

07-11-2002, 05:24 AM
sorry this is all the time i have to add anything, but Bunk's image made me think of this, for more control over Xray looks on objects simply add a simple material with transperency on and perhaps a colour to get an far more managable and easier interface to use.

07-16-2002, 10:44 PM
to chamfer almost anyobject simply select the area needed to be chamfered, select the smooth shift tool (RMB in polygon mode) and in the active tool set both settings between 1 and five, instant chamfer :)

A manual way of making things if the shape is simple is to copy it reverse normals and scale it down. then simply drop it in as a child of the original and connect. You now have a solid object.

If there are many points you need to weld and they are all relatively close to the other point the will weld with you can try optimising you model rather than weldign one by one or using Stitch and Sew.

Hope that helps for now I will add more later when I have time to think

I'll try to get some with Pics when I have a chance. Not nearly as Professional as BUNK :shrug:

08-26-2002, 07:11 AM
When using Render tags to exclude objects or groups from a scene be aware that any "Solid Spline" objects will still render. Either remove the SSpline tag or set the thickness to 0......

09-02-2002, 04:47 AM
if Cinema is having difficulty recongnizing a WavefrontOBJ it may be because the OBJ was written by Max or Lightwave, which don't do it very well.

Download http://www.uvmapper.com UVMapper

Open the OBJ file you having problems with in UVMapper and save the file again.

Open the UVMapper processed OBJ in Cinema4D. UVMapper should have corrected any issues.

This also works for BodyPaint

09-18-2002, 08:31 PM
I copied and pasted this here so that people can always have access to it (this thread being sticky an all)

This is simply an explanation of the SLA shader Buffy, seeing as so many people keep asking the same question, i.e. "What is Buffy?".

A very simple explanation is that Buffy is a two sided shader, on the front side it's white, on the back it's black. Ok so what does that mean in real world terms? Ok the simplest way of explaining this is to do a couple of examples.

Example (a)
Firstly add a plane object. Now make a new material. In the Colour channel add BhodiNUT Buffy. Apply this to the plane. Now do a couple of renders. One from the front of the plane, and the other from the back. Ok so now you see what's going on with this apparently simple shader. On the front it renders white... no the back render it's black.

Ok so that shows clearly that the shader shades one side white and the other black... but what happens with a more complex shape? Would a sphere be half black and half white? The answer is no. As far as C4D is concerned there is no front and back to any object, the only things with fronts and backs are Polygons.

Ok so to demonstrate this, and to show what would happen if you were to use Buffy on a more complex object here's the second excercise.

Example (b)
Create a new scene. Add a sphere object and add a sky object. Create a new material and in the Luminosity channel use BhodiNUT Buffy, then activate the alpha channel and use BhodiNUT Tiles. Change the tile settings to Lines 1 change the colours to be Black and White, and remove any Grout or Bevel (bring them down to 0%). Apply this to your sphere.Now render. You will see that the bits of the sphere that you can see through the lines are black, while the front is white.

Next make the sphere editable, and go to Structure->Reverse Normals. This will flip the polygons in the sphere. Re-render.

So what has this demonstrated? The fact that Buffy is linked to the way that the polygons face.

This is all... what next? That's all very nice and what have you, but why Buffy? What practical use is it?

Buffy is good for a number of things, but the most obvious one is creating solid looking transparent objects.

Why is this? Well the most obvious thing is to look at something glass... if you have a nice blob of the stuff then that's even better. something like a crystal ball is ideal for this. But if you look at that then you will notice that if it's perfectly clear without any real grub on it (i.e. dust) that there's no Specular Highlight on the interior of the object, only on the front side. If you see a specular highlight through the object then either clean it or try to make sure that there's nothing near the other side where the specular highlight appears. You should find that the only highlight on your object is on the front... getting an idea now?

Example (c)
Taking the last scene, map any texture you want onto the sky, and then for the sphere reverse the normals back to what they were, then adjust the Material as follows:

Switch off the Colour and Luminosity channels, switch on Transparency and set the Index of Refraction to be around 1.6, this is a moderate to heavy glass (for a complete lookup table of index of refractions check here (http://hyperphysics.phy-astr.gsu.edu/hbase/tables/indrf.html)) Tick fresnel. Go to the Specularity tab, and bring the specularity brightness right up to around 150% (we're not creating a realistic glass here, just something for an example). Make sure that only transparency and the specular colour are on.

Next to show the specular highlight add a simple Omni Light and move it to a position where you will be able to see the specular highlight clearly, and render.

Ok so now you're seeing that this looks like either a very dusty peice of heavy plastic, or a bubble. So you can guess what's going to happen next right?

Go back into the material for the glass/plastic, and switch the Specular Colour channel on, in this channel apply BhodiNUT Buffy. Now re-render the same scene.

So suddenly it looks solid right? Well at least a little more solid than it did. So what's going on here? Where the specular colour is black of course it doesn't render as a black specular channel, a specular highlight with a black specular colour simply doesn't render, because specular highlights are addative. So then by putting Buffy in the specular colour channel you're able to make the material only specualr on the outside (or if you were to reverse the normals only on the inside). You can also apply this to the colour channel if you want to have some dustyness on your sphere (but don't forget to tick additive in the Transparency channel).

Buffy and other textures

So this is all well and good but just black and white are a little limited. What about other materials... or even textures?

Buffy will help you here, but you will also need to use fusion. Make a fusion channel and put Buffy in the alpha of the fusion, then simply put the texture/colour you want for the front in the top channel, and the texture for the rear in the bottom channel of the fusion. You should now find that you have the level of control you had before only you're now dealing with two textures, the front and the back texture. This doesn't have to be purely for transparent materials. What about making a playing card in one texture front and back. Place the front image map into the top of the fusion and the back image into the bottom of the fusion... problem solved.

With careful thought buffy gives you two textures applied to one surface with one texture tag.

I hope that this clears things up for people and that now you will all have some idea about what Buffy is, and it's uses.

09-19-2002, 03:52 AM
Sometimes in Shave & Haircut you make something and want to add hair to it which utilises the Splay parameter, but when you do the render the hairs are all huge single polys and lying randomly but parrallel to the faces... so how do you overcome this (as it's not mentioned in the manual as far as I can see)? Subdivide the poly shape.

So what's going on in the first place? As far as I can tell it's when Shave tries to average out the vertices using the hair guides when there is too great an angle difference between the hairguides (which are placed on each and every point)... too high an angle is 90 degrees. Of course this is just my summation, so i could be completely wrong... but all i do know is that if you smooth off those faces with sharp edges the problem tends to resolve itself.

09-19-2002, 01:48 PM

10-02-2002, 05:35 PM
Bunk's really busy, but I thought this one should be up here as it is such a simple but briiliant little trick he told me a few days ago. So all credit goes to him.

In bodypaint one unfortunate problem is that there is no realtime feedback for painting alphas on the model. This can be a pian as you want the best representation of how your alpha channel is clipping. the workaround. simply paint inside a transperency channel and then move the texture to the alpha channel when finished. Transperency does have realtime feedback, and its pretty rare that you use a texture map on transperency outside of fresnels and other procedurals, so why not?

I will start doing a tip/trick for R8 asap, just waiting for the word on high as to what we can say and how rick wants to run things n the forum here. I thnk R8 tips and trick in a different thread would make sense.

10-02-2002, 06:15 PM
wow he got this up faster than I expected ;)

Uhm lets see, I am making a few but for my own sanity I thnk I'll aim at one a day, maybe. These are just little things many of the testers found that are handy tidbits to make life easier and such. Lets be honest no program is perfect, and sometimes things don't work the way we hoped, so hopefully some handy workarounds show up here too.

Here is the first Trick:

One festure that has been discussed quite a bit before, especially with recent releases of final render and Brazil, is a rendering feature called bucket rendering. what this does is allow the image to be rendered in smaller seperate tiles usually starting from the center and spiraling out. While typically not much if any bit faster than normal rendering, it allos the users to see result around the image quicker, as well as showing the center first which is typically the focus point of an image. Does R8 have it? As discussed before this feature did not make it into R8. However Maxon did ass some functionality to those with multiple processors, allowing them to control the number of render threads used. Advantage to this, Luckily users with a single processor can use it to, this wasn't intended but we take advantage of things like this right ;)

So how do we do this? In the prefences settings fisrt page (common), there is a new option at the bottom for render threads. The default is optimal whic recognises how many CPU's you have and sets it to the corresponding number of threads. Simply change it to however many threads you'd like to see, I am using four myself, but eight is pretty cool too. In the provided image I haveincluded a screencap of 1 and of 8.

10-02-2002, 07:11 PM
Guess I'm spoiling you guys a little, but I have been making a bunch of these for each day, and figured this one might be a handy one for those earlybirds to help clean up all these new windows.

I mean lets face it even in R7 its not too har dto crowd your interface with various windows and tabs and such, and now with R8 but 90 someting percent non modal, that means even more windows of course. So you have all your standard windows as well as this new Attributes manager, and expresso manager, The timeline and new F-curve window, not too mention the render settings is non madal and therefore dockable as well as the general preferences. Already your interface has way more windows than you know what to do with., and we haven't even included any of the modules stuff like Bodypaint which is another gui space hog. Well there is a new feature that wasn't really emphasized much called group windows. No this has nothing to do with grouping object any easier, we'll get into that later, this is basically another level of gui editing that maxon has included.

No you can have windows and palletes and tabs within tabs within tabs within tabs if you want. Thats a little crazier than I would recommend, but hers is a handy example. The new timeline and fcurve windows. They pretty much go hand in hand, and its also handy to have the veiw visible as well when modifying your fcurves too. problem is they take up a lot of room. In XL 7 those without a dual display would often find them selves constantly scaling the view and the timline back and fourth try to keep as much visible in each when possible. if they needed to work in the editor view and then work in the timeline this is a real hassle. now you can creae a group window which works pretty much like a pallette, except it also holds entire windows as well as icons. Drop your timeline and fcurve mangers into the group window, and maybe a small editor window for small previews, and then in another group window you could have a large editor window and your material editor or something.

Hopefully this image will make it clearer how this works.


10-02-2002, 09:57 PM
As advertised, selecting objects in the viewport is much easier in R8. The basic selection is now much more accurate, but there's a trick too.

Hold down the shift key and right click on an object in the viewport. You'll get a context menu with the name of each object under the mouse cursor. Repeat the process to multi-select.

If you want to remove an object from the selection, hold down cntrl / cmd when you right click. You'll get the same context menu, but this time the object will be de-selected.

This is great for selecting objects that are partially hidden by other objects in the viewport.

- Rick -

10-02-2002, 11:27 PM
you can also double right mouse click to get that little context menu as well:thumbsup:

10-03-2002, 05:37 PM
Take a trip to CINEMA 4D R8's new library. Within your application folder, you'll notice there's now a folder named "Library". The library stores commonly used layouts, objects, xgroups and xnodes and makes them accessible through the interface.

Any layouts in the Layout subfolder will appear in the quick layout palette right above the make editable button, as well as the layout submenu of the window menu.

You can include any scene files in the objects folder and they'll appear in the object library submenu under "Objects". This is really useful for standard objects or setups you use a lot - and already includes a couple of models by bunk and some Thinking Particles presets.

- Rick -

10-03-2002, 06:26 PM
Here is my first of two for the day, as they will be slightly related.

In thop right corner of your handy new Attributes manager (we'll call it the AM for short as we are all lazy typers who can't spell, right?) You'll notice two little icons.

The one on the right is a handy little feature that allows you to open another AM. YOu can have as many AM's as you desire. but why would you need more than one?

The one on the left is a lock, and is the main reason you need more than one, when you lock an AM, it holds whatever object was active at the time you locked it. If you have a hypernurbs object that you constanly chane the resolution of, you can lock it in and it will always be accesible no matter what is selected.

Because of this feature you will likely need another AM open that is unlocked, whichch will updte to whatever selection is currently active.

For a more indepth look at the AM lock, check out the R8 :: HOWTO about AM locks found here:

R8 :: HOWTO :: AM locks (http://www.cgtalk.com/showthread.php?s=&threadid=23283)

10-03-2002, 07:48 PM
The 2nd tip from me today deals with navigating within the AM itself. Not sure just waht information people got with the early bird so I thought this was an important one tomention as many especially newer users might now notice this functionality.

When working with an object in the am, its still somewhat annoying that you change the shadow parametrs, then you change the scene (exclusion lighting) then maybe the general settings, and you change each page of settings you keep clicking on those ittle tabs at the top. I mean sure its faste than befor, but it is annoying that you can't change the shadow and the colour of the light at the same time and such, or be able to change coordinates and brightness at the same time. well simply shift click or rightclick on any tab and you'll notice you can select more than one. If you select all of them its almost like workig max with its pain in the but scrooling method, but luckily you have the coice of what is open at once, and the ability to show and hide whatever parametrs all in on area rather than looking fo thhe wittle plaus sign bar that max has. Nice eh.

Heres another handy AM tidbit, under the modes menu in the AM there is a select modes option. this lets you restict what kind of parameters are accesible in a specific AM.

Heres an example of how I use this, I have a group window with my timeline F-curves, a small view port, and an AM window. I also havemy main interface AM on the bottom right of my gui. whenever I get into tweaking keys and f-curves I use this group window. Now in the AM included in that group window I only wnt to see parameters for the timeline and f-curves, thats why I put it there. so in the slect mode window i unchecked everything but those two. In my main interface AM i unchecked timeline and f-curves. now when I am dealing with f-cruves and the timeline I can always access an objects settings and its f-curve paramters at the same time.


10-03-2002, 09:09 PM
Many of you may have already figured out that another great use of the AM locks when combined with the user data fields is creating custom interfaces to your scene. Create a whole set of sliders on a null object that drive poses, targets for eyes, ffds for eye bulge, etc, and lock those into a separate AM. Now your character rig is always handy.

- Rick -

10-05-2002, 12:33 PM
simply shift click or rightclick on any tab and you'll notice you can select more than one.

I don't know if I missed it in your text, but if you have multiple tabs selected, it remembers the tab views for each object type you use (until you single select a tab in that object)!!

Fantastic!! :thumbsup:



H. Ikeda
10-05-2002, 02:24 PM
Since hair made with Shave and a Haircut (Shave, hereafter) is a post effect, it has disadvantages of no reflection and no refraction, because of no raytracing scheme in Shave. In the cases, you can use polygon hair in built-in manner. But polygon hair looks differently from post effect hair and possibly exhausts RAM (even virtual memory) of your machine.
In the reflection case, however, we can avoid this situation. Before detailed explanation, you can see a rendered result below, where Shave hair has been reflected in a mirror! This is possible even in animation (of hair, character, camera...:) :eek: ;) ).
Of course it might be a fake and you may be aware of its secret. Well, since I have no time now for explaining details, and for your thinking time, I'll post the answer in the next week.:hmm:

Thank you.

10-06-2002, 09:19 PM
Well we've already seen how much easier it is to select things in R8's editor, and extra functionality of multi selections, but thats still only part of it. Today will look at two little icons that have been added to the standard toolbar. These are fitlers, one for selections the other for display, and together they will help increase the speed of the editor and your editing.

The first icon has the selection arrom with a queston mark, and is the selection filter, with this you can basically control what can be selected and what can't according to the type of objet. Working on a bunch of deformers but have troubles not selecting the mesh, no problem click on the icon uncheck polygon and now you can't select any polygon objects in the editor. to make things a little faster you can select all in the filter and then deslect the one or two you don't want selectable, or select none and then check the ones you do want selectable.

The second is a little view icon with a question mark. this filters what is visible in the editor, no more having to hide all the particle within the scene one at a time, simply uncheck particles and they are all hidden.

10-06-2002, 10:06 PM
htought maybe we should have a look at the new object dispay features a little. I'll get into null objects on their own, this is more general based on how all other objects work in R8.

In the basic settings of all objects in R8 there are two great new features Colour and Xray. While we already have an xray option in the display settings, it may not function as many would expect, and often leave something to be desired. As well, many people like to organise things by colour when they are working and animating, especially bones, colour coding bones is really handy, and now super easy. no longer do you need to make transparent or coloured material just to organise your editor display, all objects provide the ability to control their colour, and all except line displayed objects (eg, splines, bend deformer) have the xray option. The abilities are quite smart too, for example bones know that when they are in a solid object they display a wireframe of themselves overtop of the model so you can see them clearly, but if the object is xray, the the bones are solid. best way to understand is to see it in action. also the colour can be be overwridden by textures, or can overide textures (but will not render that way. this allows you to texture objects but still see them in a clearer manner when animating.


H. Ikeda
10-07-2002, 12:58 PM
I'm sorry I was really busy. I thought I need some screenshots for explaining.:hmm: But now it's the next week since then, so I'll explain first without screenshots.
The mirror image is an attached texture, as you might think of it. The mirror is made of a transparent plate (no refraction) and a plane, which a texture is attached to. So the problem is how to make the texture consistent with the mirror image. For that, we need another camera that is at the symmetrical position with respect to the mirror plane. If you have a main camera (looking the mirror) within a room, the second camera should be outside the room, behind a wall. Of course the second camera should have the same property as the main. With hiding the mirror and making a big hole through the wall (using Boolean, or replaced with another object), we take a rendered image using the second camera. This is the texture we want (except that it's right side left), because rays from character will reach to the second camera if they were not reflected by the mirror. The texture is then attached to the mirror plane now visible. Its setting is camera mapping (Frontal) and reversing by the Mirror Horizontally command. Set a Render tag with Conpositing Background checked, beside the mirror plane in the Object manager. And let's render it with the main camera.
Symmetry object doesn't work for camera, but the second camera can be controlled by COFFEE expression (or, Blunt Trauma, XPresso) so as to be always at the symmetrical position. If the mirror plane is at the world origin (XY plane), conversion of (x, y, z) -> (x, y, -z) in position and (rx, ry, rz) -> (-rx+PI, ry, rz) in rotation is enough. So you can animate the camera, as you like.
On the other hand, Symmetry object do work for character except Shave hair, so you can check whether the attached texture is correct or not by comparing it with another character behind the mirror.:thumbsup:

10-07-2002, 06:58 PM
two for today agin mainly cause the first ones realy short and sweet. Yesterday we looked at how you can change the colour of objects, and make manyof them xray. Well today we'll look at the new and improved Null object. First of all you no longer need to go to the menu commands, the null object is available under the icon that contains the array object and many other useful things like symmetry and the new addition of the atom object ;)

so make a null object and it looks exactly like it always has, just a tiny white dot that is typically almost impossible to see. Well under the object settings in the AM we see some new control over the null objects shape and orientation. Now you can make the null object any of twelve additional shapes including stars and diamonds, why its almost like lucky charms cereal. (no pots of gold) the orientation basically orients the shape to the camera or to a certain axis making it easy to view. These shapes also make the null ojects a little easier to select. Heres a few samples. using the same colour option we looked at yesterday

Now one may ask why would you want this, well Part of R8's focus was on CA, and when doing ca rigs often contain goals and effectors, which are verious constrained and targeted nul objects and such. Well a lot of those null objects are there to make it easier to animae, but they are hard to see and select so what good is that. here is an image from the maxon site of these new null objects being used in a rig.


10-07-2002, 07:12 PM
Another great new feature is multi selection, tis works like multiselection in most programs, draw a marquis around what you want or use shift to include ctrl to exclude, the usual. And when you do select more than one object C4D automatically centers an axis between all the selected objects. you can then rotate of scale them all from this center axis, but what if thats not desired, what if we want the axis centered on on of the other objects. no problem, simply select what tool oyu wnt, position rotate scale, and carefully click on the mini axis you see within each object. it should shange to a large axis that you are used to using. now you can scaleand rotate andmove from this axis. Really handy.

But wait some of you want more control, some of you hait the fact that you still can't rotate and object according to its edge or a point or something. Or howabout rotating a group of objects by a single objects edge or point. what about rotating one object around another objects edge? Still can't do this without changing the objects own axis can we, and often we don't want to do we? Well this is where some inginuity comes in with our handy null object. it can be selected in amulti selection to, so why not use C4D's great snappingntools to snap a nul object onto whatever you want, a point poly midpoint, the world grid and edge, you name it, and then select it along with whateever you want, and then select the nullobjects mini axis and now you have the control to rotate anything you want on almost any specifictation you want. I find now when I'm working I always have a cube shaped null object I have coloured a very ugly pink that stands out, and its always easy to find and and place, then multiselect, and modify at will.

Heres an image with the new multiselect in action where Ihave snapped a null object onto the point of a cube, and then multiselected and selecte theminiaxis on the null object. you can still see the mini axis within the cubes.


H. Ikeda
10-10-2002, 12:19 PM
Now, here we have some captured images. (A) Configuration of the cameras and the mirror. The second camera is controlled with Blunt Trauma in my case. (B) Character is under a Symmetry object. You can confirm the good position of the texture, using another symmetrical object behind the mirror.:rolleyes:

10-10-2002, 06:24 PM
hmm falling behind it seems, well I will try to get another oneup tonight :/

ONe of my favourite tools in MOcca, though reallly simple and smallis the new Timewarp tool. Being a classical animator used to wroking with lenetests and the SVHS and having to scrub through my animations, this is a great tool which does jus tthat, scrub you animation while still ina 3D preview. now you may ask how is that different thatn simply playing or sliding the time bar. well as wel all know the time bar is wel less than accurate, and usually way down in no mans land. Timewarp lets you scrub right in the editor interface, and usig CTRL it plays even smoother allowing you to see it in slow motion.

How does it work simply select the tool (I have it on a shortcut now I use it quite a bit) and you'll have an icon simly a double sided horizontal arrow, and click anywhere in the editor to scrub. The step scale is available in the Active tool and I ususally set it around ten. The STEP is basically a speed modifier where 1 is approximately true speed, and the smaller the numberthe slower it is, using CTRL is like an instant slowmotion being even slower than whatever your step is. I use a setting between 5 and .5 myself, I'm kinda partial to 0.25 myself, really smooth and nice speed to see every frame clearly.

10-12-2002, 03:07 PM
Okay here is a simple smallone simply cause I'm quite busy at the moment.

Seems noone has checked out the three icons on the top rightof the view panel to see a little change thats been made. Moxe still the same, rotate still the same, but hey this zoom toool isn't changing perspective, wow thats kinda nice it acutaly Trucks in and out now. so how do we xoom no where perspective actually is changing? Thats simple enough simply right click on the triangle and you have the old functionality.

10-14-2002, 01:48 AM
say-g: Shave and a Haircut is a post effect, it has disadvantages of no reflection and no refraction. You could use polygon hair in built-in manner. But polygon hair looks differently from post effect hair and possibly exhausts memory. This solution helps you avoid this reflection limitation and can be done on an animated scene.

oh i gathered that

but i dont understand with the 2 cameras, like wats the 2nd one doing... is one being used as a projector or somthing ?

10-14-2002, 03:23 AM
basically it's being use to render the scene twice, once from the perspective of the mirror, and once for the room itself with the previous render projected onto the mirror surface. Another way you can do this is simply set up a second mirrored room through an openning where the mirror is (so you're looking through to an identical room which will of course look like it's in the mirror).

H. Ikeda
10-20-2002, 11:58 AM
Well...this tip is complicated, so I may have to explain several times. And this might work better in R8, if XPresso and TP are so powerful as you all said.
What I'd like to say is that C4D can be used as an authoring tool like Director. You can switch animation for complex objects such as character, depending on conditional or dynamic situations (just authoring). This will be applicable best in crowd animation, since a function of particle is used.

In particle system, as you might know, each particle can be animated. If you make animation track for a fish object under an emitter, it provides a school of fishes, each swimming with the track animation. But the animation has slightly different mechanism from usual track animation, in that it starts with generation of a particle and always at 0F of the track. You can easily confirm this by seeing that a particle is animated from the beginning of the track every time when the particle appears in the view. This means animation of a particle is determined by age of the particle instead of frame position (time). You can extract age of particle from a particle tag with COFFEE, or possibly XPresso in R8.

So the idea is, by controlling ages of particles with expression, animation of the particles could be switched. We only place animation sequences to be needed on a track, as far as particles are concerned.
Below are basic control types of particle ages:
1) Loop animation
If age of a particle exceeds some value (e.g. 1sec=30F), set the age its initial value (e.g. 0sec, baby). In this way, the particle is animated repeatedly and never dies if Lifetime is bigger than the value. This is because, with such loop animation, the age doesn't exceed Lifetime forever (immortal particle!).
2) Jump animation
If a condition is fulfilled, set the age another value (e.g. 2sec), where there is another animation sequence. In this way, we can switch animation based on dynamic conditions (usually IF condition).

By using these methods together with their combinations, you can freely control particle ages, and a particle has adaptable animations for temporary conditions. If a fish meets its enemy, runs away at once. When finds food, approaches it. :)

H. Ikeda
10-21-2002, 12:12 PM
You're welcome. I'm sure this is fully usable in R7 with COFFEE and also looking forward to see how it works in R8.
Just for your information, with COFFEE, array data of particles is given by
var arr = tag->GetData();
where tag is a particle tag, and you can get age of the i-th particle using
var age = arr[i*5 + 3];

Cheers:rolleyes: ;) :)

H. Ikeda
10-22-2002, 12:25 PM
Thanks, but don't worry. I'll also try it after getting a full package of R8 (before that, someone like mdme_sadie may try first, but it's welcome. BTW, if so, another thread? This is a R7 thread:-).

Now one simple example:
A fish object under an emitter, and the Timeline looks like

|_ a fish a track |=========|--------|=========|
----------------- (sequence1) ------ (sequence2)

where only small parts such as fins are moved in seq.1, but the body wriggles in seq.2.
If the fish usually swims with seq.1, a loop animation is written as
if(age > 1.0 && age < 2.0) age = 0.0;
since age is measured with sec (fps = 30F/s here).
If R is a random number between 0.0 and 1.0, a jump condition is
if(R > r1 && R < r2) age = 2.0;
where 0.0<r1<r2<1.0 are constants.
Then animation is switched to seq.2 in random manner, as time is passed.
When seq.2 is finished, it should return to seq.1 as usual swimming, using
if(age > 3.0) age = 0.0;
So the fish is now swimming in usual way (seq.1) without body movement.

It's just an example for explanation.;)

H. Ikeda
10-26-2002, 04:43 AM
Another mdme_sadie's true DOF is explained. This is directly usable for both R7/R8 and works without expression.
The procedure is:
1) Let's do multi-pass rendering for reflection, without DOF.
2) Create extra cubes at symmetrical positions (under the floor) with respect to the floor plane. The texture obtained in 1) is mapped to each cube with Camera mapping. Render tags may be effective with compositing background enabled. After hiding three cubes and floor, render it with DOF, so you would get an image as below. This is a reflection layer with correct blur.
3) With DOF, render the original scene without reflection (or use other layers of multi-pass).
4) Let's add the image of 2) to the image of 3) in 2D application like PS.

Then you could see the image attached in the post:


10-27-2002, 12:24 AM
ok had to re-read it a couple of time but i think i get the general method.....you crafty devil. i'm a bit fuzzy on the bit about....point 2....got the extra cubes below the floor surface to create the blur but i'm not quite with "The texture obtained in 1) is mapped to each cube with Camera mapping" wadda ya mean camera mapping....i also presume you use the same textures on the cube....or did i just lose it here. thanks again....i love the idea...needs a bit more exploring on my front i think.

H. Ikeda
10-27-2002, 06:11 AM
Maybe I had better write english web pages, but for me it takes much more time than native speakers like you.

Step 2 is the point in this method, and I missed noting about lights.
In addition to cubes below the floor (as virtual objects representing reflection), we have to move a light(s) to their symmetrical position(s) if any in the scene.
As for objects below the floor, if those are more complex, you could use a Symmetry object, under which the complex objects are placed upside down beforehand. If you need only objects below the floor for Step 2, just disable the Symmetry.

Originally posted by flingster
wadda ya mean camera mapping....i also presume you use the same textures on the cube

I'm sure you almost get it. Yes, the same textures on the cubes (two, in that case) with camera mapping (Frontal). Thanks to camera mapping, reflection parts are automatically just on the cubes.
Hum...it's time to attach a c4d file. This is the Step2 file (just render!). I hope it will help you and other guys.:rolleyes:


H. Ikeda
11-05-2002, 12:55 PM
Well, another application of multi-pass rendering. So usable for R7/8.
For comic or cel rendering, uses of outline shadow or SLA have been suggested, besides built-in comic render. Here multi-pass rendering is used for it. I'm not sure whether or not someone else has proposed this, 'cause I don't read all posts of this forum or of other forums.
By reconstructing results of multi-pass rendering, we could get an original cel rendering. Main image is of material color layer and some other layers such as illumination and shadow, together with some filtering.
As below is an example image in its normal rendering.

H. Ikeda
11-05-2002, 01:05 PM
So, now let's do multi-pass rendering with all passes. In a 2D image application as PS (or BP), the imported layers are from the bottom:

material color (standard 100%)
material luminance (screen 100%)
diffuse (mono+posterization(5), multiply 20%)
specular (screen 100%)
shadow (multiply 80%)
material transparency (edge detected and negative, multiply 80%)

The resultant image becomes as below.
(For animation, AE will be useful.)
Enjoy your original comic!:cool:

01-26-2003, 07:25 PM
the file (http://www.cgi.third-era.com/~kaiskai/r8tips/cog.c4d)

We'll see what we can do, problem is I'm moderating another forum for C4D and a new one for toonboom both at the cow, I'm working on my portfolio, and getting my website up, testing a whole bunch of cool stuff, and most importantly hunting for a job!!!

Most of my workshops are done so I'm available if anyones hiring ;)

Anyways, here is a quick one since I noticed some people asking about how certain renders were done using the cinema 4D celrenderer.

BAsically there are two ways to add detail to your object inside and outside of its outline.

The first is to simply seperate the polygons you wish to have an outline of. In the provided inmage and file, I have made a cog by using the cog spline, extruding and making it editable. I then selected the outer polygons into two different goups and split them, making sure to delete them from the original object. Then I sleected some rendom polygons on the front and split those as well just to give a clear idea of how this works.

The seconds is to use splines to literally draw lines in C4D. render them by putting the in an extrude with a setting of 1M in any or all directions. 3Ddesigner's new DPACK plugins set includes a plugin tht lets you draw a spline along the topology of another model, this is handy for adding detail to odd shaped objects. Irecommend you chec k his awesome plugin set out.

Hope that helps some people.

05-05-2003, 02:50 AM
since this thread has not been upstaed in three months here is a little tip.

to create windows for a building you are gonna use in a long type of shot, with out using bodypaint.

make a material, put bhodinot tiles in your color channel, set bevel width to 1 and set grout width to anything. preferably about 30. then set global scale to 1000. this will give you a nice square shape. then just set colors to what you want them as. set your selections for the windows, and in your texture tag select cubic mapping.

viola you have instant windows.

and people know this thread exsits again.

05-10-2003, 05:57 PM
Hi all

Try this

Add Cube Object ... make it Editable ...Use Polygon tool.. With Live Selection select any side of the Cube and Press and hold the Left mouse button then use your Scroll Wheel up or down (If you have One ) to resize the Selection Circle ..... Don't forget to keep pressing while Scrolling .

Enjoy :)

06-15-2003, 01:37 AM
try this. select all the polys of an object you want to make thicker. Reverse all the normals. Then use the make thicker plugin on the object.

It will extrude inward, so you have that distinctly thick flavor to your model. yet it takes up no outward space so all your greebs are still in place.

not only that it automatically filps your normals correct again.

10-20-2003, 02:58 AM
...and this also works with smooth shift. That might be useful if you're not interested in the extra polygons that make up the back.

10-20-2003, 10:35 AM
heresd one I've been noticing a lot recently with students at the highschool and a few discussions with other sometimes long time users.

Using the Axis gizmo there is a simple way to constrain motion to two axis. Currently if you click to say scal an object on any axis, it canonly do that one single axis, you can of course turn on and off the individual axis using the toggle buttons up top, and then just lcicking anywwhere iwthin the interface, but thats bad workflow. Say you want to scale an object on its X and Z axis. have to do one at a time with the gizmo, or simply hold down Shift and click on the Y axis, notice both the X and Z will turn yellow now, and you can scale both at the same time.

10-21-2003, 11:41 PM
Hi Guys,

This threat is really cool.

I really like the multi selection tips, but how can I get around to do it on point/Edges/Poly Level? This would be awesome......


10-22-2003, 12:09 AM
if i understand your question.
current to selection plugin may help ya..basically...can take your current selection and convert to point/poly/edge...incorporate it into your toolbar and you'll never look back(v8)

10-23-2003, 12:38 AM
Thanks a lot flingster,

That is wicked... but that is not what I meant...

Remember the multi selection object, when the axis centered among those selected and we can set it to move/rotate from certain object point of axis

Then we can cheat by creating a null object to move another object that had been rotated around in world coordinate.....

I wonder if I can do that at point/edge/poly level, so I can select bucnh of point but I wanna rotate them from "x" point of axis, whether "x" is another point or object. This will helps a lot in modeling.....

Thanks and sorry for any confusion...

10-23-2003, 01:45 AM
No sory you can't curerently do that f3rry

10-23-2003, 02:00 PM
Originally posted by f3rry
Thanks a lot flingster,

That is wicked... but that is not what I meant...

Remember the multi selection object, when the axis centered among those selected and we can set it to move/rotate from certain object point of axis

Then we can cheat by creating a null object to move another object that had been rotated around in world coordinate.....

I wonder if I can do that at point/edge/poly level, so I can select bucnh of point but I wanna rotate them from "x" point of axis, whether "x" is another point or object. This will helps a lot in modeling.....

Thanks and sorry for any confusion...

my bad....i don't think its possible...
but you might take a look at these dpack features..
rotating norm with multi selection...but i'm not sure i get what you wanna do...but sounds like kai understands ya...so take his word for it

:shrug: :banghead: :curious:

11-08-2003, 09:52 AM
Originally posted by f3rry

I wonder if I can do that at point/edge/poly level, so I can select bucnh of point but I wanna rotate them from "x" point of axis, whether "x" is another point or object. This will helps a lot in modeling.....

Hi, I've only just seen your post which is why I didn't reply sooner, but my plugin 'powerAxis' will let you do exactly this.

You can place the modelling axes in any position and orientation you want, including aligned with poly/edge/vertex normals of other objects, and then rotate any selection of poly/edge/verts relative to those axes, even if from a different object. It also includes some tools for aligning objects relative to other objects in various ways.

A demo is available from my site.

powerAxis link (http://www.astrofish.com/powerAxis/powerAxis.html)

Cheers - Steve

11-08-2003, 09:56 AM
and also Mesh Surgery will allow you complete control of rotation during modeling around any axis point in space (and it'll snap to points, edges, polys, and even rotate to their normals if you want), or just using the hinge roteta, move and scale tools in their default hinge mode (which means they're work around edges).


07-27-2004, 06:15 PM
hmm.. just a small thing I came over while modelling.

Wanted to scale some points that were in a hemicircle. But I didn't get the desired scaling, because of the axis of the points were not optimally placed.

I added an extra point outside the hemicircle of points to 'extrapolate' the position of the axis, so that the scaling would be correct..

If you don't understand a thing, see the gif-animation below..

Not a worldshattering trick, but worth a post http://cgtalk.com/images/smilies/smile.gif

07-28-2004, 09:47 AM
you're welcome. nice to see that it was helpful.

remember you could do the same things with polygons. create three or four point, create a new ploygon betwen them and place it where you want outside your selected area. this also gives you an edge to use when scaling edges (in r8)...

08-08-2004, 11:32 PM
Hi everyone, if you want to do a circular extrude on a hypernurbs object without the hard edge of a boole, here's an easy way that gets 100%perfect circles.

1:simply select the points you want made circular(8 will usually do) choose an 'n-side' spline and give it 8 sides, and scale it to size.

2: if your point rows are even, simply scale the corner points down to match, then extrude away!

cheers, Shakes

08-24-2004, 05:33 PM

1) Use GI to assist a good light rig; don't rely too much on material illumination;
2) Use flat, white materials on everything while testing GI settings (except for saturation);
3) Never adjust more than one setting between test renders;
4) Keep a Min/Max ratio of at least 1:10 (usually closer to 1:5 and up to 1:1);
5) Start with low Quality/Samples and first establish a good brightness level and distribution;
6) Increase diffuse level if distribution is too low, but if you have to go over 3 try something else (e.g., increase GI output of walls, add low-level ambient light, or use low-power local lights);
7) Raise Quality/Samples enough so you can get a feel of your problem areas;
8) Raise them again and try some area renders until the problem spots have been minimized (you must work at or close to your final render resolution);
9) Recognize which settings resolve which artifacts:
* blotchy corners/details may mean Max or Samples is too low;
* blotchy flat areas may mean Min, Quality, or Samples is too low;
* fuzzy shadows may mean Samples is too low;
* a watercolor look could mean Quality or Samples is too low;
* it might be something else! (shadow bias/resolution for example);
10) Use compositing tags to optimize speed and quality:
* use tags with higher GI quality on problem objects;
* use tags with lower quality on objects that don't seem to mind;
* investigate the "seen by GI" setting--it doesn't do what you think it does;
11) Use Material>Illumination settings to optimize speed and distribution;
* you can generally turn off GI in chrome-type materials;
* you can generally turn off "Receive GI" in glass-type materials;
* you may be able to turn of "Generate GI" for glass, but you better check it;
* you can--and often must--adjust material saturation to control color bleed.
All of course IMHO.

*************Rendermania Tips*********************************
- lights in C4D have contrast, falloff and shadowmap resolution controls. use them.
- The default antialiasing setting in C4D is set to 100%. This will eat/oversoften any available texture detail if it isn't set lower. there are also different filtering algorithms to play with.
- if Mipmapping eats texture definition, it can be changed to SAT or other filtertypes for each material channel
- R9's micropoly displacement can add copious amounts of surface definition at rendertime that wasn't possible with R8. Its quite fast, and lighting/shadowmaps take the SPD into account. very useful for creating surfaces like grass, bark, cobblestone, fungus/organic/veined/rusty/fuzzy etc
- MR strikes me as having darker Gamma by default than C4D's renderer. It helps to set C4D's gamma down a notch or two, or even better, color correct C4D renders in Combustion. Digital Filmlab is good for adding soft diffusion/overexposure style effects to C4D renders
- C4D's Vector Motion Blur is good quality and fast, provided that the default settings are changed. Try 0.1 instead of 1.5 pixels for the sampling, and up the number of samples to 128 or higher.
- C4D's render engine doesn't tend to generate any grain by default. adding subtle grain in post helps achieve a more film/studio-render like look.
- for studio-quality renders, antialiasing needs to be set to 'Best'
- changing the aperture width of the camera rendered with can help give more sense of depth/scale. I tend to set mine to 70.
- if you can get away with widescreen (the client doesn't mind), setting the renderformat to HDTV or similar rather than 4:3 shaves quite a few pixels and thus rendertime off animations. sometimes the widescreen/letterbox format also gives the render a more cinematic feel.
- in some cases, more realistic colored lighting (e.g. daylight through a window) can be achieve by projecting a blurred texture from lights. create a new material. knock out all channels except 'transparency'. load a suitable texture into the transparency channel and drag and drop the material onto a light. it will now act like a light-gel (or a slide inserted into a projector). if the projected texture comes out too strong, turn the transparency channel into a 'layer' texture and adjust with brightness/contrast etc. the texture blur control can be used to diffuse the texture as well. HDRI's can be used as lightgels just like regular bitmaps.
- radiosity. mesh objects can act as lightsources when radiosity is switched on. create a material with only the luminance channel active. drop it onto an object in the scene. the object will now radiate light. how much it radiates can be controlled using the illumination controls in the material editor (or by putting different textures/noise in the luminance channel). 'receive GI' can be turned off since the object is a lightsource only. the compositing tag can be used to make the radiating object invisible to the camera (keep seen by GI, knock out seen by rays/camera). objects radiate more light if you make them bigger/wider. using this logic, characters can be lit using simple planes with luminance (simulating the reflector panels used to shoot actors in live action film shoots).
- radiosity 2. the number of diffuse bounces affects renderspeed and should be used carefully. for preview renders, pre-pass size can be set down to 1/10 and accuracy to 30 or so. it'll make the render a bit splotchier, but takes considerably less time.
- faking radiosity. if the desired effect with radiosity is to have light bounce off the floor to illuminate objects from beneath, this can sometimes be faked by creating a paralell light with no shadow that points straight up (or up at a slight angle). if specularity is switched off for this light and the light isn't excessively bright, it can give a bounced-light-from-beneath effect similar to what radiosity creates by default.
- faking radiosity 2. landscapes with trees can be quite difficult to light without radiosity. one way to fake it is to create a large light-ring. put an omni light inside a ring array object (no shadow). make the ring radius larger than the landscape. don't make the light too bright (as there's lots of copies of it in the ring). adjusting the altitude of the ring can help simulate different types of atmospheric lighting. or one can use a smaller ring-light just like the ones used in music videos. also, C4D allows for light inclusion/exclusion, so things like trees and huts etc can be lit with their own light-rings without affecting everything else.
- sunlight in general. the sun object in C4D can be difficult to control. its easier to control lighting/shadows using a strategically placed omni light with a high-res shadowmap. again, a lightgel can be used to project a subtle texture and thus make the colored lighting more uneven. turning light visibility on (but down to something like 20% brightness) can help fake a bit of light-haze. an added ambient light can help give more of a sense of atmospheric lighting, but should be very subtle (perhaps with specularity turned off). the quality of sunlight can be controled to some extent using the 'contrast' setting for the light. lower contrast makes the light more diffuse.
- material settings. two of the most important controls for creating realistic materials are the specularity channel and 'diffuse falloff' in the illumination channel. setting the diffuse falloff value lower means that shading will fall off more sharply. this can be good for creating certain types of materials. a lot of objects in real life don't have much in the way of sharp specular highlights. this can be controlled by setting the specularity height lower and the width wider in the specularity channel.
- ramps. Maya artists tend to use ramp shaders a lot. the same can be done in C4D by using 'layer' materials and adding a light-to-dark 'gradient' on top of the stacked materials (using a mode like multiply to 'burn' it into the texture). the direction of the gradient can be used to create landscape textures for example, that darken/lighten at different altitudes. its also interesting to combine gradient + noise in some cases.
- dirtying objects up. for things like landscapes, where texture repetition tends to show if one isn't careful, it can help to put some light noise in the diffuse channel to make the texture/lighting a bit more uneven.
- volume water. a touch of subsurface scattering with a dark to light gradient can help give water more sense of volume. a cube needs to be used rather than a plane. very good for things like pool water lit from below.

08-24-2004, 08:05 PM
no problem bud...they are not mine...credit goes to Adamt and Rendermania...for a fantastic set of tips/tricks and generally very useful info.

For the next post...you'll probably like this one also:
Simon Wickers Ambient Occulsion Composition method..
passes for an ambient occlusion gi fake
here is one recipe that you can use to make a fake gi render using any of the available ambient occlusion plug-ins (posted also to the postforum).
just for starters you have to remember that this technique only makes sense when you are compositing your image together (such as in ae) and with all the extra mucking about you have to do with extra passes and swapping materials and such-like you won't see much efficiency from the technique unless you are rendering sequences. there is little reason to use this for stills.
so create your scene and render out four passes:
1)key pass. this is just a plain render of your image using the original materials with just key lights lighting the scene. you can add extra fill lights if necessary, it all depends on the effect you are after however in general exteriors should just have a single key light that represents the sun.
2) material colour pass - one of the special passes found in the multi-pass tab. this is just the colour values of the textures ignoring any shading.
3)environment pass. take your scene and replace all of the original materials with a material that has an appropriate image in the environment channel. you should use an image that matches the ambient light you are attempting to match in your scene. this is one of the uses for a 'chrome ball' shot and is something that is usually shot on set so that the ambient light recreated matches the lighting that prevailed when the live action was shot. because we are recreating diffuse bounce light you can use a low res image and blur it quite heavily to smooth out the environment reflection.
4)ambient occlusion pass. throw one of the ambient occlusion shaders into the luminance channel of a new material and apply this to your scene. render that out - the result will be a greyscale image where the cracks and crevices of your scene are darkened.
so now that you have rendered the passes you need to blend them together. the base is the material colour. on top of that you place the environment pass and use the 'multiply' mode to blend the two together. next place the ambient occlusion pass on top and set the blend mode to multiply also. you should now have something that looks very much like a standard sky dome render of your scene. finally you place the key pass on top and set the blend mode to screen. this provides the 'direct' lighting.
the beauty is of course that with all the different passes you can easily change the look of your scene by tweaking the relative colour/opacity/levels of the layers.
cheers, simon w.

09-10-2004, 07:21 PM
Rules for Clothing in R9....cheers/credits to srek

02-15-2006, 02:50 PM
hmm.. just a small thing I came over while modelling.

Wanted to scale some points that were in a hemicircle. But I didn't get the desired scaling, because of the axis of the points were not optimally placed.

I added an extra point outside the hemicircle of points to 'extrapolate' the position of the axis, so that the scaling would be correct..

If you don't understand a thing, see the gif-animation below..

Not a worldshattering trick, but worth a post http://cgtalk.com/images/smilies/smile.gif

Yes, it's nice, but you don't need to add and delete the point. Only thing you need to do is move pivot of the selection.
But adding and deleting a point is maybe faster:)

04-23-2006, 03:32 AM
did you know that in the render view, if you have a wheel mouse you can actually zoom in and out of the picture smoothly by holding down that wheel button?


08-02-2006, 02:58 AM
I've been using cinema for years and I'm still noticing new tricks.

- If you have a heirarchy and you want to reposition one of the parents without messing up the kids, then just hold down control while you are using the manipulators.

- To add a keyframe to a property, just shift click the keyframe dot next to the property name, to add and remove keyframes control click, to remove the track, shift click.

- If using a space mouse the plug-in dialogue must always be open for it to work, but you can put it in a tab and it will work even if the tab is not active.

- Turn on axis bands in the display filter menu to easily constrain to only 2 axis'

That's all I've got for now.

- Carter

08-24-2006, 04:07 PM
I gratefully received this tip and thought I'd pass it on:

If you have Mocca, you can use the Bone Mirror tool to mirror pretty much anything in Cinema, including lights, generator objects, etc. This is in contrast to the symmetry object which only mirrors editable mesh.

08-24-2006, 04:31 PM
1. The material illumination tab has options for Phong, Blinn, and Oren-Nayar shading. This is often overlooked and most people simply use the default Phong setting. Experiment with the other options! Blinn and Oren-Nayar often give a less plastic appearance that works well on things like skin, wood, carpet, etc. One note: don't use Oren-Nayar with normal maps or the backlight shader--buggy.

2. The material specular channel has options for plastic, metal, and colored. The metal option is often overlooked. One reason for this is that metal specular looks horrible at the default settings. You need to use a much stronger "height" setting here--IMO 200% and above. The other reason it's overlooked is that it doesn't look like much unless you use it in conjunction with the environment and/or reflection channels.

Personally I don't see much use for the colored model.

08-25-2006, 01:59 PM
Good ones Adam.

I use Oren Nayer quite alot--works very well when you are using a very gritty bump map--really enhances noise detail and diffuses/absorbs the specularity across the objects surface.

Dont forget the Oren Diffuse falloff, Level and Roughness settings. You can adjust how hard or soft the transition from light to dark is across an objects surface.

Blinn really blows out the specular for me and have never really found it as a useful setting.
Perhaps its just a carryover from the old Pixar days?

Metal specularity is great for chrome (as you say turned up ultra high with a nice falloff)-I usually use with a blurred hdri map in my environment channel and some subtle noise in my diffusion channel to get a real world--slightly imperfect look.

08-25-2006, 05:20 PM
something i just found by accident-not even sure its in manual(havent checked). If you control click on the picture of a material that is standard color it will give you that sample of color when shadow is added depending on where you click it. Usefull if you want to just darken same color. Also if you have a map in there it will match to any color you sample in that part of the map-great for matching map colors to solid color!

12-14-2006, 03:16 PM
hey guys,
i was playing with render output settings,
and i found out that they behave like calculation excel sheets.
i.e. if you wanna change the output of 640 and make it 1/4 of it,
then just enter ''640/4'' .
actually all editing fields (coords, scale, etc) are behaving the same way.

12-14-2006, 09:37 PM
to extend this - if you have several objects selected and want to edit a field that contains multiple values (i.e. appears blue with no value shown) you may use the formula functionality using "x" to replace the number in the field, e.g. x*2 etc (good for editing multiple lights at once to modify overall brightness for instance).

12-15-2006, 12:07 AM
should point out for per's specific example that the render settings does now have a global brightness slider that affects all lights in the scene equally without changing any actual lights settings.

12-16-2006, 12:14 AM
Select multiple entries in the am (click on their names) then hold down ctrl and modify their values ot modify them all at once, hold down ctrl+shift to maintain the different offsets, good for modifying for instance multiple morph targets at once etc, incidentally the shift/ctrl selection system works in the am as well as the om.

12-16-2006, 01:22 PM
should point out for per's specific example that the render settings does now have a global brightness slider that affects all lights in the scene equally without changing any actual lights settings.

An example of "without changing any actual lights settings". If the brightness of a group of lights is increased to 200% in the Render Setting, a light originally set to 10% will still read 10% in the AM and not 20%. A good tip to remember if one is unable to reproduce an earlier lighting setup – check Global Brightness.

01-29-2007, 04:22 PM
hmm. i tried that formula (x*2) thing on the intensity setting of 3 selected omni lights (selected simultaneously) and it just set them all to zero. this is with R9.6
anything to look for here?

01-29-2007, 06:01 PM
hmm. i tried that formula (x*2) thing on the intensity setting of 3 selected omni lights (selected simultaneously) and it just set them all to zero. this is with R9.6
anything to look for here?

hi rodney71,
try it without the brackets : x*2
it should work fine with r.9.6

01-29-2007, 08:04 PM
brackets were just used for the message, not in my original command. doesn't work. It seems to work in fields that contain unit measurements but not the Light intensity field which is a percentage.

09-11-2007, 11:15 AM


Tip: C4D can do the math for you in any input field; you can even combine different measurement units. Type 3m + 4cm and C4D will compute the precise result.

02-10-2008, 06:05 PM
ok here is a tip, sorry if it has been posted before,
if you cant bring a parameter to the Xpresso editor, just right clic on it and make "set as driver" and right clic again and make "set as driven" this will put an xpresso tag with this parameter :)

07-06-2008, 07:27 PM
another tip, i think it's the worst!
it's about compositing, so if you are a begginer like me and want to make a 3d model in another picture, and you find some difficulties (sorry for the word) when you work with the light to match the shadow, so just put on this light (the spot with a target) a Align to splin tag and you make a circle spline in the spline field, so like this you have only to move the spline up and down, and if you want to rotate the light just play with the align to spline value (from 0 to 100%) and dont forget the target.
sorry if it's dumb but i think that it helps dumbs like me :drool:

08-03-2008, 04:27 PM
hi, today i accidentally found out that when you
Ctrl+left click on the layer icon in OM
then the mouse turns into a brush and you can "paint" objects -> grag them in the same layer.
it works with visibility dots too, but it's a bit tricky,
cause it mixes with Ctrl+Shift & Ctrl+Alt visibility options.

edit: sorry my mistake, Ctrl ain't necessary.

edit2: Ctrl+Shift & Ctrl+Alt on a parent object causes both parent & child objects to change their visibility either on viewport or/and renderview.

08-03-2008, 06:26 PM
CTRL isn't needed its simply left click and drag.

08-03-2008, 07:25 PM
And Alt+Left Drag to toggle both dots (editor and render)


11-14-2008, 08:51 AM
2 that are in the manual but are easy overlooked.

Array : if you choose for instance 7 copies,you get 8,so beware!
If you want the array to produce 25 copies,you should enter 24.

Lathe Nurbs,same story:if you want 48 divisions you should enter 47.

In both cases cinema adds 1 extra in the calculations,don't kow why but it's like that.

11-14-2008, 09:14 AM
normal map related:
If your baked normal comes out facetted,on let's say a cylindrical shape.
Put the phong angle at 85 instead of 180,this solves it.

11-14-2008, 01:09 PM
hi, (sorry if it's been posted before)
today accidentally i've discovered that
if you drag&drop a texture in a mesh with already selected polygons then a polygon selection tag along with the proper selection name in the texture tag properties, is automatically created.

ps: an in-between dialog for re-naming on the fly the polygon selection tag would be convenient, but it save a few clicks as it is.

12-01-2008, 07:50 AM
When you dissolve multiple edges,make sure you have the phong of the object at 180°.
This insures a clean dissolve,putting the phong lower will leave some edges.
works most of the time,discovered by accident.

12-01-2008, 07:53 AM
Make sure to always select 1 polygon-edge or point of the section your working on.
This will make you rotate around the selected,this helped my workflow a lot.

09-23-2010, 10:50 PM
here is a small trick to make a camera deformer like in the R12 but in older release ;)
just add a deformer, make it as a box in its influence, then, make a new camera object, put the camera in the last of the hierarchy, add a "parent constraint" to "the deformer" and add the camera as a parent, enable "position", and in the constraint general tab (where there is the xpression priority) enable "Camera dependent" , now just move the camera along X and Y and see :wavey:

01-09-2012, 10:28 AM
hi, (sorry if it's been posted before)
today accidentally i've discovered that
if you drag&drop a texture in a mesh with already selected polygons then a polygon selection tag along with the proper selection name in the texture tag properties, is automatically created.

ps: an in-between dialog for re-naming on the fly the polygon selection tag would be convenient, but it save a few clicks as it is.
was a new feature in r11 or so. I think it´s not functioning properly in 12 and 13.

09-15-2013, 08:45 PM
simple tip, but hope that it will help someone:
to restore the update window while you lost it, because you switched the user interface, just choose Help-»Check for updates.