A rich foundation of groundbreaking fundamental technologies have been created, including a highly-efficient threading system for massive data-parallelism and new optimized data structures, to name just a few. We are using the latest state of the art algorithms, compilers, tools and technologies to build the foundation that will drive Cinema 4D's progress and innovation for the next decade. Everything is based on a highly modular architecture that allows us to combine the current Cinema 4D with the new core. This in fact took place in Release 16 and means that you are in part already experiencing the future of Cinema 4D today! So the new core has been creeping into C4D since R16.and given that this new core allows for 'massive data-parallelism and optimized data structures' you get the sense that ultimately C4D will crunch through huge scene files with the ease of a hot knife cutting through butter. So I have to ask this given that it has been two releases since then, has anyone noticed a substantial improvement in R18's power?
Three years is a long time in the computer industry. Think of it like dog years. So when talking about improvements over a period of 3 years you also have to factor in hardware upgrades. So I can't tell if it is C4D getting more powerful or my hardware is getting faster. So did I miss something? Do others detect the new core in action as described above? I am not a power user by any means, so I would really love to hear from those who work in the depths of C4D's capabilities and push it to its limits.
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Now remember, I am not talking about slight improvements in performance of the selection tools, spline tools, etc. I am talking about a huge paradigm shift as promised in the quote above. I mean 'a highly efficient threading system for massive data-parallelism and new optimized data structure' is quite a huge promise.and this is from a company that doesn't make promises. So I have to believe it to be real more so than marketing.
I guess my point is this: real proof to me of the new core making itself known to the C4D user will be when MAXON releases some killer feature such as a fluid simulation system, Bodypaint improvements that put it on par with Mari (e.g. Handling 4K images with ease) and/or an uber-instancing capability, etc.
Other programs in Studios price range (or lower) have these capabilities. Plus when you consider that Maya has integrated their fluids tools into their motion graphic toolset, you would think that would be a real threat to C4D. So something along those lines would make perfect sense and come at the right time for MAXON.
But honestly, if R19 looks anything like R17 in terms of new features, it won't be pretty. If we get improvements in R19 equivalent to version 2 of the color picker, than MAXON will begin to sound like the boy who cried wolf regarding what to expect from the new core.
In short, credibility will be lost.which is never good.unless people can start to point out what I may have missed in R17 and R18 that shows the new core in action. So to be clear, I am not blaming MAXON of being too slow or not doing enough. I could very well have missed all their excellent work since R16 based on my own understanding and expertise with C4D. Therefore hearing about where others have felt the presence of the new core in action to the level promised in their blog post above would help temper my expectations for R19. I think it would be healthy at this point for users to really show where they are reaping the benefits of the new core.if possible.
I have some doubt because you would have heard about this before, but maybe I just missed it. If not, then after 3+ years of new core development, we should start to see something in R19 that makes us all realize it was worth the wait. Given your modeling skills, I am surprised you are not a beta tester. But a better knife tool is not key evidence of a new core in action. New core as described by MAXON points to so many other capabilities than smarter modeling algorithms.unless I am reading into 'massive data parallelism' too much. For me, apart from the hope of what a true new core would be giving you (like fluid simulation with OpenVDB support), I would love to see the following with the existing tool set: • Emissive materials --- please!!!
Very desperate for this and would change the render quality/capability in a huge way. • A proper symmetry tool.select an polygon, click a button.you get symmetry about that polygon regardless of where the object is located within the scene file. Now imagine if you were to animate that capability.pretty interesting motion graphics opportunities. • A spot light or tube light that allows you to independently change the size of the opening at each end.
I hate using volumetric spot lights that start from a razor sharp point. • The ability for lights (especially volumetric lights) to pass through polygons shaded with transparency or alpha maps. • An upgrade to the sky tool to include spectral atmospheric effects. Sorry.the existing sky tools are painfully outdated given what you accomplish with other programs like Terragen and/or Vue.
As well as what everyone else wants (Bodypaint, viewport, etc). ProRender Features list: Key Features • Fast and accurate – it’s designed to be physically accurate, lightning fast and easy to use.
• Hardware agnostic – if your computer can run OpenCL™ 1.2, it can run Radeon ProRender. • Fully integrated – for use with Autodesk® 3ds Max® 2016 SP3 and higher. • Multiple camera views – physical camera, depth of field, and motion blur. • VR creation support with panoramic and stereoscopic VR camera views. • Its own Environment setup – letting you work in IBL or sky mode, together with photometric or emissive light setups.
• Supports lights from HDRI environments, letting you blend a scene in with its surroundings. • Physically correct material library – comes with its own material library optimized for use with our renderer, providing an easy starting and reference point for your own shaders.
• Plays nice with others – works well with output from Substance and Quixel. • Supports Windows® 7, 8.1, 10. Not sure.but is emissive light set-ups the same as emissive materials? If they are one-in-the-same, then my day is made if this is a feature for R19.
But before I start celebrating, note that MAXON is not committing to implement every feature at this time. So you may or may not see any of this in R19. This is not our first rodeo.we know the drill on discussing new features. Also, OpenCL gets updated about every 2 years which feels slow (not sure how it compares to other platforms). Should Apple back away from the Mac Pro then how much development will be put into OpenCL? I understand that Apple did announce a new MacPro for 2018.but 5 to 6 years between hardware updates is not a good sign and until that announcement there were rumors it was being dumped.
Nevertheless, the market just seems to be going in another direction so adopting this platform seems a bit rocky to me. I hope it does not turn into another pyrocluster. I am a simple person, I would be happy if they made it so you can select an edge hidden by the object axis without having to ALT-D to hid the object axis so you can select it. I know its minor in the grand scheme of things but it can be a right PITA I think you already can, my friend. I am fairly damn sure you can hold a key, and then temporarily select through the axis. Now if only I could remember what that key was, or find a single reference to it online, which I very much can't. But I am inexplicably sure there is one! Come on cafe, put us out of our misery;) I seem to remember I may have learned that from a very long time ago, so maybe he's a good person to ask.
I want (obviously not in r19 and yes, I know some are very hard to do unless a complete rewrite) -Voronoi Fracture Cluster / Glue -Symmetry for modeling. -Enhanced Cloth Dynamics with cloth presets. -Improved rigging controls (face rigging) -Ability to tear up the Viewport filter menu.
-Priority selection in the Viewport (joints before geometry) -A proper UV editor (the one we are using needs a complete re-design) -Let us move tags to a custom UI Pallete (It really helps when you often use tags from plugins like xparticles collider) -Move Modeling Axis >Orientation Axis to a Pallete button or to V hotkey. -Let us customize V hotkey menu. -Help Adobe with a Full integration with Fuse (Auto face rig script, like they had with Maya / 3ds max) -A display Take name info next to Layout in the top right corner of the interface would save me a lot of headaches. -Simulation Time Scale for dynamics as a Tag, so we can control it locally instead of globally.
Griffin Frazen, Dan Gregoras, Jon Hassell, and Jeremy Cox of Imaginary Forces backstage at the 2015 Creative Arts Emmy Awards. Download Pc Wizard Portable 2012 Toyota. — The were announced in July, with some clear favourites as well as a few surprises. All of the studios nominated for their work are heavyweights of the industry, with at least a decade of title design for major networks and series under their belts. With nominations for their work on Halt and Catch Fire and Marvel's Daredevil, production studio Elastic continues to be a force to be reckoned with in title design. Imaginary Forces also earned double nods ( Bosch and Manhattan), and yU+co racked up another nomination for their work on Olive Kitteridge. Prologue received its third nomination for their main titles to American Horror Story, with the latest incarnation, Freak Show, following in the footsteps of its creepy predecessors. If you’re wondering about Elastic’s, its absence is due to timing.
Like Halt and Catch Fire last year, it narrowly missed the cutoff date for the Emmys, which this year honors the best in U.S. Prime time TV programming released between June 1, 2014 and May 31, 2015. On the network side, streaming services like Amazon and Netflix continue to make inroads at the Emmys, and the Outstanding Main Title Design category was no exception this year. Title sequences from these non-traditional services are up for the Title Design prize for the first time ever. Although cable networks like HBO, AMC, and FX continue to be mainstays of the category, their dominance may soon be coming to an end. The real surprises this year were Bosch and Olive Kitteridge, which seemed to fly under the radar up until this point.
Like any award show there were also a number of notable snubs, including (Digital Kitchen), (TCG), (The Mill), and (Mike Roberts), which remain definitively among our favourites of the past year. Watch all of the nominated sequences below, and then let us know your favourites. — AMERICAN HORROR STORY: FREAK SHOW FX Studio: Prologue Creative Directors: Ryan Murphy, Kyle Cooper. The fourth in a long and creepy line of main title sequences, the opener for American Horror Story: Freak Show is also quite possibly the best. A freakishly functional marriage of stop-motion and CGI, the sequence continues the series’ play with body horror and disfigurement, this time twisting up the tropes with a trip to the big top. The cast of characters includes a three-legged woman, worn old masks, two-headed critters, conjoined skeletons, and clowns (so many clowns), all shambling to the carnival-infused theme by sound designer Cesar Davila-Irizarry and musician Charlie Clouser (formerly of Nine Inch Nails).
The sequence is a terrifically evocative opener and a fun romp for veteran fans of the horror genre. It’s also what you’d imagine Tim Burton and might dream up if they had a sleepover party and played dolls. BOSCH Amazon Studio: Imaginary Forces Creative Director: Grant Lau. A cop, a serial killer, and a fast-paced world of opposites. This is Imaginary Forces’ funky, mesmerizing opener for Bosch, an LA-set police procedural where there’s always more than one side to the story, no matter who’s telling it.
Electro-soul outfit Caught A Ghost’s title track “Can't Let Go” evokes images of detectives, smoke-filled dive bars, and moonlit mysteries – classic film noir stuff – but the slick visuals of the Bosch titles are completely at odds with those ideas. IF uses a deceptively simple mirroring effect, picking up the threads that Danny Yount laid down in his symmetry-focused opening titles to. Where Yount’s sequence opened up the scene, providing a breath of fresh air, IF’s closes it in, cuts it off at the middle. This binding of image and reflection gives the endless sprawl of Los Angeles a claustrophobic feeling, as if the skyline is some city-sized maw opening wide to swallow you whole. Contract Vanzare Cumparare Auto Germania Pdf Free. Nighttime roads become caverns bathed in halogen light, buildings become interlocking fingers of metal and glass.
It’s a beastly yet alluring vision of the city, a refined chaos, revealing the town’s true colours while sparing viewers those tired detective story tropes. HALT AND CATCH FIRE AMC Studio: Elastic Main Titles Director: Patrick Clair. The diagrammatic titles for the WGN America wartime drama Manhattan draw a picture of daily life for the men and women involved in one of history’s greatest R&D projects: the atomic bomb. Designed by Imaginary Forces, the sequence brings new meaning to the term “nuclear family,” cleverly juxtaposing the humdrum realities of suburban living with the theoretical physics and hard math that ushered in the Atomic Age. With oblique references to other famous intros, the Manhattan opening stands firmly amidst the framework of the history of title design. The tiny figures and long shadows evoke the opening of, the parting hands eerily similar to those in, the redacted information reminiscent of Karin Fong’s work for, and even the egg, a possible nod to.
MARVEL'S DAREDEVIL Netflix Studio: Elastic Creative Director: Patrick Clair. A city bleeds and a hero is born. Elastic’s main titles for Daredevil – Marvel’s hardboiled foray into the world of episodic on-demand television – announce the series in grand fashion. Viewers are introduced to the violent, murky New York City that blind lawyer slash masked vigilante Matt Murdock calls home.
An insidious, corrupting force is set upon the world, seeping out into the city, blood red, trickling down from the highest towers like hot wax, drowning the streets below. It’s there that a figure emerges – the Devil of Hell’s Kitchen – shaped by the city, formed by all that fear and ill intent – a part of it but compelled to oppose it. Echoing the sloshing Chianti of Hannibal’s all-too-brief main titles and the raging black ooze of, Daredevil’s blood-soaked opener serves as memorable calling card for the series.
Head bowed, horns out, a great weight washing over his shoulders. Good, bad, or something in between, this place makes you what you are. OLIVE KITTERIDGE HBO Studio: yU+co Creative Director: Garson Yu.