Cineversity

I’m trying to bevel the edges on this tube object, but all I get is what you see here, a strange separation. With the same tool settings I can bevel the edges of a cube, but not this tube. What am I doing wrong?

Hi Drim,

Before you Bevel, select the object and use the Mesh>Commands>Optimize option/function.
This will connect all parts and then the Bevel should work fine.

This happens with several Spline Based methods, but as well with some other Primitive (parametric) objects, which allow for “Caps”.

The separate parts are based on individual generated items, and so the points are double there. With the Optimize function, the double points will be “merged”.

If you have more problems with it, please attach your file, thanks.

Sorry for the delay in answering, I had to go to the Embassy today.

All the best

Sassi

I hope it wasn’t under attack.

Anyway, thanks for the info. I followed your instructions and…well I’ll be darned, it worked! Not that I didn’t expect it to; but technically speaking, what exactly does the Optimize function do, and why is it only needed in certain instances?

Thanks for you concerns, Drim :o) Nope, all in all it was very much in peace there, I needed only some ID’s renewed.

The set up of some object generating methods are based, more or less, on patchwork. I guess it simplifies the process. Mostly the Caps and Bevels have some specialities, namely the R1, R2, and C1, C2 predefined “Selections” which one can use for the Texture Tag. This is not the reason, but perhaps an indicator how things are set up internally. In a nutshell, I don’t know the correct reasons, only that this problem goes way back in time.

The simple test is normally to selct all cap/bevel polygons and move them. It becomes directly visible if they share points with the “main-body”.

When ever something like that happens, the Optimize function checks the points and has an option to eliminate the ones with similar or even equal positions. Check the little cogwheel to get more options.

A similar function offers the “Connect-Tool”, but leaves the Object itself untouched. It keeps updating the results, so it eats some recourses, but it can work with Primitives, and doesn’t require Polygons. Note that some tools can’t work with Primitives, they need Polygons. Difficult to find a short generalization for all the varieties. Sorry about that, but I can’t simplify it.

I hope that clears it, if not, please ask. Every unanswered question slows down the process of feeling fluent with C4D. So, please never hesitate.

All the best

Sassi

Thanks. Actually that does illuminate things appreciatively. I’ll try to keep all this in mind and will save this exchange for future reference.

Before hearing from you I decided to use a different method of putting some character into the handle of my magnifying glass. Obviously I know very little about lighting, environments, etc.

You’re welcome, Drim.

Looks certainly better than my first objects in 3D, to not lose completely your faith in me, I have to say that 20 years ago the applications were a little bit—well—rough. ;o)

Light and Environment (for reflection and indirect light, etc) is certainly based on observation first. Where ever you are, except in absolute dark rooms, you can train your eye. We all see everyday uncounted objects for example, but how do we perceive them? If you ask yourself, if a practical object is in front of you, where does this object gets its light and reflection from. How is the surface and how does it work with the environment. Is it reflecting something back? The more you ask questions and observe why objects look different, the more you will know what to do in 3D. How is the quality of that combination changing while you move?

Sounds simple, but the more you observe, the more you will see. This is something I have suggested a lot of times so far, not judging at all. Sometimes images might help as well, Reference is king, but take them by yourself, e.g., stuff from the web—“you” never know what has happen to them. (Wrong Color profile, Photoshopped, all - kind of “enhancement” etc.) Take images, hold a gray card into the picture, if you have none or don’t like to spend money on such, painter stores have neutral gray color chip cards (no cold or warm gray). The key is here to have always the same “Gray” in each image, to “see” what light color has hit the surface. Long story, sorry.

I have prepared a “Photography for 3D Artists” (nearly 200 parts) and I will discuss everything needed for 3D in it. Even Environment creation (Panoramas 360º/180º, HDRI, etc) Soon…

I hope I have not written too much about “stuff” you already know.

Have a good one

Sassi

Wow! Thanx again.

Thanks as well for the feedback. :o)