MikeA

This is much my preferred style of creation TBH. When I first came to C4D my all previous modelling softwares worked like this. I was quite shocked with C4D's limited 'drop it in the middile of the scene and move it' approach.

Ah, a man with a similar level of athleticism to my own! : )

Welcome Bil : )

...to fully appreciate this : ) Some great character work. Rendered in Redshift. https://pintsizechat.com/episode-water/

What Cerbera said: There are a number of ways you can do what you want with workplanes, but a good method - that works with primitives as well as poly objects is: Set a shortcut for "Locked workplane". Enable "Interactive workplane" - bottom icon menu, left hand tolbar. Now run your mouse over your object (don't click). Your workplane should change to match the normal of each poly. Lock workplane. Add your new object Unlock workplane To return to the standard workplane, select "Align workplane to Y" from the icon menu above.

This should keep you busy : ) https://libraryofjuggling.com/

As an occasional juggler myself*... I particularly like frames 0 - 100 : ) Next step: clubs - or fire torches : ) + I can highly recommend juggling for back health. Plenty of exercise in picking up the drops

Keith, Maybe the attached file will help a little? It just demo's what DECK and myself have been saying about camera to subject distance (perspective) as apposed to focal length (shorter camera focal length = a wider angle of view). There are three 'cam01' cameras each with a different focal length: 24mm - roughly the focal length of your shot 50mm - typically considered a 'normal' angle of view 16mm - a very wide angle view The important thing to note is that all cam 01 cameras are in the same location - so the perspective is the same. Notice

Agreed totally. I always have to do a bit of manual tweaking. It not uncommon for me to have to try and reverse enginner the perspective on a shot in order to add some CG element to it. It's never straight forward. I've typically got one or two key measurements of the real object - probably similar to yourself. I think on the lens correction it depends very much on the quality of the camera / lens combo. Cheap lens - loads of distortion, and a wide angle shot and camera matching can be next to impossible. I have found 'lens correction' helpful on a few occassions when I've had sho

Sorry DECK: I posted at the same time.

Keith I'll try and summarise what you need to do: 1. Get the best camera match you can - don't worry about the virtual studio background for the moment. 2. Once you've got the camera in the right location - disable the camera calibrtation tag and adjust the camera co-ordinates manually so that the camera isn't banked. Ie: B = 0. 3. Go to your camera settings and make the focal length shorter - so you can see as much of your studio background as you want. Now, I suspect you are going to have an issue here. Because the original footage looks to be shot failrly

One final tip: I just noted that your photographer said camera was at eye level. I typically use 163cm as average male eye level. So your camera should be around that - assuming your set is real scale. It is tricky work - particularly with so little usable reference in the scene. Here's one I did a little while ago that was also a pain to match... https://www.behance.net/gallery/94715543/Leonardo-M346-FA-3D-CGI-and-retouch

Keith, Assuming you are aiming for a wider shot - showing more of the virtual studio - the main issue you have here is not really the finer matters of green screen work, it's the mis-matched perspective. When you achieve a good camera match I suspect you're going to find your C4D camera is MUCH nearer your virtual set background than you maybe intended. You'll be looking at one small patch of it - as DECK shows above. Look at the first rendering you've displayed in this thread. The camera in the scene - in real world terms - might be 25' away from the subjects. The camera to sub

Glad to hear you got it sorted : )

A few other tips when doing this sort of work: 1. Build your set to real world scale. 2. Have some accurate measurements of the key objects in your scene - eg: table edge length here. The table is not ideal as it's a relatively small object and near the eadge of the scene, therefore likely to be distorted in camera - but it's better than nothing. You can then use this known length in your camera calibration analysis. 3. Have an accurate note of camera, lens, and settings. EXIF data may help you out here. You can then use this to... 4. Remove camera lens distortion (Photoshop /