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  1. R20 introduced a dedicated 2D Tracks Mode to allow usage of non Motion Tracker specific tools such as selection tools. Could be that this is the culprit here.
  2. I just had a quick go at your footage. Auto tracking worked fine for me using 33,3...% resampling. At 100% it is producing a lot of bad tracks. I guess you could get it to work with a bit of cleanup but I doubt it is worth the effort. Once you've got your 2d tracks you can get the solving part. Unfortunately you won't be able to get a useful 3d camera move out of it. Your camera hardly moves and therefore rotates around a more or less fixed point in space (similar to a tripod pan shot). Therefore there is very little parallax for the algorithm to work with. What you can do though is use the Nodal pan solver and eyeball the position of your 3d objects.
  3. Have you tried camera mapping? If you use that as your projection method you can control where the textures are projected by moving the camera and control the size of your texture via the zoom. To avoid the camera distance dependant scaling (caused by the frustum) set the camera's projection to parallel. Hope that is what you are looking for.
  4. You can use a random effector or a random field in a plain effector to colorize your particles. The Color Shader will give you access to those colors. Make sure you set your Cloner to Multi Instance mode. Depending on the amount of particles and the complexity of your clones this might significantly improve performance. Random_Particle_Color.c4d
  5. What you are looking for is the "Surface Radius" parameter in the dynamics tab of the hair generator. It defines how "thick" the hair is when collisions are calculated.
  6. You can time offset alembic playback. Export and bring back in and it should work.
  7. Why does it have to be flat? And if you are worried about intersections you can always throw the orange blobs into the volume builder and subtract them from what ever is created from the splines. Also you can use a random field to mask a reshape filter to create some thickness variation in the transparent goo. Something like this:
  8. You can extrude the spline and then use MoExtrude to achieve random extrusion heights. If you have R20 you have much more control over where how much extrusion will occur by using the Fields. I attached an example without Fields as your profile states you use R16. random_height_city.c4d
  9. Why not bind the vest mesh to your rig? If I understood correctly you just parented it to one of the joints and therefore it won't be deformed when your rig is animated.
  10. If you have access to R20 then just draw the a bunch of splines with snapping enabled, throw them into a volume build and mesh the volume.
  11. This is without the shader effector. You can use the MoGraph Color Shader to apply the color of your clones (or flowers). You could also turn the effector color to black and use that to control Alpha of a material or a use it as a layer mask in a layer shader. Flower_color.c4d
  12. If there is, then it is probably a very tedious one. Scripting could help but then I don't see a benefit of doing it in C4D. These kinds of graphics or often done in Processing, vvvv, Max/MSP or other environments that allow you to process data and draw things on a canvas.
  13. How really great collection. That's a handy reference that should really be available as a wallpaper for the office :D This must have been so much work and I really appreciate that you are sharing this with everyone. The only thing that I am missing are some examples of overlayed noises. Combining the different noise types opens up a whole new world of possibilities. Here is an example of what I mean: Marc "Renderbaron" Potocnik is a true master of noise witchcraft! :)
  14. You can use a cloth sim to get the basic shape and then use sculpting to adjust or add detail to it.
  15. Just did a few quick experiments in R20. Volumes are also really great for this kind of application. This is would I got trying to reproduce your scenario:



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