CINEVERSITY

Thanks again this informtations help me a lot. You are the best!

Hi Chum,

Thanks for the file.

I'm unfamiliar with putting the Pole exactly on the elbow (and I have answered Character files here for a long time); I have never seen it.

I would see it as the main trouble-maker. If that would be a proper setup, why would we not just put the Elbow joint as a Pole to work? I hope that sounds already weird enough to make a point. The rotation of the Pole itself is irrelevant, so only its position counts.

But let me know if I miss something. There is always something new in the Character Animation world.

Even the Advanced Biped or the Toon Character Setup does not have such a construction for the pole. Those were set up mainly by an Oscar-winning character Animator from a Studio here in L.A..

All the best

Hi bottle-steak,

N-Gons are great during manual modeling. But for "procedural" modeling like with the Boole, they often give too little information (as in Points), and so the Boole needs to take what points are available. In that way, even that little cut work might solve a lot of less wanted polygons. The worst case is super long polygons; the best is, of course, a perfect flat square. Typically, we avoid the long ones and work to get close to the square. Boole is certainly not my favorite tool, except I can use the Remesh after that if it improves the provided Boole result.

So, to give the Boole a bit more to work with, I took a few seconds to take out the N-Gon.

Switch the following "High Quality" and "Hide New Edges" in various combinations. It might not be a lot of improvement, but it is often enough to get something that works instead of a more problematic result.
CV4_2024_drs_23_MOng_01.c4d

I used the sides and the back from the Loft and anything but the sides and back from the Extrude. Then, I merged it and used the Optimize function.

All the best

You're very welcome, life-board.

Thanks for the feedback; it is very valuable to me.

Have a great Sunday.

You're very welcome, life-board.

My best wishes for your project

Hi tie-version,

As far as I understand what you like to do, here is a suggestion. (Storyboards are more the way to share those ideas; words are always a basis of interpretation)

Each shape is stored in a Spline, which is part of the Blend settings of the Cloner. The Plain Effect drives the progress of the Blend> Modify Clones.

The Null sets the main motion, the Plain effector, and then the "morph" defines the change of each shape over time.

Here is a quick demo:
CV4_2024_drs_23_MGsp_01.c4d

I used the Mesh> Move> Magnet Tool to shape the "subframe-spline".

The best base to get very fast with this is to study Rotoscoping. In a nutshell, it separates shapes into forms with the least amount of change and moves them from the "keyframe" (the point of main change, PSR).

Besides the Cloner, the PoseMorph Tag might be the way to go. The Point-level Animation (PLA) seems more accessible for the first run-through but becomes increasingly difficult to adjust.

All the best

Hi Adam,

I will ask if there is an option to add the libraries for older versions to the download site, but that is not an option.

I assume you didn't have a backup with those library installers.

Please let me know if you need a specific asset at one point, and I will try my best to get it.

If you are in the U.S., Happy Thanksgiving
Besides that, enjoy your day

You're very welcome, Andrew,

I hope someone is around during our Holiday and can give you the information you want.

My best wishes

Hi lifeboard,

Please, no follow-up question that doesn't match the previous one. This will lead to a more challenging search and difficult-to-read forum.

The image that you show can fill books. Suggestion:
The Complete Guide to Photorealism for Visual Effects, Visualization and Games: For Visual Effects, Visualization and Games 1st Edition
by Eran Dinur (Author)

Please one item to discuss at a time, would you mind open a new thread, and I move the new post into your new thread. Thank you!
Open as many threads as you need!

All the best

Hi gain-concern,

Perhaps use the RS Object Tag> Particles, with the MoGraph Matrix, to get these detailed results without any render bottleneck.

I have used a simple material, but the key is that the Noise is set to World like the Zink-coating would look with that Grating.

Render the scene, and you should notice how fast it is.
CV4_2024_drs_23_RSgr_02.c4d
Two objects are available, beveled or simple.

Screen Shot 2023-11-22 at 1.35.53 PM.jpg
Screen Shot 2023-11-22 at 1.47.17 PM.jpg
As a side note:
My initial tip with Bevel was based on the guessing (missing the image) that it was perhaps based on the German term "Grat" (English Burr). Before I studied Architecture, I went to a Metal/Electric school, and in our practical assignments, we had to get the Grat (Burr) off the Steel edges. (entgraten).
Since I have gotten questions from all over the world in the past two decades, I often have to go with a guess. But yes, your term was absolutely correct.

All the best

Hi Ricardo 4D,

Please do the following: set up any object you like with a V that you like.

GOZ export it to ZBrush

Go to Zplugins and use the FBX export.

The result of the FBX export can be merged or opened in Cinema 4D.

It should show the same UV.

I hope this will increase your confidence in the pipeline.

If that is not the case, use the created objects and open a support case.
https://www.maxon.net/en/support-center

My best wishes for your project

My best wishes

Thanks a lot for the feedback, Henri.

The first one uses short comping of splines and animation to its advantage, such that the distance between points is crucial for the speed.

The Force Field has a lot of potential, and adjusting the "force" along a spline is very powerful.
More about Force Field can be found on our team's many shows over on YouTube.
https://www.youtube.com/c/MaxonTrainingTeam

Let me know if there is anything else. I have some time off (Holiday here), but, of course, I have an eye on the forum.

My best wishes for your project

You're very welcome, David.

Yes, Magic Bullet Looks is a great place to explore, brainstorm looks, and set up one's idea about a specific Look.

The attention to detail allows for creating a filmic look; it uses everything to guide the audience's eye and limit distractions. With that, less stress is provided, and one can sink into the visuals. This intensity is often confused with the prominent, easy-to-read part of the image. Hence, just applying for a LUT is not working.
Hence, we talk in color grading about secondary grading, something neither a parameter preset nor LUT can do.
On top of that comes handling all clips to merge into the found visual language to create continuity.

Many people use references, as you mentioned as well. Analyze those and compare your results. Step away for a day and look again. You might be surprised how much more you see after a while.

Johannes Itten's "The Elements of Color" was the book that most impacted my understanding of Color as a young art student. Even decades after I bought it, it echoes in me. Many mainstream film looks are built upon this knowledge. Understanding those unlocks why some look work along a movie, and some just fade over time in one's perception.

Before I get lost in another long text:

Enjoy the exploration

Hi jury-city,

You might see instantly that the 2024.1 FBX export produces much smaller file sizes based on the missing data. This clearly shows that the exporter in 2023 should be used for now.
I hope that is an option for you for the time being. In other words, the scene you use does not use any features that are only available in 2024.

Sorry, I have no workaround other than how you described opening the 2024.1 file in 2023 and exporting from there.

The FBX import from 2023 to 2024.1 works

Fingers crossed, a working version will soon be available for you.

All the best

Hi Georg,

The GoPro Hero 10 has a lot of in-camera stabilization in it. Which means it is not a 1-to-1 representation. (I have only an older GoPro, so my experience is not with a GoPro 10)

The procedure to create a lens profile is described here: https://help.maxon.net/c4d/2024/en-us/Default.htm#html/TOOLLENSDISTORTION.html?Highlight=lens profile.
Use only the data you get directly from the camera. No adjustments other than color.

The mask is an option to exclude moving objects, but it has no option to retrieve spatial information.

Tracker points will be created for contrast areas; if it does not match all other's movements, delete it.

Parallax is the "perspective" change in the image. The opposite would be footage from a lock-off (Tripod) footage, which doesn't provide data on the space. Also, just paned (and similar movements), and zoomed footage doesn't provide parallax. (Yes, I'm aware that GoPro has no zoom options)

Points that are manually tracked should sit on non-changing features. (I mentioned that in my YouTube link.
Camera Motion Tracking creates a 3D point representation of the stable world in front of it. Once solved, that "cloud" is static.
The idea of tracker points is triangulation. Lens distortion leads to variation in the speed at which these points move. This disables the precision of a stable triangle or leads to a useless result.

It is possible to track purely with manual points. However, if the footage and lens profile are not pristine, the rule that 8-12 tracker points will most likely not work.

With post-processing already in-camera processed material, you have two layers on top of problematic footage. In other words, the perfect camera/lens features are based on Global Shutter (not rolling shutter), while no stabilization is used, and the lens has minimal distortion. GoPro is not the camera for this work. Footage with no motion blur (and no added motion blur) is preferable for this work.

Since you mentioned After Effects, try to find the spatial camera path there, then merge that tracked camera in a Cineware file that allows you to get the result into Cinema 4D. (I haven't done it in a while, so this is brainstorming.

I'm sure that you went through this material, but I want to make sure you have the following:
https://www.cineversity.com/vidplaylist/motion_tracking_object_tracking_inside_cinema_4d/

All the best

Hi hang-single,

Please try this. I would suggest updating it to 2024.

Here is the 2023 file with one more element to make it work.
https://stcineversityprod02.blob.core.windows.net/$web/Cineversity_Forum_Support/2023_PROJECTS_DRS/20231119_CV4_2023_drs_23_MGmc_11.c4d.zip

Side note: When you place a new object in the Object Manager, remember it goes from the top down on each priority level. Placing objects over others that need to provide information might lead to delays.

Enjoy

You're very welcome, Chum!

Select the Polygon object, and go to Object Manager> Object> Object Information. 2506 Points. Close that message window.

Then, use the optimize function.

After that, go again to the Object Information: 2468 Point.

Somehow, there was twice the information in some areas.

How did I got there? Gut-feeling. There is no logic or previous case that acted in that way.

The Delta Smooth was working after that. Which I think was the target.

Cheers

Thanks for the feedback, Chum!

Have a nice Sunday!

Hi Frischvergiftung,

Yes, that list needs to come in on time! 😉

Fingers crossed it works.

Have a great Sunday!

One more thing 🙂

Perhaps this works better for you and stays adjustable.

CV4_2024_drs_23_ANct_41.c4d

(If some care is given, it might be useable with the Collision Deformer for the "tube".)