Thanks for your reply.

The file 03Fracture.c4d has no keyframes, and I cannot see any changes. So I focused on a single segment.
Exploring it in that small way allowed me to see some parts that could be improved, which is why I sent back the file.
The Thickness option is part of the Collider.

Please take a look here; it might be more aligned with your goals.
CV4_2025_drs_25_PArd_21.c4d

Enjoy your weekend

Thank you very much, AlexC.,

Enjoy your trip, and please let me know if you have any other questions.
I'm happy to look into it.

My best wishes

Hi leather-watch,

I can't reproduce this here with a R25 version.

Make sure you have not enabled the region Tool.

If you copy the object with the problem into a new file, does it continue to move unselected Keyframes?

Can you reduce the file (a copy) to a single object with keyframes, and attach it here as a c4d file direct (< 1MB is the limit)

(Cloudservices: Dropbox, WeTransfer, Google, Apple, and Adobe, no zip/rar, no tiny URL, URL pasted into the text as is, no http wrapper)

All the best

You're very welcome, atg.

Have a great weekend

Hi atg,

Here is a different concept.
CV4_2025_drs_25_PArd_01.c4d
Compare Field and Friction to
CV4_2025_drs_25_PArd_11.c4d

Here are the three main influences:
The position of the Linear Field and its length will change the outcome.
The Remapping of the Spline Curve, has influence
The Friction as well

To showcase the impact of the Field, I have titled it. This is just a demo, not suggested for production.
CV4_2025_drs_25_PArd_02.c4d

You need to explore it to art direct it easily, but I think it is worth a shot.

The line as a child is added as the first impact of a drop creates typically a counter drop, and is so longer seen.

Cheers

Hi Erwin (or do you prefer erwin)

I was just searching for a time trigger. As the Fluid Emitter has no animated Emission> Start Frame

Here is a sketch:
CV4_2025_drs_25_LImd_01.c4d

The Nyquist frequency. In short, if a particle is faster than the iteration, it is not seen.
Your file didn't have any fluid animation, so I reduced it.

What I found was that the receiving container had the normal direction to the outside, which might confuse setting up the Position in parameter settings
https://help.maxon.net/c4d/2025/en-us/Default.htm#html/COLLIDERTAG-ID_TAGPROPERTIES.html#COLLIDER_THICKNESS

I have set a larger value here to make a point; adjust it to your production settings, of course.

If something is not working as expected, check Normals, and set the Collider> Collision Sides accordingly.

Thanks for your file, and here it is back, reduced, to show more clearly what happens

CV4_2025_drs_25_LIfc_01.c4d

All the best

Hi atg,

It feels like you established what you wanted.

Here is a little example about ripples. Vertex Map2
CV4_2025_drs_25_ANrr_01.c4d

All the best

Hi grass-battle,

When this process works for you, feel free to ask anytime. Often, communicating the problem to someone new to the project specifics is already half the solution, as you mentioned.

You didn't take my time, but the outcome makes it all worth it.

Thanks for taking your time to update the discussion here.

My best wishes for your project.

Hi AlexC.,

You're very welcome.

I'm not clear which one is plane 2. (The spy cameras are un-usual observer)

So let me answer both. In the small image on the left is a demo about even it is perfectly aligned still doesn't "know" its position in space, (or more precisely the distance to the camera/projector). The rays from the projector get bigger as they project further away while spreading. Perhaps it becomes clearly when animated and viewed in the top editor view.

I intended to emphasize the importance of the set survey, including details such as camera placement, height, distance from the walls, and other relevant measurements. When this is clear, it becomes clear that all depend on each other.

The one on the right shows that only with a perfect angle to the camera, an undistorted image is re-created. If the plane aligns with the wall (or the windows), then the orientation is correct and the window is presented as it is in reality, a rectangle. (Note we identify a trapezoid shape in a photo as rectangular perhaps, it is typically distorted.)

Both examples, distance and orientation, provide the foundation for effective camera projection.

The windows are all rectangles in the 3D real world. When the image was taken, the "drawing of the windows was no longer rectangular, baked in 2D as a Trapezoid. With camera mapping, we "re-dimensionize" the shape again to a rectangle. If that is clear, the base of the Camera project is well grounded as a mental model in someone. That is what I tried to do here, which helps (hopefully to feel easy with this. In the late '90s, a good friend in Berlin introduced me to Camera mapping. It took me a while to understand what he did. That was pre-YouTube, and Handbooks were shipped across the Atlantic with a 6-week delivery time. Hence, the long time it took me to translate that inside of me.

Nearly three decades later, I hope to retain this memory as vividly as I felt back then, to clear all obstacles for others regarding this powerful technique.

The relevance is not outdated; for instance, if the concept is understood, the idea of LED studios (the next level) is just a step away. I found it quite useful since.

Let me know if that answered your question.

Cheers

Hi grass-battle,

Sorry for the extra work, but last week I went through two IT-security trainings (like every year), and my cybersecurity neurotic levels spike during that time.
Not your fault, not at all. Again, thanks for your patience with that. I try to keep it safe here for everyone.

Tiny URLs are shortened URLs where you can't see the original URL behind the short one. Once you click, it might be too late. I know people use them, … I surely don't.

I see a lot of images. I should have mentioned that a project file is the best way, but I understand that sharing it here might not be comfortable.

The first question would be whether to use standard or redshift rendering; a file would answer that.

From the images, I can see that they stick inside the ears. I don't have one here, so I can't tell how it is done. Is the ear and the head a single object, or are the fur placed, then the ears stuck into the head? Each time, the "fur" would look different. How about using a brush and art direct the hair as you need it?

This (above) is what I wrote before you posted the update, while I recreated a dummy (missing the file).

The blockiness comes perhaps from a setting where guides are placed on Vertices (points). Since all "Hair" clones are interpolations among these guides, blockiness is a possibility. Use another distribution option, Giudes>Roots, then update.

Here is a dummy. Can you set it up like your model (material, light, etc.)?

CV4_2025_25_HAcp_02.c4d
(c4d files can be attached directly, if smaller than 1MB)

All the best