CINEVERSITY

Hi Jan,

Since my animation does exactly that, with fewer spline/times, since it is an example, you just try to avoid setting 25 (24+1) keyframes? I read from your description that all the changes of the 187 artists are moving forward in sync, correct? This is meant as a question to understand it better. Segments are unclear in your description; from one point to the next is not considered a segment. Is that where we get stuck?

Perhaps integrate it in your Python script via frame. BTW, this is a Python-free forum, as we have a developer forum for that. Any code shared here will be deleted, as I can't check if someone changed the code later on and provided male ware like it was found in assets for a different software lately.

If you can generate all Splines in their final length, with 25 points (O-24): Current State To Object, and then use it in the file below instead of Spline_187.

This file has zero keyframes. 187 segments, each 25 points
cv4_2025_drs_25_ANsp_11.c4d

In case you need to keep 187 single Spline:
cv4_2025_drs_25_ANsp_21.c4d

Since I have Friday time off until Jul 7th, perhaps check in one Thursday for Ask The Trainer and explore with Noseman how to do that with Scene Nodes.
Questions can be submitted here:
https://www.maxon.net/en/thanks-for-joining-our-livestream?utm_source=livestream&utm_medium=livestream&utm_campaign=askthetrainer
The Show is here:
https://www.youtube.com/watch?v=dOM8RFoLJE8

I will be around to answer a few questions, but I surely need time to recharge. Maxon has work ethics, and I'm not supposed to ignore those.

Tip:
https://cineversity.maxon.net/en/series/cinema-4d-scene-nodes?tutorial=01-cinema-4d-scene-nodes-overview-of-nodes-objects-custom-ui

My best wishes

P.S.: here is a Freeze 3D View Workflow - but as patch.
I have removed the save and load parts, as I think they are clear.
60 seconds
https://projectfiles.maxon.net/Cineversity_Forum_Support/2025_CLIPS_DRS/20250627_Freeze3DView_patch.mp4

My best wishes for your project

Thank you, Pim.

I deeply love to do that! Supporting many projects and productions and answering questions of any kind. I am the one who has to say thank you, as it allowed me to grow and get involved in so many ideas and creative projects.

Your project so far has been colorful in many ways; it's fun to see that growing.

Enjoy!

Thank you, Pim,

Yes, I'm ready to slow down for 9 days, as I was searching for an Object. It would have clicked with Particle Blend Modifier. 😉

Even the Documentation's URL has an Object in the title,
But I was searching in the Redshift Documentation based on all the Nodes questions and color questions. Sorry about that, my fault.

Here is the Manual page, which I think has a lot to offer:

https://help.maxon.net/c4d/2025/en-us/Default.htm#html/OFPBLEND-FP_BLEND_OBJECT_GROUP.html#FP_BLEND_OBJECT_GLOBAL_STRENGTH

Thanks for your patience! I will check in next week, but I try to keep it short; typically, that is the slowest week of the year, hence my timing.

Enjoy

Hi Pim,

Mixing Color in your setup is like layering "Gels". With this, the first one works like a filter. For example, if you have a red filter and a cyan (second) filter, they will block light simply based on frequencies.
However, what is a pure green and a Pure red? If you use an sRGB colorspace, you get something, but not a full saturated color like green or red. Yes, I know, everyone will say, but I can see it on my screen. Well, typically not. Which is a longer story. But a pure red in sRGB is in sRGB 8/bit values 255; 0; 0, but that is the smallest colorspace possible and never should be used in professional pipelines. This means if I take these 8/bit values, the red in ACES 2065-1 would be 112; 23; 4. This means not even a fraction of that saturation that the sRGB or even P3 screen shows. So, a red would not block green fully as it has green in it. So, mixing colors is a little bit more complex. (So, using ACES 2065-1 all the way, well, yes and no. Typically, a standard screen can't handle the colors, some Applications have problems (hence the ACEScg limitations), and the need for Gamut Compression and, later on, Ton-mapping changes the colors to fit into a smaller space, that many people answer with creative (to say it kindly) workarounds. In other words, it is a theme that takes a longer time to dive fully into it. I can share some book tips, or (my favorite) as I'm an Alumni of the Color Academy for professional Colorists, Los Angeles, to invest a year in their program.

But well, if the light goes through those, and both have perhaps a white background, the light would be a colorful ( or less so) shadow. In any way, this shadow moves back through both filters and is affected again. Like every color filter is just a partial ND filter. Note: colors are not real; we produce them inside of our brain. Light has only frequencies, which different cones can receive more or less, and then Color is created later. In terms of filter, some frequencies get more or less blocked, others don't. Why do I explain all of that? Because feeding Color into the Opacity means to create a filter. While red will create a Cyan-looking result. Think of the red channel, if red it the color resulting from RGB as a channel that shows white. Hence Blue and Green are black, resulting in Cyan as transparency. If inverted only red is a black channel, and the result looks like red gel filter.

In your scene, there is the top layer set to be a filter, and using the colors to drive the Opacity means the red is more transparent. I would suggest here a neutral gray, perhaps 70%. If the colors have to drive this, use an Invert to get the proper colors of the '70s.

Tip: Enabling the View - Options> HQ Noise might help to get improved previews (not related to the Color question)

In short, that was a deep dive for that short question, but I wanted to share more insights into what is going on - instead of just dumping a file and telling you to do this. Which I find always for those themes not adequate. Read it and let it sit for a while; it is not a small subject.

Here is your file back
CV4_2025_drs_25_RScf_01.c4d

Screenshot 2025-06-27 at 2.33.54 PM.jpg
(Blur would be a new thread.)
Enjoy

Hi Pim,

The Vertex Attribute Node takes the Vertex Map, either single channel or Color/alpha from the object. The key concept here is that every point of the object has an ID number; the tag then adds a single value (0-1) to it, or for the Color, even a four-channel value RGB-A. The colors or value of the Vertex maps can be painted or applied with Fields and other options. The Vertex Tag should always get a proper name. Leaving it by default can cause confusion, leading to unwanted results.

The Vertex Attribute Node takes those Point/Vertices values in and interpolates those over the surface. The lower the number of points, the less likely a pleasing result can be expected. Higher values might slow down the processing. Sometimes, baking the data can be beneficial.

The result is, to a certain degree, comparable between a shader and a texture and can be used to drive channels in the materials.

To know which Vertex Tag to use, the Node has an entry field for the name; dragging the tag into will work.

One key feature when using these for anything is that values should be provided in the way they are needed. In short, RGB is not always RGB, which sounds cryptic, but Linear and gamma-encoded values deliver a completely different result if interpreted wrongly.
Color Management is often ignored for these values, and the results might look surprising.

More details are here:

https://help.maxon.net/c4d/2025/en-us/Default.htm#html/COM_REDSHIFT3D_REDSHIFT4C4D_NODES_CORE_VERTEXATTRIBUTELOOKUP.html?TocPath=The%2520Node%2520Editor%257CRedshift%2520Nodes%257CRedshift%2520Utility%2520Nodes%257CAttribute%2520Nodes%257CVertex%2520Attribute%257C_____0

(The Blend Color has its own thread, please don't mix! Thank you.)

All the best

Off topic

Hi Pim,

Please continue with the new Question in the thread linked above. Thank you.

Cheers

Hi archie,

Crashes need to be discussed always with Tech Support
https://www.maxon.net/en/support-center

Elly talks about the recommended driver here
https://www.youtube.com/live/-oD-vy6Znt8?feature=shared&t=1185

Fingers crossed, this is solved quickly for you.

My best wishes

Hi MV,

Yes, you got that right; the 63 had some unsorted priorities. I left them in as I moved on with 64 to fix those. Sorry if there was any confusion based on my doing.

I'm glad you brought that theme up, as I know the (mostly) where the limits are, but there is, more often than not, a way to make a workaround of some kind that might come close.

The head or the "tool" needs the freedom of 6 axes alone, which is not doable with normal input devices directly and, in that way, hard to direct since I do not have a "Space-Mouse". So the Target-Tag use (as your headline suggested) is a good help.

My best wishes for all the projects you manage at the moment.

You're very welcome, AlexC.

Before I studied architecture, I had three years of training to become a Technical Drawer; to create or read those "blueprints" is second nature to me. Which makes me confident to have shared the fastest way. Thanks for checking this out.

Your intuition about the Arc was not off.
It can be done with an Arc, four of them, but the problem here is that the center point of each Arc is not in the center of the tent. This causes a lot of trial and error, especially since the "blueprint" has no orthogonal view to this quarter arc, like when it lies on the ground to be assembled. The radius of an Arc here is 12.80m-13,50m (+/-) based on taking it from the "blueprint". Using the three orthogonal view (Multi View) re-engineering method is faster and has no guess-part in it. Anyway, your intuition was good.

Enjoy your project

Hi assist-front,

Noseman instantly provided me with this file.
Particles Stuck to Surface 02A.c4d
Fingers crossed, it is what you are looking for.

My best wishes

Hi Jochen,

Inside Trapcode Particular, you have the following options.

https://help.maxon.net/rg/en-us/?_gl=1156481g_gcl_au*MTE2MDM5OTE4Mi4xNzQ4MDE1ODAz#html/Particles-and-3D/Trapcode%20Particular/visibility.html?TocPath=Particles%2520and%25203D%257CTrapcode%2520Particular%257C_____57

Besides that:
If I understand your question correctly, if you like to use a mask, set up a solid on top of the Layer that has Trapcode Particular and use in that new Layer any mask you like to have, then connect it to the Particular Layer, (Track Matte)
Alternatively, Pre-Compose it, then use a mask in the new Composition.

Please let me know if I got your question correctly.

All the best

Hi OlcayKayihan,

Elly talks about the recommended driver here
https://www.youtube.com/live/-oD-vy6Znt8?feature=shared&t=1185

If all of that isn't helping, please check with tech support:
https://www.maxon.net/en/support-center

Fingers crossed, this is fixed for you in no time.

Cheers

merged object.

So far, I can see that it is a Python script option. Since this forum is code-free, for security reasons, please check with the experts over in the Developer forum.
https://developers.maxon.net/forum/

I will write a report about this as a request.

Fingers crossed, someone can help you.

There are some scripts available (google it), but please read through them carefully, as Python is not without risks.

All the best