CINEVERSITY

Hi moebious0815,

Thanks for the reply. So, in short, even with 68 bad polygons, you want the algorithm sort it out for you and provide a perfectly solved Boolean operation.

Even some models are based on flat polygons, for example, not even producing a volume" (when you “explode” the collection, you see how unusable it is constructed).

I get your expectation, all of that care to create clean models is not needed; it should work no matter what anyway. Sorry, there's nothing I can help you with.

In short, you state that it is not working, which means you need to contact the Tech Support.
https://www.maxon.net/en/support-center

My best wishes

Hi shoot-laugh,

With "its rotation," you mean the pathway (blue in your image) or the rotation of the coin, like a rolling tire.
Make the Path (in a copy) editable, and use one of its border edges as a new guide. Select the edges and then Main Menu> Mesh> Edge to Spline.
I would use the middle edge of the path to harvest as well as a Spline in the same way, so they are in "sync."

Now you can set up three Nulls:
One that is where the coin touches the path
Second, the same as the first, but a little bit ahead of the first.
Third, the Null that follows the outer edge of the path.

These three create a triangle, which is stable. All three are animated based on Align to Spline, while the second one is a little bit ahead (+3%)
If the first one is animated, the second and the third can use the data in XPresso, so you have to care on end only about only the first.
The first one receives a Target Tag. The Target and Up Vector inside the Target Tag are based on Null 2 and 3.

The outer edge-based spline can now also be treated as a “Rail”. Meaning the coin leans into a curve, or for dramatic effect, leans out of a curve, based on moving the Spline up or down a little bit.

With that set up, the First null can now receive the Coin as a child.

Is that what you are looking for?

Let me know if that needs more data on your side. I'm happy to share, but if you can share teh path set up, it would be easier. (Just the path as c4d file. Thanks.)

Cheers

Thank you, reading-card, for your feedback.

Please have a look here:

There is this yellow "Flask", and the term experimental. In addition to that, the number of Nodes has steadily grown, while the way to work with those has been optimized along the way. Long story short, it is in progress.

Screenshot 2026-01-20 at 8.59.59 AM.jpg

As mentioned, the file was a demo, not a suggestion for production. The Plain Effector shows in an easy way what happens if a polygon-driven change affects a Group. Is that unavoidable? Surely not, with a lot of care, I believe… Which brings me to the point of your request, to have a convenient solution. Which means that the convenience is in the use, not the setup of the tech, and that requires using the "Share Your Idea" here:
https://www.maxon.net/en/support-center
… and ask for a Capsule that does exactly that, Selection-based (Group) Extrusion, while adjustable impact on points by fields as single or in Combination of Fields.

(Yes, I have asked Noseman for input, who is surely the in-house ambassador for Nodes)

All the best

Thank you very much, entry-newspaper.

Let me know how it goes and what else is needed. I'm happy to look into it.

Enjoy

Hi smckenzie,

Thanks for the file.

The Edge To Spline is the base of the file below. That was a collection of "segments" that had to be harvested from that "mesh". I fatten them as they were not on one plane via the Coordinate manager in Point Mode.
Then sorted them to be in sequence, and I used the Tracer to connect all. The Spline> Remove> Optimize function was supportive here.

I placed the result into a MoSpline to control the point distribution. Just go to MoSpline> Spline> Generative Mode.
The Extrude has also options to define the final mesh, here Caps and Subdivisions are the key.

The wristband has roundish end "corners". Once you settle for a specific mesh quality, the Option would be to work with the Correction Deformer, or align the points accordingly directly.

The result:
CV4_2026_drs_26_MOwb_01.c4d

Cheers

Hi smckenzie,

I was going by the question for the specific part, assuming you had solved anything to that point. I have explored it and found some problems.

Some problems that I found needed more attention. The guidance rails, for example, in the rotation "TwistToChoosePath" create at a certain point an obstacle even. The Rails don't line up, and the Sphere end up on top of the Rail.

My suggestion, and I think you used something already (Guidance Tubes) would be to create an invisible tube in which the Spheres will run, and have the small guidance rails as visuals in the render.
Example
https://projectfiles.maxon.net/Cineversity_Forum_Support/2026_PROJECTS_DRS/20260119_CV4_2026_drs_26_SItv_01-02.zip
One just freely set up, and one adjusted to your rail size,

My best wishes for your project.

Thank you for your feedback, entry-newspaper.

My best wishes for your project.

Hi make-type,

Is the Time Condition set correctly to establish the roundtrip every second?
Less probable but perhaps an option for a problem, are you sending the particles back to the main Particle-Group Folder? If not, then that might be the problem.

Could you please share your file, please, just as a C4D file (no compression - it should be below 1MB, greater is not possible here).

You can also have a look at this file, which I have set up today
CV4_2026_drs_26_PArm_01.c4d

Let me know how it goes.

Cheers

Thank you very much, DjeisonCanuto, for your kind feedback!

As a side note:
With those tests, we can exclude more and more things. Your overall hardware setup seems to work just fine, would be my conclusion, otherwise the problem would show up elsewhere.

The problem is not the image format, another great point to exclude, it is most likely that an image is added at all that triggers it. Which excludes testing more on the image side.
I have also tried to use a Shader in the Hair-material to see if that triggers a problem. Which might not deliver much more insight, but the more data, the easier the tech support to focus.

I will have an eye on the development. Thank you for your very much appreciated patient replies. I'm sure it is annoying to have to deal with this.

Fingers crossed, it will be easily fixed.

Cheers

Thanks for the additional information, wheel-city,

I have checked the usual sources again, but I haven't found anything related.

The only questions I could think of: Can you switch the color management to something else?
Attribute Manager> Mode> Scene >Colormanagement
If you are in ACES, use for a test Legacy sRGB.
Or check in the Preferences> Viewport Display> System> Display Color profile, if a change will help.

Just wild questions, and since wild questions might waste your time, please check in with tech support.
https://www.maxon.net/en/support-center

Thank you!

My best wishes

Thank you very much, tonight-excitement, for the reply.

Great!

My best wishes for your project.

Hi wheel-city,

Yes, feed both into the same particle Group “folder” and add a Blend Modifier to it.

The Particle Group can then be used in a new Vertex Map. Note that the Liquid Mesh is set to export Geometry and Color for this example.

Example and preview render
https://projectfiles.maxon.net/Cineversity_Forum_Support/2026_PROJECTS_DRS/20260113_CV4_2026_drs_26_PAsc_02.c4d.zip
Redshift Sampling is set to 1.0 for preview quality, and to speed things up, Global Illumination is off.

CV4_2026_drs_26_PAsc_01.jpg

This should get you close to the color mix you might need. Note that practical colors (subtractive or additive, as well as pigment-based mixtures) might mix differently, so some color grading later on is needed.

Let me know if you have any questions. I'm happy to look into it.

Enjoy

Thank you so much, resort-sand.

Sorry that you had to experience a problem in the first place.

Fingers crossed that the switch on and off "dance" is soon not needed anymore.

My best wishes for your project!

Hi reading-card,

Sorry when you get the idea of an argument here. Not my intention. The example was to show case that the numbers changing, while using a simplified model.

Please continue to explore this with tech support. I saw the ticket and you are in excellent hands over there.

Take care.

Hi clue-minute,

This is a clear question with complex-to-answer content, as rendering can be so much, but in short, typically not. I leave an option open here, just in case I miss something that is so far not communicated about your target.

When an object is rendered, it has influenced the scene, typically with reflections, shadows, and bouncing light. Eventually, it has refracted what is behind it, or mixed some parts from the scene based on depth of field or motion blur, and is perhaps overwritten (value-wise) by post effects of Bloom (or Flare, Glow, etc), etc.

The answer is no, if the object was not rendered with a specific mask and with a separate render that leaves the data behind it in the scene. So, if the object allows a separate rendering pass, then animating in After Effects, or even in Cinema 4D, is again possible. But any animation requires a new calculation, as any compositing takes the foreground and subtracts the pixels from the background. This requires at least a new writing of the file.

One more point, objects have a typically perspective and moving it without adjusting it to the new “view” will make it sit not well in the scene, given it is 3D.

The idea of faster rendering is typically that you get a fast preview, make your adjustments, and if needed, render in higher quality and resolution.

Perhaps I missed a point, and you have something else in mind, then please share a little bit more. Thank you!

I'm happy to look at your question more in detail if you share more.

Cheers

Thank you very much, MaverickMongoose, for the reply and the 2026 wishes.

My best wishes for your project.

Hi Simon,

The picture should be fine, 500 pixels vertical is the max, and wide can be larger.

I can't tell how to write a prompt in AI, nor is that the forum to do so. I can provide some tips. But since you use AI, ask what the qualities of Skin appearance are. To create perhaps a communication base with the AI entity. AI will not know the difference in images of retouched toon skin, perhaps, if not defined what qualities you are looking for.

Perhaps find an AI engine that allows you to use reference images, and then mark the area where you would like to have that quality.

Eventually use a subsurface scattering (SSS) material and get the lighting already close to the final, before asking AI to take over.
Test as well the Skin Material of Redshift:
https://help.maxon.net/c4d/2026/en-us/Default.htm#html/COM_REDSHIFT3D_REDSHIFT4C4D_NODES_CORE_SKIN.html

Skin is typically the main challenge as the light goes through several layers. Even small emotions change the blood flow, and tiny changes in color might occur. We are all reading this, more or less conscious.
When it is missing, it often works like with shadows; most people can tell it looks like CG, but what goes wrong is often not clear. Like, often you might notice in CG comps that the light wrap is not even established.

The list of Skin qualities or influences is long and not limited to the ones in the list:

Subsurface Scattering (SSS) Detailed Texturing (Albedo and Displacement): Displacement/Normal Maps Layered Shading Model Dynamic Changes Anatomical Accuracy Lighting

More about light: Think also of the effect of small hairs catching light. Using only "white" light is typically a mistake; bouncing light is typically colorful. Abstract painters have exaggerated this extremely. Cinematographers sometimes use even a color-full bounce board.
Lots of Reference and Observation (Avoid web-based stuff, shoot your own with a gray card)

If nothing helps, add a slightly smaller model (Normal Shift) and create the "under the Skin" results, then blur them a little bit and comp those to a small percentage into the image. (Fake SSS, but only as extra, not replacement of SSS)

All the best