When I started learning Cinema 4D 25+ years ago, I found, after a while, the Command Manager. Back then, it was filled with "just" around 1,000 items. I went through that list and read the manuals three times over the years.
When I start a hand on class, I start with; I don't know everything. To ease everyone's mind. It is accurate, and no one knows Cinema 4D 100%. Even this morning, I was reminded of a feature I missed mentioning to a colleague's question.
Why I'm talking about it? Take the 1,000 items, combine those with each other, and get a six to seven-digit number of possibilities. Combine three or more of them, and it explodes in possibilities.
It is impossible to cover the whole application while being aware of all combinations. I think I'm close, but wait for the next update and then ask me again 😉
Which also means, there is lots to explore that no one has every combined.
Character animation and cloth are two things that build up on each other. No cloth will work properly without a good rig and character/rig-building skills.
I see character animation as a top-level skill, as it is based on many standard and advanced animation techniques. Nothing that is just done or based on a do this, do that tutorial. In other words, take your time, and let it grow. I assume you toss that advice, but I had to say it 😉
The primary skill is undoubtedly in directing and being an actor simultaneously. My definition of a director is that they direct the audience, only secondarily the actor or the character. I suggest taking acting classes, or at least some courses; I loved the acting classes at "Masterclass.com" to get better at it.
If you use a Motion Tracking Volume or a "Performance Capture suit", as we call it, some skills need to be acquired.
From my point of view, having natural-looking cloth on a character is a step above the character animation or acting skill set.
To answer your question, first of all, why are there wrinkles in the cloth, and how would they behave and change with the character?
Anything on a character supports expressing something to create information for the audience. This leads me to my question. To get there is not a "do this – do that" path.
If you like to use displacement for that, I would think (while answering a super general question here, without even a sketch received!) that you need to be able to connect it to the character's expression. Every wrinkle will flatten if that area is stretched. That can be done in many ways. It would fill a lot of space to explain all options; let's focus first on the next steps.
Here are two courses for the very first basics of character animation:
The series is
Intro to Rigging in C4D: Part 1 - 6 Fundamentals of Rigging
ZBrush Character Creation, Cinema 4D, Redshift 3D 1-6
As a side note:
Since you already have a very defined idea, so far, I can tell; The easiest way to get into Cloth Simulation is to use tools that are 100% specialized in this. Please explore this, as it will give you many ideas and perhaps some answers. https://marvelousdesigner.com/product/overview
Images do not tell me a lot, but I can see it has two arms. I have no idea about this object, and Turbosquid has a few skeletons on its site. In other words, I don't know how it is created.
There are two main options; why do you see two arms after rotating? The first one, the Command/Control key, was down (and has created a copy, or the setup has two skeletons and switches between the two to provide IK/FK options while avoiding a Joint based setup. Both are guesses, and nothing that I like to do here.
So, go to the Object Manager> Object> Project Information, and check how many objects are in the scene. Close it. Rotate the other arm. Get the Project information again and check if there is now one more object.
This will answer if you have a new copy or the setup is done this way. (While both are visible based on a setup, that would lead to problems later on. Again, these are just guesses. I would need to see it, but you can post it in public. You could send it to [email protected], and I have a look at it. Please note, I do not move the discussion to email; that needs to stay here, so many people hopefully benefit from it.
As our skills grow, the need to check for updates stays the same. In around two weeks, I reach seventeen years of answering in Cineversity and 19 years to Cinema 4D users. Yet, I refuse to answer questions from memory.
It just doesn't work that way; as everything changes, we must have an eye on new options. With that, each question is a request to combine anything old and new to stay in the present time.
Some answers from just a few years ago might work, but there is always a chance that something is easier or at least faster now. I'm certainly happy to explore each question newly, as the only trap we can have as creatives is to fall into a routine. New updates will prevent that. So I welcome any change. From gamma over log to linear-light to ACES, it is improving fast
Call up a Null, while the Null must sit in the center (position zero, rotation zero, Scale 1.). Then place all your objects under the Null.
Now you can move the Null and, if needed, set keyframes to that Null.
Let me know if that works for you. If you can, share a c4d file, which can be an example file, so I can see what you have done and suggest the best practice. Just in case the workflow above isn't working,
Having had my fair share of racing discussions with drivers I supported as a mechanic or photographer, I'm familiar with Ideal-Line, which is an optimal path along a racetrack. One goes a little bit on the opposite side first to widen the curve radius, then gently breaks more and more and tightens the radius while accelerating, leaving the curve.
If the opposite is needed, drag the blue Spline below and adjust the camera accordingly.
I have copied one of the Splines that describe the path and set it to B-Spline while placing it higher.
This is used in a new Camera Rig as a Rail Path (Tangential is on).
The Interpolation "Number" for all splines has been increased to 24 points to make it smoother.
I have placed a cube as a child on the camera to showcase the new motion more clearly. This object can be deleted.
Adjust the 'blue" Spline as needed.
Is that a changing selection of a fixed one? If fixed, you could select the polygons, then invert those (U~I) and create a new selection.
Nodes are, so far I can tell, mainly targeting "Capsule" development. From my point of view, it is a Technical Director option. I do not see it as a target to replace the modeling tools. (I put an equivalent of IMHO in each time to clarify that this might not be the official idea.)