CINEVERSITY

Hi Hans,

Is this helping?

https://stcineversityprod02.blob.core.windows.net/$web/Cineversity_Forum_Support/2023_Clips_DRS/20231102_CA_ADV_Clavi_01.mp4

All the best

HI upstair-day,

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:

https://www.youtube.com/playlist?list=PLMeO87vDgOoNAIESE1YfgbUmKzxsg_e-9

The series is
Intro to Rigging in C4D: Part 1 - 6 Fundamentals of Rigging
and
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

All the best

Hi bird-opening,

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.

Animation can be done as Forward- or Inverse- Kinematic. Please have a look here
https://youtu.be/rN_5weIhiMY

You could also check out the Content Browser> Skeleton.
There you pick the Spline-based controllers, click and rotate or, in some cases, move them. Those Controllers get keyframed.

All the best

Thanks a lot, Greg, for the kind feedback.

You're very welcome.

Cheers

Thanks a lot for the feedback, octomber!

Yes, there are certainly a lot of tiny little tricks that need to be shared. Having done the timestamps for the past 11 episodes for the Hands On Character show, I believe we can quickly fill a third season with tips and tricks while going deeper into the tech. But I fear those solutions are more interesting when needed during a project, not presented in a more extended series.
With that being said, I hope to fill those gaps that are naturally left and learn from everyone's questions I got over the past nearly two decades.

My best wishes for your project.

You're welcome, Nye.

I will write a request, but please share your idea as well.
So it has more chances to get up to the top to-do list.

Cheers

P.S.: here is my stress test with a Joint based motion that, on top of it, will explode while moving back on end.
Ignore the surface for a moment, as this is just the prep to get it cached.
Again, this is certainly extreme.
https://www.dropbox.com/s/kj8nw6ktb4oib4k/CV4_2023_drs_23_CApy_01.c4d.zip?dl=0

Enjoy.

Hi wesware,

Typically I need an example file. Perhaps next time. Thanks for considering.

I have no idea about your setup, but try this:

Instead of placing any deformer on the object with the Mesh Deformer, use the extra Deformers on the "Cage" itself.

If you have a suggestion for Maxon, the channel is here:
https://www.maxon.net/en/support-center
"Share Your Ideas!"

All the best

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