Hi star-long,

I have to check why the trial option prevents forum access. That is not how I would love to have it. Sorry for the problems that this caused.

Is there any way I could get a small Sketch-Up file? I had a license over 15 years ago, but nothing works.

Please use Dropbox, Google, Adobe, Apple, or Wetransfer services. Thank you.

If nothing is available, I can set up an upload link.

Enjoy your exploration.

Hi piece-capital,

Did you mean un-triangulate, as triangulate would do nothing to an already triangulated object?

I need to see a small file. I have no idea what Maya 2016 had as an export option.

All the best

Hi Greg,

The Deformed Editing is precisely in that path you have in your post.
R21

Perhaps the Skin or the Pose Morph holds the shape in place, which is a guess. But my report came back as not reproducible.

Workaround: Place the Object under a Connect object and switch the Weld option off. While the Connect object is selected and the Object is in the shape you need, use the Current State to Object option. This copy should be selectable. Create a Selection Tag and copy it to your model.
OR
Perhaps the Object stays in a deformed shape when in Object (vs Point) mode. Current State to Object as above, then select and copy the selection tag.

To send a file, perhaps set up a small cube with a joint and a pose morph, and I will test it.

All the best

Hi Georg,

The workflow is easy to explain but needs some work to apply.

The practical camera image contains distortion, and the idea is typically that this needs to be left untouched.

There are two options to adapt the rendering to the camera image.

The first is based on a setting in the Standard Render called Lens Distortion.
https://help.maxon.net/c4d/2024/en-us/Default.htm#html/VPPHLENSDISTORT.html
The created Lens Profile, which was used to track the footage, is applied here. This is then typically ready to be composite.
The care that was put into the Lens Profile will be shown here. Typically, only barrel and cushion distortion is mentioned, but some lenses produce a mixture of both; often, the center is different from the frame.
This is not avaialble for Redshift 3D.

The second one relates to Redshift and is based on specific information from the Compositing app called ST-Map. Think of it as a UV color-based map, which can be created based on linear gradients placed (add) on top of each other.
https://help.maxon.net/r3d/cinema/en-us/Default.htm#html/Lens+Distortion.html?
For example, those maps are industry standards and easy to produce in NUKE (The Foundry).
To create your own, one can use the Standard Render. It needs to be strict in Linear workflow, and the two Gradients need every element in the Gradient to be set (color knot) as well to linear.

This would lead to a source that captured the camera image. In other words, it does not address the requested "padding". If that process is applied with the non-padded Lens Profile, the information will not match.
Now, it will get a little bit more complex.

Padding the Render Frame

The camera framing and the lens distortion are all in the practical footage. We would like to add padding; the lens distortion needs to be created on the Partial Footage plus the Padding. This enables us to use the padding with assumed lens distortion, as we do not know what the padding would have. This padding has to be done frugally, meaning only as much as needed.
This padding is done by increasing the resolution of the rendered image, which would do very little if the camera's field of view is not adjusted. The sure thing we know about the field of view is that it will be wider.

Calculating the new field of view is a math (Trigonometry) problem defined by the new result (Camera + padding on the left, right, top, and bottom). In short, if we crop the new and larger image to the camera resolution, the effective field of view (AKA Focal Length) will match the camera footage if the ST-Map was used in the RS Camera with the larger resolution (padding). I would suggest adding the padding so the aspect ratio of the footage stays the same.

If the camera has a fixed lens value, it can be done with a short calculation and setup, but if the field of view varies, XPresso is the way to go.
The previously rendered UV/Gradient map can go into the RS camera.

With this padding, the missing parts of the frame are filled.

If you would like to see that integrated into a Workflow, please request this with the "Share Your idea". I have done so pretty much every year.
https://www.maxon.net/en/support-center

All the best

Thanks for doing that (exploring older versions), adploshko.

I assume you are in point mode

Hence, I suggest checking with tech support; they might have collected more data on this. I couldn't find much more in the resources I can utilize.

Thanks for checking with support.

Fingers crossed, it will not be much longer a source of trouble.

Cheers

Thanks for the reply, adploshko,

I have filed a report and hope it will be fixed ASAP.

Sorry for the trouble that this causes.

If you like, check with tech support:
https://www.maxon.net/en/support-center
Perhaps they have an idea.

All the best

Hi adploshko,

Please try this, switch it on and off, then on again. Perhaps restart.

I found it acted weirdly at one point. I will write a report.

Sorry for the trouble.

All the best

Hi Pim,

Please have a look here.

CV4_2024_drs_23_LIlz_01.c4d

Your scene was set up with the Standard render. Render to Picture Viewer to see the result.

To get the typical laser light, I have used a specific Motion Blur. See image.

There is a second light if you like to have more impact on the surfaces

Let me know if that is working for you.

My best wishes for your project

hi adplosko,

Go to the Attribute Manager> Mode> ViewSettings> View> Deformed Editing: On

My best wishes

Thanks you very much for the great feedback, hang-single.

Have a nice weekend