Hi history-growth,

Here is an example, perhaps just to get your feedback.

CV4_2024_drs_24_RSsr_01.c4d

I used no light for that; it was just a disc to create the effect.

Please let me know if that works for you.

All the best

Hi history-growth,

I'm glad it works for your needs.

My best wishes for your project.

Hi history-growth,

Thanks for sharing the file!

Please have a look at the file.

CV4_2024_drs_24_XPcs_01.c4d

This is the most flexible I can think of now, as you can add one without any further "coding". Just keep the hierarchy "flow".

You can change them by selecting the ObjectObject and using the "yellow" point to adjust the parameter of the ObjectObject itself.

The Selection Object's purpose is only to select all in its list to adjust all at once. If you add more, drag them to the Selection Object's list.

All the best

Hi history-growth,

Thanks for opening a new thread about it.

Typically, an Effector is dragged into the Text Object's " Word " field, which affects one word at a time. Since that is procedural, a single access to a word needs more care.

If the target is to have more control over the position and rotation of each word, this would be the option.
If that is the idea, this is the most straightforward setup I can think of.
CV4_20244_drs_24_MGsw_01.c4d

If more is needed, the setup from the other thread needs to be copied and adjusted, which I have done here.
Pulling a single word out is a similar approach, but you want it all simultaneously, so it needs several copies of that setup. With the sentence from above eight.
https://stcineversityprod02.blob.core.windows.net/$web/Cineversity_Forum_Support/2024_PROJECTS_DRS/20240330_CV4_2024_drs_24_MGow_12.c4d.zip

Here is a little intro to how to set this up, in case you need more. To create this fast, I have set up Selection Objects, which require the pull of new copies accordingly into the list. (60 sec)
https://stcineversityprod02.blob.core.windows.net/$web/Cineversity_Forum_Support/2024_Clips_DRS/20240330_Splitword-clone.mp4

If you need a Python-based setup, check out the Developer Café from Maxon. This forum is not handling it, and for security reasons, no code should be posted here.

All the best

Thank you for the feedback, history-growth.

If anyone likes to read the next follow up:
https://cineversity.forums.maxon.net/topic/1070/split-up-a-sentence-into-cloned-text-objects

Hi history growth,

Please start a new thread for new questions. Follow-up questions with different targets will make this forum harder to search and the thread more difficult to read. Thank you.

I copied your text, as the post above contains the feedback to the question before and the new one:
https://cineversity.forums.maxon.net/topic/1067/one-word-at-the-time-from-text

Cheers

Hi history-growth,

Please have a look here:
CV4_2024_drs_24_ANap_03.c4d

Perhaps a sketch or even a storyboard would help to see what your target looks like.

Several options are certainly possible depending on what you like to have and how you edit the clip.

The Bend deformer (and perhaps just the Voronoi Fracture would be the simplest way, and besides anything Simulation-based, I believe using Joints would be the more complex but eventually the more detailed approach. For a professional production, where often uncounted revisions are done when the peel would be the focus point of a take, then Joints might work best.

Yes, with tears, we have seen a few results of little rough shapes fly away, but peels tear so rough, and their edges depend on the cut. In my example above, I would assume to use an Alpha channel to define a more "natural" shape than the rectangle. With the inverted Alpha, the remainders would be defined.

Cheers

Thank you, history-growth,

Please have a look here:

https://stcineversityprod02.blob.core.windows.net/$web/Cineversity_Forum_Support/2024_PROJECTS_DRS/20240118_CV4_2024_drs_24_SIri_01.c4d.zip

My understanding is that these levels target MoGraph hierarchies.

All the best

Thanks for the reply, history-growth,

Have a lovely rest of the weekend.

Hi history growth,

Yes, that is not solvable with shortcuts S or H, which would follow the standard procedure. There will be no automatic resize. Otherwise, that would be hard to read, in some cases, when the new value would be visually countered by scaling it to fit.

I can't tell you what to use, but I rarely use these small f-curves, so since you ask, yes, use the F-Curve Editor. But keep in mind that you can have several Timeline editors open at the same time. So you don't have to choose.

All the best

Hi history-growth, if that works for you, great.

Have a great weekend

Hi history-growth,

Please let me answer with a link first:
https://www.youtube.com/live/IkKLPACknjs?feature=share&t=1857

If something is defined as working together (combining), then any movement or force that one system brings into the scene should affect the other. That might work, but can the "other" in return affect the system that provided the first "impulse'? In other words, could we create a system that allows for a feedback loop? Not without tricks. Perhaps a nearly endless feedback loop, like light, bounces nearly infinite times in nature, which can't be calculated with over-the-counter computers.

With that, the answer is no, then followed by a but…
However, that is a general statement, and I believe we could fill a book with options and exceptions, given that the whole world can be (or not) simulated. Perhaps animate the reaction and use only a Collider.
So, if you have a sketch, storyboard, or anything specific, we can talk more about what to do. After all, we are discussing anything that leads to a rendering here. Which also allows us to find workarounds in some cases.

Simulations are always a reduced interaction of reality, just enough to keep the calculation times reasonable. I avoid the term physically correct and use the term physically plausible instead—expectation management.

I care about an option to make the final audience believe and not question what they see as an optional goal. That we often achieve that with editing or camera movements, goes without saying.

All the best

Hi history-growth,

Thanks a lot for the reply.

Yes, of course, you are correct, if the Refresh works for you, then please use it.
I had some trouble with it yesterday, so I shared the workaround, just in case.

Enjoy your project

Hi history-growth,

A clean cut is perhaps more challenging than a chaotic tear. I'm not pretending that I have done it with the new Cloth in any production. So, my example follows the parameters and how to supply the information to the system—my best result from last night's exploration.

You are guessing correctly; the path of points and the combination with the Linear field is the key. I explored if more considerable distances or shorter ones 90º to the cut are better.

I find Dynamics/Simulations undoubtedly intriguing but more challenging to art direct. Sometimes I use the results of the dynamic (point cached) to harvest certain states and then use them as "Blend-Shapes" in a Pose Morph. This is a nice balance between the two qualities.

All the best