Hi Mark,

I do not access the data of who got an educational license and where it is used. Perhaps it is time to explore that more. Typically, my conclusion is that the licenses are active in an environment that is fully covered with people who are savvy with instructional design and/or learning theories, as well as subject matter experts in visual arts.

While I sometimes get questions here that make me wonder how much some institutions instruct their students… My target here is to support any artist and ensure that every artist investing time to learn is treated in the best way. I assume that is your target as well.

Thanks for clearing your use here; that allows me to see your ideas a little bit more clearly, but it is far from obvious, as many parts in the file are missing, going by the materials in the file, etc.

With sketch, I mean a small drawing that introduces the complexity of the idea, an outline. That kind of information transfer should be natural for you as you create things for others. I wish I would get a storyboard for complex setups. 🙂
Here, I am interested in seeing what you need and providing the best solution.

Since I have done this for over two decades, in fora, or hands-on Coast to Coast here, I know that the solution is often many steps before the problem starts. This means I need to know more – not to patch a problem but to know the desired result and take it from there instead of finding a workaround for a setup that produced the problem.

All that being said, thanks to the support of people who might otherwise have no chance to learn it (I assume that is the idea of the non-profit). This is very generous of you!

So, let's find the best way to get this working.

Have a great start to your week.

Thank you very much, Mark.

Yes, this is a good idea to tag this in a better way.

My best wishes

Hi Mark,

Please try a negative number and check it in the render view.
So it starts on frame zero with its virtual frame negative "X" and shows its first practical frame "x" frames later into the scene.

Is this working for you?

All the best

You're very welcome, Mark.

My best wishes for your project.

You're very welcome, Mark.

The RedGiant Noise was added after noise reduction for a more even distribution.

Stress test this with heavy filters* and strong color grading, going from large color spaces into small ones, since there is no 100% conversion from one into the other.

*(Think of Post-FX DOF/Bokeh and the logic of Noise when applied.)

Enjoy you project

Hi Mark,

I understand your view; yes, it is confusing, and confusion is surely not supportive of learning.

The different menus are called the same: Annoying or useful to get used to a new system; I assume it is a question of perspective.
However, when in use, they are called differently. At least.

Screenshot 2024-12-05 at 11.00.54 PM.jpg

Either way, sorry for that. I will try to address that, but I assume changing it will then confuse anyone else who got used to the current setup.

Thank you very much for your view of it! (I mean it! I do not use rubber stamp replies.)

My best wishes

Hi Mark,

Could it be that you accidentally hit the H key? (Composition check short cut)

Screenshot 2024-11-02 at 10.50.19 PM.jpg

All the best

Hi Mark,

I'm glad you got what you need.

Thank you very much for the reply!

Enjoy your project.

Thank you, Mark, for the feedback!

You're very welcome.

Cheers

Thank you very much for the file, Mark.

Please have a look here:

CV4_2024_drs_24_MGps_21.c4d

The Matrix Object is the classic object to be deformed without deforming the Clones later on.

You can filter Rotation and Scale with the Inheritance Effector, so only Position is left.

All the best

Hi Mark,

Thanks for the files. Working with files is always so much nicer, as I can give you answers that will work.

I used it in my fourth-decade Mac. I mention it because you wrote it might be Mac-based. Let me show you that you have all you need to work.

These large values needed do not work in 8bpc. Never have, never will.

Screenshot 2024-03-06 at 11.35.22 PM.jpg

This is the first step to making it work:
The Ae project was set to 8bit/channel. Option Click on the eight until you see 32bit/channel (bpc). Some people suggest 16 bits per channel for EXR, which might be nice and sufficient for many projects. I do not share that point of view. This is the container of all our work; why would I try to save a little bit of time or a few Dollars for storage? I also use exclusively loss-less. At one point, close to a deadline, it might pay off. Anyway, it is an artist's decision.

The second step needed to understand is also straightforward with your setup:
You have saved Cinema 4D the Open EXR file as Multilayer; that is an option and a workflow decision.
I'm on the fence here. After a while, minor changes may require replacing single-layer information, but the initial file keeps holding the information that was replaced. If you don't stick with Multilayer and always replace everything, it might become very storage intensive. Also, here, everything is fine as long as it supports your workflow.
The problem you were running into, even with a single layer in the Multilayer file, was that you needed the EXtractoR Plug-in, which has been part of Ae for a while. (Thanks to "Fnordware.com")

Screenshot 2024-03-06 at 11.32.33 PM.jpg

If you open the Layer with the EXtratoR plug-in, the Z channel has adjustments to pinpoint the Z space (see image). With this, no Levels are needed anymore.

In other words, your material was excellent and contained all the information needed. Nothing was wrong, except you didn't gain access to it in Ae. The step above will allow for that.

Here is the Ae file; reconnect your Open EXR file, and it should show you a depth map.
https://stcineversityprod02.blob.core.windows.net/$web/Cineversity_Forum_Support/2024_PROJECTS_DRS/202403007_CV4_2024_drs_24_EXdm_01.aep.zip

Enjoy your project.

You're very welcome, Mark.

Do you know the book by Marcus Geduld, After Effects Expressions?
Amazon has often even those for $10 (used), but they are worth it.

My best wishes

Thanks for the feedback, Mark.

I have different access here, so my experience is only partially valid, hence my question if it works for you.

If that is not a workable scenario, I will ask IT what can be done. They are typically very open-minded and supportive. (Yes, I'm a fan-boy of their work). But I can't promise anything.

I'm on vacation most of the time this week, so please allow some time with this if needed. Thanks for understanding. 🙂

Enjoy

Hi Mark,

That is the idea, and an Internet Browser is an interface.

Please run some small tests with it, it feels (at least from my first experience) a bit cryptic, but I believe it quickly becomes muscle memory.

I have used it with 2023.2.1 as the newest version, which makes me hopeful that you have no trouble.

I hope it works as you like to have it.

Happy Render Farming 😉

Cheers

Hi Mark,

Thanks for the update, very much appreciated. 🙂

Great that you found your workaround; I wonder if a custom build Capsule could help here. Brainstorming here: Placing the light under the Capsule, setting it up for different uses, and adjusting it. Perhaps allow for individual or global adjustments, light group-wise. If you think that would improve your workflow, please let me know, and I will discuss it internally.

My concerns with the dual light setup might not be yours, but Light Groups and Light Project settings need to be kept in sync. Otherwise, there might be a surprise at one point.

The option that tech support mentions is the Preview> Illumination Adjustment slider.
This has zero impact on rendering; it is just a preview.
https://help.maxon.net/c4d/2023/en-us/Default.htm#html/ORSLIGHT-REDSHIFT_LIGHT_GROUP_GENERAL.html#REDSHIFT_LIGHT_PREVIEW_INTENSITY_SCALE

Enjoy your weekend

Hi Mark,

Thanks for the kind feedback.

The core idea is a Spline (Path) with another Spline (Profile). Then a Sweep is used.

The Profile Spline would extend the shape as it runs with its middle along the Path, so I used the Transform Element Capsule to get the axis to the "outer" point. Half of the width of the profile. In this way, the Path is also the final size. One of my targets here was to define the size without guessing.

With an Extrude, the Path creates the Fill of the door. I used a Bevel here, so it doesn't show up on the side (nearly no offset)

The XPresso handles the "half profile/axis" process and the User Data Mixer. Most of the parts (Formula) are done to allow the profile to shrink when the door is much smaller than the frame. This is more for comfort than needed.

My best wishes