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Great work, great effect! Thanks for sharing your impressions. I haven't had time to play around with the new water simulation in more detail yet. For now, I've noticed that in order to get the scale down to the real size of a glass, you have to change the simulation parameters a bit. Because on the default settings, when I get the particles down to 0.2 cm, the particles tend to go through the mesh. I haven't figured out how to set the simulation so that this doesn't happen at this scale yet, I'll come back to this in a month.

Wetmaps: I created a vertex map in field mode on the dinosaur and put the liquid mesher (with a bigger voxel size so it renders faster) into the field list. In the field settings, the mesher was set to volume, and I put a decay field on top with 100% so it stays wet where it has been touched by the mesher. I rendered the vertex map just as black/white mask, so I could use it in comp to darken the original render. Additionally, I rendered a seperate, very reflective pass of the dinosaur, that I added on top in comp, again using the wetmap as mask. trex_water_v007_Wetmap.mp4 I then comped everything together in Nuke. I tried to make a smooth transition between the simulated area around the dinosaur, and the rest of the lake, but that was a bit of a challenge and didn't work out to my full satisfaction...it's still noticeable that the simulation doesn't spread out to the rest of the lake. Some final thoughts: AFAIK, our liquids solver is an SPH solver, which is generally designed for small-scale fluids. FLIP would probably be better suited for fluids of that scale. I find it even more impressive that the new solver is capable of pulling this off. It's also very speedy and very stable. Fully art-directable as it works with all the forces, all other simulation types and all the particle modifiers. I enjoyed that little project.

Here are some insights from that little project: Easy things first. I reused the animation from my T. rex museum breakout: The environment is an HDRI from the asset browser. The lake (or river) is just a reflective plane with animated noise, and a gradient in the opacity channel to fade it softly into the backplate HDRI. The trickier part was the simulation, naturally. I wanted to simulate only the top layer of water, and I needed to figure out a way to only simulate particles in the area around the dinosaur. A whole lake would have been way too many particles of course. At first I tried to simulate it only in a "pool" that was a bit bigger than the T. rex, using the liquid fill emitter. It worked, but I had visible splashes at the border of the pool - unfortunate if you want the transition between simulation and the rest of the lake as seamless as possible. Instead of walls, I then gave the pool a slightly rising floor towards the edges. That helped mitigating the splashes at the border. However, I still had the problem that the liquid spreaded out pretty fast and drifted away from the dinosaur, where I actually wanted it to be. The beauty of the new liquids is that they work so seamlessly with the rest of the particles system: I could just use an attractor force in the center of the dinosaur. With the right settings, it helped keeping the particles near the T. rex, while still allowing it to act like a liquid. Here's the cached particles with the collider geo: trex_water_v007_Viewport.mp4 The sim contains 3.7 million particles. I used the liquid fill emitter with a radius of 0,7 cm. Sim time was IMHO very reasonable on my RTX 4090, around 20 mins for 150 frames. I would have liked to simulate even more particles, but when I lowered the radius to 0,6 cm (= 6 million particles), I didn't even see the first frame after waiting for several minutes, so I quit that. The cache is 27 GB. I only cached velocity, color and radius, which helped to reduce the size. I then used the liquid mesher with pretty much the default settings, but smaller influence scale, a lot more smoothing and the droplet size set to 10% - that really helps getting rid of those huge blobs that often appear. Here's a clay render, liquid mesh only: trex_water_v007_Clay.mp4 The particle color is mapped to the velocity, which was very handy to fake whitewater. I just remapped the particle color with a ramp to diffuse and reflection strength. The faster the particles, the brighter they are. I rendered them as a separate pass and added it on top in comp. Those particles render crazy fast! A few seconds per frame for 3,7 million particles with motion blur... that was a real joy. trex_water_v007_Whitewater.mp4

Here's a little project I made while I was betatesting the new liquids. trex_water_v006_high.mp4

You will have to transform all targets as well. With two axes it is not problematic, you can use constrains multi_axis.c4d

I'm sure Autodesk will get no bad press at all for integrating AI character animation tools in their software that is known for having amazing character animation tools. This will surely go over well with the animators using this software. lol, I knew it:

Won't be of use, since this is a limitation that depends on the network setup. A file that doesn't work for me will work for you if you never have this problem. Years ago in another job we worked on network storage with C4D and it worked as well. Here, it doesn't, and according to support this is perfectly normal. I have never used this feature, but I'll have a look. I fear that I will not be able to use this due to IT guidelines etc. though 😛 Too much data, not to mention I have a library that needs to be synced all the time as well. Cloud storage is just not feasible with the amount of data and the internet speeds here.

This might be a really dumb question, but bear with me, please. Animation isn't something I have done a lot so far 🙂 Unfortunately I cannot seem to find a solution to this. Following scenario: I have an object that I want to animate. I want to animate this object via multiple helper nulls. Let's just assume I want to move and rotate this object around multiple axis, like in this image: Just to be clear, I do not want to rotate around both at the same time. I want it more like rotating around this axis at different times. This of course involves moving the null WITH the object while the other null is being animated. And this is where I hit a brick wall. Because this setup obviously leads to an infinite loops / circular dependency: This doesn't work at all, even if I turn down the "Weight" for Rotation Axis 2 while I animate 1, it just won't move with it. But it kinda makes sense. How can I solve this? Thanks!

Can you please post a scene file?

Hi, I was wondering if someone knows of a good workaround. I have a cube with 250 segments on X axis. I want to displace its top poligons using a Plain Effector as a child. In my Plain effector I have a Capsule field and underneath a Freeze modifier that's set to Grow. I want the capsule to touch the top of the cube and for the top poligons to move down in this wave like fashion. Cinema_4D_dN1I8atIjR.mp4 It works exactly how I want it on one cube, but I would like to clone the whole setup and if I do that, the Freeze field doesn't work anymore. I basically want to have a linear clone with these cubes next to each other and be able to drive the Capsule through the clones to trigger this wave animation. I would like to do this with a cube and only affect the top surface. I've tried various things like having this on a Matrix object and then using the matrix as a field (this way the plain effector isn't being cloned and the Freeze inside works as it should), but that gives me weird results. Also tried this with a spline in the same way, but also doesn't seem to produce good results. Is there a way to generate a cube from the Matrix object or spline? I tried Loft, but that didn't work either. Maybe there's an alternative to using Freeze? I might be really overthinking this... Would appreciate some tips. Thanks!

Very nice, was not aware you are working for Maxon, that explains how you manage to know that much : )

I think youtube did the job XD:

Oh, I did not expect this to be available already 🙂 I am honored that I got the privilege to do the interview, thanks a lot to Rob @LLS That is a good test for AI 🙂

Hi, In 2025, NVIDIA deprecated the omniverse launcher. It's okay but they remove the actual installer. And I'm unable to open the Audio2Face without the GUI. Do you know any resource that has the old installer? If you google omniverse installer, you'll go to the entriprise version (?) of the installer. https://docs.omniverse.nvidia.com/launcher/latest/it-managed-launcher/install_guide_win.html#prerequisites-for-installation rathan than the straightforward old/single user version. or something like that.

awesome interview, especially the message for core4D. I agree, people definately need to interact, share and start things more(myself included). i will say though this interview is incomplete without this one final question: @Hrvoje how the hell do we pronounce your name!!!??? 😭 🤣

Hrvoje Srdelic is our well known forum member and C4D guru. Always ready to help, often assisting in backend as well, we are truly happy to interview him. There is an understated modest quality about him and dedication put into C4D eco system is well known and recognized. Expert in many areas who helped shape the community for many years. Stuff about you : Former / current workplaces, Achievements, Interests and hobbies 46, married, with a wife, a kid, a mortgage. You could say semi-grown-up 🙂 In 2011, I joined the Maxon beta team and took on the testing role with the same focus, attention, and dedication I had given to my previous jobs and freelancing work. Those efforts did not go unnoticed, and I was offered a position at Maxon, where I continue to work to this day. A highlight of my career was receiving an Academy Award for MoGraph as part of the development team. Apart from 3D, I’ve fully adopted a Mediterranean lifestyle, spiced up with heavy gym sessions and outdoor activities like ziplining, canoeing, and mountain biking. Lately, I’ve been getting into programming, especially nodes. For relaxation, a good book with a good coffee is an unbeatable combo. Q: Describe yourself in a single word Tenacious Q: How did you get into C4D and 3D in general? Back in the 90s, after finishing my education, my first job was at a computer shop. This gave me a solid foundation in hardware and software, which served me well from then on. My next job at a design company sparked what you could call an obsession with 3D. I was captivated by the possibility of virtually constructing my own ideas. The fact that I could iterate and improve creations without real-world constraints was an uplifting experience that fueled endless enthusiasm. Over time, I became proficient in various 3D disciplines. Around 2010, I started freelancing and, after careful consideration, chose Cinema 4D as my main tool. Its simplicity, fast turnaround, parametric nature, and overall stability sealed the deal. As a bonus, I discovered this wonderful forum. I spent a lot of time asking questions and learning. Eventually, I realized I was answering questions frequently, mostly because I felt indebted to the community that helped shape my career. Back then, I noticed a lack of systematic, end-to-end learning materials for C4D, so I took the plunge and created the popular Vertex Pusher series. Q: Which area interests you most? Nodes, MoGraph, and simulations. Q: What other apps are you using and what for? I use various software daily, like GIMP, Camtasia, Vectorworks, and Adobe tools. Q: Which learning resources would you recommend? The CORE4D YouTube channel iis excellent, especially for technical topics. Of course, I have to mention Noseman and the Maxon training channel, wish I had that when I was starting 🙂 In the past, I relied on YouTube with heavy filtering to find quality content. At the time, there wasn’t a single go-to source. Q: Do you think talent is overrated and can be offset with hard work? Yes. Q: Thoughts on AI? It’s just a tool. You can get impressive results without requiring specific expertise, but I don’t see it replacing humans. Q: Tell us something we couldn’t possibly know about you. I’ve also worked in construction and as a lumberjack. At one point, I was also a life guard. Physical work brings me great joy, and my wife often keeps me busy with an endless list of household projects. Q: Top 3 wishes for C4D? I see C4D as a mature platform. It has evolved to the point where users can stay in C4D for most, if not all 3D content creation — unless very specific requirements need to be met. Refining and polishing it as a daily tool, simply progressing on all features and maintaining quality would be high on the list. There are directions I’d personally pursue much further, but they’re likely not what most users would want (remember, I love nodes and technical stuff!). Q: Message for CORE4D? Lately, there has been more content consumption and fewer conversations. With information so readily available, people are engaging less in sharing and talking with fellow artists. I find this counterproductive, as it disconnects people from the most satisfying part of being in a community. I encourage everyone to share their work, start or reply to topics, follow up, show examples, and network. Avoiding these actions is one reason many artists struggle to find gigs or jobs. You managed to model your first object? Rendered your first image? Created your first animation? Share it, and don't be surprised by the positive encouragement you will receive! Q: How can people contact you? I’m easily reachable via PM on this forum.

are you on an older version of c4d? his setup uses stuff from c4d 2025.1

Why does it stop working when I unlink the Plane object ? And why don't I have access to the node editor ?

The last character with a facelift!

Quick paint job on the face. What annoys me is that BodyPaint doesn't seem to work with redshift materials. I always have to create a classic material in order to load an image and then paint. I am not sure if newer versions of C4D/RS make a difference but it is a tad annoying. Anyway I am hoping that the new look Peg is a little more appealing 🙂

Started on the hairdo and a few other refinements. I think I need to work on the eyes since she looks a bit startled…

Hi! Sounds exactly like something ChatGPT could help with. Here is the first draft of a script I ordered. It scans every material in the scene and compares each [c4d.MATERIAL_COLOR_COLOR] value with the value of the currently selected material. At the end, all materials with the same value should be selected. This should work with the default C4D materials. import c4d from c4d import gui def main(): # Get the active document and selected materials doc = c4d.documents.GetActiveDocument() selMats = doc.GetActiveMaterials() if not selMats: gui.MessageDialog("Please select exactly one material first.") return # Use the first selected material as reference refMat = selMats[0] refColor = refMat[c4d.MATERIAL_COLOR_COLOR] # Gather all materials in the document allMats = doc.GetMaterials() # Deselect all materials first for m in allMats: m.DelBit(c4d.BIT_ACTIVE) # Tolerance for float comparisons (optional) eps2 = 1e-6 # Select any material whose Color exactly matches the reference for m in allMats: col = m[c4d.MATERIAL_COLOR_COLOR] # Compare vector difference length squared if (col - refColor).GetLengthSquared() < eps2: m.SetBit(c4d.BIT_ACTIVE) # Refresh Cinema 4D so selection updates in the UI c4d.EventAdd() if __name__=='__main__': main()

Hello I am somewhat new to the C4D community and encountered a problem, hoping someone of you could help me out. I revived a file from a client with multiple objects (a lot) and every object has it´s own unique material. But in the end, there's only like 5 different mats in the scene. so there are hundreds of materials in the scene with the same color value. Is there a way to select all the objects in the scene with the same color value (not material)? Hope that makes sense. I found some scripts that should do the job, but wasn´t able to get them to work till now. Any help would be highly appreciated Thx in advance and best regards, Dedee

Here is quite elaborate setup - grid move. Clones are traveling along edges and they avoid intersecting with each other. Something that is not readily available in MoGraph 256_Grid_Move.c4d

Hi, please send me what sort of models do you need - office@archviz-4d.studio