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  1. Dear members We are happy to announce brand new Youtube channel with focus on C4D node system. In our research we realized that training content for nodes is very sparse and lacking in quality and depth. We already have two lessons available which will be part of ongoing series. Humble request from our side is that, even if you are not into nodes, please subscribe in order that the channel grows which will enable us to monetize it down the road. On longer timeline this can enable us to reduce the subscription period or even remove it alltogether and open up forum for many more artists. https://www.youtube.com/@CORE4D Thank you and enjoy the content! P.S. Any member willing to contribute to the channel is more than welcome - drop us a message : )
    10 points
  2. Paul established a US-based entity for Maxon, to serve North and South America and introduced Cinema 4D to The Americas in 1998, His initiatives included strategic partnerships with industry-leading production studios and design firms, along with orchestrating product bundles with Adobe After Effects and Apple Final Cut Pro. Paul's leadership and strategic planning played a pivotal role in Maxon's unprecedented growth. Today, Cinema 4D stands out as one of the fastest-growing and widely-used 3D products for digital content creation. He takes pride in being part of a team that facilitated the emergence of 3D in the motion graphics industry. In 2016, Paul was honored with the Studio Daily 50 award, recognizing influential creatives and technologists. Known for his creative energy, customer service advocacy, and support for training and education, Paul is often invited to speak at industry events, particularly on the subject of motion graphics. Describe yourself in a single word Enabler (the good kind 🙂 ) How did you get into C4D/ Maxon and 3D in general? In the early 90’s I got my first job in the 3D industry – marketing managerfor ElectricImage (a 3D animation product on Mac). This was in the early days of 3D. I was there for a few years (learned a lot about the industry, artists and studios). They were purchased by the company Play (wellknown for the Snappy). Play was formed by former marketing people from Newtek. I was pretty sure my position was redundant, so, I went back into freelance marketing. Maxon started out as one of those freelance jobs. Which area interests you most? Facilitating, inspiring, motivating and helping creatives be successful in achieving their vision. What other apps are you using and what for? I assume this question is more geared towards artists. How about I tell you one of the things I find really interesting out there? I think Rive (https://rive.app/) is an extremely innovative and unique new offering and a significant breakthrough in the creation of real time vector graphics. At its core, Rive is a new graphics format. Rive graphics are not just static; they can be animated, interactive, and functional. The format and its players are open source so designers can create interactive content forproducts, apps, websites, and games - and Rive runs anywhere (web,iOS, Android, Windows, Unreal, Unity, C++, etc.). A huge advantage is how greatly it speeds up workflow by reducing designer-developer handoff. Which learning resources you used and would recommend? This forum of course, Cineversity, of course! School of Motion, Linkedin Learning, and YouTube/Google searches for anything useful. Do you think talent is overrated and can be offset with a lot of hard work? I’ve always felt there were two types of 3D animators and digital artists ingeneral - those who are naturally artistic and less technical, and those who are more technical with less artistic background. We used to call it right and left brained, (but I’ve recently read some scientists call that a fallacy). And there are those amazing exceptions – the people who seem to have both artistic “talent” and an innate understanding of technology. Talent is an intrinsic skill (as in something that comes natural to you). But it is a skill. So yes, I do think those not born with it can develop artistic sensibility. Your best advice for newcomers, tip or trick to pick up regarding marketing and industry? Create. Even with talent, nothing comes without practice and execution. Create what you love, what inspires you. Be inspired by others. Inspire others. Thoughts on AI? Artists worrying about how AI is going to affect the industry and their careers is completely understandable. But it cannot be ignored. It’s here and it’s not going away. The best thing to do is figure out how it canultimately serve and empower you. Part of being a creative professional is adapting to what is thrown at you, whether it be a client’s desires or technology advancements. Top 3 wishes for C4D a. That it will continue to humbly serve the artistic community. b. That it will continue to innovate and impact the industry. c. That it will be remembered as having a positive impact on the industry and secure a place in design history. Message for Core4D Stay positive, stay passionate and keep the community spirit. Tell us something we could not possibly know about you but you find important or funny : ) In my early 20’s I was an actor. I did mostly stage musicals, but I did doone film. I was a pirate in the movie Hook. I was also in the Hook Coke commercial – like everything else it can still be found on YouTube https://www.youtube.com/watch?v=FUIAPbXevaA For fun, I still perform in a band with my buddy and my daughter https://thelaurelcanyonband.com/ Plans after a long journey with Maxon? Clear my head, look out into the horizon of the industry and get a good idea of what’s happening in the industry and where it’s going. Hopefully, I will find something where I can focus my passion and energy. Yes, I am actually looking for a job (it’s been rumored I am retiring – no way!! I have too much energy left.) – hopefully, it will besomewhere in the industry. This industry is my family. Also, some exciting news. This week I've accepted an invitation to be an Advisor for the team at Rive. It’s not a job. I took an advisory position for a product I think has a tremendous amount of potential in the interactive design industry. I encourage everyone to check it out. Really innovative and fun. If people want to contact you https://www.linkedin.com/in/paulbabb/
    4 points
  3. AHA ! I knew I could crack your NDA with erroneous unfounded assumptions ! (kidding) There you have it people, it's a new shiny system 😆
    3 points
  4. It really isn't a port of any kind, it is a new development from the ground up and any similarities to TP are simply due to it being a particle system as well.
    3 points
  5. pm request, spline morphing : ) There is some help from delay effector to add secondary motion 224_Spline_morph.c4d
    3 points
  6. Updated stream from our closed alpha release:
    3 points
  7. Donovan made some quick introductory videos for Nodes, check them here 🙂
    3 points
  8. Well we made it boys! C4D on the cover of 3D world magazine ! Was commissioned back in January to create a character for the cover , and an article with an over view of the modelling process. Brief was -Disco Astro naught, so I went with it, was changed quite a bit over the length of the process but quite happy how it ended up. This marks a significant miles stone for me as an artist, definitely something cool about seeing your work published!
    2 points
  9. : D You are seriously overestimating my capabilities. I found some pieces of obscure math paper and managed to convert it into nodes.
    2 points
  10. Here is a nice setup I spent too much time on - Lorenz attractor! There is some fancy math inside and controls are available. If you want more performance turn the capsule into spline one without geometry and vertex color generation 210_Lorenz.c4d
    2 points
  11. Someone get the Maxon guys drunk immediately, if one of them is spilling the beans, it shouldn't be hard to get the others to crack. Something new is coming and it's got particles in it somewhere! Hang on, I think we figured this out a couple of pages ago.
    2 points
  12. Thanks! We intend to go from basics all the way to nifty, complex TD stuff. There is obvious shortage of quality training on this matter. I'd like to take the opportunity to thank one of our members who is sponsoring the creation of videos who wishes to stay anonymus. Thanks You ******!
    2 points
  13. .max for a modern 3ds max file. .3ds is ancient. Its limited to 16,000 polys per model, 8 character long file names etc
    2 points
  14. Have you tried using the Collider Deformer ?
    2 points
  15. Well, you won't believe this. When trying some of the ideas you suggested, I got the spinning wheel of death. Might have come out of it, but after 5 min., I forced-quit. Now, I still had r19 open. Many models sold online are build with Max and provided in a couple of formats such as r11. I have r19 so I can open and save a scene to open in newer versions. Anyway, I thought, what the hell. I opened the same scene in r19. Broken textures as expected. I brought up the old Texture Manager, which for me anyway, used to be super slow to load fully. It loaded instantly and I tried Relink Assets and BOOM! It fixed all the links properly in 3 seconds. I reopened the scene in r25 and all is well. I have my workaround, but not explanation as to why the scene cannot be fixed in r25.
    2 points
  16. This is a very unwise move and it will kill Cinema 4D in the long run. No students = no future users. Cinema 4D is already dead in a lot of Universities and Colleges in the US. The absurd price and all the shenanigans with the student license made it a non-starter for most schools. Although this price hike won't change much the situation, because what happened last semester (Maxon canceling the student licenses MID SEMESTER!!!) already killed any good will schools had with the software. This is just the nail in the coffin. Keep in mind that Blender is not the competition here. Even though most of my students come to my classes (I teach around a hundred students per semester in a high ranked Animation program in the US) with Blender experience they are really interested in learning the industry standard software. And Maya student licenses are free and super easy to get. And after graduating they will have Maya Indie for U$305 bucks only. Meanwhile, Cinema4D charges a stupid high price for the student license, takes forever to get said license and has no indie version for former students. Considering this, Cinema4D is simply not an option anymore. Unfortunately, I understand why @DMcGavranis doing this. Even though this will kill Cinema4D in the long run, schools and students will keep paying for the Maxon One Student licenses not because Cinema4D but because Zbrush and, in some cases, Redshift. Zbrush is really the 3D cash-cow for Maxon now. Zbrush simply has no competition in the industry. 3D schools are hostage of Maxon in this case. And Redshift is the choice of schools without big budgets (like State schools) who need a faster renderer for students using Maya. It's cheaper to use Redshift than buying more powerful desktops or building a renderfarm for Arnold. And Octane's (the only other option) implementation in Maya sucks, while Redshift is super well integrated. Anyway, in the end I just feel really sad because Cinema4D is my favorite 3D software. It's pretty sad to see it going the way of Lightwave 3D.
    2 points
  17. Attribute Transfer SOP. It won't be perfect because your topology is wildly different, but it might be close enough to do the job:
    2 points
  18. You can do it even easier, if you convert a vector into a float, by connecting a vector port into a float port, you will get the length of the vector as a result.
    2 points
  19. speaking of, I actually wanted to implement manhattan distance as well... 🤣
    2 points
  20. Looks like there is an issue with the triangle mesh option in the collider tag. Use convex hull or box. And if you can try to keep the "thickness" higher. It is used in the collision calculation and larger values make it more robust. Between rigid body objects this won't lead to a gap. In only adds to the gaps between rigid body objects and collider objects. And: Avoid initial setups with intersections of collision shapes. If you have a stack of stuff with all objects sitting flush on top of each other and the bottom one intersects with the floor collider, the fist execution will have a collision resolution that propagates through the whole stack. You can start we a relaxed state with a bit of a gap and let them fall into the stack via the simulation. Once they have come to a stable rest you can set that as the new initial state for the simulation.
    2 points
  21. Thanks. That is a known issue that can happen on undo or some other actions, will be fixed.
    1 point
  22. April Fools is right around the corner. Expect: "Maxon merges with Adobe..." , "Insydium confuses themselves with their licensing so much they sell to Maxon", "Maxon releases C4D 2025, with new integrated particles, fluids and pyro 3.0"
    1 point
  23. Don't get Maxon started. It only gives McGavran and the devs the chance to mess with our heads, the same way a fisherman will playfully poke a Canadian snow crab with a stick before hoisting it into a sack and taking it home to the wife to make a slow-cooker bisque with croutons, pepper, tomato and shrimp.
    1 point
  24. That drawing thing Blender has does not exist as an interactive tool in C4D. So you have to pre-draw the spline and then use the appropriate populating tool on it. I think the Scatter Pen tool works is what you're looking for. It's free-hand though, no procedural path editing
    1 point
  25. Hmmm. No. Is working over here. Maybe do a support ticket about that ? Command is c4d.CallCommand(1036224) # CBR
    1 point
  26. Blender 4.1 was pushed back to March 26th pending any more issues.
    1 point
  27. https://www.newscientist.com/article/2423087-artists-who-use-ai-are-more-productive-but-less-original/#Echobox=1710921061
    1 point
  28. Did you even read what I wrote? I specifically wrote that Blender IS NOT the Cinema4D competition here. Maya is. Maya is free for students, the student license is given without hassle (while Maxon treats students as criminals and takes forever), Maya has WAY more features than Cinema4D (it's not even close), Maya is a industry standard in more industries than Cinema4D, and Maya has a cheaper indie version for the students after they graduate (U$305 if you make less than $100.000 annually). The only advantage of Cinema4D is that is easier to learn and used to have a better UI (not the case anymore). This is not enough for the ridiculous price difference, mistreatment of students (every semester my students tell me horror stories of Maxon cancelling or denying their licenses. This never happens with Autodesk software) and lack of a cheap professional version post-graduation (the indie version)
    1 point
  29. well, that's just sad... I understand this type of pricing for indie license but student licensing? pretty lame... even autodesk gives free student license if you verify. I guess for maxon verification isn't enough.
    1 point
  30. It's making the rounds again on Reddit and Discord. The number of responses with "blender" is pretty interesting. Maxon is making money now but setting up the next generation of artists and the studios they will open or supervise with Blender,
    1 point
  31. Hello, I have a problem with the radius of splines, Collision Radius used to allow intersections between points (example from 2023.2) 2023.mp4 Now this is happening, is this a bug? Or is this how it should work? (example from 2024.3) 2024.mp4 + Segment node displays parameters that do not affect Linear mode.
    1 point
  32. so simple yet so creative & powerful! I went a tiny step further and added an extrude generator on top, just to see how it acts with a mesh. It works 🙂 Don't forget to check the 'close spline' checkbox on the nodes spline first tho so the extrude has caps 😉
    1 point
  33. I am investing some time into a Lumen Rendering workflow as well right now. The fact that you see what you get in the final image is such a workflow boost it is amazing. Makes up for some Unreal quirks in building projects
    1 point
  34. oh wow! I'm starting to slowly realise how easy scene nodes actually is.
    1 point
  35. it isn't any better XD. I didn't know we had a node like that 🤣 damn scene nodes making things easier than I thought. I tend to think at way more of a raw level than what scene nodes already provides. that distance node should already provide everything necessary. although it's still fun to try and implement these things on my own and develop them further 🙂
    1 point
  36. made a really quick thing that allows you to calculate the distance between two points: did this in like 5 minutes but i want to play around with it more one day as I believe some really cool things can be done with just this simple calculation 😉 for now, i have it prepared for further experimentation later down the line... sn-distance-between-two-points.c4d
    1 point
  37. Cerbera, you're a wizard!
    1 point
  38. If you need assistance at that level of detail you may be waiting a while I'm afraid - quite a heavy workload at the moment, and those sort of posts take hours to compose. However I have built it (to proof-of-concept level), and so can give you edited highlights now... There are about 4 principal stages, thusly... 1. Helix spline in Extrude, but with very specific settings. In the helix the number of points is 8 x number of complete rotations. The end angle is -360 x number of rotations. Do 1 more spirals at each end than you need (I did 8 total), as you will be slicing this flat at both ends later. There should be zero spline interpolation, so that each full turn contains no more than 8 points in the resulting geometry. The Extrude should also have no (depth) segments initially, but should be deep enough to overlap itself by about an 1/8th of the depth of each band. 2. At this point we need to take an editable polygon copy of that via CStO, so we can edit and add loops to it. We need to add loops using Loop Cut (K,L) to both top and bottom of the spiral, so that the border edges can be scaled in on XZ to fix the overlaps and tuck the wrap under itself nicely. A further loop can be added to define the narrow darker strip at the bottom of each wrap at this point. 3. In the next group of steps we need to re-orient the model (but not its axis) by 22.5 degrees on H, top and tail it to flat, non-spiral borders at both ends using Plane Cut (K,J), solve the ends to quads and scale groups of edges apart to better match the elongated shape, before selecting the edges and bevelling them to gain additional support loops there, and harder creases on the corners. 4. Last stage is FFDing that with a great many Y segments so you can match XZ curvature around the handle from top to bottom of it... I will pop back to add further detail as time permits this week... CBR
    1 point
  39. DigitalArtDeathmatch Now accepting artwork submissions for the DigitalArtDeathmatch at BeepleStudios with beeple!!! Submit your artwork for a chance to be featured at the event or compete in a LIVE digital art tournament at the event!!! https://beeple-studios.xyz/event/digital-art-deathmatch/
    1 point
  40. Ok, we're going off at a tangent here. I didn't suggest the Projection Deformer at any point; only that we use the project to surface function within the Fit Circle tool. But I did you give you some slightly incorrect advice at that point - I had forgotten that this 'project to surface' function shouldn't need an additional object to project to - I imagine I initially thought it did because because your holes were pre-existent before you tried to round them, and I wasn't sure it could still predict what the absent surface was doing. However, in subsequent tests today I have confirmed we don't need an additional object for Project to Surface to work in Fit Circle. In poly mode, with the hole polys pre-filled that works reliably. With that said, the way you are wanting to go about this is still not the best way. I'll say it one more time in an attempt to save you the work, but trying to get topologically perfect circles, in that pattern, on a standard sphere, presumably planning on using SDS to negate your relatively low polycount (?) there is a very high chance you will never be able to get a fully perfect sphere and perfectly rounded holes. You will always be able to detect a subtle pinching or concavity around the holes because if you choose this approach it is simply not possible to keep polygon spacing even enough to avoid them ! But by all means progress with your current methods and find out for yourself ! 🙂 To give yourself the best chance of this working I would suggest that you put a spherify deformer in a null with the parent SDS of your mesh. Then at least it can work with the SDS result where the polygons will be more even and a lot more of them, rather than with the base mesh directly. Again, you need to do this before any thickness is added. CBR
    1 point
  41. Hi! In case anyone has similar problem. I had similar issue with mixamo rig. Everytime I saved the project and opened it up the mesh was back to T-pose and didn't move with the rig. I tried to upload different formats to mixamo (FBX and OBJ) to see if that makes any difference but it didn't. Among dozens of test rigs that I made I noticed that one was actually working even after reopening the project file. After further investigation it turned out I saved the project file when the time marker was in the middle of the timeline and it opened with the marker in that same place. When you import the animation from mixamo and rig it in C4D try saving it with time marker not at frame 0. Let me know if that worked for you. Thanks!
    1 point
  42. What would I advise a young artist to do vis a vis a future where AI will increasingly compete for a larger and larger share of people's time and attention? Number one. AI is already alive in the sense that it is never going away and it will forever hereafter compete for people's time and attention. The important thing to note about it is that it does not and will not ever need facilitators or human shepherds to steer its future direction or influence. Rather, how people collectively respond to it will determine where it goes and where its influence ends. AI will eliminate the need for many different kinds of jobs that exist today. On a massive scale. This societal upheaval and the resulting population of unemployed persons will result in many looking to make themselves employable by studying and looking for jobs in AI, but AI itself doesn't have nearly any need to employ humans. Its strength comes from mining all of human digital history and a feedback loop with how all of humanity responds to it. It has no need for employees and there won't be jobs requiring people who know how to use it. Everyone will both know it and know how to use it by its very ubiquitousness. Thus, it's very likely that the very idea of work itself will have to change. All we humans can do in response is to foster and develop the innately human advantages we have as humans that AI can never fully possess. Mobility and dexterity for starters, but also the power to physically, materially and spiritually comfort and support one another. AI will probably make a lot of beautiful music, but AI will never be able to sing through your vocal cords, or those of the persons you love; make your body dance in rhythm, spoon feed a baby, or paint a landscape through human eyes on canvas using real paints and pigments. It may inspire us, but it cannot animate us. So to an artist of the future I would suggest to focus artistic energies on non AI things that animate and move you and others. Figuring out exactly what that is will be art in itself, but forget digital arts for now and focus on traditional human arts like drawing, painting, singing, dancing, gymnastics, acting, tilling the soil, etc. Beautiful and artistic synergies will surely arise between humans and AI, but only between AI and those who are good at non AI things. Artists in the future won't make names for themselves by being good at AI, or using AI, or shepherding AI, but rather by being good at things AI can never do. With the exception of an IT job or similar, put the notion of making a living with AI or having some influence on it or through it out of your mind: AI doesn't need humans or humanity except in the collective sense, but it will never be able to satisfy human desire for what is real.
    1 point
  43. This is a bare bones setup to transform selected UV polygons UV Rotator 01.c4d
    1 point
  44. A little faith is good for the soul... CBR
    1 point
  45. To my opinion some of the models were unnecessarily too high in polygon count... I could feel the renderer slowing down when those objects where in view. Especially the candle if SSS was used.
    1 point
  46. I was going to propose the Track Modifier Tag. https://help.maxon.net/c4d/en-us/Default.htm#html/TCAANIMATIONMODIFIER.html?TocPath=Object%20Manager%7CTags%20Menu%7CAnimation%20Tags%7CTrack%20Modifier%7C_____0 There is a Quantization effect that acts like a stop-motion effect. So you could animate the second hand as usual and have it quantized at constant intervals.
    1 point
  47. Hi. You can convert Ornatrix hair to guides. You can either keep the amount of hairs needed to populate the whole area, or reduce the amount in the viewport so fewer guides are made, but then your using the interpolation of C4D to produce the hair so it will vary a bit from Ornatrix interpolation. 1: Add curves from strands after Hair from guides operator 2: Press export spline. 3: Select spline and chose from the C4D hair tools Convert from spline. 4: Add the Hair mesh or selection set in the Hair objects Guides Link. 5: In the C4D hair tools select Set Roots and apply. PS: I will be making a video on this, as this has not been covered, so look out for that later on today. Dan
    1 point
  48. Sorry if my explanation seems confusing. PLA is Point Level Animation which is deforming a object by moving its vertices. This means you can deform a object without having a rig and is good for facial shapes for instance. As soon as deformation data driven by say the Pose Morph is baked into a object it becomes PLA keys, a key is made for every frame of the animation. Before it gets baked the pose morph is an expression within C4D. Alembic keeps the PLA in tact to exchange between other 3D apps. So while you may have PLA on your object only certain formats will export this data which is why we use Alembic or FBX. The Alembic hosts the cache file outside the 3D app making a reference link to it. FBX also makes a cache of your points and can keep your morph target and your rig. I use Alembic for baking simulations, and if I rig stuff I tend to export FBX. I dont usually do what your trying to do, I think that is to push both joint based animation and a expression data, in this case is a morph target into motion clips. I keep the two seperate. untill the end and let fbx alembic bake them out to gether. I done a quick search and found this thread. At the bottom of the thread the poster states that MAXON told him that Pose Morphs do not get backed into a Motion clip. Motion clips will only store data on a object that is already baked or keyed. In this case your need to bake down the pose morph first, then create a Motion clip. As I don't try to do what your doing I assumed Pose Morphs get baked into PLA in the process of making a motion clip, but it dont. 1: To bake the Pose Morph turn off the skin for the rig. 2: Make sure the pose morph is uncheck for post deformers. 3: Open Animation timeline, in the functions tab click on Bake. 4: You only need PLA, and uncheck make copy. This will bake just the pose morph into the object as keys, its now PLA. You can delete the Pose Morph if you like or disable it. This stage you can now also select root for the rig and make a motion clip. Your now have a motion clip for each the mesh and rig. (See file added) Dan posemorph.c4d
    1 point
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