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I agree with Cerbera. If I wanted to do this using a polygonal object, I would spend the time and model it properly. There are ways, however, to cheat yourself out of your situation and still get those slices you want. Option A): Using a polygon version similar to the on shown in your screenshots For the sake of argument, let's assume that this polygon object is our only option. What I'm about to tell you may or may not work well depending on what issues are possibly hidden in your polygon object. In order to prevent the knife tool from closing that geometry, make the Extrude object editable (create a flat object because that's easier to fix). Then use "Close polygon hole" to close all the holes in the globe. Once you've done that there's a better chance that the knife tool will make those cuts without causing too many issues. Aftwards, delete the polygons again where the holes should be. See the attached image 1. I used a random free vector spline I found on the internet to do this. It kind of worked. At least one half of the polygon object was usable after I had made the cuts. To fix the remaining issues I just added a couple of additional cuts, deleted the half I couldn't use and mirrored the good half over. You'd still have to spend some additional time though to separate the slices in order to be able to animate those like the ones in that YouTube video. Is there a particular reason why you did it this way? If not, I would go for option B) below. Option B): Voronoi Fracture This is the fastest option, and the best one for a quick result. However, how well it works will depend on how screwed up the spline is that you downloaded. You may have to fix that first before you can do anything. The one I downloaded to do this was a single spline/path that, however, consisted of several segments. I split those off and then used spline mask to create a proper single spline. I then used an Extrude object to create the 3D object. I put the Extrude object in a Voronoi Fracture Object and used a parametric plane with a number of width segments and no height segments to create the slices. See image 2. The geometry still is an ugly mess, but this was really quick, and I could even bevel the edges and get it to look nice in the render (image 3). Cheers, contrafibbularities

Heres a version doing same thing but with all those letters within a fracture object. If you move the fracture it all stays still. You could achieve similar with a shader effector to move the letters in z direction and use noise in the shader tab for the randomness. Deck Edit: it dis change your random pattern but in a similar style excentrico_0001.c4d

are you using any falloff, upload the scene file and it will get sorted by someone. deck

Just checking and it seems there are two ways to go with this, either you choose noise modes Gausian or Random to create your pattern in which case nothing moves, or in your current set up change the "space" parameter from global to UV, I think that should sort it. Deck

r23 comes with two new templates: the toon rig with an included face rig and a standalone face rig by bret bays. this short was created with those templates, the toon rig for the artist, and the standalone face rig for the bust. also here's a quick promo video of the toon rig, demoing some of its features:

Yes, different to ICE, Scene Nodes are not an immediate solution, they are a glimps into the future. Don't be fooled by the small number of assets though, the nodes you see are just the tip of the iceberg. On coding level there is another layer of nodes available to programmers and many of the non asset nodes in 23 are actually still assets, but build one level lower. Of course these will not appeal to non developers, but it should make thinks more interesting and easier for plugin developers in the future.

As an avid observer of C4D over the years (I'm a consultant these days advising clients in the advertising sector on the ever shifting sands of DCC technologies), I'd say the biggest danger for Scene Nodes right now is that they create unrealistic expectations. One of the earliest entries on the MAXON corporate blog back in 2016 made a big deal regarding the engineering efforts towards a new Core, and if memory serves right, it was around the time of R13/R14 that talk of modernising C4D's Core was first publicly aired. So we're talking approximately 10 years here; on that basis users can be forgiven if their expectations are high with regards to the scope of new Core deliverable's (and their manifestation in Scene Nodes). I thought Rick Barrett struck the right tone the other day on the Rocket Lasso live stream when he acknowledged that the next 18 months or so will be full of growing pains when it comes to Scene Nodes. He made an analogy to a building site where hard hats will be a necessity for the foreseeable future. I like Rick's understated approach as he's managing expectations as well as whetting appetites. The public launches of Scene Nodes and Softimage ICE could not be more different. The Softimage team choose to launch ICE as a toolset with a laser focus on particle effects and deformations. My Softimage workstation still has licenses going back to v7.5 which was the first release under Autodesk ownership (basically the same as v7 but with Autodesk licensing). I've just done a quick count of the Compounds included in that early release of ICE and it's close to 200. ICE Compounds are very similar to Scene Node 'Assets' - they're simply a grouping of granular atomic function nodes that deliver a specific piece of functionality. They're main purpose in terms of the ICE launch strategy was that they functioned as an artist friendly introduction to nodal programming, but the artist needn't have a technical background to use them. Hopefully the artist would be curious enough to explore the Compound innards, but this wasn't compulsory and the artist could still get a huge amount of value from ICE without ever having to learn about the atomic level nodes. The launch of Scene Nodes only contains a handful of compound 'Asset' nodes (mainly found in the Generator category). As a result all artists are thrown into the deep end without any arm bands or rubber ring to keep them afloat! I must admit, I'm not certain this was the wisest decision. As things stand I can see many C4D artists having a poke around Scene Nodes for a day or two never to return again. Unless you have a background in programming or in nodal systems such as ICE, the learning curve is a steep one. At least with a healthy quantity of compound 'Asset' nodes, the artist can access beneficial functionality even if their curiosity doesn't instantly propel them forward to learn how the atomic nodes fit together to create said beneficial functionality. Any criticisms here are intended constructively as Scene Nodes are a great window into C4D's future.

I am not in a position to post roadmaps and i doubt that Dave will go into any real details here, but it is safe to say that future Cinema 4D will have a foundation in what currently is the scene nodes. If you think "What will be supported by nodes?" you are looking at it the wrong way, Scene nodes are the base, not an add on.