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For what it's worth these here's my Apollonian Gasket done with Scene Nodes.

Oh... well that raised the difficulty bar to new heights ... Yes you do need a ray-cast. A bunch of splines casting towards a direction until they hit something. Make them all line-up linearly and use them as a field. It definitely can be done with Scene Nodes, not in S22. Maybe ricochet can do that for you.

Assuming I understood what you are after, this should be possible with Xpresso. Iterate over the clones, bring them into camera space and set the selection based on your criteria.

What you're asking for is a 2D Camera Projection Falloff. I've suggested something like this in the past. It involved SceneNodes. Since there isn't something like that implemented you'll need to construct it yourself. The camera's frustum is a pyramid so with this in mind I constructed a field that is a child of the camera to be on par with it. Note that I'm working in R20 and the Use Fields in the MoGraph Selection hadn't been implemented at that time, so I tried to affect clones directly. You can add them later. Unfortunately there is no Pyramid Field, so I used a Pyramid object as a Point Object Field. Well that didn't work either because the Invert Layer Effect apparently does not apply to generic Point Object Field. I don't know if this has been resolved in later C4D versions. So I had to be more creative. I don't use Octane, I'm not sure how much that will affect your project. Use the From parameters in both Tubes to affect as many rows or columns you like from the camera's point of view. Affecting objects from camera.c4d

The cut-off at the pink lines (number 1 noted above) also indicate that a field force is being used which may be clamping the fluids as well. I downloaded the file and HappyPolygon was right in that the tree setting was set to 1 and should be increased as well. Unfortunately, I could not get the fluids to appear when hitting play. To be honest, I did not fiddle with it that long. I thought maybe it had to do with some of the emitters being children of the hand object and that a composite tag with 0% visibility was set on that tag but moving the emitters outside of the hand had no impact. I did not deep dive into all the pyro emitters. You do not need to use a compositing tag to hide the emitters if you do not want them in the final render. Just cache the fluid simulation and then delete the emitters prior to rendering.

Why almost? That's what the Apollonian Gasket is, a fractal. Only posted it, because @HappyPolygonreferred to the Apollonian circles further up this thread. Though to be precise, these are not actually Apollonian circles, but Soddy circles.

You are trying to select a row of clones, however "row" of clones is not present anymore after you apply random field. Why not use linear field to make a selection prior to applying random field? Alternatively you could find a closest clone and expand a selection based on some rule.

You can't change the simulation bounding box (green). C4D uses a sparse voxel tree for the simulations. This means it will generate as many voxels in the 3D space as it needs to depict the simulation until it runs out of VRAM in which case you will get a waring message. This voxel tree has no bounds, so the green box will expand as needed. Turbulence4D AFAIK has a constant user defined simulation bounding box that prevents any simulation taking place out of it. What you can change is the Padding. These are yellow voxels and you can view them from the Pyro object->Pyro tab or Project -> Pyro. Padding is a reserved layer of voxels around the "core" simulation as a "safety" net to catch any simulation data that may exceed the occupied simulation. It's like having reserved simulation space because you can't predict exactly how far the simulation will spread. If you don't see nice edges of smoke increase the Padding by one, If you're talking about the banding, making smoke look like marble, remember that what you see in the Viewport is a representation of the actual simulation. If you don't see that banding in rendering you don't have to worry about it.

It's also worth noting just how much other software & assets you get with the Octane subscription. Right now it's Kitbash kits, World Creator, MOI3D, Embergen & there's lots more. No-one is going to need all of these, but I'd be surprised if anyone can't find a use for one of them. It makes it imo very competetive for the price compared to redshift. I also agree with Zeden. As useless as it is for really rendering, Redshift CPU is useful to have because Junior artists can at least open scenes and see something of what the materials should look like, can design a few materials in a stripped back scene and can learn how Redshift works on a basic level.