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Popular Content

Showing content with the highest reputation since 02/19/2024 in all areas

  1. 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!
    6 points
  2. pm request, spline morphing : ) There is some help from delay effector to add secondary motion 224_Spline_morph.c4d
    3 points
  3. Updated stream from our closed alpha release:
    3 points
  4. Donovan made some quick introductory videos for Nodes, check them here 🙂
    3 points
  5. Hi Y'all, I'm the Product Manager for Capsules and Scene Nodes at Maxon. Maxon has just released Cinema 4D 2024.3 and I thought I'd share a Quick Tip on a feature that didn't make it into the official announcement. The latest release of Cinema 4D (2024.3) let's you easily preview each step in your Scene Nodes graph with the new "Connect to Output" command. **To Connect a Node to Output** 1. Select the node 2. Tap the `Q` key on your keyboard _I remember this as Q to "Qonnect" to Output_ _The selected node's top-most Geometry port will connect to the top-most Geometry output port of its parent group._ **Alternate Methods** 1. RMB + Click on a node 2. Select "Output Geometry" in the context menu. **Requirements** - You must be using Cinema 4D 2024.3+ - This only works with nodes that have a Geometry output port inside of a Geometry group (Nodes Mesh, Nodes Spline)
    3 points
  6. 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
  7. 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
  8. 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
  9. 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
  10. speaking of, I actually wanted to implement manhattan distance as well... 🤣
    2 points
  11. 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
  12. I accidentially used the standard transform, use the Transform 2D node for better results.
    2 points
  13. In answer to your question, there's a few issues to sort out there. 1. Collision accuracy. Coins are poking through that floor due to 0% geometry accuracy in the dynamics tags. Turning that up sorts it, but slows vp right down, so I presume that is why you set it that low, temporarily ? 2. We can control the exploding and lack of settlement with the deactivation controls, which in 2024.3.0 are enhanced, as I recall, to encompass angular, linear, sleep and damping thresholds, which I found had great effect in stabilising your coin pile collapse, thusly... pkrAllIn CBR.c4d CBR
    2 points
  14. Bouncing ray setup. It fires a spline in Z direction from referenced object and bounces from detected geometry set number of times 236_Bouncing_Ray.c4d
    2 points
  15. more scary than real news. At least when the news lies to you their mouth and voice are in sync and don't have a dead pan look in their eyes. Also, you know who physically is telling you the news, their bias and agenda. With AI, the idea that it can be without bias has already been proven wrong with chatGPT. Also, someone is funding this AI news channel, and who is a vested partner with that corporation funding the channel, and so on? As it stands nefarious governments, corporations and individuals are already using AI to promote their own interests. I still see a time when AI will he hacked and poisoned to promote false information purposely. After all, we will be conditioned to trust AI 100%.
    2 points
  16. You may be forgetting that with Loft objects the resolution is not derived from source splines but from the object itself. Massively increase U segments in Loft Object... I don't like this method for doing this sort of thing because it is quite difficult to get (and verify) identical segmentation on each side unless you symmetrize later. Also note distribution of edges, which is kinda arbitrary and not that great if we're honest. By the time you have sorted that out for regular spacing and whatnot, you may as well have modelled it from polygons with symmetry and got a more usable base going forward ! If we definitely want to use splines, then Extrude is the better generator because that does take its interpolation and point counts from the spline, and it is trivially easy to add the little ridge bit on one end later... Of course if you need splines for further modelling tasks you can still use the ones you have, or generate them anew from your evenly divided model using Edge to Spline... CBR
    2 points
  17. I import cad data most days for my job, here's my 2 pence. Forget about materials. CAD software can assign a colour, maybe apply a basic 2D image, but it doesnt tend to go much beyond that. The materials youll get through into c4d are pretty much going to be a slab of colour; in short you're going to have to remake and apply materials no matter how well your cad data comes in. What you want from your client is either photos of the product and you do it by eye, a physical sample and you do it by eye, or some sort of CMF document, Colours, Materials, Finishes. It will list stuff like "Black PET plastic, MT10020 textured finish, semi gloss" for each and every part. You can then go through and apply materials as needed. This document will be what they send the factory so they know how to make the product. File formats, step is the best youll get. it bundles everything into one file and sometimes gives you base colours. It also means you can select the polygon count yourself. Explore the import settings!, dont just take the defaults and expect nirvana. You can import materials from cad materials, from cad groups, from cad layers, it depends how the cad guy made the project in the first place. You can also define polygon density; some advice there, set angle to somewhere between 30 and 5 degrees, then play with sag, this controls how polys are added across larger curved areas and not just the corners. 20 degrees angle with 0.02 sag can give a good high quality finish without going mad in rounded corners. Increase sag for few polys on large curves, 0.03, 0.04 etc Work cad cleanup into your time budget. For a hero product (keyboard, mouse, computer case) we will take a day to tidy the object list, get all the pivots and groups ready for animation and to texture the product.
    2 points
  18. A little faith is good for the soul... CBR
    2 points
  19. 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. Just this week I joined the advisory board for 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/
    1 point
  20. Someone's had fun designing the new icons, check the cool little apple logo in the Object manager.
    1 point
  21. Dave's retweet five days earlier, the statue melting, also looked like particles, maybe. But this is all cool and I'm glad new tech is finally coming into C4D after a length of time I never want to think about again.
    1 point
  22. How weird! And annoying. What happens if you use Find and replace at the bottom if that window instead of relink? Copy the breadcrumb trail from the bad link up to the folder with the textures and paste that into find and put your good breadcrumb link into replace. If it works on one, then you can select the whole list and do it in one go. Can't see why that would make a difference, but try it out. 🤔
    1 point
  23. 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
  24. 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
  25. oh wow! I'm starting to slowly realise how easy scene nodes actually is.
    1 point
  26. 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
  27. *some minor updates*
    1 point
  28. Check out Puget Systems online and look at what they use for their rendering machines. You can also configure custom machines to see what goes together. You don't have to buy a machine through them, although they're pretty good. But they do a lot of testing on the parts they've chosen to use, and it might provide you more information to base your decision.
    1 point
  29. 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
  30. well that explains everything. thanks for that.
    1 point
  31. Thanks Mike! Was super stressful at the time due to a tight deadline, I’m also not much of a writer but was well worth it in the end.
    1 point
  32. @LLS It is just a loop in which you can update variables in each iteration. In python it would look somthing like this: # Initialize your vectors and array. This is the equivalent of creating the initial ports on the outside of the Loop Carried Value and feeding them with initial values. start = c4d.Vector(1, 2, 3) end = c4d.Vector(4, 5, 6) hit_points = [] # Specify the range for your loop. In Scene Nodes the loop range is defined by the Range Node outside of the Loop Carried Value. In this setup it controls how many bounces are being created. for i in range(10): # This is the inside of the loop where you do your thing and then update your variables based on some logic. This will happen in each iteration. start = end end = start + c4d.Vector(i, i, i) # If you need all of the inbetween results later in the node graph you can store them in an Array by appending them in every iteration. array_of_vectors.append(end) #Now the range / loop is done and we are leaving it's scope. If you access the variables now you'll get the state of the last iteration for start and end and an array of all the iteration states for hit_points. Hope that helps.
    1 point
  33. Sorry I apologize forgive me.mp4
    1 point
  34. Release notes for latest version (2023.3) https://support.maxon.net/hc/en-us/articles/8658038724124-Cinema-4D-2024-3-February-21-2024
    1 point
  35. He is using vertex map to recreate it... The effect was revealed back when Fields were introduced. I avoid vertex maps for these kind of things because they depend on polygon dencity making the effect very computationally heavy... that's why I'm looking for a shader solution
    1 point
  36. If you want REALLY good CAD conversion I can recommend InstaLOD. It allows you to have fine control over every single object in the STEP file, set detail settings for every single one, automate repairs, clean up the materials (so you don't end up with metal.01, metal.02, metal.03, metal.04, ...). etc. There is a free version currently, but you have to request a license manually. https://instalod.com/fsl/ We're using the tool for over a year now for all our CAD data needs and you wouldn't believe how much time and nerves this thing saved us.
    1 point
  37. @LLS One benefit you'd get in Houdini for this type of scenario would be direct support of volumes. Scene Nodes doesn't have volume nodes so you'll have work with a combination of classic C4D and Scene Nodes. Regarding multi instance: Of course Houdini has instancing. Regarding volume builder: I've never done any direct comparisons but I would assume it is pretty much the same. In many cases Houdini isn't much faster than other tools. But since there is automatic caching and a nice workflow to work with disk caches you often get better perceived performance over all.
    1 point
  38. Never tried, would require some research. https://docs.unrealengine.com/5.0/en-US/hair-rendering-in-unreal-engine/ Looks like people are using baked hair via alembic mostly.
    1 point
  39. While I appreciate Dave's teasers slightly in advance of a release, I still wish Maxon would publish a fuckin' Roadmap already (Sorry about my french). We're grownups, we can handle a certain degree of uncertainty. But I really need to plan ahead in terms of technical development and Maxon gives me almost nothing in that regard. In other words: Please, just tell me I don't need to pay for another year of x-particles.
    1 point
  40. Use transform geometry node. As mentioned, geometry by itself is not transformed at all, think of it as simply always sitting at 0,0,0 with no rotation or scaling applied. Transformations are applied by matrix which is position, scale and rotation alltogether. clone_transform_geo.c4d
    1 point
  41. Hi, thank-you for the wonderfully kind words. You know ego, I talk about what I know best… and then I don’t stop talking! : D That’s a great question. So to answer, at the beginning absolutely you’re right, Paul was my partner developer and we shared the development burden equally and did a great deal of brainstorming together, I of course additionally architected the vision and within Maxon I because I had negotiated us in as a package deal, he was my ward. To my great and ever lasting shame and in no small part due to my own naivety and inexperience in a role that I did not realize at the time was lead I was not able to protect him fully within the system and he and Maxon parted early on, as seems to be an ongoing motif with Maxon - acrimoniously and in my estimation entirely unfairly. From then on I built up, maintained and updated MoGraph as well as of course implementing general workflow through many areas of Cinema to strengthen that Motion Graphics experience. However don’t believe for a moment that’s a sole lonely act, I would have failed completely if I hadn’t been able to build up a team, vision and direction and it had ended up just being me on my own every once in a while throwing out random tools that no-one used! While I was primarily responsible for MoGraph, Maxon is a company of over time an increasing number of developers. In my speech I mentioned those key, who had been instrumental in being a part of the MoGraph team helping bring my hallucinatory visions to life adding feature (such as Dynamics which Ole provided) and providing support in other ways, technical and design. At the same time It was also always something I had to fight for, far too hard against a great deal of resistance, I would have failed if I had not had the support of a few key players especially in the US and among our distributors who saw first hand the value return. Now as for the award itself. Well when the Academy Award came along the Academy itself interviewed many people, both in an outside of Maxon and made their own decision based on the testimonies given and their own incredible industry experience, and let me tell you just meeting those guys alone was an honor, serious industry heavyweights and incredibly fascinating minds! They decided exactly who the award was to based on their own evaluation, which fortunately for me, saw true.
    1 point
  42. I think it would be fair to mention DITOOLS and JENNA in the history of MOGRAPH. Cinema 4D's MOGRAPH didn't appear "from nowhere"... MOGRAPH had two ancestors : the DITOOLS and JENNA Cinema 4D plugins. These plugins had both advanced deformers and generators very similar to the MOGRAPH tools. MOGRAPH took the idea further with the system of effectors, but the basic functionalities were already available in DITOOLS and JENNA. When I tested MOGRAPH back in 2005, everything felt extremely familiar including the tabs layout. We could see were it came from... Remotion's DITOOLS included: -A displacer, the "DiShaper". It worked with both procedural and bitmap textures, in any projection. It supported normal and depth maps. -A cloner, the "Dicloner". It included all the famous cloning method (Polygon, Vertex, Edge, Random, Area, etc...) and selection tags. It could modulate the clones parameters with tags and textures. It was a very powerful cloner even capable of generating TP particles. -A spline deformer, the 'DiSplineDeformer". This was exactly like the MOGRAPH equivalent. -And dozens of other tools, like the "DiTessa" (parametric tessellation), "DiSplineGen" (texture based spline generator), DiParserSpline (formula based spline generator), "DiParametric" (Formula object generator) or the Placement Painting (a clone painter). Per-Anders actually discovered these type of parametric tools with DITOOLS, as you can read in my 2002 thread on CG society: https://forums.cgsociety.org/t/english-resource-for-the-ditools-plugin-available/649184 "I’ve already learnt tons about these tools that i doubt i would have done by just experimenting alone… they’re just darn useful and i never did realise just how powerful they were!!!" JENNA had also strong mographing tools. There was NICKL (procedural shader displacer), ITERATOR and ALLIE (advanced cloners). The manual is still online, for the curious: https://davidpatrickfarmer.com/wp-content/uploads/2019/02/Jenna_v2.25.pdf I'm not writing this to dismiss the work of Paul and Per-Anders. MOGRAPH is, without a doubt, an excellent tool. But it's sometimes important to put things in context, to acknowledge the programmers who paved the way and were never in the limelight. It's just like mentioning Lorentz and Poincaré when we talk about Einstein's Theory or Relativity.
    1 point
  43. As someone who joined later when MoGraph bedrock was already done I felt privileged to be mentioned, it was quite a bit of work to test and help build MoGraph all around. Annoying others in the team, that comes effort free for me
    1 point
  44. 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
  45. Thats a good question, and your right there should be a good reason to justify a plugging in which is aimed at a feature set C4D has. I will address this in more detail in the video. What I can say on a simplified level for now is Ornatrix takes off where C4D hair system end in its abilities. This is mainly around control over particular guides, hair groups, its consistent interpolation methods, and its powerful modular approach. Modular: In C4D you have a single material with one set of attributes that change the outcome of the hair, these are called Operators within Ornatrix, lets take Frizz as an example. You can make and apply a map to control how much is applied and to where in C4D native hair system. This is also true with Ornatrix but things can taken much further. Due to Ornatrix modular methods you can apply as many operators as you wish in any order. A frizz operator is applied to the operator stack. like C4D it applies to the the entire hair. You may want one type of frizz on the top of the head, and another type on the sides. The only way to do this in C4D is to make multiple hair objects to have multiple materials. In ornatrix you can simply select the top of the hair guides, make it into a group, invert the selection make the group for the sides. Add two frizz operators and apply one to one group, and one to the other. No texture maps needed. What if within the settings of the frizz you wanted some hairs to receive more frizz not just the full length but just at the tips of the length? This can not be done in C4D, its all or nothing. You can use texture maps for the entire length in C4D but not on a per vertex level. With Ornatrix not only can you assign a group such as the top of the hair only, but within that group you can assign particular guides to receive more or less frizz, again no texture maps needed. These are called channels and can be painted with a vertex brush directly on the guides, or flood filled either as a value between 0 = Back to 1 White and all values between. You can make as many Channels as you wish either on a per strand basis or a per vertex basis. If you use a per strand basis the assigned value applies to the whole guide. A value of 1 would get 100% frizz, 0.5 = 50% all the way down to 0 no frizz at all. If you make a channel on a vertex basis you can brush with the vertex brush tool any value you wish down the length of the guide. This lets you apply frizz right at the tips for example. Not only do you get this additional control but no texture maps are needed. You can have has many frizz operators as you wish, this applies to all operators in which some operators gives you control on not just the amount but other attributes. Clumping: Clumping is essential to get realistic looking hair or fur, C4D clumping abilities are not only limited but very hard to use. In reality there are multiple layers of clumping from larger clumps to very fine layers. C4D only allows you to add one layer. With Ornatrix you can add multiple clump operators each one can take the last into account to further split larger clumps into smaller ones. You can again choose a group of guides, and particular channels for individual guides. Where Ornatrix takes things to a whole level higher is you can choose individual hairs and clump them, or remove clumping, or edit individual clump sets. You have so much control over clumping that C4D does not. Direct Hair grooming: You can make your groom using guides, add multiple operators to fine tune it, then actually groom the hair directly. This means you can use all the brushes directly on the hair itself. Bake operators to your guides: You can force certain operators to be baked to the actual guides, this means you can remove them operators which makes simulations for example faster. Remember you can apply operators to both the hairs or directly to the guides. Interpolation: The interpolation for how the the hair responds to the guides is essential for a good outcome. C4D is lacking in this area. Ornatrix really shines here. Some styles need different interpolations and Ornatrix gets you so close to the style your making with the guides. Other mentions: The Surface Come tool lets you draw arrows in the direction you wish the hair to flow. v2 has made this even better but C4D does not have this feature. This is especially useful for animals, but can be used on human hair. Push Away From Surface will push your hair away from the head, this is a one click fix for intersections. It works and works well. You have further operators to help add additional details such as more verts to certain strands, smoothing, collision prevention. You can save hair styles for later use, export for Unreal. These are just a few things to mention. The outcome is that you get the hair under control spot on to how you want it. Dan
    1 point
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