Cerbera

No, it has always been that way. When you first add a keyframe you do so by hitting the diamond next to the parameter you are animating, but if you select an existing keyframe you see its properties in the attributes manager. However if you are on a frame where there is keyframe in the timeline, and still viewing the attributes of that object you can also update the parameter there, and hit the diamond to update the key. CBR

Couple of problems here. Sculpting is working, but parts of your mesh are not ! 🙂 The first is the normal direction of the polys in the waistcoat, which are wrong (blue), and therefore you won't be able to sculpt on the front sides of these meshes until those are fixed by selecting the wrong polys (I think it's all of them, so Ctrl-A) and finding Reverse Normals from the r-click menu. The shirt has a similar problem caused by it having no actual thickness, which means we see in the inverted normals in the folded collar area as well. Secondly, because all these meshes are a single object, sculpting them on an individual basis will be extremely difficult and it will be almost impossible to avoid one section intersecting another. I would seriously suggest splitting the model into its various parts to allow you to sculpt each mesh alone, which will get you much more control over the individual parts and should prevent you moving other bits unintentionally. I also notice you have activated sculpting but only at Level 0, with no subdivision, which is unusual. Lastly, you are making life very difficult for yourself by having mesh inside mesh inside mesh. The rather superior approach is to not have any body mesh under clothes unless those clothes will be removed during any subsequent animation. So, there is no need for actual poly arms, chest or torso if it is hidden by clothing. Likewise there is no need to model the whole shirt when the vast majority of it is covered by waistcoat ! So really, the body mesh here should consist of the head, down to just under the neckline, and the hands - the rest of it is covered by clothing or shoes, and all the time it is there is just an additional intersection risk for you with every modelling or sculpting tool you deploy on it, and when it moves later when rigged, if that is what you will be doing with it. CBR

You must be using the old style RS materials rather than the new RS Standard Mat. Regardless, that should be possible. See this option in materials manager... CBR

It isn't possible AFAIK, without 'save project with assets', which will put a copy of it in a tex folder in the root of the project directory. I don't think Maxon want people wholesale getting their download-only bitmaps out of there. CBR

The original question you asked WAS solved, until you changed the question. CBR

I don't know why that is not working for you I'm afraid. Best do a support ticket with Maxon about that - it may be a bug. CBR

Follow the path it gives you in that very window !! CBR

Yeah - you leave a quite a lot to chance if you try and do this with displacement. I would suspect it is going to be tricky to get a flawless result using this method because displacement requires even geometry which your base mesh is not providing at the moment. The layout of your UVs, where you have appear to have relaxed the polys that make up the sides of the strap holes into the space where the hole should be - I bet that is causing at least some of the problems - I don't think the ridges should extend to the sides of those holes, yet are being told to do so by your UV. So one suggestion would be to split off the UVs that comprise the sides of those holes, and move them somewhere on the UV map where displacement is not applied, which should leave them smooth. Without your files I am uncertain if this is the complete solution. What I would do, on the other hand, is just bin off the displacement altogether and model it properly, grooves and all, meaning that we can very specifically direct the topology to get a much nicer / more predictable result. If we use sufficient poly density we can probably get away without control loops, or can handle those with edge weighting instead. Modelling it might not be as difficult as you may be imagining - you can use symmetry so you only have to model half, and the only thing you have to pay attention to is that your topology around the hole allows the continuance of those grooves - I modelled a single section below so you can see what I mean... CBR

Ok, that second scene makes it a lot clearer what the problems with the first one were. First of all - turn the subdivision down in the Cloth Surface - having L5 (or L7 like your first scene) in there is a completely ridiculous value and is the entire reason the scene is horribly slow and memory intensive. That should be no higher than L2, if it is needed at all, which it probably isn't. Also you should know that this subdivision is not doing anything good here, whatever level it's on, because the topology of the text is both uneven and triangulated because the intermediate points in the spline and caps settings in the Extrude are not optimal either. However all that aside, your animation IS doing what you told it to do. There are 2 keyframes on that object, and they work; text starts one thickness, and reduces from there until next keyframe. There are no additional keyframes, so it stays there. If I add another keyframe after that, inflating it again, that also works for me ! So, still a bit unclear about what you think isn't working here... CBR

Welcome to Core4D 🙂 The plane doesn't get locked to a pin - it simply defines where world centre is, and therefore where a new object should appear in the scene. Are you saying that this doesn't happen for you ? What happens instead ? Did you have cam calib tag selected when you instantiated new object ? Is there definitely a pin in the scene, and is it in the right place ? CBR

The way to get the nicest closure on this would be to drop the radial segments to 8 so that you can close the top with a perfect quad-cap with no complex poles, like so... CBR

Yes you do 🙂 Come on - feel the furry love !!! CBR

Superb ! But needs more fur 😉 CBR

The thickness parameter in Cloth Surface is animatable, and works fine in all my tests. However, without the scene file we can't know what you may be doing wrong that is making it not work for you. Please upload it. CBR

Good plan. HB gives you superb modelling tools that we are only starting to see in native Cinema in very recent versions: Quad-caps, even distribution, surface-aware relax, straighten edges, smooth edges, clip symmetry and of course its immaculate retopo setup, which is based on the shrink-wrap deformer. Pre S26 it was the best 100 quid you could spend in Cinema for the most gain. Even with S26 it remains useful, but not nearly to the same degree... Here is Holger doing some retopo using his HB toolkit... CBR

If you have HB modelling bundle, retopo is a breeze and a joy, but even without it Cinema is capable, if not stellar in this area, particularly in latest versions, where we have the relax mode for the brush and magnet tools and we can project poly pen to underlying meshes live as we use it. I can't answer if 3D coat is better for this, never having used it, but the fact that I do retopo pretty much every day, and have never felt the need to leave Cinema to do it must say something... CBR

I tell you who has done a tutorial about this for Cinema, and that's Chris Schmidt. It was a very long time ago ( maybe 5 years or so ?) so not sure if it was Greyscale Gorilla or Rocket Lasso, let alone which episode or season of which, but I do recall that he spent most of a whole 2 hour stream trying to sort that out - turned out to be a lot more complicated than he thought ! Perhaps someone else remembers that, and has a GSG sub they can check ? CBR

Please upload that file, so we can try all the things... CBR

I do now ! 🙂 I was tired last night, but don't think I missed it - did you add it to the post later ?! Anyway - I see it now - will have a look later when I have finished today's client stuff... CBR

Would be helpful to have the scene file ! How are you making a plain effector control light intensity ? CBR

Please complete your profile to tell us which version of the software you use - very difficult to answer without that information... CBR

Well you either mean tokens or takes but it could be either !! Or do you mean to ask OP if he was stoned at the time ? 😉 I have also never come across this error, but am equally powerless to speculate what happened without knowing the scene / project /output settings and the state of the hardware in question. CBR

I concur, and cannot explain that. Your 'glass' doesn't have thickness as perhaps might be ideal, but that shouldn't make a difference to reflection when there is no transmission, and if I add some I still can't see that sun in the reflection. CBR

To be fair Cinema is no slouch in this area either ! Not only can we scatter using cloner multi-instances, vertex maps and fields, but hair can be optimised to render pretty quick too. And if you are up in R25 you have dynamic scatter for placing other plants amongst the grass. I've seen some properly epic fields and pastures done this way... CBR

I myself have recently jumped from Octane to RS so this is all a bit new to me too, and the information in the manuals, both on maxon.net and the original RS docs doesn't specifically mention this problem. But I am going to read between the lines and speculate that the RS sky system just doesn't work like the Physical Sky we have in Standard / Physical Renderers in that we can't just specify a color for the sun. The sky setup in RS seems focused mainly on recreating accurate sky models, and so the only influence we seem to have over sun colour is in the Sky Object itself, where we can send it redder or bluer, with 0 being physically accurate. But I disagree we can't see reflections in glass objects. Here is the sun reflecting in a glass sphere ! Apologies for graininess - we are having a heatwave over here, and don't want to melt my computer by rendering for too long in the day ! CBR