Cerbera

All images that are not in the Color / Diffuse channel should be RAW, generally speaking.
 
CBR

Hey Tomas - welcome to the Core ! 🙂
 
The Wind deformer is rather unique among deformers in that it doesn't have much in the way of visual feedback, so it can be tricky to see which way up it is unless it is assigned to a flat plane, where it is a lot easier to see the direction of movement than it would be were it applied initially to something round or solid !
 
Start a new scene, so that you can understand how it works. Add a plane object with default 10 x 10 segments but make it +Z.
Now add a Wind Deformer to the scene, which by default is 'waving' down the X axis, which would be 'along' your Z facing plane, and therefore correct orientation, so if you drag the wind under the plane and give it some strength (amplitude) you should see the plane move properly. If you are using flag mode, then you would additionally move the deformer relative to the object, down to one end of it.
 
Once you can visualise how it is working you should be able to align it correctly with the actual object you want to bend. So, once you have selected the wind, use Quantized rotation (hold shift once you start rotating to snap to quantize value) to rotate it exactly 90 degrees from where it is so that its X direction is pointing in the direction you want the wind to move through the object. If you are still stuck, upload the scene file, and we can do it for you.
 
CBR

I don't have anything sub-26 installed any more. But here's how it might work in Standard Render...
 
So Standard Material, and nothing other than a layer shader in the colour channel, which is used like Photoshop in terms of blending modes available and for its masking ability, though that works slightly differently to PS.
 

 
So, orange base color is applied to whole mesh by being at bottom of layer shader.
Vertex map sets top half to 100%, and drives the Mask Layer above that.
Above that, we have the green color that it masks.
Above that another mask layer, this time driven by another vertex map
And the colour above that, the blue is masked accordingly over all the lower layers.
And so on and so forth...
 
CBR

Click on the gray text next to the parameters to turn them yellow. Ctrl-click to add multiples. Now, if you hold control whilst adjusting values, they ALL update.
 
CBR

That'll be to do with where the axis is. First select the circle, then hold alt and add your Lathe. That'll make it a parent at the same location, and give you the sphere. But now move the circle spline away from the origin of its parent, and it will become a torus.
 
CBR

You're sort of thinking along the right lines, but implementation could be better.
 
Rather than adding tons of segments to your base cube (you need them on Y to be able to twist), use very minimal segments on X and Z, and an elongated cubic form (one of the directions other than Y), so more rectangular. Then you can use L3 Subdivision Surface to round that out into your final cylindrical form like below...
 
 
 
You can see the shape I started from on the right there - note lack of segments on X and Z, which is what allows SDS to round it so nicely. The more rectangular the 'cube' is the more 'cork-screwy' the twisted horn will be.
 
Other than that it's exactly the same deformers as you used, but with 1260 odd degrees of twist.
 
If you want the base properly cylindrical, when you are happy with your deformers you can Current State to Object the low res base mesh, delete the bottom and top polygons, and then add 2 loop cuts into your twisted mesh which will give you enough (8) points to conform to a circle, either with Points to Circle script (if you have HB Modelling bundle or one of the similar free scripts out there) or you can just load an 8 sided n-side spline and manually conform  / snap the points to that to achieve a perfect circle.
 
You will still need the SDS to make that so, which is why we CStO the base mesh and not the SDS result.
 
CBR

Change simulation scale in project settings / dynamics globals ?
 
CBR

Ah excellent, now we can see what we're working with 🙂
Slightly unhelpful that they have double-labelled your reference bottle, but what can ya do hey ?!
 
That is actually not so much of a serious overlap; certainly nothing we can't deal with if we allow ourselves the level of control we get by manually modelling. My plan is this. Model the label flat, out of polys, then UV it, so it matches the label, but when done split off the disc on the left hand side into its own mesh.
 
Then I would whatever deformers you are using, like you did before, but don't try and make it match the bottle too closely - you only want the general curves at this point, not exactness, which will come next.
 
At this point I would CStO the label (to bake in the deformers), then delete half the mesh so I only have to work on one side, but would instantiate symmetry here so the other side all gets done for me as I work. I could try and skip even that stage using the shrink-wrap deformer at this point though that will squash any overlap flat, so we have to bear that in mind, and fix it manually afterwards...
 
Now I would get poly pen in reprojection mode, and I would move the points of the label down to the bottle surface, all the way around until they almost meet at the back... at which point we can abandon the symmetry and position and stitch on our disc section to get the overlap we need (that can have been independently have been projected on to the bottle so it also matches the curves).
 
Once these are re-combined we can add control loops or edge weighting to give us the necessary sharp corners and infinite resolution on the label if we want to do it that way, add tiny amount of parametric thickness with Cloth Surface, and further adjust the offsets of the points around the overlap area until we get a nice result. 
 
If I get time later today I may show you the optimal base topology for that label so we don't have to dick about with splines and ropey old regular grid caps topology (nasty triangles round the sides etc).
 
CBR
 
 

The wording of that is...unclear. If you mean 'can you mix dynamics based collision and effector movement', the answer is yes.  You can add  a Rigid Body Dynamics tag to your cloner, and use the Follow Position and Follow Rotation commands in the Forces tab therein to balance that with keyframed or effected movement. Or do you mean collision using the Collision deformer ?
 
CBR

FFD is wrong tool for this, and model is not suitable for deformation yet due to uneven segments. You need even, regular segments, and then you can just use soft selection to make a nice easy dip in the chair. I notice also the fabric doesn't have any physical thickness, which it will need in order to look realistic.
 
Here is the sort of segmentation you need in the base mesh. Also don't forget the control loops that stop the corners collapsing under SDS.
 

 
Once the segments are even, just turn on soft selection, choose Dome mode, adjust the radius as shown and use the move tool to add art directed unevenness to the chair seat.
 
CBR

34 posts in and you still haven't completed your profile, meaning we have to ask every single time you post which version of the software you are in ! Very important we can see this at a glance. Even with the provided file, we still have to download that to be able to see the version !
 
However, the dresser does still work since the introduction of new cloth, and I am able to seam your polys no problem, although we don't see the result of the dressing until we leave polygon mode, which is different to old cloth as I recall. I think that is the main difference, and may even be a bug - I will investigate that.
 

 
When I open your file, however, I see that dress mode isn't turned on, no polys have been defined as seam polys, so this wouldn't work anyway until those things were fixed. But you need to know that the dresser's job is not to wrap around and shrinkwrap on to other geometry, but merely to seam the selected polys - that is draw them together.  If you only do 20 steps in the dresser, then that is not shrinking enough to acknowledge the inner shape with anything but the selected polys. But I could get it working as you wish by just hitting Relax a few times after that, which does allow it to shrink in more and assume the shape.
 

 
 
CBR

Ok, some potentially better news ! Previously I had been adding my hair to the sweep on Frame 1.
 
I just thought I would try something rather unintuitive and add hair at the end frame of the animation instead, and that appears to have worked, in that now the hair respects the growth and distribution modes ! And more than that, it seems to be updating per frame in a more sequential way, rather than the per-frame recalculations and redistribution we seemed to be getting above...
 

 
Here's a scene file of that working you can try in S26.
 
 
Hair growth working.c4d
 
Less successful with dynamics though, which don't start calculating / drooping until the draw-on rope animation is complete. So that is turned off in my file.
 
CBR

Er... why aren't we using the amazing cloth sim in C4D 2023 for this ?!
 
However, we need to be a more careful about polygons to do cloth simulation than we do sculpting in ZBrush, so you need to model clothes that have a very even, clean all-quad topology just outside the body mesh, then use the latter as a collider for the clothes, and belt or pin areas of your cloth to it so that when you play the simulation it all drapes down like clothing would.
 
I will just say - I can't see your character's topology in that screenshot, but I suspect coming from Zbrush that it may contain millions of polys. If that is the case, that will make it unsuitable for use even as a collider, because simulation stuff is very much about polygon density, and calculating the collisions of 10s of millions of polys is a sure-fire way to grind your computer into freeze-land. So consider making, or exporting from Zbrush, a low poly proxy object you can use for simulation. Z-Remesher will probably be instrumental to this endeavour, so you have choices about which app you do it in... Cinema seems easier if that's where you're doing the sim.
 
CBR

You cannot select it because you haven't made it yet ! There is only a guide spline overlaid on the model but you haven't actually made the cuts into the original object.
 
CBR

In the prefs, my friend !
 

 
CBR

Look for this icon in the top toolbar, then use regular scale tool...
 

 
CBR

That'll be the non-manifold edges in the model preventing that. Turn on mesh checker and you'll see all the red errors there...
 

 
CBR

Please complete your profile so we know which version you are working with...
 
4 main stages to this:
 
1. Make sure the object you want to explode has loads of segments, then use Explosion deformer set to 0.001 strength to separate the polygons, and Current State to Object that and save the original in case you want to do a 1 frame visibility swap-out using it.
 
2. Put that new object into  Fracture, set its mode to Explode Segments, and give it a Bullet (rigid body) dynamics tag with a collision mode of moving mesh. Pop to Project settings / dynamics and turn gravity down to zero.
 
3. Add Bullet Collider tag to the surrounding object and set its collision mode to static mesh.
 
4. Now, when you press play the segments in that object will react to whatever forces you throw at them. Use a positive attractor to suck them offstage and a negative one at object centre to explode them. Optionally add Turbulence or Wind forces. Animate the strength of those forces with keyframes throughout the animation to control things as you need...
 
CBR

The problem / duplicate object is this one.
 

 
CBR

Welcome to the Core ! 🙂
 
So this is a Rigid Body Bullet animation ?
 
What you need to do is cache the dynamics (bake project from cache tab of dynamics tag),  then go to the frame you want to export, do current state to object on the cloner, and delete the dynamics tag from the resulting null. Check it has worked by rewinding the timeline, at which point the clones should stay where they are.
 
CBR

I too wondered if they were nulls. If so, you can fix them en masse using the OM filter, and double clicking the null object type, where you can set them all to 'none' in one go.
 
CBR

1 layer of noise is almost never enough to create displacement rocks. Your tutorial probably suggested Voronoi noise because it is very good at producing those hard angular formations that other noises lack. However that will look fairly shit on its own. You are also using the worst type of Voronoi noise - the one that gives you that dent in the centre of faces - I would go with one of the other types, which doesn't do that.
 
So what you need is to distort that First noise layer with a second, using the distortion in the filters menu, perhaps driving it with Electric noise, and then layering up a couple of other, more detailed noise types above that on top of it  (like Luka / Buya, or FBM for example), but with lessening mix amounts, and in interesting layer modes (overlay or multiply works well) to give you the mid and small-range detail.
 
So, all that goes on within a layer shader, which you can get by choosing it instead of the noise you have now (which will automatically become the first child of it).
 
There is no single 'right answer' or 'perfect setting' I can give you - you have to use your artistic sensibility, and play with all the parameters, and try loads of different combos of noise types and scales until you get what you want.
 
Also, remember that displacement modelling only gets you so far. The last, smallest level of detail should come from the bump map in your material. That can also be (high octave) noise-driven, where you can adjust delta to achieve stunningly sharp final detail.
 
CBR

The only reason the claws disappear is because they were ALSO set to x-ray like the Aquarium. X-ray does not support multiple levels of itself, so if you have a x-ray mesh inside another x-ray mesh it will indeed disappear and that is expected behaviour.
 
On another note, you have some incorrect settings in the Cloth Surface - you are adding unnecessary subdivision, and not adding any thickness with it, which is why it is there in the tutorial !
 
CBR

There is no edge or point weighting currently on that mesh, despite the tag. The workflow is to select some edges (points works also) and THEN get the SDS weight tool and drag in viewport, or set a weighting level. As long as the SDS parent is on you will be able to see result directly, but you can also see an indication of the weighting by selecting the weight tag created when you first use the weight tool, which works regardless of SDS activation state.
 
Judging by some of the questions you ask, you may not be aware that there is context sensitive help available for any tool or command in Cinema by right clicking it and choosing 'show help' ! Always check the manual, on the whole, before posting...
 
CBR

There doesn't appear to be any red RS material in your scene ?
Also there is a question mark in the material slot for that object in the Object Manager which means the material has not been found / loaded.
 
CBR