[Brian Jones]

I got a slight bit off 72 when I did that the first time but apparently Illustrators interface is a bit sloppy, when I dragged it out to what said 1.0 that is what I got. When I went back later to check, the x and y size in the upper right corner showed 1.0-something and when I set those to 1.0 exactly that’s when I got 72. Be interesting to know if that’s dependent on some AI setting or if it’s simply C4D using points by default.

[Brian Jones]

make a rectangle in AI that’s exactly 1 inch then import to C4D. When I do that it imports as 72 inches. So if I put 1/72 in for the scale as I import the AI it gives exactly 1 inch in C4D

[Brian Jones]

the problem is likely with the Illustrator file itself since you have the parts for each letter all in one spline, can you post the Illustrator file (the Illustrator 8 version) or the C4D scene file?

[Brian Jones]

there was a free plugin called UberTracer which did this sort of thing, don’t know if it works in more modern versions, there is a newer version called UberTracer 2 but it’s not free.
Can you do what you want with an Atom Array on the same sphere (or whatever) you are attaching the clones too?

[Brian Jones]

Mesh Deformer like this 12376_dynamicstrialletters3.c4d.zip
Gone into much more detail here https://greyscalegorilla.com/tutorials/how-to-make-a-low-poly-mesh-for-softbody-dynamic-effects/ and here https://www.youtube.com/watch?v=fibVrUBQhkA

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[Brian Jones]

collision detection but collision detection was/is so expensive (in processor time) when the numbers of points get high. Two softbodies colliding would do that or a softbody with a collider. Cloth does that but if accidental penetrations happen it looks broken after that as the cloth won’t come back out.
I don’t know the latest developments but I’d guess that anything automatic in whatever pipeline is done whenever they have to for a shot and then back to ‘old school’ if the distance is large enough and not auto for every frame.

[Brian Jones]

I find if I remove one set of letters from a single null in a fracture, then put it back, the whole fracture becomes visible (at least when the scale isn’t 0).
Why not build the letters from one spline and use the hidden selections to have different colors on the caps/roundings and sides and dispense with the nulls?

[Brian Jones]

seeds in xpturbulence are controlled in the Falloff, set Shape to Noise or xpNoiseFalloff. Noise is simpler, choose a noise and a seed it appears to be infinite by default and no choice of groups. xpNoiseFalloff is more powerful, it has it’s own shape choices (only three) and choice of Noise and seed as well as the ability to limit it to particle groups if you want.

[Brian Jones]

with yours that seemed to work, I wasn’t convinced the color was moving at all on your objects (if you turn off all the channels except color) and when I replaced the layer with a simple checker pattern, no movement. But turn the displacement etc back on and obviously the object is moving through that.
While turning off all channels but color and putting a single noise there (texture space) with your scene I got the object moving through the texture but either:
– changing the noise space to Object the texture sticks
– making the objects editable the texture now sticks to the objects
but reload and try making your objects editable from the start and the objects move through the texture….

[Brian Jones]

images on a sphere should (at least with Spherical mapping) be twice as wide as tall (2×1 aspect ratio) and everything gets stretched sideways toward the poles (in the image) because it’s going to be pinched in as it gets wrapped onto the sphere. That’s why everything is too big the farther north and south you go with a Mercator projection map.
Take a look at the images of the mars https://nasa3d.arc.nasa.gov/detail/mar0kuu2 or the moon here https://www.celestiamotherlode.net/catalog/moon.php

that’s what your texture should do, all features should be stretched sideways, more and more towards what should be the poles.