Harry Hoag
Forum Replies Created
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Ahh nice yes this looks like the solution, I’ll give it a go, thanks Mathias! It’s a hard one to explain, searching for a solution is quite tricky.
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Why can’t you just use a plain effector set to scale the letters? It’s the same thing right?
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ah ok, probably your timeline view settings have changed?
Try going to View on the timeline window then make sure automatic mode is on, then in Show make sure everything is on, then in Show Keys/Tangents make sure ‘show all keys’ is on, then in Hide make sure everything is off, and click ‘Unhide all’, in Link, on mine the middle two options are on and the top and bottom options are off. That should get you back to normal and should show everything.
You can also on the main c4d window, going to Window > Additional Managers and making a new timeline window. Click timeline (3) or whatever, it should show you the default view again.
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if you look under your objects animated properties you should be able to see PLA. It should be there regardless but you can change the time line view options by going to edit > timeline preferences from the timeline window.
If you’re trying to edit the easing of your PLA animation you can do that by adding a time track to your object by right clicking and adding a special track > time track. You then need to drop that time track onto the PLA track in it’s attributes.
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Is the bigger comp just a 2d precomp with the map png inside? And what’s the effect, is it Mettle FreeForm?
I just had a quick look if that’s your arrangement. If you use 0,0,0 for world origin, you must keep the 2d layer with the 3d effect at the 2D centre of your master comp (640,360 in your case) Then, with Mettle anyway, inside the effect the 3D coordinates should be [-640,-360, 0] then it looks like the centre of the world lines up with the comp space of [0,0,0]… if that makes sense?
I don’t think the precomp size matters with Mettle. But it does with the 3d trapcode plugins i think, go figure
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it’s probably been done with a displacement map. Make a precomp with a black and white design in that diagonal glitch pattern, then hide that precomp. Then put an adjustment layer with the displacement map effect above the footage you want to distort, and point it at the precomp layer with the pattern inside.
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Same as Brian’s comment, I’d add, you need to put simple geometry in the metaball object, just two spheres. The metaball will make spherical shapes only. Then add your deformations, smoothing and cell nucleus after the metaball object.
Alternatively if you have r20 you can use the new volume modelling thing, that should let you do the setup you’re trying to do here.
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I think I would definitely comp the phone screen in after effects. Make an object buffer for the screen from cinema 4d. Put a null on the phone screen with an external compositing tag. Then import your c4d file into after effects, and extract the camera and the null will cineware. The you can attach your screen anmation directly in after effects and change it as much as you like.
If you change the c4d animation you’ll have to update your null and camera in AE. But this is a much easier workflow than exporting a texture and rendering it in the c4d scene.
Hope that helps!
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Hey, I think if I were going to animate those leaves I’d reduce it down to one leaf, animate a nice wave going through it. A displacer will probably work, or formula modifier maybe better. Then use a radial cloner with a random effector to place the leaves back on the trunk.
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It’s hard to tell your problem without seeing the render…
For some render settings from cinema which will give you the best chance of eradicating banding (this is probably overkill but hey..) render out an EXR sequence at 32 bit with zip compression and “use 16bit floats” turned off.
Then in after effects make your Project settings: 32bit, then standard practice when working with 3d renders is setting your working colourspace sRGB and check “linearize working space”.
If you still have banding its either rendered into the image from a low quality texture or something like that or if you’re doing some very heavy colour effect in after effects.