[Sam Treadway]

I’m assuming the body and feet are a part of the same mesh object. If so, then with the mesh selected and while in edge mode (or point or polygon mode) deselect all elements in the viewport, then right-click anywhere within the viewport and select “Optimize…” from the menu. There is a gear icon next to the command that will allow you to adjust the optimization parameters ahead of executing. Setting the tolerance value really low (like to 0.001) will ensure that only points that are truly overlapping one another are affected.

If the feet and body are separate mesh objects, then you can combine them into a single mesh first before attempting the optimization described above. To do this, select both objects in the object manager, right-click on either of them and then choose “Connect Objects + Delete” from the menu. This will merge everything selected into a single mesh object while preserving most tags and their associated polygons through the use of polygon selection tags.

Keep in mind that with either case mentioned above you are changing the number of points and thus the point order of the mesh which ties directly to the skin weighting.

[Sam Treadway]

This works as expected in DR16 beta 3. Set an in and out and just do a normal copy and paste between timelines.

I don’t have DR15 installed any more to test but if it doesn’t work there then the alternative is to simply create cuts at the in and out points, select and copy, undo the cuts, and then paste in the other timeline.

The DR16 beta (even though it’s labeled beta) is already a step up in performance and stability from 15 with the exception of a few minor bugs in the newly added features.

[Sam Treadway]

For the Pose morph to work you’d have to use the extrude for all variations including the original ‘pose’. The main pose would simply have an extrude with the main having an extrude offset of zero. This would create polygons with a width of zero around the perimeter of the selection and cause a break in the phong shading, however. A quick workaround to that is to keep a clean version and swap out visibility when the extrusion animation begins. See the attachment for a quick example.

13375_posemorphextrusionexample.c4d.zip

[Sam Treadway]

Borix/Genarts Sapphire has a shake included in the ‘Distort’ unit. There are more parameters to dial in and it distorts on X,Y, and Z axis.

You could also try bringing the clips into Fusion and using the camera shake tool in there in combination with other tools to further randomize or regulate it.

Sometimes the best option is just to go out and film it yourself to get what you want.
A smart phone and a brick wall or plain wall with markers will give you plenty of tracking data to create your own shake.

Someone over at https://www.steakunderwater.com may already have a script that’ll do what you want within Fusion.

[Sam Treadway]

You may also want to consider pose morphing instead of explicit point level animation.
For this particular setup you described. I’d just copy the sphere, then on the first one make an extrusion with an offset of zero and then select the duplicate sphere and with the same polygon group selected make an extrusion with the offset set to whatever you like. Hide that second sphere. Then add a pose morph tag to the first sphere, set the mode to points and drag the second sphere to the bottom of the list. Then you can keyframe the slider from 0 to 100% and back and fine tune in the curve editor.

[Sam Treadway]

You need to do this in reverse order.

1. First, before extruding, ‘split’ the 4×6 polygon selection to use as a snapping reference later. The shortcut is U~\
2. Go to the frame where you want the extrude animation to stop (let’s call this the ‘out position’)
3. Extrude the polygons out and set a key for the points (this is point level animation so no need to key parameters or PSR
4. Then go to the frame where you want the zoom to start at.
5. Select one point at a time on the extruded surface and using the snap tool, snap them to the original location (thas surface that you split off in step 1)
6. Key the points here.

*The Animation will be completely linear but you can either scrub the timeline between the two initial keys, set new keys and then move those keys to sort of fake some easing OR simply render the animation at a higher frame rate and use speed ramping in an editor.