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When Maxon introduced it at NAB some time ago, everyone was thrilled and we’re trying to find out if it meets the users’ expectations. The MoGraph module plays an important role in 3D configurator projects. With this faded knowledge in mind, and a few years in which we haven’t used the program in the meantime, we’ve wanted to include it back in our arsenal for quite some time. We followed its development constantly and downloaded the demo versions regularly. We have always had a great interest in organic structures based on iterative mathematics, so xFrog was one reason we had to look and we will certainly buy it one day. This is useful for both graphic animation and our other “serious” work with technical visualization. And as if that wasn’t enough, we now have MoGraph. It complements our work so well and although we won’t use it for all our tasks, we will certainly spend a lot of time on it. It doesn’t boast many new exciting features, but it polishes the material introduced in 9.5 and focuses on extending the underlying technical processes (the core of the program) to open it up for future development. MoGraph is one such module that already benefits from the improvements. Technically this calculates more intermediate points per force and leads to clean models if you use e.g. an Extrude NURBS object in combination with Deformer. Unlike in the past, their cap faces don’t get crazy and don’t break off. This revitalizes the use of deformers in areas where they have not been used in the past either for the above reasons, which could only be used with highly subdivided polygonal geometry. This is further underlined by some additional functionality for this type of work. So you can easily mark any object as a placeholder for a 3D layer e.g. in After Effects. In the past, you had to use lights as a workaround. http://artpolinakuzina.ru/pict/crypton-267-manual.xml

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The next two elements are relevant for rendering: The compositing tag now includes the option to mark each object to which it is applied as a matte object, making it easy to create custom matte renderings from a scene without having to apply new materials to an RGB matte pass. Finally, it is now possible to output motion factors that can be used with the most popular motion blur filter in your compositing tool. This is mainly due to the included royalty-free music. On the diskette you will also find the installer for the update 9.6 and of course the installer for MoGraph. The documentation is included as a PDF file and some additional demo scenes are provided. That’s pretty much all. The Cloner, Matrix, and Instance objects make sure that it all happens in its own way. While some people would say that these are at the heart of MoGraph, it can’t be further from the truth. In fact, these tools all work on their own, but are much nicer in combination with effectors. Let’s look at them in more detail. As the name suggests, it takes any object (or objects) dropped into it and arranges it in different ways. Built-in are simple modes like linear, radial or grid, but if you’re serious, you’ll find that object mode is inevitable in many situations. This allows you to arrange your clones along a spline or along the surface of another object for even more control. In addition to arranging your objects, the cloner also changes them using a number of parameters. But the power doesn’t end there. Thanks to Cinema 4D’s parametric approach, you can drop a cloner into a cloner and create clones of an already cloned structure. You can extend this concept, but of course at some point in the end you will have so many clones that your system will find it hard to keep up. A small disadvantage of the cloner is that the cinema treats its hierarchy as a composite object. This can lead to unwanted distortions of the clones if you use e.g. deformer objects in combination with such a setup. http://www.s-energokomplekt.ru/userfiles/crysis-2-game-manual.xml

As the name suggests, the matrix object only provides a mathematical matrix that can arrange the objects, but leaves their shape intact. A track of animation states of an object is created. This sounds interesting at first, but unfortunately the control is very limited, so you may not use this tool too often. Some of them can overwrite the settings made in the clones, but more often you just keep changing them according to different criteria. This can be anything from simple randomness to controlling your clones based on sounds to give them unique shading properties. There are literally infinite combinations and it would be impossible to cover them all. Therefore, you should stay up to date when we go through them in detail in the videos. Let’s just list them here for the sake of completeness. This eliminates the need to use PLA, which would be very tedious to set up more than just a few splines. Since the entire animation is derived from other objects, it also facilitates things like the animation of dangling hoses and ropes. Most importantly, it can react to effectors that the old text object can’t. This gives them the ability to manipulate any letter, word, or line of text in a way similar to After Effects text animators. Second, it also has built-in options for extrusions, caps, and fillets, making it easy to create 3D text without having to create a hierarchy of objects. There are similar third-party tools available, either for free or as part of commercial packages, but Cinema 4D has not yet had these features active. Since they are deformers, they can also affect cloners and all other MoGraph tools, as well as all other object types. This sounds boring and certainly not so exciting, but it’s quite useful and one can only wonder why it hasn’t been included in the basic package for a long time. It works similar to classic matrix extrusion, but remains fully editable. For even more control, it can even be connected to splines as a guide. http://www.raumboerse-luzern.ch/mieten/emacs-lisp-manual

This makes it an ideal choice to create different “scribbles” for background elements like neuron paths, fur balls, random spikes and other alien looking things. It works similar to the Deformer Shatter, Explosion or Explosion FX, but can be influenced by the effectors. Care is also taken to preserve contiguous connected objects instead of randomly “crushing” their objects into smaller pieces. Users of After Effects will be familiar with this procedure if, for example, you use the Effect Shatter in combination with a vector graphic that is continuously rasterized and switched on. The simplest of them is the Color Shader. The main purpose is to give them access to the color variations that you can define with effectors and cloners and to use this information in any material channel and not just in color. In contrast to the Color Shader, this does not only vary individual material channels, but entire materials. For example, if you drop three different materials into the multishader and assign it to an effector, you can have different textures on each clone without first creating different clone elements. This is especially useful if you’re in an experimental phase and haven’t yet decided on your final look. It doesn’t really mask anything, but is a means to create booleans with splines. This not only eliminates the need to prepare your vector graphics in external programs like Illustrator, but since each spline element remains separate, you can interactively edit and even animate them in Cinema 4D. So if you’re one of those XPresso geniuses, you can create your own crazy setups using that data. This is especially true in areas that not only benefit graphic animators, but can also facilitate many other common tasks. The Tracer, Displace and Spline Wrap are good examples of this and can be worth the investment in situations where you can’t use other tools to get your results. http://fradiomas.com/images/capwap-manual-pdf.pdf

It is also partially integrated with other modules such as Thinking Particles, giving you even more options. Although we can’t give a deeper insight, especially since we only used the demo versions of these tools, let me share my views with them anyway. There are several reasons for this, be it the simplicity of creating 3D text and logos (because the spline tools simply work), the ease of creating a large number of objects or flexible deformers. Even the fast renderer could be included. This trend became even clearer when the Multipass system and the export of after-effects compositions were introduced. After this development, MoGraph seems to be the next logical step. DiTools and JENNA are both tool sets that offer many features similar to MoGraph. Both also have some problems that can’t be reversed under the carpet. As you may know, JENNA is no longer available. Since the development is stopped, you couldn’t buy it with the amount of features you wanted. There is no guarantee that it will work with future versions of Cinema 4D. The biggest problem with DiTools is that it lacks proper documentation. Even after studying it thoroughly, we couldn’t understand some of the features. Furthermore, the development seems to be rather sporadic, as the developer now seems to concentrate on PhyTools. We think so. There is a degree of security for the future, as it is unlikely that the company creating the main program will dispose of any of its modules. As a site, you really know who to contact if you have a problem or would like to request a feature. After all, Maxon’s documentation has always been among the better in the industry, which is of course very helpful. But where there’s light, there’s always shadow. In this case, the negative aspects are very limited, but still the small hurdles you will encounter are worth mentioning.

We think it has something to do with its depth, and while the manual explains the technical basics to them and is well done and illustrated in this respect, it fails to give them hints on their practical application in everyday work. We really believe that some kind of tutorial guide is needed, ideally as a training DVD. The few example scenes that are provided not only do MoGraph justice, they are also not very well thought out. We were really disappointed and angry to get a warning about missing plugins just because we don’t have an advanced renderer or save paths that try to write to non-existent directories and scenes that play automatically when opened from the content browser. This is not “professional” from a commercial product. Our general impression is that this aspect has been rushed and these annoyances could have been avoided. Most of the pieces are electronic in nature. From house to aggressive techno sounds you will find everything. There is no depth and finesse and everything sounds rather uninspired like the many CD collections with “royalty-free, movie-like music” that we all used now and then when we had no other choice. Don’t get us wrong, it’s not a bad thing if you just want to play around and don’t have any specific needs and besides you get the loops of the tracks to mix your own tracks, but we don’t think it would have been necessary because in a production situation elsewhere we would have been looking for better material. With JENNA and DiTools as inspiration, we were surprised that some of their more useful features were not implemented in MoGraph. Of particular importance are JENNA’s data tag and NICKL or some of DiTools’ crazy but useful deformers. We also found that some of the features in these two tools are implemented more easily and in line with the general paradigms of cinema. For example, in MoGraph you have to drag objects too often to link fields instead of simply placing them in a hierarchy, as you do with the other two tools.

This is only a small problem, of course, but we think there could have been more elegant solutions in some places. We admit that some problems are due to our lack of experience with Cinema 4D, but it certainly feels strange. The current “To Layer” function in the multishader works, but is very uncomfortable to use for this type of setup. For example, all effectors must work with any tool. Even the cloners don’t accept all the parameters of some effectors, which often makes setup more complicated than necessary, other tools like the tracer can’t use effectors at all. This is not very logical and implemented somewhat inconsistently. One of our main grips here is that while the Spline Wrap Deformer is super in many situations, it cannot be combined with clones and effectors, which unnecessarily limits its usefulness. Similar limitations apply to other deformation tools, especially because they often have no idea how to place, rotate, or scale a clone. Rendering scenes with hundreds of clones can be very slow as they can also edit the scene files themselves. Some decent instances would greatly improve the workflow. We couldn’t render some of our setups because they contained so many clones that it took forever for even shadows to be calculated from a single light source. It’s not even about how to kill the renderer with Hyper NURBS objects and other effects that create more polygons. It’s one in line with the recently released Hair module, and if Maxon continues to develop at this pace, we can expect great things and many more surprises in the future. Where others hesitate or focus on other audiences, Maxon knows how to make its users happy. The goal of all our efforts with MoGraph must now be to polish it a little and overcome some of its limitations and we are sure that the developers will work hard on it. With this in mind, we can only recommend MoGraph to any budding motion artist. {-Variable.fc_1_url-

We’re still fascinated by how quickly time flies when we work with all these clones, effectors, and other tools, because it’s just great fun. Out of these cookies, the cookies that are categorized as necessary are stored on your browser as they are essential for the working of basic functionalities of the website. We also use third-party cookies that help us analyze and understand how you use this website. These cookies will be stored in your browser only with your consent. You also have the option to opt-out of these cookies. But opting out of some of these cookies may have an effect on your browsing experience. This category only includes cookies that ensures basic functionalities and security features of the website. These cookies do not store any personal information. It is mandatory to procure user consent prior to running these cookies on your website. Vfx Tutorial Cinema 4d Tutorial V Ray Materials Bokeh Effect After Effect Tutorial Good Tutorials Cg Art Depth Of Field Illustrator Tutorials X-Particles 3.5 Tutorial - Depth of Field Techniques Mario's first ever X-Particles Full Tutorial. It's new but it's good. My one minute micro tutorial for the C4DAPT2 Challenge.I used a combination of TP and some geometry with high pressure to get the initial blast. You can create a lot of interesting color effects using this shader in Octane. You can find an online tutorial or you can read the Cinema 4D help file for these. For online help you can go to the maxon help site and search the topics you want to learn. As we mentioned above, Cinema 4D mograph tool is almost 90 of this process. To create a scene as you see in the example below, first make the Cloner and Shader effector setups (see those setups in the second picture below or download the scene file).Do not forget to set the falloff of the shader effector. The shading part is the simplest (this is a simplicity that varies depending on your scene and purpose).

We connected to the diffuse channel to create a simple example. You can make several setups for each channel if you like. It's completely up to you. You can download and examine the scene from the link below. V-Ray Proxy 2 use Cinema4D Render Instance feature to activate proxy. V-Ray Proxy 2 also works with C4D Selections. V-RAYforC4D also support VrayProxyFile, as legacy, but we strongly recommend to use V-Ray Proxy 2 system with Render Instance. Minor advantage of VrayProxyFile is that the object geometry is not present in the memory or scene and does not take many resources of viewport. What allows to manipulate scene in fast way, but same level of speed can be achieved with Display Tag on Instance object. You can change settings of it to have needed representation of object in viewport. Don’t forget that you always can switch off object to be displayed in viewport, completely with c4d Proxy Instances Group viewport optimization For this purpose you just place C4D Display Tag on mograph Cloner or other object that used for Render Instance spreading. And change Level of Detail of it to percent of objects you want to see in viewport from all objects amount that was spreading over cloner object. Here you see all object Here you see only 20. This way you can do test renders with smaller amount of proxy and final render with all proxy in render. Apple, Mac, Mac OS X, OS X and macOS are trademarks of Apple Inc., registered in the U.S. and other countries. Linux is a registered trademark of Linus Torvalds in the U.S. and other countries. All other brand names, product names, or trademarks belong to their respective holders. By clicking “Agree,” you consent to Privacy Policy and the use of technologies such as cookies to deliver relevant content on our site, in emails and across the Internet and personalize content.

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Simply drop your object into the Voronoi Fracture and then adjust the parameters to suit your requirements.I have had these tutorials recorded for a while and they were originally going to be part of a new training series for Mograph, but I decided to post them online for free instead.As a bonus, I’ve decided to offer the original C4D scene files for download. This does not include everything from my presentation as some of the files are part of commercial projects and I can’t distribute those.That’s Making It Look Great 6, 7, 8, 9 and 10 at half price. The focus of NOTA Effector is to move all entities inside mograph, polygons, objects or instances, from a custom place to the default place where they are built. During this route all entities can be managed on the rotation, position and scale in global coordinates.Note Effector is the result of 20 years of experience in the Motion Graphics on Italian TV Network. Each curve is the offset for position x, y and z added at the end of all transformation so you can add translation to make curved trajectories instead a linear translation. A spline can be used to place all entities over it, or mix the spline positions with the current interpolated position. With a curve you can reverse this order or make a new customized order. Random Order make the order completely Random (with a Seed taken from RANDOM TAB). Reference Object (null) is the reference for kerning. For example, if you put it on the left of a text, kerning will expand from left ro right by a desired amount. It is connected with the MoGraph Colors Shader. You can set also the size of those marks. This is a user-defined place where all entities will start the route. Usually it is a null object. It can be created easier clicking on “Add Null Object” button. Will be created inside the NOTA Effector. It’s similar to the effect of an explosion. It’s a way to put all clones everywhere in the space instead in a single point. It represents the distance where the entities must be moved from the default position. Every entity will start a route during a time equal to “DURATION”, every “STEP” frames. For example to move all entities from the user position to the goal position in the same time you can set STEP to zero. Increasing the STEP it will step them longer and then the entire animation time will be longer. OFFSET This field indicates the frame in which will be started the animation. This implies the animation will stop until the current frame will be equal to offset. POS TIME is a curve that controls time position for all objects (Duration Time dependent). SCALE is a curve that controls scaling of objects from MIN to MAX. With scale you can change all objects scaling to fit your need. Just put 1 point. LOOP This option will loop the entire animation. Every clone that reach the goal position, in the next frame will be moved at start. PING PONG This enables the reverse of entire animation after a certain time established in the field “FRAME PAUSE”. FRAME PAUSE It is usable just if “pingpong” option is set. It represents the pause time from the forward to the reverse animation. In the previous example with a “FRAME PAUSE” of 25 the reverse of animation will start at 150 and will go for 125 frames more, until it returns on starting point. They are useful to lock position and rotation of objects or the start reference position and rotation. The X axis of the spline represent the duration time. This curve is useful, for example, to slowdown the speed of the entities before the end (in the default condition). Can also be used to reverse the animation. Perfect to scale all entities to 0 at the start of animation or make anything you need in the scale. This spline represent on the X axis the “DURATION” time and the Y axis represent the scale multiplier. Default is “MAX SCALE” set to 1 and “MIN SCALE” set to 0. It’s aligned on the Z direction. If all value are set to 1 it means that all entities are placed on the spline. Y Spline value to zero means that the position is the classic NOTA calculated without the spline. Useful to modify the route easily without using Splines. Each curve is the offset for position x, y and z added at the end of all transformation so you can add translation to make curved trajectories instead a linear translation. Each curve have a range from -1 to 1 and this is multiplied for a X, Y, Z Factors. The Y coordinate set to zero means that it’s no affected by random modifier. This means that, for example, you can start with a random state of the object to terminate to its original state. Just make a ramp from 0 to 1. Each time you use the same seed, you will always get the exact same sequence. RANDOM DURATION It adds to a Main Duration a random value, that is it adds a random noise to the duration, the stronger the higher the percentage allocated. Put a spline in “Spline Object” and the animation of all objects will be placed on spline rather than from Start Reference to Keyframed position. All parameters showed before will be valid in this case. With LOOP ( shown in Effector tab) you can make infinite movement of objects because they just disappear at the end of path to appear at start. SPLINE CONSTRAINT The interpolation between the spline points and the current interpolated position is done with the Spline Constraint curve. Spline Constraint is the position for all objects on a spline referred to Random, oscillator and offset parameters. It means that object will run on spline without influence of random and others parameters. It is a phase for wave so you can make a little circular path for each object. Default is a Sinus curve. Changing this multiplier change the frequency of the current oscillation. With a curve you can reverse order or make a particular order. This will changes the order of all clones. Will be created inside the NOTA Effector. Default curve is a linear transition from 0 to 1, no changes as the number of the current MoGraph Entity. Inverting the curve it will cause a reverse order of all clones. This curve always influences all even if the sorting reference is not assigned. Example: put it at left of a text and the kerning will expand from left ro right by a desired amount. Will be created inside the NOTA Effector. This tab is connected with the MoGraph Color Shader. If you use MoGraph Colors on NOTA it will replace the internals MoGraph Colors. This enables the use of the MoGraph Color Shader. So the shader will generate a color for every clone related to the current time. Flipping the curve, it will revert the Gradient. On the Cinema 4D side you need to add a MoGraph Color Shader where you need. The name of null object will be renamed to match the use and what is the NOTA Effector connected. You can set the size of those marks. The 13-digit and 10-digit formats both work. Please try again.Please try again.Used: Very GoodSome overall wear from reading, has a few creases. The Cinema 4D 10 Handbook teaches how to harness this power and flexibility through a project-based approach that allows users to create impressive projects as they learn C4D's array of tools and functions. This is a completely updated edition of this popular guide to the ins-and-outs of C4D that provides new C4D users with a complete introduction to the powerful and affordable C4D program, while teaching the fundamental principles of 3D. The book is best for beginners. It explores the most powerful and frequently used aspects of the program and explains how best to use them. Through intensive tutorials, users will learn ideas and techniques not covered in the manuals, and they'll learn about the theory behind why things work the way they do. The book is also for users of earlier versions of C4D who need to get up to speed with the new features. For those just learning Cinema 4D and new to 3D graphics, this book provides the one resource they'll need to get up and running! Then you can start reading Kindle books on your smartphone, tablet, or computer - no Kindle device required. Register a free business account He is currently an assistant professor at Iowa State University where he researches and instructs in 3D modeling, animation, and rendering.If you are a seller for this product, would you like to suggest updates through seller support ? To calculate the overall star rating and percentage breakdown by star, we don’t use a simple average. Instead, our system considers things like how recent a review is and if the reviewer bought the item on Amazon. It also analyzes reviews to verify trustworthiness. Please try again later. Luis Jaime 5.0 out of 5 stars The instructions are clearly and Practical althought it's for the old version of c4d but you can use it for the new version since there's not too much difference in the operating panel.This book doesn't even MENTION the Mograph features let alone help, which is a huge disappointment. In addition, I've turned to this book 8 times so far for help with specific tools and 6 of those times I couldn't find the tool listed in the index. I gave this 2 stars because what portions of the software the book does cover seems helpful so far.If you had C4D 9.1 and Mr. Call's previous Handbook, you would recognise some of the tutorials.I made it to page 55 and finally gave up after the third blantant mistake. Out of the 3 mistakes -- 2 were unrecoverable - meaning, even as someone with some 3D experience, I could not figure out the solution.The book didn't cover much on animation, and the only 2 tutorials on animation covers on very very simple things: bouncing a ball. It would have been a nice trick to know. The book was adequate for learning modeling as a beginner, but it briefly scrapped the surface on animation. It was done with adding your object to layers. I looked at the glossary list to find out where it was covered in the book.This book has coverage on new additions and changes from C4D R9 that I've found extremely helpful. The layout makes it easy to sift through the book and discover these new updates according to what you're working with currently. The tutorials are easy to follow and some graphics have additional bold text and arrows to help clarify what is being attempted in the tutorials, a really great idea for beginners who may not know all the terminology and layouts. I highly recommend the book to beginners and experts, especially, if you're attempting to learn on your own, rediscover old skills, or update your knowledge of C4D.Sorry, we failed to record your vote. Please try again Sorry, we failed to record your vote. Please try again Sorry, we failed to record your vote. Please try again Highly recommended.Sorry, we failed to record your vote. Please try again. It may not look or work correctly on your browser.