Marc Trzepla

Nice. That Alt-V under View (I was stuck poking around under Filter) looks like it’ll work well. Alt-V (all views), and then on/off the Filter I want to toggle. Done. Thank you, Marc Chep

If I turn on or off an item listed in the Viewport Filter dropdown menu, is there a modifier key I can use to apply this switch to ALL viewports? Right now, if I turn off Fields (for example) in my Perspective view, Fields remain ‘on’ in the Top Front and Right, and I’d rather they turn off as well. The Help file says I can ‘hold down Ctrl/Cmd to enable one option and disable all others,’ but that’s not what I’m looking for. Thanks, Marc Chep

The Top / Bottom / Previous / Next / Root / Parent preference worked out great, thank you both for the ideas.

There are instances when holding Alt or Shift for Generators and Modifiers isn’t best for what I’m trying to do and I wish to create the hierarchy by hand. But if I just click a Generator or Modifier button it gets placed alllllll the way at the top of the Object Mananger - is there a shortcut (similar to using Alt or Shift) that places the new Generator/Modifier down in the hierarchy closer to where I’m working? Scrolling up, grabbing a Generator, and then dragging it all the way back down gets tedious. Thanks, Marc Chep

Unbelievable, thank you. All this time I was searching for the node, double clicking or dragging the search result to the node editor, and THEN trying to drag it in between two already-connected nodes ....... dragging FROM the search results onto the wire is what does the trick. Your answer helped prompt my discovery. Thanks again, Marc Chep

Example - if I have a Texture node already piped into the Base Color of a RS Standard but want to put a TriPlanar in between those two, is there a shortcut way to drop that TriPlanar on the already-connected line/wire to automatically re-route the Texture thru the TriPlanar and then continue to the Standard? Right now I search for TriPlanar, double click it, it appears in the node editor, I then take the Out of the texture (already connected to the Standard Base Color) and connect it to the TriPlanar Image X, and then drag the Out Color of the TriPlanar to the Base Color of the Standard material. Seems like there should be a short-cuttier way here instead of manually dragging node wires each time. Same goes for other things like Color Corrects, etc. Thanks, Marc Chep

While reducing the Size Increment under the Collision tab of the Dynamics Body Tag didn’t change the results, this sent me on a hunt for where else there might be a Size element for the sim ... and I found it as Thickness under the Surface tab of the Cloth Tag that’s doing the ballooning. The default is 1.5cm.. I set it lower and the gap was reduced. I now have to play with the Simulation Substeps etc. to keep intersections from occurring. Thanks for the idea, Marc Chep

I’m running a test that once I like where it ends up I’ll apply to a final logo. My test is an array of 9 spheres, created in a cloner. I have a Balloon tag on the cloner with a bit of overpressure. The spheres inflate. Great. Only problem is that the spheres never touch each other - they smoosh together as if they’re touching, but there’s always a gap even though the one place I thought to look for Collider settings is set to Triangles and not Convex/Box/etc... Where/what’s the setting that reduces/removes this gap? Thanks, Marc Chep

Thank you both for these suggestions ... great thought starters on how to approach this.

How can I achieve this material-reveal effect within Redshift using a light(s) without having to render passes for Materials A, B, plus the matte, comping externally? Basically, “Is Spotlight Light 1 making me bright? Material A. No Spotlight Light 1? Material B.” Thanks, Marc Chep

I find that when I render with Redshift any surface that’s been camera projection mapped (baked UVs or not) appears 1000% fine in the viewport, but is all janky in the final render. I have found this is related to the quantity of triangles in the surfaces with distortions - if I start with a low poly count plane and go through the effort to heavily subdivide the plane, the distortion lessens and starts to closer match the original plate. To add to the confusion, the C4D Standard renderer renders perfectly fine with the lower polygon count surfaces, no subdivision required, also matching the original plate / viewport. Anyone know why this is happening and how to remedy this, while staying in Redshift, without having to subdivide surfaces? Having to pop out of Redshift is frustrating (there’s no Convert to Standard Material tool that I’m aware of meaning I have to re-create surfaces as Standards) and subdividing only adds another to-do to the pile. Thanks, Chep

If I have a beauty pass file named “ABCDE.exr” and want the corresponding cryptomatte AOV file (rendered Direct) to be named “ABCDE_cryptomatte.exr” so I can identify the relationship between the two files, what should I enter for Base Filename under Redshift -> AOV so I get “ABCDE” (in this example) automatically? I have little experience with tokens and tend to favor manually setting my Save (Multi-Pass Image) filename manually, but I’d like the accompanying direct AOV (cryptomatte in this case) to be named automatically. I’ll be up front .. I’m new to AOVs, never had a need, and want to start using cryptomattes, but have little to no experience cooking them out. As an example of my not-knowing-what-I’m doing, it took me forever to realize that the reason I wasn’t getting a cryptomatte .exr file at all after rendering was because Base Filename in Redshift -> AOV was blank .. which, until I populated it with some text, never occurred to me since the Effective Path under the Cryptomatte AOV suggested I’d get a file output. Taking a cue from Cryptomatte’s Direct Path variables ($filepath$filename_$pass), I tried entering “$filename” but ended up with a file named “$filename_cryptomatte.exr”. I know, I’m a mess. Thanks, Marc

I thought at first the white was in response to a Dark interface in Windows, but even toggling to Light didn’t affect C4D’s interface value or the white unselected color. So I trashed R25’s preferences - at least I got the unselected mesh to go back to black. That Selected orange is still there, but I think I’ll now take your suggestion and tweak the Selected Object / Shaded Wire colors. Curious - was Selected Object in R21 ALSO orange and I changed it? I can’t recall. Thanks again for the help above,

The most recent version of C4D I own is still R21 but I now have a chance to dip my toe into modern day with R25. I’ve had R21 for so long I honestly cannot recall how much of the working colors were customized by me (as opposed to the default) and am a little off kilter with the working colors in R25. So - before I start pulling threads in the Prefs Interface Colors , is there a Display-ish, check-boxy panel I’m missing that would get me closer (back to) the way I’ve been working in R21 where unselected wireframes are black, selected objects are white, and selected edges (or polys or points) are orange? My old brain is fighting me on this. Thanks,

Thank you everyone, sorry for the delay .. I never get reply alerts. Un-checking Isoline Editing did the trick.