Depth of Options
Let’s get this out of the way up front for you tech types. C4D R11 now supports 64-bit systems on both Mac and PC platforms. If you don’t know what that means. Don’t worry. If you do and you work with massive data sets, I’m sure you’re smiling right now. In a nut shell, C4D can access all the memory capabilities of the most modern computer systems while not giving up anything on “legacy” systems. This doesn't necessarily mean that things will be faster for most artists, but you'll have the ability to handle more information and RAM. That also means very robust “option” sets.
In CG, options equals power. C4D, like it’s other cinematic brethren, does provide very specific numeric control over any and everything. You can get to that level of specificity if you want to, it’s just not the first and only option you are presented with. (Just because pure numeric control is the standard for some other CG software, that doesn’t necessarily make it a good standard.)
Non-linear Animation
The creation of layered Motion Clips brings a new, non-destructive editing capability to movement. Not only for Character animation, but significant gains can be realized for inorganic object animation too.
Let’s take a look at the new features/options of C4D R11. For starters, the non-linear animation is a major time saver. Since most, if not all of MicroFilmmaker readers are accustomed to working with video/film editing applications, the idea of layers and nested layers in nothing new. C4D animation layers allow you to build complex movement from individual layers, in a non-destructive workflow which means no lost time in production. In addition to the layer functionality, you can create motion clips which function like a collapsed, key framed layer. This lets you drag the animation around your time line with impunity. Drag it, trim it, combine it with others, layer it and loop it. Fine tuning motion has never been so easy. I personally use multiple CG packages and C4D has the non-linear animation needs nailed. The best part are all the little nuances in the interface that simply make your life easier by preventing unnecessary clicking.
As a microfilmmaker, you may not have your sights set on an animated feature where capabilities like this really earn their keep. However, you could be surprised where it comes in handy for things like camera animation through a static scene.
Projection Man (Camera Mapping)
Projection Man lets users rapidly create 3D scenes with actual geometry that are textured by a projected photographs of a scenes or matte paintings.
Found in both the Core and Studio system, this feature allows users to project a texture from a camera view onto simple geometry to quickly and easily create complex set extensions or full 3D digital mattes that allow for CG camera moves. (You’ve seen C4D’s Projection man in movies like Sony’s Beowulf, Polar Express and Open Season and are likely familiar with a fairly simple version of this concept that came out with the Vanishing Point exchange that came out in Adobe's Photoshop/After Effects CS3 release.) While it’s been in C4D for some time, it now has it’s own tool/workflow window that opens in your main scene, allowing you to quickly patch scenes when the camera moves far enough to reveal texture “holes”, smears or tears that can be fixed with either Photoshop or BodyPaint. You can either simply paint on geometry, or--this is the coolest feature--drop in an existing photo or matte painting, screen it back and build you low res geometry underneath it. Then you simply project the photo or matte painting in, select any layer elements in Photoshop that you want included, and, presto, your geometry has been texturized. This can be done for each piece of geometry with drag-and-drop simplicity using the same piece of source art.
