Cinema 4d Fracture

[Frida Kosofsky]

Im trying to figure out if you can use Cinema 4D Lite's fracture to pre-fracture objects (say a cube that has been made editable) into a 'multi-object' for use in Element 3D (by Video Copilot). Thought I saw a tutorial about that but can't find it and might be mixing things up.

I have Melange for polygons and animation turned on. But I'm not getting any results / fracturing after I add a cube, convert to editable item, add Mograph Fracture, make the cube a child of the fracture (and have tried adding effector such as random or plane).

Does Fracture actually break up the geometry? Or is Fracture just used to take multiple objects (like 6 cubes) and allow some randomization of color / position etc by using a Fracture Effector along with Random Effector?

Not in front of C4D right now but off the top of my head you will need to make the object editable AFTER you have applied the effectors. It needs to be made into editable geometry before it can be understood as an object. With effectors its just an object with effects applied. External software will not understand those effects, only polygons. Does that make sense?

Well at some point that feature dissapeared from "lite". My question is what tool or tools can we use to replace it in the latest version? (21) This post got my attention because I am importing .obj files with a mesh.

The thematic similarities between the two films can perhaps be attributed to the massive influence that Bergmann had on Eggers as a director. With his debut The VVitch, Eggers has marked a place for himself as an innovative storyteller in horror, and like all of cinema, any good story needs to resonate with the individual experiencing it. Persona might not have been meant to be a horror masterpiece as much as an introspective journey/ode to his form, but perhaps true horror lies in anything that makes you examine yourself in a meaningful way.

I know destructibles are usually simulated upon collision, but I want to use this as a motion graphics effect.

Cinema 4D R19 Title Animation Tutorial Cinema 4D R19 Voronoi Fracture New Features - YouTube - much like this fractured logo.

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Never have I seen extremities in the business of theatrical exhibition as seen today. As we head into the "Avatar2" moment, some hard truths are hitting home making Avatar2 the most important film released in my lifetime.

The GREEN line is a moving average of 5 weeks based on the combined 2918 and 2019 performance in the Australian market. The RED line is 2022. After the mid-year release of all the top films the studio chose to hold back over the covid period, it would be expected that a better than pre-pandemic level of attendance would be the result, and ultimately was.

But after that "one of event", and back to a more viable slate as is tracking based on the new world where streamers compete for finite levels of creative investment and creative talent. We are now experiencing a more realistic result in the change in the behaviour of consumers. Unfortunately, it's currently tracking very badly indeed. We are seeing more and more people move away from Cinema, not the hoped "recovery to pre-pandemic levels" as has been spruiked by industry pundits over the past year.

Avatar2 is expected to do reasonably well based on early reviews but it still has a lot of headwinds. It's too long, people are over 3D and don't want to wear glasses. 3D is poorly implemented in many cinemas, being too dim. Looking past the technological marvel that it is, it's described as a "Big Smurf animated film" with the obvious marginal appeal that goes with that genre. Still, it has so much momentum, it should still do well.

However, doing well may not be enough. Coming from a new lower base that is seen in the hard numbers in the graph above. many cinema owners are or should be extremely worried. The shorter windows and the effect of on-demand streaming making people less pressured to see a film as soon as it's available, is starting to materialise that the change in consumer behaviour is more pronounced than expected. It takes time for people to change behaviour (1.5-2 years) and as we move away from COVID, the trends in the numbers above show how the industry has underestimated how much consumer behaviours would change.

The desperation of these numbers is starting to materialise in a "Last Man Standing" type of marketing now appearing in Australia by major exhibitors. The main example of this is: Typically an off-the-street price for a single adult, major cities in Australia is $28. While in recent weeks, large exhibitors have announced $12 all tickets all the time as long as you are in the cinema membership program. $28 down to $12. That's an extreme move. The general rule is you don't discount your core profit-making business process.

This move by the bigger exhibitors shows just how serious the situation now is. Many screens need to close, and the main objective right now is to make sure that your cinema is not the one that closes as the one that survives should re-surface into a commercially viable market.

To apply Voronoi Fracture in as few steps as possible, you apply the Voronoi Fracture located in the MoGraph menu to your object, adjust parameters under the Sources menu (like distribution type or point amount) add effectors to cause dispersion, keyframe values and render. With a little practice you can explode your raytraced MoGraph text in no time. The best part is your object will not look fractured until animated, which in the past took some work so this is a great update.

To apply the Thin Film to your object, find the Reflectance channel of your material that you want to add the Thin Film property to add a new Beckmann or GGX layer, lower the Specular Strength of this layer to zero, under Layer Color choose Texture > Effects > Thin Film. From there, if you want to see the Thin Film as a true layer of film you need to change your composite setting to Add on your layer; you should then see it properly. You can get some advanced tips from the great tutorials over at Cineversity and from Andy Needham (Twitter: @imcalledandy) on lynda.com. One tip I learned from Andy is to change the Index of Refraction to get some different looks, which can be found under the Shader properties.

Brady Betzel is an Emmy-nominated online editor at Margarita Mix in Hollywood, working on Life Below Zero and Cutthroat Kitchen. You can email Brady at brady...@gmail.com. Follow him on Twitter @allbetzroff.

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LOS ANGELES - The face of Hannibal Lecter was no match for Shia LaBeouf in a box-office battle of murder thrillers. DreamWorks and Paramount's "Disturbia," starring LaBeouf as a teen who suspects a neighbor of murder, took in $13.5 million to hold the top weekend movie spot for a second straight weekend, according to studio estimates Sunday.

Sony Screen Gems' horror flick "Vacancy," starring Kate Beckinsale and Luke Wilson as a couple marked for grisly death at a sleazy motel, led a rush of other new wide releases, opening at No. 4 with $7.6 million.

The buddy-cop comedy "Hot Fuzz," released by Focus Features' Rogue Pictures unit, had a strong start in narrower release, premiering at No. 6 with $5.8 million in 825 theaters, about a third the number of cinemas where "Fracture" and "Vacancy" played.

"Hot Fuzz" comes from the "Shaun of the Dead" team of director Edgar Wright and his co-writer and star Simon Pegg, who plays a London super-cop exiled to a sleepy British town, where he encounters a series of grisly deaths.

The Warner Bros. drama "In the Land of Women" opened at a weak No. 8 with $4.9 million. The movie stars Adam Brody as a heartbroken writer who moves in with his grandmother and forges a relationship with a neighbor ( Meg Ryan) and her teenage daughter.

After a solid start this year, Hollywood's overall revenues were down for a second straight weekend. The top 12 movies took in $74 million, off 26 percent compared to the same weekend last year, when "Silent Hill" opened at No. 1 with $20.2 million.

"This is like an onslaught of films trying to get into the marketplace before the big summer rush," said Paul Dergarabedian, president of box-office tracker Media By Numbers. "People are just holding their breath waiting for summer to start, and while they're holding their breath, they didn't go to the movies in big numbers."

However, attendance is up 2.4 percent from last year, and studio executives predict this could be a record summer for modern Hollywood with major sequels including "Spider-Man 3," "Shrek the Third" and "Pirates of the Caribbean: At World's End."

Activity from Microhistories of the Diaspora. Embodied experiences of female dispersion

Created by La Virreina Centre de la Imatge, Supported by Pla Barcelona Interculturalitat

Curated by Tania Adam

In this collage of intimate microstories, autobiographical references, fictional projects and real testimonies are recreated through film, inviting the audience to slip through the open cracks opened by formal experimentation. With bold cinematography, where the interplay between the soundtrack and the visuals subvert expectations thanks to the economy of technical media used and the respectful distance between the director and the subjects, these works provoke the creation of emotional spaces and encounters with the audience.

BEATRIZ LEAL RIESCO (Santiago de Compostela, 1978), curator, teacher and critic specialising in African art and film. She has worked as producer of the New York African Film Festival since 2011, and has carried out the same role for the frica Imprescindible film season. As an independent curator, she has collaborated with Artium, CCCB, Tabakalera, MUSAC, Filmoteca Espaola, Filmoteca de Navarra, Filmoteca de Valencia, Filmoteca de la Rioja and Azkuna Zentroa, and has been a judge at international film festivals. She writes in journalistic and academic media.

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