Maxon Cinema 4D is a professional 3D modeling, animation, simulation, and rendering software solution. Fast, powerful, flexible, and stable toolset! Cinema 4D makes 3D workflows more accessible and efficient for design, motion graphics, and VFX, AR/MR/VR. In addition, game development and all types of visualization professionals benefit from Cinema 4D. Cinema 4D produces stunning results, whether working on your own or in a team.
MoGraph is a procedural modeling and animation toolset that gives motion designers the ability to quickly and easily create complex and abstract animations. At the heart of MoGraph is the Cloner object which allows you to duplicate objects in a variety of ways. Add MoGraph’s powerful collection of Effectors to the mix and you can put everything in limitless motion using sound, fracturing, fields, and so much more – often without creating a single keyframe! MoGraph is the go-to system for professional broadcast graphics designers and was recognized by the Academy of Motion Picture Arts and Sciences with a Technical Achievement Award in 2019.
Easy To Learn – Easy To Use
Cinema 4D is widely recognized as one of the easiest and most accessible 3D packages to learn and use. To soften that learning curve Maxon offers thousands of tutorials on Cineversity and hundreds of Quick Tips. Maxon’s Training team also hosts weekly and monthly live webinars to help new and existing users succeed. Check out Maxon’s archives and events schedule for more information.
What’s New In Maxon Cinema 4D S24
Maxon Cinema 4D Subscription Release 24 (S24) includes functionality to easily browse and obtain models, materials, and other assets, and to intuitively place them within the scene. The release also includes key workflow enhancements and a sneak peek at the continued progress on the Scene Nodes and Scene Manager interfaces to the new core.
Next-Level Set Dressing
Cinema 4D’s placement tools set the stage for creativity with intuitive and powerful tools for placing objects within a scene. For example, creating an environment, adding props, and kitbashing is as simple as dragging and dropping objects onto one another, painting them onto a surface, or allowing them to fall into place with the help of dynamics.
The Place Tool allows efficient and intuitive placement of an object on the surface of existing scene elements. To clarify, it uses handles to easily scale and rotate the elements. Place objects directly from the Asset Browser. The, interactively copy and place objects in your scene. Automatically place objects according to their bounding box or defined axis, with an optional offset.
The Scatter Pen makes it easy to scatter a single object or a selection of objects onto any surface. Simply drag it within the view. Control the spacing and alignment, the frequency of each object, and vary the position, rotation, and scale of the placed objects. Paint random distributions or in clearly defined strokes. So, you painted too many or in the wrong location? No problem, just use the removal tools to clean up your scene or move objects individually with the Place Tool.
Dynamic Placement offers the ultimate option for intuitively placing objects into a scene, with high-performance dynamics providing actual collisions between objects. With the Dynamic Placement tool, clump objects together or naturally drop them onto a surface of objects. Do this with the power of Cinema 4D’s physics simulation. Automatically generate simplified proxy geometry for fast and accurate dynamics.
Powerful, Flexible Asset Management
The Asset Browser provides easy access to libraries of preset content stored locally or online, including a vast collection of 3D objects, materials, and node capsules available to Cinema 4D subscribers. The library can be browsed or searched, and each asset includes rich metadata and keywords. Assets are downloaded on-demand, so there’s no need to pre-download huge libraries of assets. They’re also cached on your local computer, so your favorite assets are immediately available for re-use.
Keywords, Search and Filtering
Keywords can be added to your assets making content easily searchable. Save your frequent searches in smart folders and when assets are added later with the same keywords, they will be added automatically to those folders.
Incredibly useful in complex production pipelines. As the project evolves the asset can evolve with it. Rolling back to a previous version or updating a scene with the latest version is as easy as a few clicks.
Objects, Instances, or References
Insert object-based assets as objects, Instances, or References for an extremely flexible and efficient workflow.
Add Your Own Assets
Create your own libraries and add your own assets by dragging them right into asset folders.
Scene Nodes / Scene Manager (preview)
Experience first-hand how things are taking shape as work continues on Cinema 4D’s new core. Cinema 4D’s Scene Manager uses powerful, node-based assets to construct procedural geometry or entire scenes in a hierarchy-based view. The Scene Manager will eventually offer a fast and creative workflow much like Cinema 4D’s Classic Object Manager. Furthermore, easily integrate Classic C4D objects by simply dragging them into the Scene Manager. Everything you do within the Scene Manager creates a corresponding node graph within Scene Nodes. In other words, you can choose whichever workflow you prefer or the job demands.
With Cinema 4D’s Scene Node core, manage relationships and dependencies between objects. In addition, construct and modify geometry, and build reusable assets.
Scene Nodes Debugging
Effectively debug scene node systems with the help of an information overlay. Similarly, port debugs panels within the Node Editor. Finally, use the powerful Data Inspector window for detailed introspection of arrays and other complex data types.
Distributions, Nodes, and Capsules
The true power of Scene Nodes is the ability for TD-level users to expand the ecosystem without a single line of code. Additionally, these both expand possibilities and serve as a useful example of the type of tools users can expect as Scene Nodes continue to mature.
Remove Ngons, Remove Non Manifold, Triangulate, Retriangulate, Untriangulate
Legacy Object Import
Sample Legacy Light
Vertex Map Tag Import
Flow Control Nodes
Loop Carried Value
General UI Enhancements for Scene and Material Nodes
Node Detail Levels
Import / Export Models, Cameras, Lights in usd, usda, usdc
OBJ Performance and Feature Enhancements
Import/export Support for PBR material definition used by Adobe Dimensions and other applications
OBJ Sequence Export
OBJ Sequence Import
Vertex Color Import / Export (Z-Brush / Meshlab)
Point Cloud Import
Z-Brush Spline Import
More Presets: 3ds max, Adobe Dimension, Blender, Maya, ZBrush, Trapcode
FBX (listed in Animation Workflow)
Export Takes from Timeline Markers
Export Bound Joints only
Update from Python 2.7.14 to Python 3.7.7
Increased performance for Python expressions, scripts and plugins
Encrypt Python plugins via the command line
Moves by Maxon
Import and use Facial and Body Capture data from Moves iOS app (fully integrated)
General Workflow Enhancements
Display alpha channel in Picture Viewer as a checker grid
Insert Caret showing drag destination within Object Manager
Instances can be made editable
Updated Intel Open Image Denoiser to 1.2.1 / improved performance and better results
Viewport Selection Tools now use Intel Embree technology for better performance and accuracy
Subscription Management page
Visions Take Shape in Cinema 4D
Polygons are the building blocks of 3D, stitched together to create the objects of your imagination. With Cinema 4D’s complete polygonal modeling toolset, it’s easy to craft everything from cars to creatures.
Slice models with quick precision using a trio of tools that offer outstanding interactivity. Make more polygons and add more detail – edit cuts before committing, cut evenly-spaced slices, and add symmetrical loops with ease.
Polygon Pen Paint polygons with Cinema 4D’s modeling “Swiss army knife”, a single super-tool for creating or retopologizing 3D models.
Create Polygon – Click to add points and quickly create polygons, whether modeling from scratch or snapping to existing geometry for retopology.
Rotate Edge – Refine the polygon flow by spinning an edge around its center.
Snap To Edge – Extend the surface easily with edges that snap to each other.
Draw Row – Paint strips of polygons interactively.
Modeling Arc – Convert simple edges into complex arcs in a single action.
Extrude – Create solid shapes by extruding, without changing tools.
Extrude selected points, edges or polygons.
Stitch & Sew
Join object edges that have the same number of points.
Soften hard edges without Subdivison Surface Objects.
Show faulty elements on selected polygon objects.
The first step in most 3D projects is creating the objects.
Keep 3D visualizations flexible to the end with parametric modeling. Changes can be made at any time to scenes or objects, and Cinema 4D offers a wide range of parametric modeling options that make it possible for artists to make just about any last-minute change a customer may need!
Modeling with MoGraph
Motion Design Tool Gone Wild!
Cinema 4D’s MoGraph toolset is unmatched in the 3D industry. Originally created for motion design and broadcast graphics, it quickly established itself in many other areas of 3D visualization. MoGraph can be used to quickly and easily distribute vegetation throughout an entire scene or even create a network of roads, and much more. With MoGraph, artists and architects can keep their visualizations flexible right down to the wire and lets them get the results they’re looking for. MoGraph creates solutions and is a game changer for your workflow.
With just a few elements you can build more complex parametric objects:
Modeling with Deformers
Bend, compress or twist an object witout manhandling its geometry. This – and much more – is what Deformers can do. Deformers work non-destructively and are ideal for creating complex objects that can be modfied at any time. The perfect workflow solution when production requirements throw you a curve.
Modeling with Splines
A spline is much more than just a line: Create complex 3D objects using splines and Generators in Cinema 4D. Simply take a path from a technical drawing and place it into a Generator to create a 3D object and modify it at any time by changing its settings in the Attribute Manager.
Turn your models into digital clay
Model organic surfaces and easily increase the level of detail on any object with the fully-integrated Sculpt system in Cinema 4D. Simply click Subdivide to increase the level of detail, transforming your mesh into digital clay. Mold your mesh with intuitive sculpting tools that pull, smooth, flatten, knife and pinch the surface. Take advantage of advanced symmetry options, stamps, stencils, and masks to create complex sculpts and surface details.
Organize in Layers
Organize your sculpt project in layers, each with its own Sculpt level, mask, and strength settings. Simply click any layer to activate it and jump to the appropriate level of detail. Arrange layers in any order and even within folders, so it’s always easy to find and activate the right layer. You can freeze your sculpts at any time to release the memory being used by sculpting and view the effect of deformation on your sculpted mesh.
Mold your mesh with Cinema 4D’s flexible sculpting tools, each of which have a unique size and pressure options that can be interactively adjusted or linked to the properties of your tablet pen. Smoothly paint continuous strokes with a Steady Stroke option. Use special drag options to precise place Sculpt Stamps, and easily create repetitive stamps with the Repeat tool. Sculpt finer details with the help of masks and stencils. Create and share your own stamps and stencils, or take advantage of the extensive preset library provided in Cinema 4D. Finally, you can create your own sculpt brushes or take advantage of Cinema 4D’s extensive developer community to extend the power of the toolset even further, with extensive Python and expanded C++ support for the entire Sculpt system.
Pull Brush – The Pull brush lifts the vertex points (or lowers them) in the average direction of the Normals (in the region of the brush’s preview). This brush is also well-suited for use with the Stamp and Stencil functions.
Grab Brush – As the name suggests, this brush can be used to grab part of the mesh and pull it into the desired position. Great for shaping a character’s chin or head, or creating spiky bits.
Smooth Brush – The Smooth brush is one of the most important sculpting brushes. The Smooth brush – with a low Strength value – is ideal for relaxing the mesh and removing artefacting.
Erase Brush – Use the Erase brush to delete sculpted regions of an active Layer, i.e., wherever the Erase brush is applied, the sculpted regions will be reset to a neutral state.
Mirror and Masking
The powerful Symmetry options within each sculpt brush now support Cinema 4D’s workplane, so you can easily mirror strokes across an offset axis. Keep your strokes fast and fluid by focusing on one side of the model, and use the new Sculpt Symmetry option to mirror strokes across the mesh or even equalize the sculpting on both sides. To further focus on small sections of the sculpt, simply hide polygons using a mask.
Use your own models or one of the base meshes provided in the Sculpt presets library. The library’s generic human, animal and dinosaur forms provide a great start for many sculpting projects. Simply double-click any mesh, click Subdivide a few times and start sculpting.
Combine multiple Sculpt objects into a single sculpt with optimized edge flow using the Project Mesh feature. Whether you need more edges to sculpt appendages or just want to optimize the mesh for the animation you can model a clean topology over your existing sculpt and quickly adapt it to the final shape with all the sculpt details intact, based on the defined subdivision settings.
The Unsubdivide command allows you to quickly convert high-resolution meshes from other sculpting applications to low-resolution Cinema 4D objects with Sculpt tags containing all the same detail. This makes it easy to modify and work with meshes from any source.
With Cinema 4D’s integrated sculpting you can freeze and deform your sculpted creations without the need to bake them. Optimize the scene and prepare it for export to game engines or other applications by baking the sculpt to lower-polygon geometry with automatic creation of Ambient Occlusion, displacement and normal maps.
Modeling and More with the Power of OpenVDB
Create complex models by adding or subtracting basic shapes in Boolean-type operations, or create animated growing effects by turning noises and the new MoGraph Fields into actual geometry – it’s all possible thanks to Cinema 4D’s OpenVDB-based Volume Builder and Mesher. Volume Modeling offers a completely procedural way of creating objects you couldn’t even imagine before.
A New Way to Model
Build organic or hard-surface volumes in a very procedural way – combine multiple primitives and polygon objects with Boolean operations like Union, Subtract and Intersect. Add or subtract splines, cloners, fields and more to quickly create complex shapes, and smooth or reshape the result with voxel modifiers. With VDB remeshing, you can quickly re-topologize meshes to more effectively add details using Cinema 4D’s powerful sculpting toolset.
Volumes and Fields – Better Together
Fields as Volumes – Use Random or Shader Fields to create volumes based on procedural textures or 3D noise.
Fields as Modifiers – Use fields to adjust the strength of smooth and reshape filters, inflating or eroding objects based on field shapes and patterns.
Volumes as Fields – Volumes can themselves be Fields, with their strength or direction affecting the nearest clones.
Data in 4 Dimensions
OpenVDB is fundamentally a way to store 3D pixels. Cinema 4D can load multiple grids from any .vdb file, and load animation via sequenced .vdb files. Release 20 does not yet offer native volume rendering but VDBs created in Cinema 4D can be exported in sequenced .vdb format for use in any application or render engine that supports OpenVDB.
Fast and Flexible Surfacing
Cinema 4D offers a fast and flexible material system, with procedural shaders to quickly define the surface of your 3D models. Generate exquisite photorealistic materials with multi-layered reflections or unique abstract effects using Cinema 4D’s multiple material channels and many special purpose procedural shaders.
easy to understand
Cinema 4D materials are easy to understand, with neatly-organized material channels that are named for what they do – to adjust the luminance, transparency or displacement of a material simply click the channel, load an image or shader, and adjust some sliders. Procedural shaders add power and flexibility so it’s easy to create photoreal and fanciful textures.
Create physically accurate materials with multiple layers of reflection using the Cinema 4D Reflectance Channel. Stack metallic flakes, anisotropic scratches and clear coat on top of a diffuse base layer, dial in the roughness and strength of each layer and enjoy materials that fully react to the lighting environment.
A wide range of shaders in Cinema 4D provide special-purpose material options, such as replicating a rainbow thin-film effect on a bubble or oily surface, or simulating wood or bricks with a multitude of options and presets. MoGraph and Variation shaders make it possible to uniquely color and texture a vast number of objects. These are just a few examples of Cinema 4D’s powerful and purposeful shaders.
Powerful layering options at the shader level, within reflectance and for materials themselves offer unlimited options for combining basic elements to create incredibly complex and detailed materials.
Building Blocks for your Material World
Node-based materials in Cinema 4D Release 20 invite you to explore a whole new world of material-creating possibilities. Create simple materials that link a texture in multiple channels for easy adjustment, or create amazing and complex shaders that can be used in Cinema 4D’s Advanced and Physical Render engines.
Everything Starts Small
Each node performs specific functions – from color correction to camera distance, generating noises, gradients, patterns, flakes or scratches … and these only scratch the surface – Cinema 4D Release 20 includes over 150 nodes you can use to build your textures. Don’t worry – they’re all fully searchable by name and keyword, and can be easily added via a commander interface.
Each node offers a specific function but when you combine them, the possibilities are endless. You can easily drag wires to connect inputs and outputs and add converters to existing connections. Enable previews at any stage and selectively mute connections to understand how each node contributes to the material. Combine nodes into groups, groups into assets, and use those assets yourself or share them as .zip files.
The Power of Nodes
ONE NODE, MULTIPLE CONNECTIONS – Reference a single color, texture or other element in multiple channels throughout a material. When the time comes to make a change, you only have to do it once.
A MATERIAL OVERVIEW – The Node Window provides a complete overview of every element so you don’t have to dig through multiple channels and shaders to view everything contributing to a material.
CUSTOM INTERFACES – Combine nodes to create custom shaders and expose only the parameters you want to modify or let others to tweak.
REUSABLE ASSETS AND VERSIONING – Create assets from Node groups and store them in the scene, in the preferences, or share them with others as a simple .zip file. Assets include complete versioning so you can easily manage updates.
One Material to Rule Them All
The ultimate asset – a completely new generic material, called Uber Material. This simplified and easy-to-use material can be added and edited in the Material Editor or Attribute Manager, and any connection you make can also be seen in the Node Editor. The truly courageous can even open the asset within the Node Editor and see how a complete material is made up.
Impressive Texturing & Sculpting
Maxon’s BodyPaint 3D is the ultimate tool for creating high-end textures and unique sculptures. Wave good-bye to UV seams, inaccurate texturing and constant back-and-forth switching to your 2D image editor. Say hello to hassle-free texturing that lets you quickly paint highly detailed textures directly on your 3D objects. BodyPaint 3D also offers a comprehensive set of sculpting tools that let you turn a simple object into a detailed work of art.
Why 2D Painting is never enough for 3D textures
When you use BodyPaint 3D to paint complete materials onto your 3D models, you’ll immediately see how the texture fits with the contour of the model, how the bump or displacement react to lighting, and how the transparency and reflection interact with the environment. There’s no need to waste time transitioning textures between environments – you’ll always see an accurate depiction of the texture so you can concentrate on making it look great.
TOOLS, TOOLS, TOOLS
More than 200 presets put a wide array of natural media and special effects brushes within easy reach. Clone, Smear, Sponge, Dodge and Burn, Gradient, Magic Wand, transform tools and more are all available within the easy to use interface.
No matter how hard you try – UVs will never be 100% perfect. Some parts will be slighty scaled, distored or twisted because you are trying to project a 3D object onto a 2D plane. You have to keep this in mind while painting your textures in 2D. Sometimes this produces unpredictable results. BodyPaint 3D’s projection painting takes all this into account and projects your texture the way you intended it to look on the 3D object on which you were painting.
32-BIT COLOR & HDR EDITING
You can paint in up to 32-bit color depth, which gives even more texture control and incredibly smooth color gradations. BodyPaint 3D also enables editing of HDR and EXR formats letting you to use these powerful formats in your 3D scenes.
DIRECT CONNECTION TO YOUR 3D APPLICATION
Normally, creating textures using 2D applications and including these in your 3D scene involves a lot of manual setup and a lot of application switching. BodyPaint 3D offers plugins to easily exchange models, textures and UVs between BodyPaint 3D and popular 3D applications like 3ds Max, Maya and Softimage.
PAINTING MULTIPLE TEXTURES AT ONCE
With BodyPaint 3D you can paint an entire material with a single stroke. Each brush can paint up to ten channels simultaneously, so a single brushstroke can affect Color, Bump, Specularity, Reflection, Transparency and other properties. There is no need to match the various channels in your 3D application.
PAINTING OVER MULTIPLE OBJECTS
BodyPaint 3D can paint over multiple objects using a single stroke. Projection painting allows distortion-free painting across multiple objects to eliminate seams and get the results you want – which is not possible in 2D!
Maxon BodyPaint 3D features an arsenal of UV editing solutions that ensure your models and their materials line up properly.
Painting in 3D is governed by UVs, a set of coordinates that relate polygons to texturing areas. Properly designed UV coordinates are essential to successful painting and quality texturing in 3D. Because almost all 3D models involve contours in 3D space, standard projections like spherical and flat mapping are not able to provide distortion-free texturing. Each model must be set up with correctly aligned UVs prior to painting, just like taping off the trim in a room prior to painting.
Optimal Mapping & LSCM Unwrapping
BodyPaint 3D includes numerous tools that help you achieve the best UV map for each individual model. You can utilize one of three different algorithms, including Cubic Optimal Mapping, to automatically optimize your UV coordinates and remove overlapping points.
The Relax UV tool adjusts the size of UVs in relation to their corresponding polygons, and the UV Terrace tool lets you easily include additional geometry in an existing UV map. The Store and Remap UV features allow you to easily remap areas of UV coordinates to eliminate seams. Using BodyPaint 3D’s powerful Interactive Mapping feature you can generate UVs based on standard projection types for different regions of a model. Of course, BodyPaint 3D also includes Move, Scale, Rotate, Shear and other tools to let you manually tweak individual UV coordinates.
The LSCM unwrapping method, which lets you unwrap a model’s UVs based on defined seams, also comes in handy when working with complex shapes. Whether adjusting UVs for a low-res game model or a high-res matte painting, BodyPaint 3D provides the UV tools you can rely on when the UV mapping is not as perfect
as the model you have built.
Painting & Texturing
All your favorite painting tools are available in BodyPaint 3D, including Clone, Smear, Sponge, Dodge and Burn tools. The standard brush tool includes pressure, hardness, size, bitmap, distortion, rotation, jitter and other parameters for hundreds of painting possibilities. The effect of any parameter can be controlled by the pressure, tilt, direction or finger wheel of your graphics tablet. Over 200 presets are provided with BodyPaint 3D, representing a variety of natural media and special effects.
A real highlight of BodyPaint 3D is that it now supports the .abr format for Adobe Photoshop-compatible brushes. BodyPaint 3D artists can now take advantage of vast resources available in the Photoshop community. Thousands of brushes are available, many of them for free and we’ve even added over 1,400 brushes to the brush preset libraries.
LAYERING IN THE 3RD DIMENSION
This familiar layering system operates much like 2D graphics applications, giving you the power to combine various effects and experiment with confidence. In addition to its own B3D format, Maxon BodyPaint 3D can read and write layers and masks in PSD and TIF file formats. Each layer can be assigned a unique opacity and mix mode. BodyPaint 3D also features a real-time preview of layer transformations so you can easily position, scale, rotate, skew and distort layers until your composition is just right.
You can also define a mask in any layer, work with alpha channels or apply different blend modes to layers. Even .psd files can be read and their individual layers or layersets easily accessed. The Layer Shader makes it possible to quickly assign filters or procedural shaders to images. BodyPaint 3D is second-to-none when compared to conventional 2D image editing applications, and is ideal for high-end compositing and montage work.
Projection painting offers unmatched comfort when painting textures onto complex geometry. Visible seams at UV edges are now a thing of the past. The detachable projection layers in particular make this process easier by letting objects or images be placed freely before the projection is applied.
With projection painting enabled you can paint onto a virtual glass plate over the model and subsequently project this painting onto the actual textures. This powerful feature supports all of BodyPaint 3D’s painting tools and provides full control over the projection and final appearance of your paint strokes. Projection painting even allows users to paint across multiple objects with a single stroke to eliminate seams. Copy and paste paint between layers. You can copy and paste between layers while in projection paint mode and you can even join two separate images with perfect blending and distortion.
Building professional 3D animation has never been easier or more intuitive.
Shift your scenes into the fourth dimension with Maxon’s Cinema 4D. Building professional 3D animation has never been easier and more intuitive. Virtually any object, material or tag parameter can be keyframed by simply clicking the circle next to its name. To make keyframing even simpler you can activate automatic keyframing of all or selected parameters. The Powerslider lets you quickly define keyframes for the current state at any frame and modify existing keyframes without leaving the default layout.
The Timeline window offers even greater control with tracks for every animatable parameter and options such as layers to organize and control the visibility of objects, tracks and keyframes. Master Tracks allow easy manipulation of all keyframes attached to a given object or scene and the Region tool helps you easily move or scale any portion of your animation.
View your entire animation in context, complete with markers. Manage keyframes for all your objects, or retime selected animation tracks.
Use F-Curve mode for more detailed adjustment of keyframe interpolation, or to simply view the animation. Edit multiple curves instantly and take advantage of the snapshot capability to view a previously stored curve while adjusting the animation.
Create a library of animations, and add them to your characters or other 3D objects. Blend multiple clips and re-time or loop the animation in non-linear fashion.
Flexible User Interfaces
Animation Dot – An Animation Dot lies next to virtually every C4D parameter, and a simple click on it creates a keyframe. Animate with ease by simply adjusting the time, adjusting the value, and clicking.
Powerslider – Create new keyframes, adjust timing and interpolation and visualize markers and sound waveforms, all within a compact bar directly below your 3D view.
HUD – Add attributes as HUD elements and modify or animate your objects directly in the 3D view.
Use Cinema 4D’s effectors, tags and expressions to animate without keyframes. A variety of presets make it easy to get started, and you can create your own expressions in Cinema 4D’s node-based XPresso editor or via Python programming.
Adding Personality to Polygons
Cinema 4D offers a wide range of easy-to-use and reliable character animation tools and features that help you to create life-like characters and make character animation that much easier. Advanced features such as the Quaternion tag, Cappuccino for recording mouse movement as position data, and Auto Redraw for creating dynamic IK setups streamline the workflow for character animators and riggers.
Advanced Character Animation
Character animators and riggers alike need easy-to-use and reliable tools to help them create life-like characters. In addition to the functions contained in Cinema 4D Prime, Cinema 4D Studio offers numerous additional features that make professional character animation even easier!
The Character Component can be used by technical directors, for example, to define objects or hierarchies of a rig as components. Those components can then be packed into a template and be used by artists to easily create their objects using the Character object. All the power of Cinema 4D’s tools, including Python scripts, can be used to define these components. If you don’t do character animation you can use the Character Component feature to build templates for road systems, pipeline creators and more. Use your creativity to decide what to build with this powerful tool.
The Character object lets you easily build a rig for any character based on expertly-crafted preset templates for bipeds, quadrupeds, fish and more. Automatic mirroring lets you build and adjust rigs symmetrically. Once you’ve adjusted the rig to your character, simply drag the mesh onto the Character object to automatically weight and bind the mesh to the rig. After completing this simple process you’ll have easy access to all Character object controllers and your character is ready to come to life.
Walk Cycles With CMotion
Use the CMotion object to create parametric, cyclical movement for any parameter on your character rig. Custom walk cycles or presets can be quickly and easily applied to your character and fine-tuned to fit your needs with the help of Function Curves. A spline can be added as a movement path and a surface as a floor and your character will interact with these elements and adapt its movement accordingly. An optimized muscle system with special deformers helps you create natural movement for organic shapes. The CMotion Step object also helps you fine-tune your walk cycles to perfection.
Exercise ultimate control over your 3D objects
In basic use, this tag works in conjunction with the Tweak mode to determine if objects can be moved without first being selected, and gives you control over object highlighting.
Use dynamic proxies to interactively adjust other objects based on the polygon selection you click to tweak. Particularly helpful for tasks like character rigging, the Interaction tag also reports all mouse interaction, including the polygon clicked, and allows controlling objects through XPresso, C.O.F.F.E.E. or Python.
Mix Your Models with Sliders
The Pose Morph tag makes it quick and easy to define different character animation states and lets you morph between various types of animation data. Create facial expressions and correctional morphs, and control them with sliders or pose-space deformations. In addition to blending vertex positions, you can easily transition between rotations of entire joint hierarchies, parameters, user data, UVW or vertex maps.
On the move!
With the Cinema 4D MoGraph toolset, motion graphics artists can sink their teeth into a palette of powerful tools that make it easy to create everything from flying logos to abstract effects. Clone numerous objects and create extruded text with just a few simple clicks. Add Effectors to the mix and put everything in motion, and much more – often without creating a single keyframe! All this is perfectly integrated into Cinema 4D and offers a fast and easy workflow. All functions are completely interactive and non-destructive.
At the heart of MoGraph is a powerful yet simple Cloner tool. You can easily create live copies of any object – arranged along a line, circle, grid, object or spline.
Object clones can be placed along points, edges, polygon centers or randomly across the surface of an object. Adjust keyframe parameters to modify clone count, spacing and more. Use other objects in MoGraph to easily create extruded text, fracture and extrude spline-based logos, displace objects in real-time and more. Each object performs its own invaluable function for motion graphics artists, and each can be fully controlled by MoGraph Effectors. Effectors can be applied to almost any MoGraph Generator to effortlessly bring your MoGraph creations to life. Adjust clones mathematically with the Formula Effector or apply the frequency spectrum of an audio file using the Sound Effector. 17 different Effectors can be used in any combination to offer countless animation possibilities.
Shader Effector – The Shader Effector primarily uses a texture’s grayscale values to transform clones. To do this the texture needs to be projected on to the clones.
Sound Effector – The Sound Effector transforms audio into animation by mapping the amplitude at specific frequencies to clones.
Spline Effector – The Spline Effector takes the clones and arranges them on a spline. The first clone at the start of the spline and the last clone at the end of the spline.
Delay Effector – The Delay Effector ensures that the effects of other Effectors with regard to position, scale and rotation do not begin abruptly but with a delay.
With the new Fracture Voronoi object you can tear down walls. Systematically shatter any object into procedural fragments using virtually anything to control the distribution of the shattered pieces. Create artistic procedural geometry using splines, polygon objects or particles. Fracture Voronoi is always live which means you can change elements at any time. As a native MoGraph object it works seamlessly with Dynamics and all the effectors and falloffs you love.
Dynamics System for Stunning, Realistic Motion
MoDynamics is based on the proven Bullet physics library and now you can also use MoGraph’s powerful Effectors to add dynamics for amazing realism. Set simple parameters like mass, bounce, gravity, friction and more and let MoDynamics do the work. Create breathtaking, realistic motion every time.
Let’s Get Physical
Whenever a large number of objects or particles interact with each other or are affected by forces such as wind or gravity, traditional animation methods quickly reach their limits. Animating these elements individually would be a gargantuan task. This is where simulation is the weapon of choice. Complex algorithms are used to generate the animation and interaction of these elements – and Cinema 4D offers a wide range of functions and presets to create breathtaking physical simulations and realistic-looking effects.
The typical behavior and properties of materials such as paper, cloth, hair, feathers or fur can be applied to different objects. In addition to their natural behavior, the properties of these materials can be modified to create abstract, unexpected behavior to fulfill any artist’s creative needs.
Cinema 4D also includes additional tools for creating dynamic simulations of mass, velocity and surface characteristics. Forces such as wind or gravity can be applied to these objects to easily create complex, interactive animations like filling a glass with water, collapsing a wall, making pool balls interact and much more. The Cinema 4D particle system lets complex simulations be created using vast numbers of objects.
Dynamics system for stunning, realistic motion
Rigid Body Dynamics
Rigid Bodies are objects that fall, collide, bounce and more – in short, they interact with forces and with each other. Rigid Bodies interact with simulated natural forces and with each other. Parameters such as Mass, Velocity and Gravity can be used to easily lend dynamic behavior to thousands of objects containing millions of polygons!
Soft Body Dynamics
In addition to Cinema 4D’s Rigid Bodies you can use Soft Body Dynamics to simulate all kinds of objects that are deformed by collisions or other physical forces. Several settings such as stiffness, damping, flexion, etc. let you precisely define how your objects behave when struck, dropped or squashed. Even gas-filled elements can be simulated accurately.
Animate with air? The new aerodynamic features in Cinema 4D make it possible! Simulate air currents and let feathers, paper or leaves glide gently through the air. Use the Double-Sided option to let forces affect objects that have no real depth.
Cinema 4D Studio’s Dynamics contains much more than just Rigid and Soft Bodies. You can use connectors such as hinges, cardans and springs to let objects interact. Angular or linear motors can move your objects without setting keyframes. And to top it off, torque and speed can be set individually to fine-tune your animation.
Force – The Dynamics Force object causes each object to exercise its own radial gravitational force onto every object within its reach.
Motor – A Motor is a Dynamics element that exerts a continuous force or torque on an object to which a Dynamics Body tag has been assigned.
Connector – Connectors restrict the movement/ rotation of Rigid Bodies and Soft Bodies. Without Connectors, objects would only be affected by forces and collisions.
Spring – Springs are elements that exert force that increases in accordance with their distortion.
Dress Your Characters in Style
Cinema 4D’s powerful cloth simulation solution offers the full range of characteristics that are typical for fabrics, including stiffness, flexion, friction and many more. Cloth can even be made to stretch or tear, just like any real fabric would do, whether it’s wool or satin, cotton or silk. Cinema 4Ds cloth simulation is equipped with collision detection and interacts with itself or other scene elements.
Particles up to 11
Thinking Particles is an advanced rule-based particle system that uses Cinema 4D’s XPresso interface to provide complete control over individual particles and particle streams. Thinking Particles can interact with one another and with their environment. Points, edges, surfaces or complete Objects can be used as emitters or to trigger collision events that deflect particles or spawn new streams. Their potential and versatility make Thinking Particles an essential tool for artists to create highly advanced particle effects.
The Key to Ultimate Photorealism
Cinema 4D’s wide range of render options deliver fast and beautiful results thanks to their linear workflow, support for color profiles, multiple processors, HyperThreading and Multi-Core technology. The built-in Advanced Renderer is a professional tool for creating outstanding images and animations, ranging from standard 2D and 3D to stereoscopy.
Its Multi-Pass rendering allows you to easily render color, shadow, reflection, and other effects to individual files. Multiple object-based alpha channels make it easy to layer elements with other 2D and 3D assets. With direct export to standard applications such as Adobe Photoshop, Adobe After Effects, Final Cut Pro, Nuke, Shake, Fusion or Motion, your Multi-Pass layers will be ready to composite in no time. Cinema 4D supports rendering in 16-bit and 32-bit color depth for high dynamics range images in DPX, HDRI or OpenEXR format.
The Physical Render Engine in Cinema 4D lets you render with ultimate realism using real camera settings like focal length, shutter speed, aperture, etc. to add 3D depth of field, optical accurate motion blur, area shadows, ambient occlusion and more to your scene. You can optionally simulate additional characteristics of real-life cameras such as lens distortion, vignetting and chromatic aberration for even more photorealism.
The Physical Renderer’s shared image sampler samples the Project just once and shares the result between all these effects, reducing the incremental time and guaranteeing accurate results.
Achieve greater rendering realism with Global Illumination, which provides a more accurate representation of scene lighting by taking into account light that bounces between objects. The Global Illumination engine can also utilize an HDRI-based sky for outstanding image-based illumination.
Caustic effects simulate the specific refractions and reflections of light on shiny surfaces or through transparent objects. Light that reflects from a golden ring or shines through the water to the bottom of a swimming pool – Cinema 4D makes it easy to create these effects, resulting in highly realistic and accurate scenes.
Cinema 4D is also supported by all major third party renderers.
Sketch and Toon
With the Sketch and Toon toolset in Cinema 4D you create non-photorealistic styles of 3D renderings.
Architects and engineers enjoy the clean and precise technical illustrations it provides, while artists will appreciate the ability to render 3D scenes as a quick scribble or charcoal sketch. Several settings make it easy to create illustrations ranging from halftone stills to cel-rendered animations and to create almost any desired effect.
A few simple settings convert any Cinema 4D camera into a stereo rig. Simply enable one of the stereo modes, define the eye-separation and convergence, and choose between parallel, off-axis, on-axis or radial placement. Safe regions can be set manually or defined automatically by Cinema 4D. You can render the merged image or individual channels and preview the stereo effect within Cinema 4D’s Picture Viewer. Stereo previews can be displayed in Anaglyph, Side-by-Side, Interlaced or Active Shutter mode for compatibility with a variety of 3D monitors, projectors and glasses.
Team Render is Cinema 4D’s network rendering concept that uses peer-to-peer communication to distribute render tasks. Because there’s no bottleneck at a central server, the assets required to render your scene get to each client quicker, speeding up network rendering of animations as well as still frames dramatically.
For bigger studios Team Render Server combines the advantages of a traditional client-server architecture which allows users to control all the render jobs via a web interface with Team Render’s decentralized data exchange. Team Render Server lets you directly upload, monitor and control your network rendering jobs, and view the log status messages from the server and all clients.
Let there be light
Cinema 4D offers a wide variety of light and shadow types that can brighten up even the most challenging situations. Cinema 4D’s extraordinarily powerful lighting system offers numerous options to control color, brightness, falloff and other properties, and for adjusting density and color of each light’s shadows. Light settings such as contrast, lens reflexes, visible or volumetric light, noise, and the possibility to use Lumen or Candela brightness values provide highly realistic results for your scenes.
Many light manufacturers offer IES data for free download to realistically simulate the look of real lighting fixtures. Brightness, color temperature, falloff and direction are already included in IES lights to produce the most realistic lighting. Cinema 4D already includes several pre-defined, ready-to-go setups.
Cinema 4D’s amazing Physical Sky makes it easy to create natural outdoor surroundings for your scene. A large collection of presets including clouds, haze, atmosphere and global positioning helps you to set up the fitting environment.
Windows: Windows 10 64-bit on Intel or AMD 64-bit CPU with SSE3 support
MacOS: 10.14 or higher with 64-bit CPU running on Intel-based Apple Macintosh
To run future releases of Cinema 4D on Mac, you’ll need at least macOS 10.14 and a supported Mac system with at least macOS GPU Family 1_v3. You can check the Metal compatibility in the MacOS System Information, Graphics tab.
We recommend updating to macOS 10.15. There are a number of enhancements to Metal in the latest macOS which will improve the performance, stability and interaction with the viewport.
OS: macOS 10.14 or higher
Metal: macOS GPUFamily1 v3 or higher (see about this Mac → System report → Graphics/Displays)
GPU: only official supported hardware by Apple (feature set macOS GPUFamily1 v3+)
e-GPU: only official supported hardware (please refer to https://support.apple.com/en-us/HT208544)
Although Cinema 4D support all OpenGL 4.1 or Metal GPUFamily1 v3-capable graphics cards, we recommend using a dedicated 3D graphics card with an AMD or NVIDIA chip set.
Maxon is not responsible for the compatibility of individual graphics cards with the OpenGL, OpenCL or Metal mode. Due to the large number and types of available chip sets, operating systems and driver versions we cannot guarantee the compatibility of all systems.
Please make sure that you always use the most current official graphics card driver (no beta versions).
Cinema 4D S24 Service Pack 1
Released June 23, 2021. This update is highly recommended for all R24 users.
Improvements to the Scatter Pen
GPU support was added in Windows to Magic Bullet Looks for the Viewport and Viewport Renderer
Fixed an issue with copying and pasting selected keyframes between different objects within the Timeline
Fixed an issue with maintaining an object’s trajectory when using the Tween tool
Fixed an undo issue with the Update command within the various Selection tags
Fixed an issue with the Tween tool not creating all keyframes when applied after executing the Revert to Saved Project command
Fixed an issue with a redundant warning that was displayed when opening a file while in the BP 3D – UV Edit layout
Fixed a stability issue with BodyPaint 3D
Fixed an issue with the Add Multi Channel Preset command not loading additional channels
Fixed an issue in the node API where the function ListAllNodes could not compare the right values
Fixed an issue with memory used by the Instance object
Fixed an issue with the Thumbnail View of the Pose Library Browser where the individual thumbnail previews were displayed in black
Fixed an issue with a variety of Scene Nodes that were available in the Material mode of the Node Editor
Fixed an issue with saving file assets as a new version
Fixed an issue with an incorrect Primitive Type when adding a Primitive Op Node from the Asset Browser to the Node Editor
Fixed an issue with the Reveal in Browser command when the preview size within the Asset list is set to Grid View
Fixed an issue with the XRef object in the Object Manager incorrectly showing the string of a referenced asset
Fixed an issue with the string “Object” within the Category section of the Asset Browser
Fixed an issue with the Instance object where the Swap with Reference function was available in Multi-Instance mode
Fixed an issue with the appearance of already downloaded assets after using the Clear Downloaded command
Fixed an issue with the multi-language support of the Scene database within the Create Smart Search dialog window
Fixed an issue with redundant dotted lines within the Create Smart Search dialog window
Fixed an issue with the asset preview in the Asset Browser when importing several 3D formats
Fixed an issue with disabling the Bevel Deformer when assigned to a high-poly object
Fixed an issue with imported Alembic files being interpreted with geometry glitches
Fixed an issue with Camera Mapping when projecting the texture from an Alembic camera onto an object
Fixed a performance issue with the FBX file format when closing an active project
Fixed an issue with the selection of the material formats of the USD export options in the preferences
Fixed an issue with not being able to remove the material tag from imported USD files
Fixed an issue with the OBJ export where textures were not consolidated
Fixed an issue with the IGES Curve object that caused an incorrect file structure when saved
Fixed a stability issue with the XRef legacy object when adding a USD file as a reference scene
Fixed a stability issue with the USD format when closing Cinema 4D
Fixed an issue with the opacity of the Uber material when exporting to USD format
Fixed a stability issue with the USD format when closing Cinema 4D
Fixed an issue with the splash screen that always appeared when executing the Open Project command
Fixed a compatibility issue with 3ds Max 2022
Fixed a compatibility issue with Maya 2022
Fixed an issue with the dynamics of the Hair object not being initialized correctly when loading the scene file Interface
Fixed an issue with the GeDialog::InitValues() not being called for dialogs that were docked, collapsed and part of a layout
Fixed an issue with an enabled pick session that could no longer be disabled by pressing the corresponding arrow icon in the Attribute Manager
Fixed an issue with not being able to make a selection when entering a pick session
Fixed an issue with the user interface when selecting the Arabic language
Fixed an issue with the PRS order within the Transform settings of several MoGraph objects
Fixed an issue with the view panel where parts were cut off when resized in multiple Viewport display mode
Fixed an issue with moving a HUD element when the Control-Click for Right-Click option was enabled in the preferences
Fixed an issue with offset text within the bubble help of the Color Chooser
Fixed an issue with the warning dialog when installing into an existing folder of an older version of Cinema 4D
Fixed a performance issue with the Export Licensing Overview command
Fixed an issue with the demo version not being accessible when the Lite license was activated
Fixed an issue with licensing and Cinema 4D Lite
Fixed an issue with the Material Manager being closed when a color value was dragged onto it
Fixed an issue with the Polygon Reduction Generator when created and run with a script
Fixed an issue with the Polygon Reduction Generator not being able to change its Reduction Strength when it was subordinate to the LOD object
Fixed an issue with the Polygon Reduction Generator interfering with each other when used multiple times within a scene
Fixed an issue with the Polygon Reduction Generator when enabling the X-Ray option
Fixed an issue with the appearance of the Legacy Polygon Reduction Generator within the Customize Commands manager
Fixed an issue with the Polygon Reduction Generator’s Reduction Strength setting ignoring hidden polygons when reducing them
Fixed an issue with the Polygon Reduction Generator disappearing during the polygon reduction process
Fixed an issue with the Polygon Reduction Generator not updating the visibility of the Child objects when they were made invisible in the Viewport
Fixed an issue with the Polygon Reduction Generator not rendering with the Physical Renderer in the Viewport when subordinated to the Particle Emitter object
Fixed an issue with the Polygon Reduction Generator when a small scaled polygon object was subordinated to it and its coordinates were changed in the Viewport
Fixed a performance issue with the Polygon Reduction Generator once a Cloner object was assigned and its Viewport mode was changed
Fixed an issue with the Polygon Reduction Generator not rendering with the Physical Renderer when it was a child of a generator object
Fixed an issue with the availability of the Boundary Reduction Angle option of the Polygon Reduction Generator
Fixed an issue with the Connect object not converting Spline objects correctly when they were child of a Cloner object
Fixed an issue with the Move, Rotate and Scale tools when drawing a selection in the Viewport by pressing the right mouse button
Fixed an issue with the selection of Spline objects in the Viewport
Fixed a stability issue with the Stitch and Sew tool
Fixed an issue with the Bevel deformer that caused an assigned Platonic object set to Bucky to disappear
Fixed an issue with the options of the Close Polygon Hole tool not being able to be adjusted after use
Fixed a stability issue with scene files containing the Tube or Cone object
Fixed an issue with the Spline object not being displayed in the Viewport when Model mode was enabled
Fixed an issue with the Spline Pen where the drawn Spline objects became invisible in the Viewport
Fixed an issue with the obsolete OpenSubdiv Catmull-Clark (Adaptive) type of the Subdivision Surface object
Fixed an issue with the Normal Move tool where selected surfaces were not moved correctly
Fixed a typo within the Lathe object’s resource file
Fixed an issue with an existing edge selection being destroyed when using the Optimize function
Fixed an issue with an incorrect Viewport display of the Vertex Color tag in Polygon Points mode
Fixed an issue with the Instance object when switching from Multi-Instances to Render Instances using the Bounding Box Viewport mode
Fixed an issue with the Subdivisions setting of the Cloth Surface hiding selected edges
Fixed an issue with the UV mapping of the Extrude object’s caps surfaces when the Caps Type is set to Regular Grid
Fixed an issue with the Extrude object when extruding a multi-segmented spline object
Fixed a stability issue on Windows when opening projects that contain the Voronoi Fracture object
Fixed an issue with the Connect Objects and Connect Objects + Delete commands when applied only to the top hierarchy level
Fixed an issue with the scaling of point coordinates within the World Coordinate System
Fixed an issue with selecting Spline objects in the Viewport that could not be automatically added to the list during a pick session
Fixed a performance issue with the Voronoi Fracture object
Fixed a stability issue with the Voronoi Fracture object
Fixed an issue with the Python modification layer’s Open Python Editor command loading an empty Expression editor
Fixed an issue with the Commandline Renderer that caused different rendering results compared to the rendering in the Picture Viewer
Fixed an issue with the Boole object not processing the Normal tags of its Child objects
Fixed an issue with the MoSpline object not processing multiple Spline objects that are hierarchically arranged under a Connect object
Fixed an issue with excluded particle modifiers still affecting the MoSpline object
Fixed an issue with the Shader effector not working when the applied texture is projected with Camera Mapping
Fixed an issue with the MoSpline object not emulating all grouped spline objects of a Connect object as its Source Spline
Fixed an issue with Multi-Instances being used with the Particle Emitter object
Fixed an issue with the topology of the Sweep object containing a MoSpline object scaled to zero
Fixed an issue with the point display of multiple selected Voronoi Fracture objects
Fixed a refresh issue with the MoGraph Weightmap and the Viewport
Moves by Maxon
Fixed an issue with the UVs of the Face Capture object
Fixed a stability issue with Moves by Maxon
Fixed an issue with folded ports still trying to connect in the Node view
Fixed a refresh issue with the Node Editor when enabling/disabling the Error option within the Node Editor preferences
Fixed an issue with the Node Editor’s mode when removing an activated Node material
Fixed an issue with the Node material where a minimized Node Editor window would not open when double-clicking on it
Fixed a stability issue with the Scene Manager when adding an asset from the Asset Browser to an existing stack
Fixed an issue with interactively applying the Move and Scale tools to a Scene Node object in the Viewport
Fixed an issue with the output of the Polygon Index and the Edge Index of the Closest Point node
Fixed an issue with deleting unused nodes in the Node Editor which resulted in an incorrect node graph and aborted scene evaluation
Fixed an issue with the behavior of the Linear Transformed node’s Scale Step value
Fixed an issue with the Matrix Op node where changing its size directly in the Attribute Manager input fields affected the size and rotation of the axis directions
Fixed a performance issue with the output of the Distance node constantly calculating the distance between the positions when the Port Inspector was enabled
Fixed an issue with not being able to drag and drop an asset from the Asset Browser to the Scene Manager when it was docked to the layout
Fixed a stability issue with the Console Out node caused by a corrupted connection to the Scene Root node
Fixed an issue with the Gravity setting of the Rain node that caused the force to work in the wrong direction
Fixed an issue with the Avoid Self Intersections option of the Extrude Line node being available when used with a Solid shaped transition
Fixed an issue with the Live Selection tool’s selection brush when used on Scene Node objects in the Viewport
Fixed a stability issue with the Outlines input of the Lines Topology Set node
Fixed a stability issue with the Loft Line node and its Start Cap and End Cap options when used with a Solid shaped transition
Fixed a performance issue with the Start Cap and End Cap options of the Sweep Line node
Fixed an issue with the Viewport’s Frame Geometry function not being applied to Scene Nodes
Fixed a performance issue with the Console Out node when output information is generated to the console
Fixed an issue with the Color Op and Blend Color Op nodes not coloring when connected to a Children Op node
Fixed an issue with the texture projection and the Scene Nodes’ Display settings
Fixed an issue with the Material Manager’s Delete Unused Materials command deleting materials assigned to a Material Op node
Fixed an issue with a redundant Output tab of the Trefoil and Trigonometry nodes
Fixed an issue with the Transform Matrices node producing an error when being dropped onto an existing wire
Fixed an issue with an incorrect file structure when opening Scene Node files created with a prior version
Fixed an issue with the Vertex node generating an incorrect output as soon as the Align option is enabled
Fixed an issue with the Surface Fill node where the Voxel Group Offset setting caused a dense distribution
Fixed an issue with connections not being made in the Node Editor when using the context menu in the Attribute Manager
Fixed a stability issue with the Loop Carried Value node when the Operation mode of an implemented Aggregate node was changed from Average to Min
Fixed an issue with the Cloner node where the cloner objects disappeared from the Viewport
Fixed an issue with the Distribution Op node when the Bypass option is enabled in the Scene Manager
Fixed an issue with invalid connections being made to the Op Output of several Op nodes
Fixed a stability issue with the Replace Node function in the Attribute Manager’s context menu of the Cloner node
Fixed a performance issue with the Port Inspector when displaying the values of some output ports
Fixed an issue with the Align option of the Standard Particles Distribution Op node
Fixed an issue with the Group Nodes command when applied to specific nodes
Fixed an issue with the Linear Transformed node where the Scale Step setting resulted in inverted scaling steps
Fixed a stability issue with the Material Op node when it contains a Node material
Fixed an issue with the Geometry Modifier Group node not being able to be dragged onto an existing connection
Fixed a refresh issue with the Node Editor’s Edit Asset window
Fixed an issue with the Align option of the Standard Particles node affecting the particle size
Fixed an issue with the Range node not being available anymore
Fixed an issue with the Concatenate String node not being able to be dragged onto an existing connection
Fixed an issue with the Distribution input of the Cloner node
Fixed an issue with the Surface Fill Distribution Op node where the clones jumped when the assigned surface was growing
Fixed an issue with folding the top level hierarchy within the Scene Manager
Fixed an issue with the Cloner node where the Distribution input within the Scene Manager was misspelled
Fixed an issue with the Scene Manager’s Stack Folding not working when the parent stack was folded
Fixed an issue with the transformation of the Primitive Op nodes when connected to the Geometry Property Interpolate node
Fixed a stability issue with the Iterate Collection node when selecting the Data Inspector in the Outer Scope output
Fixed an issue with the Geometry Modifier Group node and the Selection Modifier Group node not using the correct default icon when converted to an asset
Fixed an issue with selecting multiple entries in the Scene Manager while holding down the Ctrl key
Fixed an issue with the multiple selection of bookmarked icons in the Scene Manager
Fixed an issue with the Scene Manager stack when dragging and dropping the elements to change their order
Fixed an issue with an unresponsive Node Editor and Scene Manager when changing a running animation
Fixed an issue with the output of the Arithmetic node when copying the node and changing its data type
Fixed a performance issue with the Primitive Op node that occurred when opening the context menu of the connector icon in the coordinates rubric of the Attribute Manager
Fixed an issue with the Viewport output of several animated node scenes
Fixed an issue with the Switch node where an incorrect value was applied when it was copied and the Data Type was changed
Fixed a stability issue with the Material Parametrization node when dragging it to the Node Editor
Fixed an issue with the Extrude node when the Use Islands option is enabled Objects
Fixed an issue with the spline shape of the Helix object
Fixed an issue with the Install Language function not displaying detailed version information for each available language
Fixed an issue with the Install Language function restarting with the system language instead of the selected default language
Fixed an issue with the Install Language function where it was not possible to install a language when the installation process was previously cancelled
Fixed an issue with the Add Objects to Database command not being able to add selected objects to a newly created database
Fixed a stability issue with resolving an assetdb url with Url::IoNormalize()
Fixed a stability issue with certain combinations of displacement and render instances
Fixed an issue with the Match Case option of the Naming tool
Fixed an issue with Multi-Passes not being rendered correctly in After Effects
Fixed an issue with the Cinema 4D version number being set incorrectly in the corresponding .plist file on macOS
Fixed a refresh issue with the Send to Magic Bullet Looks command where changes were not applied to the rendered image in the Picture Viewer
Fixed an issue with the MBL Raw Multi-Pass not being used correctly when sending the current Viewport display to Magic Bullet Looks
Project Asset Inspector
Fixed a stability issue with the Project Asset Inspector that occurred when performing undo and redo of the Delete Asset command
Fixed an issue with the Consolidate Assets command when applied to assets from the Asset Browser
Fixed a performance issue with the Project Asset Inspector when loading a large number of textures
Fixed an issue with the Project Asset Inspector where dragging assets to another manager was not possible
Fixed an issue with the modeling command MCOMMAND_MIRROR not duplicating polygons
Fixed an issue with a non-descriptive SystemError being returned when a node space with a user-specified ID did not exist
Fixed an issue with CPyBaseList2D_GetNimbusRef not returning None when a namespace was not found
Fixed an issue with parentid and sortid parameters when using RegisterPreferencePlugin in python
Fixed an issue with SymbolCache not being updated after modifying the resource files
Fixed an issue with GetFilename not returning the full path
Fixed an issue with the console character limit which is now extended to 120000 characters per print
Fixed an issue with BAKE_TEX_AO_VERTEXMAPS not being supported by the Bake Texture function
Fixed an issue with the console not handling pairs of carriage return and new line characters properly
Fixed an issue with an error returned by InitBakeTexture
Fixed an issue with the default value of the SearchPluginMenuResource’s parameter
Fixed an issue with CCurve.GetTangents’s arguments
Fixed a stability issue with the default argument for GetAllAssetsNew
Fixed an issue with Render Presets that caused the first render preset to be activated by default when deleting one of multiple presets
Fixed an issue with the Magic Bullet Looks’ Pop tool where the color was repeated at the image boundary
Fixed a stability issue with enabling the Magic Bullet Looks option when applied directly in the Viewport
Fixed an issue with Magic Bullet Looks’ Pop tool producing different results in the Viewport and Picture Viewer when negative Pop values were applied
Fixed an issue with Magic Bullet Looks when it was subsequently applied to a rendered animation in the Picture Viewer
Fixed an issue with the Magic Bullet Looks option in the Render Settings could not be activated for existing scenes
Fixed an issue with the plugin paths not being set for the Command Line Renderer
Scene Layout Tools
Fixed an issue with the default Seed value of the Scatter Pen
Fixed an issue with the Scatter Pen when its frequency was changed in the Object Palette
Fixed an issue with the user interface of the Scatter Pen in the Attribute Manager
Fixed an issue with the radius option of the Scatter Pen not affecting the scattered object when scaled interactively in the Viewport
Fixed an issue with a moved Scatter object jumping back to its position once the Scatter Pen painted with that object
Fixed an issue with the Place tool that prevented the Interactive Render Region from being placed and scaled in the Viewport
Fixed an issue with the axis of the Scatter object when it was made editable
Fixed an issue with the Place tool that affected the Camera object’s pick session when defining the focus distance
Fixed an issue with the scaling handle of the Place tool that moved away when scaling elements interactively in the Viewport
Fixed an issue with the Place tool where XRef objects could not be scaled
Fixed an issue with the Place tool when interactively scaling elements in the Viewport
Fixed an undo issue with the Place tool where the bounding box remained in the Viewport
Fixed an issue with a redundant bounding box appearing in the Viewport when the Dynamic Place tool was selected
Fixed an issue with the Dynamic Place tool not supporting multiple objects when using the Cappuccino tool
Fixed an issue with the Viewport’s Multi-Select Axes option not working with the Dynamic Place tool
Fixed an issue with the Place tool where the handles in the Viewport disappeared once the Texture UV Editor was opened
Fixed an issue with the Place tool when duplicating selected elements with the Cmd/Ctrl key
Fixed a performance issue with the Place tool when using the Move tool within the Texture UV Editor
Fixed a stability issue with the Dynamic Place tool and the Render to Picture Viewer command
Fixed an issue with the Place tool when used with a custom startup layout Scupltping
Fixed a stability issue with the Sculpting tools and the Texture UV Editor
Fixed a refresh issue with hierarchical changes made to Takes within the Take Manager Texture Baking
Fixed an issue with the Single Texture option of the Bake Object command
Fixed an issue with the track properties when defining the different track animations that caused the last keyframe to get stuck
Fixed an issue with the Spline to Position Track command inaccurately converting the different spline types to animation paths
Fixed a performance issue with the Timeline when the Show Tracks command was applied to a large number of tracks
Fixed an issue with copying and pasting tracks in F-Curve mode
Fixed an issue with the Web Data window in preferences where the Maxon logo was not updated
Fixed an issue with the Revert to Saved Project command generating a redundant warning message due to a texture loaded in the Texture UV Editor
Fixed an issue with UV visualization when using the Show UV Display command
Fixed an issue with the Texture UV Editor where selected edges were highlighted incorrectly
Fixed a performance issue with assigning Multi-Color Islands when the UV Mesh option is enabled
Fixed a performance issue with the Texture UV Editor when selecting UV polygons
Fixed a performance issue with the Viewport preview of the Spline Pen
Fixed an issue with the Sel.: Bounding Box option being disabled in the preferences but still displayed in the Viewport for selected Spline objects
Fixed a performance issue with the range indicator of the Spline Sketch tool when drawing in the Viewport
Fixed a stability issue with the Viewport Renderer when rendering in the Picture Viewer
Fixed a stability issue with the Viewport when playing an animation
Fixed an issue with the Measure & Construction tool not being displayed when rendered with the Viewport Renderer
Fixed an issue with the Viewport when importing the FBX file format
Fixed an issue with the Fur object when the object’s origin was moved outside the visibility of the Viewport
Fixed an issue with the Bounding Box Viewport mode of the Cloner Object when used in Multi-Instance mode
Fixed an issue with the preview of the Mirror tool in the Viewport when used in the Screen coordinate system
Fixed an issue with the preview of the Cross-Section tool in the Viewport
Fixed an issue with memory allocation of the ShaderCache
Fixed an issue with green reflections in the Viewport on the Apple M1
Fixed a stability issue with the Texture UV Editor when using the UV Map command
Fixed a stability issue with the Spline Pen and the Spline Arc tool when being used in the Viewport
Fixed a performance issue with toggling the active view in multiple Viewport display mode
Fixed a performance issue with the Spline Pen when the mouse pointer was moved over a spline section in the Viewport while holding down the Ctrl/Cmd key
Fixed an issue with the Spline Pen where the corresponding segment was not highlighted when the mouse cursor hovered over it in the Viewport
Fixed a performance issue with the Spline Smooth tool that occurred when moving over spline segments with a large radius
Fixed a stability issue with the Texture UV Editor when loading an existing texture from the Texture view’s File menu
Fixed an issue with the Viewport when using Backface Culling in Box display mode
Fixed an issue with an undefined Supersampling parameter in the Attribute Manager that occurred especially with existing scenes
Fixed an issue with the Move tool when used on Spline objects in the Viewport
Fixed an issue with the Live Selection brush where the selection in the Viewport was delayed when the radius was set to a value less than or equal to 1
Fixed a stability issue with the Viewport when the Maximum Transparency was set to a high value
Fixed a performance issue with the Live Selection brush when used with a large radius value
Fixed an issue with the Viewport display when the Magic Bullet Looks and Stereoscopic options were applied at the same time
Fixed a performance issue with the Texture UV Editor when changing the Shading settings
Fixed an issue with the UI icons of the Vector Filters in the Object Manager and the Volume Builder
Fixed an issue with the redundant X-Ray option of the Volume Loader
Fixed an issue with the Volume Builder’s Auto Update Settings option when using with a Cache Layer
Fixed an issue with the Volume Builder cache layer where a cached simulation did not match the original one
Fixed an issue with the Volume Builder where unassigned Field objects influenced the volume
Fixed and issue with the Volume Mesh command being applied to child objects of the Volume Builder
Fixed an issue with the Volume Builder when displaying Isoparm lines in the Viewport
Fixed an issue with the Volume Builder when a volume was built from Spline objects and deformed by forces as a Soft Body
Fixed an issue with the Basic properties of the Volume Builder where a redundant X-Ray option was available
Fixed a stability issue with the FloatFunc Operator node that occurred when the Sqrt function used negative values
What’s new in S22?
New UV Workflow Enhancements, Improved Packing and Automatic UVs
Improved selection tools, visualization tools and a progressive unwrapping workflow make it much simpler to define a UV map, while new packing algorithms optimize texture resolution. A new automatic UV unwrapping option based on the Ministry of Flat licensed technology developed by Eskil Steenberg of Quel Solaar makes it easy to create a basic unwrap with minimal distortion and overlaps for baking and texture painting.
Cinema 4D’s new viewport core provides a framework to make the best use of graphics technology in the coming years, with full support for Apple Metal. Users enjoy a more accurate view of the 3D scene, improved filtering and multi-instance performance.
Pipeline – GTLF export, GoZ Integration and More
GLTF export offers users a flexible and efficient format for sharing 3D animations on the web and within AR applications, while GoZ integration offers a smooth workflow with Pixologic Z-Brush for advanced sculpting. Support for Nodal materials within FBX and
Cineware expands the pipeline for advanced materials.
Modeling Tools Improvements
In addition to many small usability enhancements, modeling tools are faster and more robust, and better preserve mesh attributes like UV and vertex maps, thanks to a new core architecture.
Organizational Licensing Options
Volume License Customers can leverage organizational accounts within the MyMaxon ecosystem to assign licenses to individual users or groups, coupling the flexibility of floating licenses with the accessibility and reliability of Maxon’s servers.
What’s new in R21?
There’s more to the all-new Caps and Bevels than just fancy logos and text, and the enhancements to Volume Modeling and the Modeling Core Updates offer more efficient and accelerated workflows.
New Caps and Bevels
We’ve completely reinvented the creation of 3D fontography in Cinema 4D with improved constraints and internal bevels, Delaunay cap skinning, and a new library of bevel presets including the ability to draw your own bevel profiles. But this feature is more than just fancy fonts and text – caps and bevels are integrated on all the spline-based objects – lathe, loft, sweep, etc. for unlimited possibilities. Caps and bevels are created as a single object, with additional and more obvious selection sets for Shells and Edges. There’s even an option for linking start and end caps.
Volume Modeling Enhancements
Since its introduction last year, you’ve been creating amazing organic shapes from simple objects with Cinema 4D’s OpenVDB-based Volume Builder. Based on your feedback, we’ve streamlined and improved the workflow of this incredibly powerful toolset.
CACHE LAYER – With the Cache Layer you can store the results of multiple VDB layers for faster workflow when creating complex models and effects. Caches can be used as the foundation for further adjustments and cleared at any time.
VECTOR VOLUMES – Create dramatic forms based on shape outlines with new Vector Volumes. The direction values stored in these volumes can be used in the Field Force or Target Effector to guide particles, dynamic effects and MoGraph objects.
Other Volume Modeling Enhancements
IMPROVED UI FOR VOLUME FILTERS – Fog Volumes can now be filtered via Multiply or Invert operations, and VDB filter types are now available as dedicated objects so can be added and managed more easily.
SPLINE UI TO DEFINE SCALE ALONG SPLINE – Gain ultimate control over volumes based on splines with a curve-based UI to adjust the thickness of the volume at each point along the spline’s length.
VERTEX MAPS FOR CURVATURE – Create Curvature maps when meshing a volume to use when shading and defining MoGraph and field-based effects. Add clones in the nooks and color the crannies to your heart’s content.
Modeling Core Updates
You’ll enjoy improvements to primitives and several key modeling tools as part of the ongoing migration to Cinema 4D’s new modeling core. It’s now possible to copy and paste points and polygons between objects and scenes. Primitive caps are now automatically welded. The modeling commands you use most – Extrude, Extrude Inner, Weld, Split and Polygon Groups to Objects – are much faster and preserve UVs and other surface attributes.
You’re going to love the new Field Forces for controlling dynamics, the Mixamo Rig for quickly and easily adding character animation and the many workflow enhancements added to Fields.
With the new Field Force dynamics object you can use the power of fields to control dynamic forces in your animations.
Fields Workflow Enhancements
CHANNEL MIX FIELD – Convert between values, color and direction in Fields to vary the strength of effects based on color or direction. Use strength or color to define direction in the new Field Force object.
SUBFIELDS WORKFLOW ENHANCEMENTS – The new hierarchical view makes it easier and more efficient to manage the subfields of other fields. For a better overview and workflow you can now see subfields in the main Field list.
MASK WORKFLOW – Use one or more fields to mask the effects of another field for exciting and complex results.
DEFINE NORMAL DIRECTION WITH FIELDS – Normal Tags can now be modified by fields, and have a field list (for use with Target Effector, Field Force, etc.)(for more Fields improvements see the full features list)
MIXAMO CONTROL RIG – Need a fast and flexible way to add, adjust and combine simple character animation? This new rig allows you to easily apply, adjust and mix mocap data from Adobe Mixamo, and will have your character up and running in a matter of minutes.
WEIGHTING IMPROVEMENTS – Achieve better automatic weighting thanks to new built-in algorithms and an improved Weight Manager. Use the new volumetric and heatmap modes and bone glow options, as well as a new and improved smoothing algorithm to get off to a great start with your character animation creations.
New Denoiser technology from Intel, new material nodes, improvements to the node workflow and some substantial updates to ProRender will power your creativity into amazing imagery.
Intel Open Image Denoiser
Get great renders out the door faster than ever before with the power of machine learning and Intel’s Open Image Denoiser. This breakthrough technology cleans up typical render noise so fewer iterations are needed for an acceptable image. Best of all, the denoiser is implemented as a post effect and available for Cinema 4D’s Physical Render, ProRender, Redshift and third-party render engines.
Nodes for Everyone!
You’ve told us how much you love the new Node-Based Materials introduced in Cinema 4D R20 – and how much you’d love to use the same interface with third-party render engines. Cinema 4D Release 21 introduces Node Spaces for managing nodal setups for multiple render engines within a single material, and many of the most popular external render engines are already evaluating the new API to implement their own Node Spaces.
NEW PHYSICAL RENDER NODES – You can now cache the 2D result of nodes, and generate various effects like blur, sharpen and emboss. The Cells node allows advanced control of Voronoi patterns. With the Trace Multi-Ray node you can generate advanced shading effects like ambient occlusion, blurry reflections, rounded edges and more.
PRO RENDER ENHANCEMENTS – Users on Windows and Mac can take advantage of the latest ProRender enhancements to harness the GPU for rendering. Create advanced ProRender materials using nodes and the powerful new Node Spaces. ProRender features more than 70 unique material nodes, which include the ability to render volumes. There’s also new multipass options and support for out-of-core HDRI skies.
DRAG AND DROP NODE WORKFLOW – Now you can duplicate nodes with a simple drag-and-drop, and drag to rearrange the ports within each node. New input and output nodes make it easy to untangle the wires.
PROTECT YOUR NODES – Export encrypted versions of node assets to sell or share without exposing the details of your handiwork.
Create your own custom passes by using the power of AOVs. You can create a pass for every node you might need for your final composite.
Cinema 4D has been given a facelift with support for HiDPI displays and some menu adjustments. The new Asset Inspector makes it easy to find/link/collect assets and the UV Transform Tool provides some additional tools for managing UVs.
Easy on the Eyes and Quick on the Draw
Cinema 4D has gotten a facelift, but there’s great benefits below the surface as well. You’ll enjoy clear, anti-aliased display of HiDPI UI elements – on Windows and Mac. High-res displays push more pixels, but Cinema 4D’s managers have been optimized to perform better than ever before. An updated look-and-feel also provides a more modern UI with improved colors.
A Better UX for You
You’ll feel right at home with Cinema 4D’s updated menus
NEW DEFAULTS – Get up and running right away with updated defaults based on the most common user tweaks.
MENU RE-ORGANIZATION – It’s easier than ever to find the command or tag you need thanks to updated menus. Features are always quick at hand thanks to Commander, which now remembers the last thing you did.
MAC-OS ENHANCEMENTS – On macOS, the Cinema 4D main menu now appears where it should – at the top of the screen, giving you more workspace than before. macOS Dark Screen Support helps you focus on your work rather than on the interface. And thanks to the HiDPI support, the Cinema 4D interface looks super crisp on Apple’s hi-res displays.
No more harmful UVs
Cinema 4D Release 21 lays the groundwork for future UV enhancements, with an improved Texture / UV view that’s anti-aliased and faster. With the new UV Transform Tool you can modify UV points and polygons easily – tweaking position, rotation, scale, skew and distortion of entire UV sections easily. Further enhancements include a UV ruler display, option for quantized UV transformations and snapping support for UV points and edges.
Assets aren’t Liabilities
Now it’s easy to wrangle all the external files associated with your Cinema 4D projects, from textures and audio to Alembic and other caches. Cinema 4D’s Asset Inspector makes it easy to identify the assets in a scene, fix links and collect files.
CUSTOM ICONS – Organize your object manager like never before with custom, colorized icons for all your objects and tags. Choose your own image for each icon, or choose from handy presets. You can keep the colors of the image, or replace them based on a custom color or the display color of the object. It’s easier than ever for TDs to create templates and rigs anyone can understand!
EXCHANGE – Cinema 4D has always played friendly with other applications. R21 includes improved support for Solidworks, STEP, Catia, IGES and JT formats. There’s a preference to show/suppress import dialogs, and the file selector now appears after export settings. And, you have an option to import instances as regular or render versions as well as import hidden objects with a “_hidden” suffix.
TEXTURE LINKING – In Cinema 4D Release 21, you can choose whether textures are copied or linked by default, rather than dealing with a dialog each time you add a texture. This will save you millions of clicks, and that’s not an exaggeration.
The Maxon 3D and Design Shows offer presentations by Maxon's training professionals sharing a host of time-saving and valuable tips and techniques for Cinema 4D, Redshift and Red Giant. If you've missed any of them, Maxon has posted them to their Maxon VFX Youtube channel, so you can watch at your leisure.
This Dynamic Christmas Tree tutorial comes from Dave from CG Shortcuts. Learn how to create an animated Christmas Tree in Cinema 4D! We'll be using dynamics in C4D to build a Christmas tree out of Christmas baubles.
In this tutorial, EJ Hassenfratz from eyedesyn explains how the caps and bevels update in R21 can change the way you work with not only 3D type, but other generator objects like Sweeps and Extrude objects.
Bokeh is a type of defocus or lens blur where the blur takes on the shape of the lens diaphram. We explain how to pronounce the word, how it is created, and show lots of cool examples. Also, a few plug-ins to create a bokeh in post-production.
In this tutorial series, Dave Bergin from CG Shortcuts, goes over the process of creating abstract spheres in Cinema 4D, and the lighting and texturing of those spheres with Octane. It also includes free project files.
This is the seventh and final round of videos from SIGGRAPH 2018, held in August in Vancouver, Canada. Watch the fantastic presentations from David Koss and Matt Milstead, David Brodeur, Al Heck and Jon Weinberger, and Aaron Sorenson, all presenting with Cinema 4D Release 20.
Create mountains using Redshift, Cinema 4D, and World Machine, a free windows app that lets you create 3D terrain.World Machine is a free windows app that lets you create 3D terrain for your favorite 3D app, Unity, and Unreal Engine.
Daniel Danielsson is a Freelance Director / Motion Designer who is based in Hertfordshire, which is north of London, England. I'm not sure how much snow and ice they get there, but Daniel has some fantastic Cinema 4D tutorials on creating frost and ice.
EJ Hassenfratz from eyedesyn explains how to use the Shader Effector to make HUD elements. He also explains the difference between the Shader and Random Effectors, the benefits of using the Shader Effector and much more.
With all the different renderers out there, it’s sometimes difficult to determine which is the best for you and your needs. Chad Ashley from Greyscalegorilla has a breakdown of the pro’s and cons of some of the renders GSG recommends. Read an excerpt here and follow the link to the full article.
Chris Schmidt from Greyscalegorilla teaches you the most important settings for soft body dynamics in Cinema 4D, so you can quickly and intuitively create whatever consistency you want on your objects.
EJ Hassenfranz of Eyedesyn explains how he modeled, rigged, and textured a cute little candy heart in Cinema 4D. EJ has made a lot of tutorials about character animation, so you'll see a lot of his stuff here today. So, thank you to EJ for being a great teacher and for being so willing to share his knowledge!
Demons are rising, ghosts are haunting and blood is flowing with these Halloween themed tutorials that we have collected to help take the horror out of making frightening creations. Updated: October 25, 2016.
With the upcoming September release of MAXON C4D R18, we wanted to know more about all the new features and figured you did too. From Voronoi fracture & mograph enhancements, to new shaders and tools, C4D R18 had tons of new additions to unlock your 3D creativity.
Pete Maric, triplet3d.com shows how to model a pitcher with spline and lathe NURBS, editing the points to create the top lip. He uses the Explosion FX deformer to add thickness to the walls of the pitcher then explains how to model the handle of the pitcher using sweep NURBS and scale curves. This is tutorial #3 on the page, so scroll down to watch.
If you apply a glass material to an enclosed object, you will see a lot of refraction, making the object look like it’s a solid mass of glass, like a bowling ball or paper weight. Noah Witchell shows you how to create the look of thin, delicate glass, the type you might see on a light bulb or nice wine glass.
In this tutorial, you’ll learn how to use MochaBlend C4D to turn a perspective track in mocha into an object solve in C4D. You’ll learn the best way to track a plane in mocha for MochaBlend’s Perspective-Solver, and how to identify some common problems when working with the solver.
In this tutorial, you’ll learn how to use MochaBlend C4D to turn a perspective track in mocha into an object solve in C4D. You’ll learn the best way to track a plane in mocha for MochaBlend’s Perspective-Solver, and how to identify some common problems when working with the solver.
In this tutorial, you’ll learn about creating 3D motion from a non-perspective track in mocha. We’ll be using MochaBlend C4D’s 2.5D solver to create the 3D motion. You’ll learn how to analyze the motion in your shot so you can both track it properly in mocha, and choose the correct solver in MochaBlend C4D.
Learn Cinema 4D along with Michele! In the latest episode of Michele Learns CINEMA 4D, Michele Yamazaki of Toolfarm talks about the CV-ArtSmart plug-in from Cineversity, and then goes into a full tutorial about creating sand dunes like you might see along Lake Michigan, complete with dune grass made with hair.
Question: I am very inspired by Andrew McMurry’s work in the Visual Effects/ Media Arts. I’d like to start making my own videos and bringing them to life. I was told by a Visual Effects distributor to ask you some questions on some recommended software, or apps that could point me in the right direction.
Watch presentations recorded live from the MAXON Cinema 4D booth at NAB 2015 in Las Vegas, NV. We will be adding more to this page as they become available, so bookmark it and check back often. Updated May 14, 2015.
RealFlow Expert Thomas Schlick give us a detailed description on how to use RealFlow with CINEMA 4D. You will learn:The difference between the connectivity plugins and the RFRKBasic import features & file formats of the connectivity pluginsHow to export point level animationThe new RealFlow MeltMaterialConnecting RealFlow particles wtih PyroClusterThe Basic RFRK workflowMeshing in Cinema 4DWork with vertex mapsImporting particle dataAnd more!
EJ Hassenfranz explains how to skip Photoshop and use the Spline Shader and text (or any spline shape!) as a 2D resolution independent material. He goes deeper, explaining how to use a bump or displacement channels of a material for embossed or stamped metal looks.
"In this tutorial you’ll be creating a full motion graphics 3D animation for a disco party. You’ll start by creating some basic models and deforming them. We’ll dig quite deeply in shading to achieve some detailed and organic textures. Finally, we’ll animate all the elements in an attractive way and create a rotating camera to follow the whole scene. We’ll finish up in After Effects where we’ll add some sexiness to the animation." - Daniel Lorenzo of cgtuts+
In today’s tutorial, new Cgtuts+ author Mario Brajdic will introduce you to working with displacement and deformers in Cinema 4D and show you how this powerful combination can be used in conjunction with custom materials, lighting, and post effects to create some truly unique and visually stunning results.
Post by Stefan Surmabojov at CGtuts+ : “In this tutorial we are going to create a Valentine’s Day themed animation in Cinema 4D and After Effects.... Use particles and forces in Cinema 4D, as well as MoDynamics and Effectors to put everything together to create our final animation. Finally we’ll add materials, light and render the scene before finishing it up in After Effects with some compositing and post effects."
Posted by Peder Norrby. Tutorial showing how to create a scene in Cinema 4D and export an OBJ and Cinema’s camera. And import all this in Adobe After Effects so the Cinema render perfectly matches Trapcode Form.
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