Tag Archives: Cinema 4D

NAB 2019: Maxon acquires Redshift Rendering Technologies

Maxon, makers of Cinema 4D, has purchased Redshift Rendering Technologies, developers of the Redshift rendering engine. Redshift is a flexible GPU-accelerated renderer targeting high-end production. Redshift offers an extensive suite of features that makes rendering complicated 3D projects faster. Redshift is available as a plugin for Maxon’s Cinema 4D and other industry-standard 3D applications.

“Rendering can be the most time-consuming and demanding aspect of 3D content creation,” said David McGavran, CEO of Maxon. “Redshift’s speed and efficiency combined with Cinema 4D’s responsive workflow make it a perfect match for our portfolio.”

“We’ve always admired Maxon and the Cinema 4D community, and are thrilled to be a part of it,” said Nicolas Burtnyk, co-founder/CEO, Redshift. “We are looking forward to working closely with Maxon, collaborating on seamless integration of Redshift into Cinema 4D and continuing to push the boundaries of what’s possible with production-ready GPU rendering.”

Redshift is used by post companies, including Technicolor, Digital Domain, Encore Hollywood and Blizzard. Redshift has been used for VFX and motion graphics on projects such as Black Panther, Aquaman, Captain Marvel, Rampage, American Gods, Gotham, The Expanse and more.

Behind the Title: 3D artist Trevor Kerr

NAME: Trevor Kerr (@kerrmotion)

WHAT’S YOUR JOB TITLE?
I am a freelance 3D Generalist.

WHAT DOES THAT ENTAIL?
Most often a generalist like myself will tackle anything from layout to composite and everything in between. Lately, I’ve been focusing on environments and effects to ultimately specialize in one or the other.

WHAT WOULD SURPRISE PEOPLE THE MOST ABOUT WHAT FALLS UNDER THAT TITLE?
I think that it can be surprising how much one person can tackle on their own. I’ve finished some fairly intricate shots for a single artist pipeline.
My latest Star Wars short film was made almost completely by myself in under two months. Of course, working with a team has incredible multidisciplinary benefits as well.

HOW LONG HAVE YOU BEEN WORKING IN VFX?
I’ve been in 3D since 2012, and started pursuing visual effects in late 2014.

HOW HAS THE VFX/GRAPHICS INDUSTRY CHANGED IN THE TIME YOU’VE BEEN WORKING? 
One difference of note in day-to-day life, in my short experience is the arrival of the IPR for many render solutions. I think learning 3D without an IPR forces you to think about efficiency which is, in many ways, a good thing. Instant feedback and progressive rendering is a massive time-saver, but I’m curious to see what long-term effects it has on the communal rendering psyche.

DID A PARTICULAR FILM INSPIRE YOU ALONG THIS PATH IN ENTERTAINMENT?
As a child I was most certainly inspired and motivated by Star Wars and Jurassic Park. I was very interested in figuring out how to take the audience on a journey in the same way that these films did.

DID YOU GO TO SCHOOL FOR VFX/GRAPHICS?
I went to school for music and art history, but I ended up taking a job for a studio before I finished my bachelors. My drive to work in entertainment and film always motivated my personal learning and continues to do so every day!

WHAT’S YOUR FAVORITE PART OF THE JOB?
My favorite part of the job is seeing everything come together. I have a massive appreciation for each step of the process — from concepting and layout to assembly and composite. Seeing the final frames in motion is always a thrill.

WHAT’S YOUR LEAST FAVORITE?
I think it’s hard to really nail down a least favorite, per se, because of how double-sided so many aspects of this industry are. A good example of this would be at the start of a job — what looks like an impossible task staring you in the face also doubles as extreme excitement and motivation to get started. To me, the subject is too nuanced to simply say, “This part is no good.”

IF YOU DIDN’T HAVE THIS JOB, WHAT WOULD YOU BE DOING INSTEAD?
This is a fantastic question, because I really cannot see myself doing anything else. I dabbled in audio engineering for a little while, so maybe something along the way of sound design — but is that so dissimilar from what I do now? It would certainly be something film-related, I’m sure.

CAN YOU NAME SOME RECENT PROJECTS YOU HAVE WORKED ON?
Well, I currently have the pleasure of working on a project for League of Legends. I was also recently at Siggraph presenting for both Maxon and Autodesk on my recent Star Wars personal project. Prior to that was a piece for Disney’s Jungle Book and presenting for Maxon at NAB.

possible-mainWHAT IS THE PROJECT THAT YOU ARE MOST PROUD OF?
Well, from an overall execution standpoint, I think I’m most proud of my recent Star Wars personal project. The timeline was a little under two months — so for the timeline I think it is my best work. The layout, shaders and composite could use much more work — but I’m still happy to have learned everything I did along the way.

WHAT TOOLS DO YOU USE DAY TO DAY?
I mostly use Cinema 4D and Houdini for 3D work. My preferred render suite is primarily Arnold, but am also versed in Octane. Compositing is typically handled in Nuke or After Effects. Lately, I’ve been learning Clarisse, as well as specializing further in Houdini.

WHERE DO YOU FIND INSPIRATION?
I hate to pull out some super-cliché answers here, but my girlfriend, my three year old, and love for feature films and the technology we’ve created over the past century to make them. I feel very strongly about good production design and story, especially when it comes to environments.

WHAT DO YOU DO TO DE-STRESS FROM IT ALL?
Well, I try to spend all of my time as efficiently as possible — but every now and then you just have to just do nothing and unwind. I find that going back to the source of my inspiration can help remind me why I got into the work I do when things get hard. Sitting down in my living room and taking in a favorite film of mine will often put me at ease.

It’s all about the art, and the artist

Head of Maxon US on the importance of building a user community while developing tools.

By Paul Babb

When I first introduced Cinema 4D to the North American market in 1997, I wasn’t given much encouragement or hope for success from constituents. There were over a dozen 3D packages on the market and formidable market leaders in place. The channel was changing dramatically as resellers were scrambling to establish their Internet presence, and the concept of protected territories was being challenged and dissolved.

Most were overwhelmed with products to sell and apathetic to an unproven, or even a flashy, new kid on the block. One reseller even told me to my face I would be out of business in a year. So with little resources or support, and an already crowded market, I dove into the challenge of Continue reading

Quick Chat: Leftchannel designs promo for Gateway Film Center

By Randi Altman

When the Columbus, Ohio-based Gateway Film Center needed a new promo to play after all trailers and before their feature and independent films, they called on local motion design studio LeftChannel and its creative director Alberto Scirocco.

Scirocco was brought into the project early on. “We designed it to feature some of the signature architecture of Columbus, treated subtly so that the piece still had universal appeal yet had a particular interest to the local viewers who would recognize the city’s architecture,” he says.

We reached out to Leftchannel‘s Scirocco to find out how they worked with the Film Center to get the promo they had envisioned.

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Maxon intros next-gen Cinema 4D

Maxon has updated its 3D motion graphics, visual effects, visualization, painting and rendering software Cinema 4D to Release 16. Some of the new features in this newest version include a modeling PolyPen “super-tool,” a motion tracker for easily integrating 3D content within live footage and a Reflectance material channel that allows for multi-layered reflections and specularity.

The company will be at Siggraph next week with the new version and it’s scheduled to ship in September.

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Key highlights include:
Motion Tracker – This offers fast and seamless integration of 3D elements into real-world footage. So footage can be tracked automatically or manually, and aligned to the 3D environment using position, vector and planar constraints.

Interaction Tag – This gives users control over 3D objects and works with the new Tweak mode to provide information on object movement and highlighting. Suited for technical directors and character riggers, the tag reports all mouse interaction and allows object control via XPresso, COFFEE or Python.

PolyPen – With this tool users can paint polygons and polish points as well as easily move, clone, cut and weld points and edges of 3D models. You can even re-topologize complex meshes. Enable snapping for greater precision or to snap to a surface.

Bevel Deformer – The Bevel toolset in Cinema 4D can now be applied nondestructively to entire objects or specific selection sets. Users can also animate and adjust bevel attributes to create all new effects.

Sculpting – R16 offers many improvements and dynamic features to sculpt with precision and expand the overall modeling toolset. The new Select tool gives users access to powerful symmetry and fill options to define point and polygon selections on any editable object. Additional features give users more control and flexibility for sculpting details on parametric objects, creating curves, defining masks, stamps and stencils, as well as tools for users to create their own sculpt brushes and more.

Other modeling features in R16 include an all-new Cogwheel spline primitive to generate involute and ratchet gears; a new Mesh Check tool to evaluate the integrity of a polygonal mesh; Deformer Falloff options and Cap enhancements to easily add textures to the caps of MoText, Extrude, Loft, Lathe and Sweep objects.

Reflectance Channel (main image) – This provides more control over reflections and specularity within a single new channel. Features include the ability to build-up multiple layers for complex surfaces such as metallic car paint, woven cloth surfaces, and options to render separate multi-pass layers for each reflection layer to achieve higher quality realistic imagery.

New Render Engine for Hair & Sketch – A completely new unified effects render engine allows artists to seamlessly raytrace Hair and Sketch lines within the same render pass to give users higher quality results in a fraction of the time.

Rendering

Rendered image

Team Render, introduced by Maxon in 2013, features many new enhancements including a client-server architecture allowing users to control all the render jobs for a studio via a browser.

Other Workflow Features/Updates
Content Library – Completely re-organized and optimized for Release 16, the preset library contains custom made solutions with specific target groups in mind. New house and stair generators, as well as modular doors and windows have been added for architectural visualizers. Product and advertising designers can take advantage of a powerful tool to animate the folding of die-cut packaging, as well as modular bottles, tubes and boxes. Motion designers will enjoy the addition of high-quality models made for MoGraph, preset title animations and interactive chart templates.

Exchange/Pipeline Support – Users can now exchange assets throughout the production pipeline more reliably in R16 with support for the most current versions of FBX and Alembic.

Solo Button – Offers artists a production-friendly solution to isolate individual objects and hierarchies for refinement when modeling. Soloing also speeds up the viewport performance for improved workflow on massive scenes.

Annotations – Tag specific objects, clones or points in any scene with annotations that appear directly in view for a dependable solution to reference online pre-production materials, target areas of a scene for enhancement, and more.

UV Peeler – An effective means to quickly unwrap the UV’s of cylindrical objects for optimized texturing.

NAB: Maxon’s Paul Babb checks in with partnership news

Las Vegas — At the NAB show, Maxon, makers of Cinema 4D, talked up some partnerships with companies like Thinkbox and Vizrt. They also hosted 20 CG artists on the main stage of its booth, taking people through their most recent projects and how Cinema 4D played a part.

Getting back to the partnership news, Thinkbox has released the Krakatoa particle renderer as a plug-in for Cinema 4D R14 and R15 users. Highlights include:

  • Point or voxel representation of particle data with various filter modes, motion blur and depth of field camera effects, and HDRI render passes output to OpenEXR files.
  • Concurrent support for additive and volumetric shading models, with per-particle control over data, including color, emission, absorption, density and more.
  • Integration with the native particle systems of Cinema 4D as well as with third-party Continue reading

SCAD students help design Super Bowl XLVIII opening animation

By Austin Shaw

At the Savannah College of Art and Design (SCAD), collaborative learning is a core element of our mission. So much so that we have a department dedicated to building connections between the university and industry — the Collaborative Learning Center (CLC).

The CLC’s goal: to bring real-world creative briefs to the students at SCAD to solve challenges for industry partners. The once-in-a-college-career opportunity to work on the Continue reading

Artist David Lewandowski has some fun with ‘Late For Meeting’

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LOS ANGELES — David Lewandowski is an LA-based, director and animation artist, whose work includes the animated graphics and opening title sequence for Tron:Legacy, as well as the animated graphics for Oblivion.

He also recently created many of the animations and visual effects on the surreal Tiny Tortures video, starring Elijah Wood.

In late October, Lewandowski released the short film Late for Meeting (http://www.dlew.me/late-for-meeting), which is a companion piece to his 2011 short film Going to the Store (http://dlew.me/going-to-the-store).

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Review: Maxon Cinema 4D Studio Release 15

CINEMA-4D_R15_Packshot_Prime_left_RGB

Bumin Murray editor Brady Betzel calls this newest version “a beast of a release.”

As we breached the 21 Century, I began my career in post production. I attended California Lutheran University in the little California suburb of Thousand Oaks. I was eager to learn every piece of software, all the tools, and every piece of theory I could get my hands on.

At first I was a Computer Science major, where I quickly learned I did not want to create arrays the rest of my life. However, I did see the power of graphics in a computer science from a graphics course where I learned how hard it was to program a teapot with color and shading using Java. My interests suddenly perked and I realized I wanted to create using the coding, not be the one coding, and become a video editor.

As I was learning all about the difference between scanlines, hard drive platters, After Effects and Photoshop – I found a software program called Maxon Cinema 4D. So I began learning Cinema 4D in school where at the time (2001 – 2004) BodyPaint 3D had made its inaugural debut just one year earlier, Thinking Particles were released, and soon the MoGraph module would be introduced. This was all within the timeframe of Releases 7 through 9.

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Maxon upgrades Cineware, tightens integration in latest version of After Effects CC

FRIEDRICHSDORF, GERMANY – Maxon (www.maxon.net), makers of 3D modeling, painting, animation and rendering solutions, has upgraded its Cineware offering now available in the latest version of Adobe After Effects CC. The enhancements further the strategic relationship between Maxon and Adobe to deliver improved integration and performance between Maxon’s 3D application, Cinema 4D, and Adobe’s After Effects.

Since the June introduction of After Effects CC, pros have benefitted from the seamless integration provided by Cineware that establishes a bridge between the two applications and allows users to open any 3D file that Cinema 4D supports directly in After Effects that can be edited and enhanced using the “Live 3D pipeline.”

Compositing passes can also be selected directly in After Effects for editing, even by users who are new to 3D. This version of After Effects CC also debuted Cinema 4D Lite, a limited, yet feature-rich version of Cinema 4D integrated within After Effects that gives artists access to an exceptional selection of the software’s functionality.

The new updates to the Cineware workflow, available in After Effects CC, are designed to optimize performance and enhance creative capabilities in the video workflow. Last month, Maxon introduced CINEMA 4D Release 15 (R15) marked by significant enhancements to modeling, text creation, rendering and sculpting. Access to many of the new capabilities in R15 are also available in the latest version of After Effects CC.

Updates to Cineware include:

– Options Dialog Box – New settings are available in the Cineware
– Options Dialog Box allowing users to select which version of Cinema 4D (R14 or later) should be started automatically. This is especially beneficial to users who have fully-featured versions of Cinema 4D Studio or Cinema 4D Broadcast installed so  they can select the preferred Cinema 4D software version of choice more easily.

– Rendering Enhancements: New rendering capabilities are available in the After Effects CC Cineware viewport for users who choose to use an edition of Cinema 4D other than Cinema 4D Lite, including the Physical Renderer. Maxon’s Physical Renderer offers artists real-world camera functions for added cinematic possibilities. It works with Intel’s optimized Embree Raytracing Engine, for rendering speed improvements without compromising image quality.

For After Effects CC wanting Cinema 4D instead of Cinema 4D Lite, Maxon is offering an upgrade path to Cinema 4D R15. They are pointing people to their Cinema 4D Broadcast and Cinema 4D Studio pages on their Website.