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I haven't tried the update yet, but I feel need to comment on the presentation... It was sooo underwhelming o_O UDIM... ok, read about that, but why not show a real-world-problem, then the new tools, then the superior final product? Jonas focused way too much on UV-Layouts, and in the end, I still have no idea what benefit I get from this tool. Faster workflow? Higher quality? I don't know. Jonas leaving the presentation was really awkward, why not choose hosts who have enough time to spare for talking to us customers? Laubwerk Assets now available in the asset browser - nice! But why show the variations in the viewport and not with a nice render? I have no idea if these assets are any good (I guess not, since it's all somewhat procedural?) Redshift now officially supports nvidia RTX5000 series. Well, then please give us at least some example benchmarks! "Render 30% faster than on a 4090" would have been really good information. Or show the interactivity boost of IPR on an 5090, to get some "ooOOOOhs" out of the audience. Redshift New OIDN update... cool, but please: zoom in and show an before/After-comparison of the Denoising quality! Give us the dirty details, in this case, they make all the difference. Redshift Portal lights updates... I mean, come on. That was changelog-material, but for the bottom part. No need to show a line on the gizmo to strech out the time until the gread liquids reveal... ... and then Noseman chooses this laggy, 1-fps-scene of a mildly irritating chocolate stream an an alien cake to introduce the world to C4D's long awaited new liquid system? After getting so much flak for the gingerbread teaser? I mean, the gingerbread-teaser's erratic particles are smoothed out, but this looks like liquid tech from the time they made Terminator 2. And then there's scene after scene after scene where we only get super simple, manual-style scenes showing some aspects of the new tech, but Noseman rushes through as if he was embarassed by the shortcomings of the new tech. And there seem to be many? There was not even a mildly complex example; performance was really sub-par (why not get Noseman a 5090 for this gig, if his 5-years-old-hardware is to blame?), no whitewater supported... and the capabilities of the tech were only described afterwards, when the viewers asked explicitly about it. So, all in all, this seemed like a very hastily thrown-together presentation of features that should have cooked some months longer. I really miss Chris Schmidt's presentation of new releases... he perfectly mixed the Wow-Factor about new possibilities with little tutorial aspects ("See? It's not even complicated to set up!") and some interesting technical insights, which made it even clearer what can and can't be done with new features. I hope they get him back for future releases. Edit: This 5-minute read is a much better presenttion of the june update than that whole 30min-Video-Stream 😕

Here is a curl spline setup, quite interesting! Curl_spline.c4d

STREAMING ON JUNE 18TH AT 10AM (est)

Hrvoje Srdelic is our well known forum member and C4D guru. Always ready to help, often assisting in backend as well, we are truly happy to interview him. There is an understated modest quality about him and dedication put into C4D eco system is well known and recognized. Expert in many areas who helped shape the community for many years. Stuff about you : Former / current workplaces, Achievements, Interests and hobbies 46, married, with a wife, a kid, a mortgage. You could say semi-grown-up 🙂 In 2011, I joined the Maxon beta team and took on the testing role with the same focus, attention, and dedication I had given to my previous jobs and freelancing work. Those efforts did not go unnoticed, and I was offered a position at Maxon, where I continue to work to this day. A highlight of my career was receiving an Academy Award for MoGraph as part of the development team. Apart from 3D, I’ve fully adopted a Mediterranean lifestyle, spiced up with heavy gym sessions and outdoor activities like ziplining, canoeing, and mountain biking. Lately, I’ve been getting into programming, especially nodes. For relaxation, a good book with a good coffee is an unbeatable combo. Q: Describe yourself in a single word Tenacious Q: How did you get into C4D and 3D in general? Back in the 90s, after finishing my education, my first job was at a computer shop. This gave me a solid foundation in hardware and software, which served me well from then on. My next job at a design company sparked what you could call an obsession with 3D. I was captivated by the possibility of virtually constructing my own ideas. The fact that I could iterate and improve creations without real-world constraints was an uplifting experience that fueled endless enthusiasm. Over time, I became proficient in various 3D disciplines. Around 2010, I started freelancing and, after careful consideration, chose Cinema 4D as my main tool. Its simplicity, fast turnaround, parametric nature, and overall stability sealed the deal. As a bonus, I discovered this wonderful forum. I spent a lot of time asking questions and learning. Eventually, I realized I was answering questions frequently, mostly because I felt indebted to the community that helped shape my career. Back then, I noticed a lack of systematic, end-to-end learning materials for C4D, so I took the plunge and created the popular Vertex Pusher series. Q: Which area interests you most? Nodes, MoGraph, and simulations. Q: What other apps are you using and what for? I use various software daily, like GIMP, Camtasia, Vectorworks, and Adobe tools. Q: Which learning resources would you recommend? The CORE4D YouTube channel iis excellent, especially for technical topics. Of course, I have to mention Noseman and the Maxon training channel, wish I had that when I was starting 🙂 In the past, I relied on YouTube with heavy filtering to find quality content. At the time, there wasn’t a single go-to source. Q: Do you think talent is overrated and can be offset with hard work? Yes. Q: Thoughts on AI? It’s just a tool. You can get impressive results without requiring specific expertise, but I don’t see it replacing humans. Q: Tell us something we couldn’t possibly know about you. I’ve also worked in construction and as a lumberjack. At one point, I was also a life guard. Physical work brings me great joy, and my wife often keeps me busy with an endless list of household projects. Q: Top 3 wishes for C4D? I see C4D as a mature platform. It has evolved to the point where users can stay in C4D for most, if not all 3D content creation — unless very specific requirements need to be met. Refining and polishing it as a daily tool, simply progressing on all features and maintaining quality would be high on the list. There are directions I’d personally pursue much further, but they’re likely not what most users would want (remember, I love nodes and technical stuff!). Q: Message for CORE4D? Lately, there has been more content consumption and fewer conversations. With information so readily available, people are engaging less in sharing and talking with fellow artists. I find this counterproductive, as it disconnects people from the most satisfying part of being in a community. I encourage everyone to share their work, start or reply to topics, follow up, show examples, and network. Avoiding these actions is one reason many artists struggle to find gigs or jobs. You managed to model your first object? Rendered your first image? Created your first animation? Share it, and don't be surprised by the positive encouragement you will receive! Q: How can people contact you? I’m easily reachable via PM on this forum.

it does feel like the overall reworked unified simulation system is for small scale work and provided you have the time to let it cache, but iterating can be painful? To be honest, why would someone want to even tackle this still in C4D over Houdini? I like they are adding value into C4D but it always feels like it's just short of being useful in most situations.

Good points for sure, hopefully this gives them something to improve. Derek Kirk's look at C4D fluids is ok. https://youtu.be/FmI2sllgqS8?si=_QfU_7xxUFsmlvuT

My impression of the liquid tech solely from the presentation video: Performance seems worse than xparticles and even the C4D Realflow plugin It seems like they wanted to make a solution for small-scale hero-style motion-graphic-liquids only? I didn't see an attempt at solving water bodies. Whitewater not available... whaaat? And no, remapping particle speed to color ain't the same thing. It is part of the new unified simulation system, which is actually cool. But the scope for liquids seems so limited, that I feel like it actually devalues the whole simulation systems, because we now see very severe performance limitiations... again. It feels a bit like pre-core-rewrite all-over 😞 I don't get what Maxon tried to achieve here?

In what way does c4d not support network drives? Lots of our projects run directly from a NAS and all of our render farm systems pull directly from a synology NAS. Never had a single problem especially not since the network load/save code got a huge speed bump a few years ago. Regarding the WFH bit, to be honest it really depends on the ratio of office vs home stuff. Here we have a variety of people 99% in the office and the odd day here or there from home. Some who do 50/50 and some who do 99% home with the odd office day; and we all do it differently. Those who are mostly in the office just pop some files on a drive to take home when they know they wont be in the next day. Those are are mostly at home do likewise, just stick some work on a usb stick and bring it with you. For the 50:50 guys, its largely remote desktop. chrome remote desktop is ok and simple and free. The best option though is parsec. Now I know IT have said no... but... sometimes IT just need to be worked around. A little system reinstall here to regain admin control, the odd gift sent to IT so they look the other way there... Regarding the NAS, why even bother? You said you're the only one doing 3D, so why not just keep absolutely everything local on your work desktop? Or just bite the bullet. Grab a 2/4TB external ssd and do everything from that. Then sticking it in your pocket for wherever you're working. I mean if youre happy with the network drive speed then youll probably also be happy with a simple spinning hdd; a 4tb external 2.5" drive is £110, or £220 to make it an ssd.

I'm guessing standalone and included in Maxon One with new bells and whistles. No idea if it will still be called Autograph but the roadmap for those guys is now likely easier as they won't have to replicate anything that is already in Red Giant. The past couple of years too I was wondering how they could afford development, now they don't have to worry as much. Some of the dedicated nerds on Reddit are really swearing about this but I don't get the hate. We get to see new cool stuff in the future and that is a win. Not much more to say about it, so now we can all wait and see what happens.

Happy to say I prefer forum discussion much better than anything else. At very least bashing is delegated to very end of the topic 😄

Fair points, I think the Autograph UI looked fine btw. Maxon has all these Red Giant apps that put their hand up and ask for permission to send stuff over to AE, and maybe they can do it to Fusion, Nuke and whatever other compositing app you care to name. Fusion (though also available as standalone) sits under Resolve. Blender's integrated comping sits under Blender, Houdini's new compositing features sit within Houdini. Maxon makes a 3D app for creating stuff in 3D for comping, they make Red Giant plugins for grading and adding particles and doing further comping and FX, they have a renderer where you can make your 3D stuff look even better before you comp it, but it's all stuff that asks the user to eventually drag the results away into another app at the end. It's like Maxon have a variety of food trucks that make increasingly tasty meals, but they never invested in a restaurant where you can sit down and eat it. So, they sell a lot of apps - again, the Red Giant stuff - that ultimately need another non-Maxon app to really be useful. An umbrella app that gathered SuperComp and Magic Bullet and the like all together, with zero difficulty communicating with C4D, would have its own selling points for C4D users, and it wouldn't make Maxon One any less useful. There aren't a lot of fresh competitors to AE in the industry, as it take a lot of time and effort to build a brand new compositor. But - surprise! - the Left Angle guys just built one. A few (just a few) AE users under EJ's Twitter post on this topic said they had used Autograph, liked it, and one guy said it fixed a few pain points that had bugged him for years about AE. Autograph had received several feature updates since launch, so you'd figure the application was becoming useful for something. The Maxon press release has been carefully parsed by posters here and elsewhere, but the final line of the Maxon comment says much: "Stay tuned, we look forward to sharing more in the future about how we plan to use this technology for the benefit of the community. " The technology being referred to is the compositing application Left Angle built, the only way you can use a compositing application is to composite things in it, Maxon has a bunch of Red Giant plug ins built to be used in a compositor, and they now have a compositor-building team that just brought a finished compositing app into the Maxon building with them. At a certain point, there's not a lot of mystery about where all this is probably going.

I wanted to move a lot of free Blender objects and scenes into C4D. I tried a free IO plugin on Gumroad which could copy/paste between Blender and C4D apparently using FBX. Many times the materials didn't have textures or were referencing ones that were misnamed in the conversion. I decided to try USD instead and it seemed to work better. Full scenes of objects w/materials came across including converted RS materials. While it wasn't perfect as any materials with transparency had that parameter lost in the process, it was better than straight FBX. I had ChatGPT then come up with a couple of scripts, one for Blender and the other for C4D. The one from blender would simply copy selected geo a temp USD file. In C4D, the script would copy that temp file into the existing scene. I eventually added to it to allow the Blender scene to unpack and write any textures to disk before exporting the USD. That's because some Blender scene files have their textures packed inside the file and it seemed like the USD export didn't grab them. Somewhere along the way with the rewrites I had it do, it decided to export the whole scene (incl cameras). I'm ok with that for now. I also had ChatGPT create an icon for the C4D script. I didn't do one for blender since the devs hate any real customization like putting custom buttons on the UI or other fun stuff (without coding it with serpens). I know you can add an icon in the addon but I hate the UX of the addon tabs anyways. Included below is the bundle. Install in blender as an addon. You'll find the addon in the addons tabs. Install in C4D as a script. Apply the icon to the script and place the script anywhere on the UI if you want. It asked if I wanted to create it as a plugin but I didn't go that route. NOTE: This is free. Do whatever with it. During the modifications of the scripts in ChatGPT I specifically told it I'm using Blender 4.4.3 and C4D 2025.2.1. I can't verify this will work on older/future versions of either software. It's the environment I'm using now so I built it as such. It does make me wonder if some of the old scripts/plugins could be reinvigorated w/GPT to make them work with newer versions of C4D. usd_io_blender and c4d.zip

Autograph isn't tainted, just like ZBrush wasn't tainted, but Maxon dropped the name Pixologic and I expect them to drop the name Left Angle. They could easily dump the name Autograph as well though. I guess. One of Autograph's most recent touted features was the ability to import AE files and replicate whatever was going there in Autograph, barring various plug-ins. Maxon are heavily invested in AE plug-ins but it wouldn't hurt to make them all Autograph compatible, and to tell some newcomers, yeah you could sub to Adobe if you want, but Autograph (or whatever the new name is) has most of that stuff now, works 100% with our Red Giant and C4D stuff, and you don't need a second subscription, just ours. Would this make them more bucks, or less? RedGiant already has RedGiant staff working on RedGiant comping plugins, do they need more people doing the same? The Left Angle guys just spent three years invested in doing something different to AE, rather than just making AE plugins (which would have been easier) in a compositor similar to AE but conceived as fresher and hopefully with a more ambitious road map. Should they now (a) dump all that work getting away from AE and go back to making AE plugins, or (b) keep on trying to do the new stuff they were doing when Maxon bought them. More to the point, which of those two options do you think they want to do? If Maxon just wanted to buy all the Left Angle staff and have them do Red Giant plugins, there wouldn't have been much need to put out a press release with the word 'Autograph' in the headline, and a big fat screenshot of the Autograph app at the top of the page. So Left Angle has gone the way of the dodo, but I think the chances of Autograph coming back in some fresh rebranded form are a fair bit higher. Possibly the name will change totally, the UI will get the Maxon treatment. If the 'something new' is something with a timeline, an object browser, a compositing window, various generators and text tools and so on, it'd be daft to make all that a plug-in inside AE rather than presenting the whole lot, tidied up, as a new app hopefully presenting a competitive alternative. The few Autograph threads on the AE Reddit page (there were a handful) all said "Please give us an alternative to AE, it's such a crashy POS". Then when I do my annual ritual of checking the official AE forums, the posts there under most updates read "Has this app become even worse? This is the crashiest version in years." There is room for an alternative. McGravran was previously the director of engineering for After Effects, and the Left Angle guys had heavily planned to make a modern AE competitor, and neither of them seem lazy or unambitious. The next 12 months will be interesting.

calling this one done..for now 😛

You will have to transform all targets as well. With two axes it is not problematic, you can use constrains multi_axis.c4d

3ds Max 2026.1 The new feature in 3ds Max 2026.1 is the Attribute Transfer modifier, shown in the video above. It transfers attributes – vertex positions, normals and colors, plus up to two sets of UVs – from one model to another. According to Autodesk, it provides a “new, non-destructive modifier workflow” for tasks that were typically done through scripting. There are also updates to a couple of the existing modifiers, including the Push modifier, used to inflate or deflate 3D meshes. It gets a number of new options, including the option to use other objects in a scene to limit the result of the push operation. When the result collides with a control object, it stops moving in that direction in real time. A new Relax Iterations setting smooths the mesh in a similar way to the Relax modifier, helping to prevent issues with self-intersection. It is also now possible to limit push operations to specific axes. The XForm modifier, used to apply transformations non-destructively to objects, gets a choice of four transformation modes. As well as the previous default behavior, users can now transform objects in local space, world space, or relative to another object in the scene. There is also a self-explanatory new Preserve Normals checkbox. 3ds Max’s Universal Scene Description plugin has been updated, with USD for 3ds Max 0.11 adding a new Promote to 3ds Max Object option. It promotes USD geometry to a 3ds Max object, making it possible to work on it using native 3ds Max tools. In addition, the USD Exporter now supports the OpenPBR material, which has been 3ds Max’s default material since 3ds Max 2026. There are also a number of workflow improvements, and new Python functions for manipulating USD layers. 3ds Max’s integration plugin for Autodesk’s Arnold renderer has also been updated, with MAXtoA 5.8.2 supporting the changes in Arnold 7.4.2. They’re primarily performance improvements, especially to scene initialization times when rendering on machines with high numbers of CPU cores. 3ds Max 2026.1 is compatible with Windows 10+. It is rental-only. Subscriptions cost $255/month, up a further $10/month since 3ds Max 2026, or $2,010/year, up $65/year. In many countries, artists earning under $100,000/year and working on projects valued at under $100,000/year qualify for Indie subscriptions, which now cost $330/year. https://help.autodesk.com/view/3DSMAX/2026/ENU/?guid=GUID-584026C2-5EAA-4F03-B676-0A4D0C2372AA MotionMaker Autodesk has released Maya 2026.1, the latest version of its 3D modeling and animation software for visual effects, games and motion graphics work. The release adds MotionMaker, a new AI-based system for generating movement animations for biped and quadruped characters, especially for previs and layout work. Other changes include a new modular character rigging framework inside Bifrost for Maya, plus updates to liquid simulation, OpenPBR support and USD workflows. Autodesk has also released Maya Creative 2026.1, the corresponding update to the cut-down edition of Maya for smaller studios. The headline feature in Maya 2026.1 is MotionMaker: a new generative animation system. It lets users “create natural character movements in minutes instead of hours”, using a workflow more “like giving stage directions to a digital actor” than traditional animation. Users set keys for a character’s start and end positions, or create a guide path in the viewport, and MotionMaker automatically generates the motion in between. At the minute, that mainly means locomotion cycles, for both bipeds and quadrupeds, plus a few other movements, like jumping or sitting. Although MotionMaker is designed for “anyone in the animation pipeline”, the main initial use cases seem to be layout and previs rather than hero animation. Its output is also intended to be refined manually – Autodesk’s promotional material describes it as getting users “80% of the way there” for “certain types of shots”. Accordingly, MotionMaker comes with its own Editor window, which provides access to standard Maya animation editing tools. Users can layer in animation from other sources, including motion capture or keyframe animation retargeted from other characters: to add upper body movements, for example. There are a few more MotionMaker-specific controls: the video above shows speed ramping, to control the time it takes the character to travel between two points. There is also a Character Scale setting, which determines how a character’s size and weight is expressed through the animation generated. You can read more about the design and aims of MotionMaker in a Q&A with Autodesk Senior Principal Research Scientist Evan Atherton on Autodesk’s blog. According to Atherton, the AI models were trained using motion capture data “specifically collected for this tool”. That includes source data from male and female human performers, plus wolf-style dogs, although the system is “designed to support additional [motion] styles” in future. RealityScan 2.0 RealityCapture 2.0 – or rather, RealityScan 2.0 – is a change of branding, with the desktop application taking its new name and logo from Epic Games’ existing mobile scanning app. First released in 2022, RealityScan was originally pitched as a way to make RealityCapture’s functionality accessible to hobbyists as well as pros. It’s a pure photogrammetry tool, turning photos captured on a mobile phone or tablet into textured 3D models for use in AR, game development or general 3D work. New features in RealityCapture 2.0 will include AI-powered masking, with the software automatically identifying and masking out the background of the source images. The change should remove the need to generate masks manually, either in RealityCapture itself or an external DCC app. In addition, the default settings have been updated to improve alignment of source images, particularly when scanning objects with smooth surfaces and few surface features. To help troubleshoot scans, a new Quality Analysis Tool displays heatmaps showing parts of the scan where more images may be needed to reconstruct the source object accurately. The update will also introduce support for aerial Lidar data, which may be used alongside aerial photography and terrestrial data to reconstruct environments more accurately. It isn’t clear which of those new features will be included in the mobile app, although it will presumably also be updated to version 2.0 at the same time, since Epic Games’ blog post announcing the changes describes its aim as to “unify the desktop and mobile versions”. RealityScan 2.0 is due in the “coming weeks”. Epic Games hasn’t announced an exact release date, or any changes to price or system requirements. The current version of the desktop software, RealityCapture 1.5, is available for Windows 7+ and Windows Server 2008+. It’s CUDA-based, so you need a CUDA 3.0-capable NVIDIA GPU. The desktop software is free to artists and studios with revenue under $1 million/year. For larger studios, subscriptions cost $1,250/seat/year. The current version of the mobile app, RealityScan 1.6, is compatible with Android 7.0+, iOS 16.0+ and iPadOS 16.0+. It’s free, including for commercial use. By default, its EULA gives Epic Games the right to use your scan data to train products and services, but you can opt out in the in-app settings. https://www.unrealengine.com/en-US/news/all-the-big-news-and-announcements-from-the-state-of-unreal-2025 Unreal Engine 5.6 Character artists get the “biggest update yet” to the in-editor animation tools, with major revamps of Motion Trails, the Tween Tools, and the Curve Editor, plus the option to sculpt morph targets in-editor, and built-in physics in the Control Rig. Lumen gets performance updates to Hardware Ray Tracing (HWRT) mode, intended to help games using the real-time global illumination system run more consistently at 60fps. There are also several completely new toolsets, including the Mocap Manager, a new “end-to-end solution” for recording and managing mocap data inside the Unreal Editor. In addition, MetaHuman Creator is now integrated directly inside Unreal Engine: part of a wide-ranging set of changes to the character-creation framework. The Unreal Engine 5.6 Editor is compatible with Windows 10+, macOS 14.0+ and RHEL/Rocky Linux 8+. For non-interactive content, the software is free to users with revenue under $1 million/year. For larger studios, subscriptions cost $1,850/seat/year, including Twinmotion and RealityCapture. For games developed with the engine, Epic takes 5% of the gross royalties after the first $1 million generated. https://dev.epicgames.com/documentation/en-us/unreal-engine/unreal-engine-5-6-release-notes After Effects 25.3 After Effects 25.3 is a workflow update, with two small-but-handy new features. One is the option to zoom smoothly in the Composition, Layer, and Footage panels using the scroll wheel or by dragging in the UI, rather than having to select fixed zoom levels. The other is the option to locate your current project file on your work machine from inside the software, with After Effects launching the computer’s file explorer to show the file. After Effects 25.3 is available for Windows 10+ and macOS 12.0+ on a rental-only basis. Single-app After Effects subscriptions cost $34.49/month or $263.88/year. In the online documentation, the update is also referred to as the June 2025 release or After Effects 2025.3. https://helpx.adobe.com/after-effects/using/whats-new/2025-3.html MoonRay 2.15 If you’ve been following recent updates, MoonRay 2.15 seems like a huge jump, the previous release having been MoonRay 1.7. That jump is actually due to a change in version numbering policy, rather than reflecting the number of new features. DreamWorks now uses the same versioning for the public release as for its internal repositories, with a major numbering bump when a new production locks off on a particular version. For developers, the major new feature is the Render Acceptance Test Suite (RATS), a set of automated tests intended to catch visual regressions caused by changes to the code base. It works by comparing canonical images rendered with a previous version of the renderer with versions rendered with the current development build. The suite consists of around 400 mini-scenes, each designed to test some aspect of the renderer, camera, materials, maps or lights. MoonRay also now supports Non-Uniform Memory Access (NUMA) architectures, often used to improve performance on systems with high numbers of CPUs. For end users, changes include the new TwoSidedMap for two-sided textures, and support for rotation of UDIM-format image textures in ImageMap. Other changes include support for multiple BSSRDFs in a single material, new per-BSDF lobe LightSets, and a new FOV attribute for the fisheye camera. MoonRay is available under an open-source Apache 2.0 licence. The software can be compiled from source on Linux and macOS: it is tested on Rocky Linux 9 and macOS 14 and 15. You can find build information in the online documentation. XPU mode requires a NVIDIA GPU that supports CUDA and OptiX on Linux, and an Apple Silicon processor on macOS. https://github.com/dreamworksanimation/openmoonray/releases/tag/openmoonray-2.15.0.1 Mocha Pro 2025.5 New features in Mocha Pro 2025.5 include Face Detection, described as a new AI masking tool. It actually does rather more than just masking, using machine learning to automatically detect and track every human face in a shot. By default, the mask generated is a simple ellipse, suitable for applying a blur or mosaic effect to hide a person’s identity. For beauty work, the shape can be edited manually or have holdouts added for individual facial features, as shown in the video above. The existing Matte Assist ML (MAML) system, part of the AI-based roto system introduced in Mocha Pro 2025, has also been updated. Changes include the option to convert any reference spline into a MAML matte, or to create a reference spline from any frame of the MAML matte. It is also now possible to render MAML masks to interlaced output in After Effects. The new 3D tracking toolset introduced in Mocha Pro 2024 gets a new Locked Shot option, for solving for moving objects in static camera shots. It is also possible to snap imported USD objects to 3D tracked objects. The Export dialog has been reworked, making it possible to save export options as presets, and to queue multiple exports and batch them to disk. Presets and batch settings are saved in JSON format, making it possible to edit them externally when integrating Mocha Pro into a production pipeline. Mocha Pro 2025.5 is available as a standalone application, and as Adobe, Avid and OFX plugins. The standalone edition is compatible with Windows 10+, RHEL/CentOS 7-9 Linux and macOS 12.7.6+. The plugins are compatible with After Effects and Premiere Pro CC 2023+, Media Composer 2022+, Nuke 13+, Flame 2023+, DaVinci Resolve and Fusion Studio 18+, and Vegas Pro 21+. https://borisfx.com/release-notes/mochapro-2025-5-release-notes/

I think youtube did the job XD:

Oh, I did not expect this to be available already 🙂 I am honored that I got the privilege to do the interview, thanks a lot to Rob @LLS That is a good test for AI 🙂

awesome interview, especially the message for core4D. I agree, people definately need to interact, share and start things more(myself included). i will say though this interview is incomplete without this one final question: @Hrvoje how the hell do we pronounce your name!!!??? 😭 🤣

Here is quite elaborate setup - grid move. Clones are traveling along edges and they avoid intersecting with each other. Something that is not readily available in MoGraph 256_Grid_Move.c4d

You could store active projects in a Onedrive-Account and sync that seamlessly. Much better working speed with local files on SSD vs NAS storage or VPN. Library could stay on NAS.

https://support.maxon.net/hc/en-us/articles/8658038724124-Cinema-4D-2025-3-June-18-2025 jeebus... UV tool refresh. UDIMS.. texel density... they listened. hoping they continue with Laubwerk and add wind/dynamics.

chuck me a simple scene which has this problem and ill see if theres anything obvious. Just a cube with a texture which complains about it missing. Don't use 'save project', just copy the file as-is so no file paths get changed. Why not turn on windows/mac backups? both OS's have built in tools where you can roll back a file to any previous version from weeks or months ago. In fact use the network drive as the backup location that way you get local performance and the backups are all RAIDed up. Nothing stops you from having your external drive backed up. Its just a drive like any other. Set it to backup to your local machine or the NAS when connected, it can silently do this in the background. Here I run most projects from an external 4tb SSD, that drive backs up to a local 18tb hdd whilst connected. On top of this there's the backups via proliferation; ie. theres a copy of most stuff on the render master, theres a copy on the Raided NAS when projects are finished. Even without my own official backup, the data gets copied around so much that its always in multiple places.

yes, maxon seems very excited and confident with this release to the point where they're willing to show sneak peaks. it's a very exciting release im looking forward to(although may not be able to upgrade straight away)... both fluids coming and a uv overhaul are already big ideas... i'm loving the overhauls especially. cinema4d killing it recently and i'm there for it. also, im loving using scene nodes and excited for improvements in that area as well...

It's funny you ask this, as I was under the same impression because years ago when I worked with C4D in an office environment it was no problem at all, but according to Maxon Support working on network drives was never and is not officially supported and not recommended! I opened a ticket with them because every single one of my scenes just 404ed every single texture I connected to the scene when pressing render, even though I could clearly see the previews on the nodes (so it found the files). This is what I got from them: I was caught off guard by this and basically asked them if they're fucking kidding me, to which they replied: So not only does it not work at my company, there is not even some kind of workaround they can give me a side from "change some settings on your NAS and hope it works lol". Because I'm a scatterbrain and I don't trust myself overwriting stuff with older stuff that I cannot recover because I have no backups, which already happened. Due to it being on the NAS though, IT could recover an older file from a week ago. Hehe, I'm good with IT, that's not the problem. They are just ridiculously overworked and don't have time to invest hours into something that would make ONE guys workflow easier in a company with 200+ employees. It's a medical company, so the amount of stuff that has to be tested / verified with new software is frankly absolutely ridiculous and takes a crazy amount of time. I do not like the thought of not having at least one separate backup of my data that is updated every day one bit. Data that is not backed up might as well not exist. I have learned this the hard way in the past.

I wanted to test out ChatGPT converting RS Standard Materials to OpenPBR. After 30 minutes of correcting it I gave up. I changed the Redshift_Material_ID to 5703 after it suggested I check the material ID through another script it created. I still couldn't get it to work. I ended up running out of my free credits. Is this functionality going to be in the next C4D 2025 update? I had submitted a request on Maxon's site but it goes into the void. It did mention one thing: If Maxon exposes official Redshift Python API for 2025+, it might become possible, but as of now, it’s limited. ChatGPT called out Maxon? This was one of the versions it created. The first iteration actually had a section for specific texture inputs: transfer_texture(rs_material, "diffuse_color", openpbr_node, "base_color") transfer_texture(rs_material, "refl_roughness", openpbr_node, "roughness") transfer_texture(rs_material, "bump_input", openpbr_node, "normal") ---------------------------------------------------------- import c4d REDSHIFT_MATERIAL_ID = 1036229 # Redshift material type ID (adjust if needed) OPENPBR_MATERIAL_ID = 1036227 # OpenPBR material type ID (adjust if needed) # The node ID string to identify Redshift node graph — you may need to adjust this based on your scene/plugins REDSHIFT_NODESPACE_STR = "com.redshift3d.redshift3dnodegraph" def find_nodegraph_by_id(root_node, id_string): """ Recursively search nodes starting from root_node to find nodegraph by ID string """ if not root_node: return None # Check current node's type ID string if root_node.GetTypeName() == id_string: return root_node # Recursively check children for i in range(root_node.GetDownCount()): child = root_node.GetDown(i) found = find_nodegraph_by_id(child, id_string) if found: return found return None def convert_redshift_to_openpbr(): doc = c4d.documents.GetActiveDocument() mats = doc.GetMaterials() changed = False for mat in mats: print(f"Checking material: {mat.GetName()}") # Check if this is a Redshift material if mat.GetType() != REDSHIFT_MATERIAL_ID: print(" - Not a Redshift material, skipping.") continue # Get Node Material reference nodemat = mat.GetNodeMaterialReference() if not nodemat: print(" - No node material found.") continue # Get root node root_node = nodemat.GetRootNode() if not root_node: print(" - No root node found.") continue # Find Redshift node graph inside root node by ID string rs_graph = find_nodegraph_by_id(root_node, REDSHIFT_NODESPACE_STR) if not rs_graph: print(" - No Redshift node graph found.") continue # Here you would copy or remap the textures/nodes from Redshift graph to OpenPBR graph # For demo, just create a new OpenPBR material and replace the old material in document print(" - Creating new OpenPBR material.") new_mat = c4d.BaseMaterial(OPENPBR_MATERIAL_ID) new_mat.SetName(mat.GetName() + "_OpenPBR") # Insert new material doc.InsertMaterial(new_mat) # Optional: Transfer textures/connections here if possible # Replace material in objects (simplified example) for obj in doc.GetObjects(): if obj.GetMaterial() == mat: obj.SetMaterial(new_mat) # Remove old Redshift material (optional) doc.RemoveMaterial(mat) changed = True print(f" - Converted material: {mat.GetName()} to {new_mat.GetName()}") if changed: c4d.EventAdd() print("Conversion complete, scene updated.") else: print("No Redshift materials found to convert.") if __name__ == "__main__": convert_redshift_to_openpbr()

Jeez I thought they'd wait till September for fluids. Looks cool.

Thank you so very much. Seems I may have resolved the matter by using version 10 which my boot sequence is required to be compatible with Redshift. Again, thank you for your kind words, you are the best!!!!! DDO

Thank you, ALL! This solved my issue and I am humbly grateful! DDO

Interesting to see if they will build a C4D Compositing tool or a new standalone based on Autograph and Red Giant

Yep, I prefer the forum days rather than Twitter or Reddit. I checked a couple of Reddit pages on all this and there were already people wanting to burn Maxon's house down, which seemed a bit harsh. I expect interesting times ahead too.

@BoganTW, I think we properly laid out Maxon's options – it will be interesting to sit on the sidelines and watch how things will unfold. Thank you for the discussion, this feels like internet from a more elegant and civilized age 🙂

Finally got around to finishing all the modelling now working on the materials. first time using bodypaint in side of c4d to paint the textures for the horse body 😄

zBrush was always the leading app in it's segment, acquiring that app was like getting a crown juwel into the portfolio. Autograph on the other side really is tainted with a first reception of being too expensive, too incomplete and too 'old' (referring to their UI/UX and marketing). In my view, the brand 'Autograph' has little clout, I'm sure they'll drop the name at least. The current app and tech? Well, that's a more complex question. You're right, to suddenly have an almost full-blown competitor to AfterEffects is attempting to wield against Adobe. Would Maxo dare, though? Right now they have strategic and sales-alliances like the MaxonOne+Substance bundles. I guess they actually make some bucks from those cooperations. So, what could Maxon gain if they sever the strategic alliance with Adobe and place an competitor? Not much, I guess, because comping land already is a crowded place. There's the AE-people with decades of AE-projects, -scripts, -plugins, - tutorials. That audience is deeply entrenched. The subset of people who are so pissed by AEs legacy cruft already have alternatives in Blackmagic's Fusion (priced very competitively), Blender's integrated comping (priced even more competitively), with even further options on each end... OpenSource Natron or Hi-End Nuke. What would be a 'Maxon Autograph's USP here? It would need to be better than 20 years of AE-development and better priced than free. Tough battle. On the other hand, it would make sense to port the RedGiant offerings not only to Resolve, but also to the rest of comping apps. Maybe the Leftangle-Team will just port stuff and deal with the comping workflows / tech environment of the other apps. Who knows. In the end, I actually hope you are right and we see a fresh new competitor for the Adobe behemoth, I just fail to see the dollars on that way 🙂

I don't intend on posting any more updates to the scripts here. I think it serves its purpose for me. This was just me sharing with you guys and maybe getting ideas for other ways us non-programmers can use AI to make small workflow scripts. I know Greyscalegorilla recently released a small script pack where Chad used AI to help write for him.

Indeed it did, and if we change the mode to Surface as well we even get the curvature we need automatically ! Looks like those specific settings evaded me when I first tried ! CBR

It bridged fine when I enabled the Reverse option and set Spin Steps to -1.

Yep, Bridge can do that... Settings thusly However in the precise example you gave, then yes it can do it, but you can see below, it currently breaks if we try and connect offset pieces. There we are actually crossing polys half way down it, which is obviously useless, which I will report as a bug, because I think it should be able to do that ! You can see it's got the right idea, but has failed to execute. And so we must instead delete the end faces and do it with Stitch n sew instead. I used the shift modifier for that, which, interestingly, failed in exactly the same way the bridge tool did, so I had to use Ctrl modifier instead - not ideal, but it worked ! This can't put the sexy curvature in tho, and although it is relatively trivial to pop that in manually, but with Bridge tool working as intended we shouldn't have to ! However, to pop that curvature in in a semi-automatic way, we can can always just select the top and bottom edges in that section and Set Flow them, which does OK... So yes, Cinema can do it, but few more steps than a single tool. CBR

Zero sales, everyone was busy playing Mario kart.

I think Maxon is trying to get into the market of Arch viz and compete with Chaos. Look at AutoDesk - best I can tell from unvetted sources on the internet - there are around 15,000 Maya subscribers vs. 7,5000,000 AutoCAD subscribers. Archviz seems like a good market to go after. Also - Nemetscheck, which owns Maxon, owns Vectorworks, so there is a natural fit there, though it seems they want this new tech to eventually open up to all BIM software. Only time will tell - we should know more at the end of this week after AIA demos. e.

Better move this to Technical -> Nodes Topic.

Maxon just posted their Arch Viz reel. It seems like some of the work in the reel bleeds into interior design and product vis too. Very elegant.

Ok, so 2 things contributing to that. 1. Your phong tag has Use Edge Breaks active. 2. In the text object your caps / bevels have the phong break rounding box enabled, which it is by default. Disabling either of those should remove the dividing line between beveled cap and rest of mesh. However, does tend to lead to messy results on the corners of the bevels, as we see below, so mostly it is preferable to leave that on. A messy, non phong-breaked corner, earlier. You'll notice on that particular text object that adjacent topology changes as it goes round the corner, and this is only cleaned up (ie cut / truncated) by the solve intersections checkbox, which we also need here for beveled caps to work in most circumstances. I would agree it is perhaps not the most elegant of solutions, but it is what it is in order to give easy access functionality all within 1 single object, which is rather what the Text Object is all about ! We should be able to circumvent some of these problems by using a bevel deformer instead, where we get more control, but again I fear that geo mismatch at the corners may lead to rounding artefacts anyway, despite the better control / ability to only apply it to certain edges / and manual phong break advantages. OR at any point you can make the mesh editable, and then manually select the edges you don't want phong broken and then use / unbreak phong shading command (I get it from down the very bottom of the right click menu) to remove that hard edge specifically without affecting the corner ones... It probably is worth noting that if we use the 3rd option in the text object rounding department - bevel outside - that actually solves the corner phong beak scrappiness because no geo is intersecting badly like it was before, at the expense of slighty 'fatter' text ! And then, if you set your phong tag angle to something low like 18 degrees, you can get the best of both words, thusly... But then of course we have this massive discrepancy between rounded bevel phong shading and the razor sharp edge running back away from the caps, and a fairly grim transition between the 2 on that corner... So lastly, the phong tag itself can help us there. By setting the angle in there waaay high instead, and changing the phong type to something like Angle and Area weighted we can improve it again, and gain consistency of shading in the bevel AND back across the mesh, so I guess this is the ideal solution in your case. We can see this better if we zoom out a bit and look at the 'B'... very nice consistent shading everywhere. CBR

If you are willing to point to forum that would be greatly appreciated. I don't see why this should anger Maxon people? We have members who are frequent here and help out yet they work for Maxon You could share your multi year project insight and feedback? That sounds interesting

One thing that irks me with every simulation tech I have used so far: Most of the time I want to emulate the movement of something from the real world, as closely as I can. And most of the time it's endless fiddling with somewhat abstract parameters to achieve the realistic movement I know from the physical object. It really should be the other way around. Let me make my object, define it's size and weight and then let me choose from fine-tuned, well-tested presets. That's water! Or milk. Or sand. And then offer an advanced mode where I can fiddle around with advection and all the stuff 'under the hood'. But really, let me express my artistic vision through my everyday-knowledge of the real world. I don't want to study particle physics for any simple sim I do.

Happy to help ! Like these ones for example ? 😅

Ok! Then provide some samples in the asset browser, please. I think it's always a good idea to let users dissect examples or to give them a good starting point. Especially when parameters are sometimes somewhat unclear (like lower substeps make for a more bendy material)