Cinema 4D Studio Bundle R10.5 Upg from C4D R9 Equip your production environment with the CINEMA 4D Studio Bundle in order to take advantage of all the power CINEMA 4D has to offer. Your advanced 3D projects will come alive with the addition of hair and fur tools, dynamic simulations and non-photorealistic rendering. The CINEMA 4D Studio Bundle lets you unleash your creativity and enjoy 3D without limits. List Price:  $3195.00 Our Price:  $3129.99   • or •

CATEGORY:	3D Animation		PARTNUMBER:	MXNN0300048
MANUFACTURER:	Maxon		PLATFORM(S):	Mac
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Note! Cinema 4D Studio Bundle R10.5 Upg from C4D R9 is for sale in North America only. Due to manufacturer's restrictions, Safe Harbor can not ship this product internationally.

Cinema 4D Studio Bundle R10.5 Upg from C4D R9 Specifications

Advanced Render R2.6 for R10.5 + Pyrocluster Take your 3D scenes to the next dimension of reality with CINEMA 4D's Advanced Render module. While the standard renderer produces outstanding results in little time, the Advanced Render module provides advanced features like radiosity and caustics to achieve ultimate realism. Renderings will look even more realistic with global illumination (incl. HDRI), surface and volume caustics, highlights, glow and enhanced depth-of-field. SubSurface Scattering provides realistic translucent surfaces such as wax or skin. Ambient Occlusion, SubpolyDisplacement With the integrated Ambient Occlusion feature, Advanced Render uses the environment to simulate shadow casting. This would otherwise only be possible with Global Illumination. This speeds up workflow immensely, which is especially important when a deadline is breathing down your neck. With SubPolygon Displacement your scenes will reach a level of detail never experience before. Highly detailed scenes can be created using just a handful of polygons, and rendered with awesome speed thanks to the highly efficient displacement algorithm. Since details are first displayed during rendering when using SubPolygonDisplacement, you not only save precious memory, working in the editor is much easier as well. SKY and PyroCluster Additionally, Advanced Render also contains SKY - an amazing tool for the easy creation of 2D or 3D volumetric clouds and effects. SKY lets you create to your heart’s desire. A collection of 50 presets helps you quickly find the fitting atmospheric environment for your scene. But that’s not all: SKY lets you create any weather condition imaginable, "paint" clouds, and even correctly simulate the sun, moon and stars. SKY even lets you accurately create rainbows. PyroCluster is a volumetric shading system that uses particles to simulate smoke, dust, fire and other similar effects. Combined with the power of Thinking Particles and CINEMA 4D's default particle system, PyroCluster can create truly amazing special effects. Global Illumination Raytracing simulates most physical properties like reflection and refraction, but lacks support for indirect lighting. In the real world, every object reflects light onto surrounding objects - much of the light in most rooms, for example, is reflected from the floor, ceiling, walls and furniture. The Advanced Render Module provides a radiosity solution based on global illumination to visualize this transmission of light between objects. The Advanced Rendering Module's radiosity solution is fast and easy to set up compared with other alternatives. You can control each material's illumination strength and type, and a variety of rendering controls allows you to find the best compromise between the accuracy and speed of your render. CINEMA 4D's Advanced Render Module makes it easier than ever to render reality. Caustics xCaustics provide even more realism in your 3D images by simulating the hyper-focusing of light as it reflects off surfaces or within the volume of an object. Caustic effects like the reflection of light from the face of a watch or on the bottom of a swimming pool are easy to create with the Advanced Render Module. To calculate caustics, the Advanced Render Module actually fires photons into your scene. As these electronic rays of light get focused and distorted the rendering engine displays the lighting effect in the image. CINEMA 4D can calculate the caustic effects on a surface or within a volume. Caustic transmission, like illumination, can be adjusted within each material's parameters. Additionally you can determine which lights generate caustics and the falloff of the effect from each light. Like radiosity, the caustics engine provides several rendering parameters that can be tweaked to optimize render times and image quality. By accurately displaying the effects of light as it interacts with specific materials, caustics can add yet another level of realism to your scene. SubPolygon Displacement With Subpolygon Displacement, called SPD for short, you don´t need to subdivide your object into high poly count memory killers to achieve awesome displacement effects. SPD offers intelligent and efficient algorithms to subdivide geometry as needed when it comes to rendering. Your editor remains fast and render times stay short - even without a big render farm and high-end equipment. Subsurface Scattering Renders will look more realistic than ever before with the addition of subsurface scattering. This amazing feature simulates the scattering of light beneath the surface of objects to more accurately represent materials such as wax, fluids, jewels, organic materials and skin. Subsurface scattering is implemented in the Advanced Render Module as a standard 2D shader for ease of use and integration with other CINEMA 4D features. Ambient Occlusion xAmbient Occlusion (i.e. the blocking of ambient light by neighboring surfaces) is a new method with which to quickly render realistic shadows in Advanced Render. The lighting of neighboring surfaces will be occluded - the closer the surface, the greater the degree of occlusion. Up to now, a realistic simulation of this natural phenomenon was only possible with the use of Global Illumination. A major disadvantage to GI, though, was the long time it often took to render. Although GI still has numerous advantages, simply a near realistic casting of shadows in sufficient in most cases. There are two ways with which to create Ambient Occlusion in CINEMA 4D: Either as a shader for the entire scene or individual objects that is calculated during rendering, or as a "baked" texture. In both cases, render times are noticeably shorter than with GI, with comparable shadow quality. Ambient Occlusion can also be used to "hide" objects. Your scene is looking a little too clean? Well, the Ambient Occlusion shader offers several settings that let you add "dirt" to your objects' seams and edges. SKY - The heavens are so near! xYou will reach the same conclusion once you’ve taken a look at Advanced Render’s SKY. Create realistic skies and atmospherics in the wink of an eye; whether as a 2D background or as 3D volumetric clouds, SKY lets you do it all. Meeting a deadline is not a problem with the help of the 50 presets included with SKY. You can use the numerous available settings to create your own fantastic skies. You can define colors, how your clouds should look, even the rays of the sun and its glare. But there’s more: you can also accurately create rainbows and even enter any location or time zone, in which your simulation should take place! With SKY you can accurately simulate position of the sun, the moon, and stars. Paint clouds or stars over the firmament, place a rainbow on the horizon, and let the sun emit beautiful rays with just a few clicks of the mouse. It's Getting Hot In Here... Create Stunning Special Effects Like smoke, fire or dust using Advanced Render's PyroCluster functionality. PyroCluster is a volumetric shading system that uses particles to simulate smoke, dust, fire and other similar effects. Combined with the power of Thinking Particles or CINEMA 4D's default particle system, PyroCluster can create truly amazing special effects. It works by adding a procedural volume around each particle. The appearance of the shader can be manipulated to achieve any number of effects. Particles can be generated using CINEMA 4D's default particle system or the Thinking Particles module, and manipulated using any of the particle controls for either system, including gravity, wind, friction and collision. Ignite the flame of creativity in your scenes - with PyroCluster you can create amazing volumetric effects. Net Render for R10.5 - Unlimited Client License Speed up rendering times with the unique CINEMA 4D network renderer. NET Render answers the needs of today's professional media production industry by providing tools that enable the highest quality computer-generated 3D graphics and animations to be created on demand and to be delivered on time. Time and money are prime considerations in the professional market. Even though productions are becoming more ambitious and demanding, the time being allocated for the creation of these materpieces is constantly being reduced. One way to gain the upper hand is to use multiprocessor systems. Another is to use networks. Or both. NET Render couples these technologies in a unique way. Thanks to the parallel nature of its individual work processes and unique features such as dynamic load balancing and hot plug, NET Render can react quickly and dynamically to meet the latest market requirements. NET Render is the alternative to the prohibitively expensive conventional solutions. The module itself is priced very attractively and, even if you have to build a network from scratch, you can use standard computers that even small businesses can afford. Easy Installation When deadlines loom and clients start calling, your project needs to be finished fast. NET Render will distribute your rendering among computers across your office or the world to get the job finished fast. NET Render takes advantage of unused processor power in your office network to help complete long renders. IT administrators will appreciate the simple installation process. Because NET Render communicates over TCP-IP, it doesn't require installation of any special network protocols. Just install the application on the server and on each of the rendering clients, enter the IP address of the server on each client and you're ready to render. The NET client can be launched manually or you can create a scheduled task to automatically start the client at a certain time each day or anytime the computer is idle. NET Render works smoothly in mixed networks for most rendering tasks, so you can take advantage of every Windows or Macintosh computer in your network. Because it uses TCP-IP, any computer that can access the server across the Internet can be used as a rendering client. Real-world 3D artists are often forced to make compromises in order to finish the project on time, but NET Render gives you the freedom to spend more time creating your 3D masterpiece and less time rendering it. HTML Interface NET Render lets you delegate your rendering tasks so you can get on with your life, but sometimes that's not so easy and you can't get the deadlines off your mind. NET Render's web interface allows you to check up on your job whenever you get the urge. Jobs can be administered from any web browser on your network, or even across the Internet if your firewall permits. The easy web interface allows you to easily add jobs, change job priorities and monitor the current progress of your network clients. Thumbnails of the last frame rendered by each client give a quick overview to check rendering results, or any completed files can be downloaded directly for more thorough review. NET also features a user management system that allows you to limit access to the server and assign individual users different rendering priorities. With NET Render, there's no need to worry - reassurance is a web connection away. Dynamic Load Balancing All computers were not created equal, so NET Render employs dynamic load balancing to maximize your rendering times. NET Render gets the most out of every rendering client by dynamically reassigning portions of your rendering to computers as they are added to the network or complete their assigned frames. If fast machines finish their assigned frames, they're automatically assigned frames from slower machines to get your job done as quickly as possible. There's no need to manually adjust frame ranges or jobs manually to optimize render times, NET Render handles it all. Safe Recovery You can be sure NET Render will do everything possible to complete your job. When the job is started, all of the relevant scene data and textures are transferred to the client. If a connection to the server is lost, the client will continue to render its assigned frames and upload them as soon as it reestablishes a connection. The server will dynamically redistribute frames if it loses contact with a client, so you can disconnect clients at any time without fear of losing frames. Localized network or power problems may slow your render down, but the won't stop NET Render. Dynamics for R10.5 CINEMA 4D Dynamics is a breakthrough technology for recreating natural forces to achieve startlingly realistic visual effects. This exciting plugin allows CINEMA 4D users to easily simulate real-world dynamic forces including friction, gravity, collisions, springs, wind and more. The plugin's rich feature set offers a high degree of control - dynamics are applied to existing objects or the points of an object as a modifier. Solver objects complete the calculation and make the interaction more responsive in the editor. In addition, baking can be used to bring dynamics projects to systems that don't have the plugin but need to render it (such as NET Render). Rigid Body Dynamics This mode is for rigid bodies, ie solid objects such as a piece of wood or metal, etc. With rigid bodies you: Assign a collistion method (spherical, ellisoid or full). This alters the accaracy of collistions of this object with others. Add properties like mass, friction or else. This then tells Dynamics whether this object should be affected by any of these forces. Optionally connect objects with springs. This allows you to have objects joined by springs. And then animate and Dynamics will automatically calculate the correct reactions for you! To make calculations faster you can you proxy objects which will require less memory. Soft Body Dynamics Soft bodies are objects that are soft, such as a jelly, a piece of cloth, a slug, etc. And such soft bodies can be deformed by forces found within Dynamics. Once set up you can make objects eleasic, plastic or so that they permanently deform when moved or hit. Soft Body dynamics creates a net of spings on the polygon surface of the chosen object. This is then used to deform the object. Soft bodies can collide with rigid bodies or other soft bodies. Forces on one point of the mesh get distributed over the surface via the net of springs which causes the deformations and the soft body effect on the object. Splines and forces like wind can also be used with soft bodies. More Forces With Dynamics, you can restict the free motion of objects with constraints if you wish. For example you could limit rotation or position of an object. Forcefields can be used to attract or repel other objects. Springs can also connect objects together. Hair for R10.5 HAIR is a fully integrated CINEMA 4D module for the creation of hair, fur and feathers. Breathtakingly fast, this module offers minimal use of memory and an intuitive interface. The advanced HAIR rendering engine in CINEMA 4D Release 10.5 provides a quicker path to higher-quality results. The most significant advancement is improved multithreading, which provides better rendering performance on multi-core systems. The greatest benefit can be seen when preparing HAIR for rendering, which now uses all available cores/CPUs. Depending on the amount of hair and image area covered, two cores or CPUs now render HAIR up to twice as fast as compared to Release 10.1. Release 10.5 also features a new antialiasing method for hair that is both faster and provides better quality results. The Hair system also now contains a new interpolation type for short hair or fur that provides better overall coverage with quicker rendering times. Beneath the easy-to-use interface lies a complete hair studio - one that would make any stylist green with envy. Hair can be grown using textures, and can be styled freely using any of the numerous tools such as brush, comb, cut or curl. Once the basic hairstyle has been created, the HAIR material can be used to fine-tune the hair. Options such as color, frizz, clump and specularity let you quickly create anything from a fashion model's hairstyle to a furry teddy bear. HAIR dynamics even lets you create an animation worthy of any shampoo commercial. Use the collisions, tension or stiffness settings to add even more life to your animations, while always maintaining complete real-time control over the look and feel of your HAIR dynamics in the editor view. But HAIR offers much more than just hair and fur! In the interest of equality for all species, our feathered friends could not be ignored. And thanks to HAIR's Feather Object, you can also easily create fluffy down feathers or mighty eagle feathers, or anything in between. You'll have to animate the bird's flight yourself, though. Add Hair First, hair must be added - something many a balding man would gladly be able to do. Hair can be added to an entire object, a polygon selection or a texture. Many options are available for optimal distribution of hair on a given surface. Hair can be distributed automatically or manually. Style Hair Do you leave the house without combing or brushing your hair? Well, even a comb-over needs some attention before the day gets started. This is why HAIR offers you every tool you need to style your character's hair - brush, comb, curl, cut, stiffener, straightener, even hair extensions (you go, girl!) are included. For even more control, the effects of tools and functions can be restricted to selected areas, e.g. specific hairs or only the hair tips. Numerous options and an intuitive interface with real-time feedback lets you create just about any hairstyle, no matter if it's thick, curly hair or a mohawk. No chemical perms needed here! Check out the sample movies to see just some of what is possible. HAIR Materials Real fur and hair have their very own individual properties. Reason enough for HAIR to offer you its very own material. 18 material channels let you create exactly the look you want. Next to the numerous tools available for styling hair, the HAIR material is invaluable for giving your hair its individual look and feel. This is where you decide if your hair should look freshly shampooed, greasy, red, blond, brown or black. Make your hair frizzy or straight, give it split ends, make it silky or turn it into clumpy fur. Many of these properties can also be adjusted using a texture. You can even create a multicolored tiger fur, for example. Some properties can also be adjusted even more precisely using function graphs. All HAIR settings work using the same principal, making HAIR easy to learn and use. Hair Dynamics "Noon, Milan, the wind is blowing..." what would a hairspray commercial be without a mild breeze caressing the hair of a beautiful model? The correct movement of hair is essential for the success of any animation involving hair. HAIR offers realistic dynamics effects that let you create your own broadcast-quality hairspray commercial. The hair itself can be assigned properties such as stiffness, collisions or weight. Forces such as gravity, wind or turbulence can also be made to affect the hair and create impressive effects - all without even one word of grievance from your model! Hair Rendering Once all properties have been set and your hair has been styled, the hair can be rendered. This is where CINEMA 4D once again flexes its rendering muscle. HAIR not only offers absolute realistic render quality, it does so while maintaining minimal memory usage. A computer with an average configuration can be used to render millions of hairs. The ingenious cache system lets you calculate dynamic effects over a network, worry-free. Separate settings for edge smoothing and lighting of hair ensure optimal image quality and short render times. HAIR is ideal for a wide variety of applications. MOCCA 3.1 for R10.5 Animated characters can be seen everywhere nowadays. In adverts, in movies, on websites and even on corporate presentation movies. People love characters and there's a huge demand for Computer Generated ones because they can look cool and can do amazing things. But character animation is the most demanding type of CG. But don't worry! Because MOCCA 3 makes animating characters a piece of cake! For MOCCA 3, Maxon has created a brand new engine based on joints rather than bones. This makes rigging much easier and much more reliable. Combine this with new constraint options, skin deformers and muscles and you have one of the easiest yet most powerful character animation systems around. And if you don't want naked characters then use MOCCA's amazing cloth system to easily dress your characters and automatically take care of the cloth animation as your character struts their stuff! What's New in MOCCA 3? There's been lots of changing to CINEMA 4D's character tools. The new joint system makes animating with MOCCA 3D child's play! Joints and new IK algorithm : Joints have lots of advantages over bones. Whereas before bones needed to be placed manually and the joints resulting had no properties, now joints are placed and the resulting bone skeleton is automatically created including properties i.e. the default flexing of a knee of elbow. There's now less need for additional helpers such as up vectors or goals and problems like gimbal lock or flipping joints are eliminated with this new system. Auto Weighting : Autoweighting saves a lot of time and gets your character ready to animate faster than manually weighting. Autoweighting is based on the skeleton and the binding connects mesh, deformers and bones which creates a weight map that only needs minor retouching. Muscle simulation : Muscles add that extra realism to character animation and with MOCCA 3 it's made easy. Simply pin the muscle to the parts you want it to be affected by and then animate. The muscles get automatically driven by your animation and will deform the skin of your character for a more natural look. ...and much more: MOCCA 3 gives you plenty for your investment. There's improved morphing tools, visual selector for quicker access to your character's handles, VAMP for transferring parameters from one mesh to another (even with different topology) such as skeletons, weight maps, selections, morphs, Uvs and vertex maps and much more! Character Rigging There's loads of tools in MOCCA 3 for easy rigging. Joints are the way forward. Just choose where the joints should be in your character and MOCCA will figure out the flexing defaults automatically. Joints don't even need to be placed in a specific hierarchy! The new auto weighting and binding options makes a character animators life so much easier. It will save you hours of work compared to manual weighting. New constraint options and spline IK help create a flexible and powerful character rig. Face or body morphing is easier than ever before. Rigging is now 50% faster and much more flexible. Muscle system In MOCCA 3 it's not only the skeleton that deforms the mesh, it's muscles too. Having muscles under the skin of your character automatically creates much more realistic animation. Muscles are 'pinned' to the skeleton and act just like ligaments do in real life. Then the muscles are automatically animated by the movement of the skeleton. If you want to adjust the contraction or relaxation states of the muscle that easy to do by adjusting muscle parameters. Morphing Every morphing problem can be solved with the MOCCA 3 toolset. It's easy to set up facial morphs or body morphs and morphes require little memory to store. MOCCA 3 offers absolute, relative and rotational morphs. The morph works great in conjunction with other CINEMA 4D and MOCCA tools like Visual Selector and HUD. Clothilde What would a real character be without proper clothing? - Clothilde, your digital tailor, provides needle and yarn to dress your character with style. Clothilde is an amazingly powerful clothing solution, which is very easy to use - just like everything in CINEMA 4D. Cloth can have any sort of characteristics, such as stiffness, flexion or friction. Cloth can stretch or break, just like any real fabric would do, be it wool or satin, cotton or silk. Also aerodynamic forces can influence cloth and create stunning animations. Cloth can even collide with defined elements of your scene and as well with itself. Cloth NURBS (comparable to HyperNURBS) smoothes your cloth, so low resolution geometry can be used ensuring speedy workflow. Plus - you can even add thickness to the fabric. Thanks to the effective algorythms, most simulations can even be viewed in real-time in the editor. Clothes are more than just cloth. Clothilde has all the tools on board to make you a digital Armani (or whatever brand you prefer) - Dress-O-Matic. Design the very basic shape of a shirt or a dress with just a few polygons and then use the amazing new modelling features of CINEMA 4D to modify it by stitching and sewing the seperate parts together. It's time for Dress-O-Matic. This tool is responsible for the perfect fit of your design. Tight or loose - however you prefer it. You can even belt a dress or trousers to a character's geometry! Maybe it's time to visit your local News Agent for the latest fashion magazines and the hottest patterns for sewing. Visual Selector Even with CINEMA 4D's layers and hierarchies to tame your scenes, when it comes to character animation you still need quicker and easier access to handles and controls for your characters. Visual Selector gives you quick and easy access to handles and controls without having to sift through long lists to find them. To start, just use the standard visual selector image or create your own custom one. Then place the respective symbols on top via drag-and-drop. You can add handles, morph tags, cameras and more. Cappucino Break out of the keyframe box with Mocca's Cappucino tool. With Cappucino you can quickly "sketch" character animation in real-time. As your animation and soundtrack play, you can use your mouse or graphics tablet to manipulate any number of 3D objects and create a rough motion track that can be refined as your scene progresses. Capture the entire animation at once, or focus on individual objects while the rest of the scene plays back for reference. A keyframe reduction tool helps to tame the abundance of keyframes created by Cappucino or your motion capture application. What's New in 3.1 for Cinema 4D R10.5? The MOCCA module's character animation tools have been extensively fine-tuned for Release 10.5. Some of the most dramatic changes are the addition of new Jiggle, Squash and Stretch and Cluster deformers, plus improved weighting and vertex map painting. In addition to the major improvements mentioned above, MOCCA’ hass been given numerous smaller tweaks based on user feedback. Among these are improved joint alignment and Spline IK behavior, enhancements in the Bind tool and better display of polygon bones. DVD Training Advanced Character Rigging In addition to the multitude of video tutorials already made available for Release 10, MAXON is proud to introduce a brand new training DVD for Release 10.5! Together with the French character animation specialists at WiPix, more than five hours of high-quality instruction on rigging and animating a character was created. Eleven chapters of in-depth instruction ranging from creating the first joints to IK setup and weighting are included. This is all crowned by the creation of a complete walk cycle - an essential skill for all burgeoning character animation professionals working with CINEMA 4D's MOCCA to create high-end animations. New Deformers Jiggle: CINEMA 4D R10.5 includes powerful new deformers for character animation, including a Jiggle Deformer for easily creating secondary motion without bones or joints. Simply apply the Deformer to an object and you will automatically see the object react with secondary motion. You can refine the effect using vertex maps and parameters for defining stiffness, structural integrity and drag. You can even specify falloff, just as you can with MoGraph Effectors. Squash and Strech:The Sqash and Stretch Deformer helps animate objects that should adhere to the basic principals of character animation but themselves do not have to be rigged, e.g. a bouncing ball. This Deformer's numerouns settings allow for very accurate control of the object's animation behavior and look, e.g. a bouncing ball will become wider and more flat when it impacts on a surface and will stretch and narrow when repelled. Cluster: The Cluster Deformer links a point selection or vertex map to another object so a null can be used to transform the points. Because the Cluster Deformer and joints use separate weighting you can easily animate additional areas of a model without adjusting the overall rig. And because it is a separate Deformer it can be applied before or after other Deformers, such as Skin. Clusters can be very useful in facial animation and offer a more consistent workflow in conjunction with other 3D applications. Point Cache: With the Point Cache Tag and Deformer you can store the results of deformers and simulations such as Cloth and dynamically apply them via the same falloff parameters as the MoGraph Effectors. This allows you to easily deform a simulated mesh or mix between two simulations. Caching the point data also allows you to remove entire rigs and simulations from a scene for faster workflow and more reliability when rendering across a network. Squash & Stretch One of the fundamental principles of character animation is squash and stretch, a technique used to show dynamics and speed. Until now, adding squash and stretch to characters could be a somewhat tedious process. In Release 10.5, squash and stretch settings are included within IK tags and the Skin Deformer to easily add squash and stretch dynamics to a fully rigged character. For simpler applications you can apply the new Squash & Stretch Deformer directly to the object. You can easily control Squash & Stretch with parameters and falloff to create realistic or comical effects. The deformer always maintains a uniform volume so your characters never appear to be growing or shrinking for a consistent look to your animations. Paint Tool and Improved Weighting Vertex and weight maps are used throughout CINEMA 4D to control how various effects are applied. Release 10.5 includes a new comprehensive tool for painting vertex maps, with additional paint modes such as Blur, Bleed and Intensity. Save time by painting weight symmetrically on both sides of a model and work faster with graphics tablets using pressure sensitivity.   Users of the MOCCA module will also benefit from enhancements to joint weighting, including a new Symmetry painting mode. Multiple weight tags can be used to accommodate different character animation tasks, and can be blended as necessary with a simple slider. A new option in the weight tag also makes it easy to clean up a rig by removing joints that don't have any weight applied. Sketch and Toon for R10.5 Everyone is lining up to render 3D scenes with the CINEMA 4D module Sketch and Toon. Render engines, including CINEMA 4D and its Advanced Render Module, have become incredibly powerful and have made it easier than ever before to create high-quality, photorealistic imagery. Many users long for the simpler life, though, and will find their solution in the non-photorealistic rendering capability of CINEMA 4D's module, Sketch and Toon. Sketch and Toon has the ability to create so many different styles of 3D renderings, its name is almost misleading. Architects and engineers will enjoy the clean and precise technical illustrations it provides, while artists will appreciate its ability to render 3D scenes as a quick scribble or charcoal sketches. A variety of shading engines make it easy to create illustrations ranging from halftone stills to cel-rendered animations. NPR- and raytrace-rendered objects can be combined in a single scene for unique styles. An abundance of control and plenty of flexibility gives the user the opportunity to create almost any desired effect. Technical Style Sketch and Toon provides extensive options for drawing object edges and outlines. This powerful tool makes it easy to create high-quality technical illustrations with just a few mouseclicks. Lines can be drawn in any color, with individual parameters for each object in the scene. Presets allow quick selection of different line styles, to define anything from thickness and opacity to multiple cloned lines that create a sketchier look. Styles let you easily replicate looks and settings among multiple scenes. Strokes can even be animated, so the picture draws right before your eyes for outstanding presentations. Artistic Style Just a few parameters separate clean technical illustrations from a daring creative concept. Lines can be given variation or shakiness for a more hand-drawn look. Vary thickness, angle and opacity to imitate calligraphy or various natural media. Color inside the lines with shaders, images, other textures or solid colors. Add hatching for hand-drawn shading on objects. With Sketch and Toon, you can realize outstanding artistic visions easier than ever before. Lines The fundamental capability of any NPR solution is its ability to draw lines, so Sketch and Toon includes an enormous number of line controls. To simplify workflow and reduce learning time, the controls are separated into 3 complexity levels ranging from simple to advanced. Sketch and Toon provides the maximum flexibility while maintaining CINEMA 4D's outstanding usability. Sketch and Toon lines can match the contour of any object from any view. They can outline objects, polygons or just essential edges. Sketch and Toon even renders hidden or backface lines in separate user-defined styles. Lines can automatically overshoot and join at intersections for a variety of creative styles. In addition to rendering as a post-effect, lines can even be previewed real-time in CINEMA 4D's editor window and even exported to Adobe Illustrator in vector format. With this abundance of options, any 3D render will fall into line. Shaders Cel-Shader: Replicate the unique shading of animations with the Sketch and Toon's Cel Shader. Make your own manga or anime with the Cel Shader's quantized color shading. Custom gradients make it easy to define exactly the look you desire and turn your 3D scene into an animation success. Hatch-Shader: This shader creates custom hatch shading on your 3D objects based on any texture you choose. Three levels of shading and coloring combine with the hatch texture to create colorful and artistic hand-drawn 3D renders. This powerful shader puts the Sketch in Sketch and Toon. Art-Shader: Sketch and Toon's Art Shader uses a sphere to define the illumination and shading of an object, much like the techniques of traditional artists. Unique shading is possible by varying the surface and coloring of the sphere. This remarkable shader can transform ordinary 3D renders into abstract artistic masterpieces. Spot-Shader: If halftones are hip, this shader hits the spot. By shading darker areas with larger or more abundant dots and lighter areas with smaller sparse dots, this shader easily mimics the halftone appearance of low resolution print images as well as one of today's most popular visual concepts. When it comes to easily creating 3D animations in this style, Sketch and Toon's Spot Shader is right on target. Combination Because Sketch and Toon is a fully integrated CINEMA 4D module, you'll enjoy the same basic interface known for easy learning and speedy workflow. Sketch and Toon's many parameters are always convenient and responsive, and like all MAXON tools provide you the ability to achieve the results you desire without fighting the tool itself. Sketch and Toon effects can be combined with any CINEMA 4D features, including radiosity, shaders, splines and particles. Thinking Particles for R10.5 Create amazing special effects in Hollywood quality using Thinking Particles. Add genius to your particle effects with CINEMA 4D's Thinking Particles module. Thinking Particles utilizes 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. Objects can be used as emitters and can trigger collision events that deflect particles or spawn new streams. Thinking Particles is an essential tool for artists who push the envelope of special effects. If you demand the ultimate discipline of your particles you'll appreciate the obedience and intelligence of Thinking Particles. Particles in Motion CINEMA 4D's Thinking Particles module provides highly advanced particle effects that can be controlled through object and particle interaction. An abundance of XPresso nodes provides complete control over your particle effect. Your particles are no longer a simple stream carried mindlessly by simple wind, collision and friction modifiers. With Thinking Particles, you can choreograph your particles with an amazing degree of control. Individual particles can inherit the motion of any object in your scene. They can spin or align themselves along any axis, including the direction of travel. Freeze particles in mid-air for "Matrix" effects, or cause them to repel and bounce off of one another. Your particles can still be carried by the wind and affected by gravity, but these parameters are now fully controllable based on scene events using XPresso. Individual particle streams can even be grouped and manipulated independently. These streams can interact with other particle groups in the scene, or even be emitted by another particle group to create high-end studio-quality particle effects. Thinking Particles makes it easy to control every aspect of particle motion. Make particles dance to any tune with Thinking Particles. Emission Control All particles begin their relatively short lifespan at an emitter. The emitter provides the particles with their initial direction and velocity, so different types of emission can add a lot of variety to your particle effects. CINEMA 4D's standard particle system supports pyramid-shaped and cone-shaped emission, but Thinking particles adds to that basic functionality by allowing you to emit particles from any plane, surface or volume. Emit particles from the points, edges or surface normals of any object with surface emission. The emission can be restricted to individual selection sets or utilize the entire surface. Particles emitted from a surface can be controlled just like any other particle, so they can be used to create some really stunning effects. Volume emission will emit particles within an object's volume or create a volume of particles around an object's surface to a specified depth. This allows you to create particle effects that involve particular shapes, including text or logos. For instance, a volume of particles could be emitted in the form of a company logo and then released to be blown about or follow additional choreography using Thinking Particles' motion nodes. Thinking Particles is friendly to your 3D environment - it controls emissions. Collisions Thinking Particles collision detection offers additional advantages over the deflectors of CINEMA 4D's standard particle system. Any box, sphere or object can be used to deflect particles as they move throughout your scene. Deflectors can be used to trigger further events that modify the particle stream or emit new streams from the particles. Thinking Particles deflectors offer full control over the bounce, friction and variation introduced as a result of the collision. Thinking Particles can even collide and bounce off one another, or repel one another without even touching. The breadth of Thinking Particles collision support offers amazing possibilities for creating truly unique particle effects. Fragmentation Thinking Particles can even create unique shattering and explosion effects by fragmenting polygonal objects into particles. The fragmentation can simulate both hollow and solid objects, as well as add thickness to the polygonal particles. The fragmented particle stream can be controlled just like any other particle, manipulated by events and objects in the scene. Fragmentation offers the ultimate synthesis between your objects and the effects you wish to create. Thinking Particles offers complete control over your particle-based special effect. By utilizing XPresso and an extensive node system you can achieve the look you want without hassling over multiple dialog boxes. When you're thinking of creating a dynamic scene involving particle effects, Thinking Particles is a necessity. Cinema 4D R10.5 The tenth generation of MAXON's award-winning animation program once again sets the standard for 3D content creation. Living up to the unprecedented success of previous versions is no easy task. After all, CINEMA 4D has been honored with dozens of awards by experts and reviewers all over the world. Includes Bodypaint 3D! CINEMA 4D is a feature packed 3D workhorse that is capable of doing any 3D task you can imagine. The powerful core package gives you a massive range of essential tools and rendering options. And by massive, we do mean massive! Without any modules added, CINEMA 4D contains our complete range of modelling tools, many lighting modes, full rendering output options (including export options to apps like Photoshop, Final Cut Pro and After Effects), complete texturing including 3D painting and many animation tools including core parts of our character animation tools. Indeed, you may find that CINEMA 4D R10 is just fine for you without any modules at all! The philosophy behind CINEMA 4D is very simple. We believe in letting you add only the tools you think you'll need. Everything in the core application is what we consider essential to any 3D user. But if you need more than that then simply add on the modules you need. It's that easy. Release 10 has all the elements to make it the best version of CINEMA 4D yet released. The interface has been given a comprehensive facelift to improve workflow and productivity. New schemes have been added and icons have been revamped for faster and easier recognition of tool and object sets. Speaking of major overhauls, the Timeline has been entirely rewritten. It can be organized like the Object Manager, and now offers ripple and region editing tools as well as improved automatic and manual controls over keyframe interpolation. To aid in dealing with complex scenes, the new Object Manager has remarkable new functionality so objects can be easily filtered, searched, bookmarked and arranged in layers. The new layering system adds tremendous control over managing your objects. BodyPaint 3D included with every CINEMA 4D Every configuration of CINEMA 4D Release 10 now includes the BodyPaint 3D module. This powerful toolset provides artists with unmatched 3D painting and UV editing tools. BodyPaint 3D's functionality has also been enhanced include 16 and 32 bit depth painting, LSCM unwrapping, improved UV algorithms and additional tools, as well as a direct Projection Painting exchange with Photoshop. What's New in Version 10? New Interface : CINEMA 4D Release 10 features a completely overhauled interface. The new GUI was designed for maximum efficiency and speedy workflow. All the icons have been redesigned including improved graphical grouping of tools and objects for easy recognition. Two new schemes are available and have been professionally designed to allow you to focus on your work. However, the improved interface is not so different old school users will still feel right at home. Object Manager / Layer Browser : CINEMA 4D's Object Manager has always been recognized as the master control center for all your 3D content creation, and this latest version makes your efforts even easier. Objects can now be easily filtered, searched, bookmarked and arranged in layers to help you get control of your complex projects. You can even utilize multiple object managers, each with its own custom set of objects, tags and layers. However, the most extensive innovation is the layering system. The Layer Browser combined with the other new features of the Object Manager, give you the ultimate control over your objects, tags, etc. and how they are accessed, manipulated and modified. New Animation Tools: CINEMA 4D's Timeline has been completely reworked to provide more efficient handling of all your animation data. The new layout gives you more space to work, and even offers for quick customizability and mode focus. The region tool gives you the ability to quickly stretch or compress your workspace. Easier than ever before: Handling key frames is easier than ever with ripple and region editing tools as well as improved automatic and manual controls over keyframe interpolation. There are new tools for editing your f-curves and tangents. You can even use snapshots to compare, copy and paste curves. The new ripple mode is ideal for perfecting your animations and timing. Perfect control with perfect tools: Numerous tools in the Object Manager are now included in the Timeline - searching, filters, layers, bookmarks, etc. And, like the new Object Manager, you can have multiple timelines each with its own custom view. 3D Painting : Even the best models can be ruined by poor textures. Great artists know this. That's why BodyPaint 3D has become the 3D painting app of choice for many top production companies it offers the most comprehensive control over your materials and textures. BodyPaint 3D functionality is now standard in every CINEMA 4D! You can paint directly onto the surface of your 3D objects, and with BodyPaint 3D's exclusive RayBrush technology you see the results of your painting real-time in a raytraced image. Everything you'd expect in a state-of-the-art 3D painting package is included projection painting, unlimited layers, masks, filters and tablet support all optimized for working in 3D. With BodyPaint 3D you can paint on up to ten channels with a single stroke, so a single brush can define an entire material rather than just a single color. UV Editing : With CINEMA 4D R10, artists can eliminate much of the difficulty and tedium of unwrapping UV coordinates from complex meshes by using LSCM unwrapping. Improved Relax UV algorithms elegantly interpret the full range of geometric object curvatures into UV maps that are ready to paint on. Added tools such as path selection make it possible to select seams and refine a UV mesh with ease. Enhanced OpenGL : CINEMA 4D now supports enhanced OpenGL options available with new powerful graphics cards. Based on Pixel Shader technology you can now display transparencies, environment maps, real-time shadows and more. In addition, highlights, speculars and lighting in general appear more accurately in your editor view. That means, less test renders and more accurate results. Interactive Renderer: To achieve the final look and feel of your project used to require countless test renders. Not any more. CINEMA 4D's new interactive renderer provides the most efficient and workflow-friendly control over your final results. You can easily resize and move the interactive rendering window wherever you like in your scene. Real-time update of the rendered region: A simple slider gives you definitive control over speed and quality. Any changes made to a scene (modeling, materials, lights, camera position, etc.) are immediately updated in the interactive render window. The Interactive Renderer is based in CINEMA 4D's built-in rendering engine and supports all functions and modules including Advanced Render, Sketch and Toon or HAIR. What's New in 10.5 CINEMA 4D Release 10.5 adds exciting new features and numerous improvements to help your work flow, from its conception to the screen, between coworkers and team members, and even among different applications. New Timeline Features The all-new Timeline that debuted in Release 10 has been further enhanced in Release 10.5, to offer even better control over animation and help tame your cluster of keyframes. It’ is easy to create basic animation in CINEMA 4D and Release 10.5 makes it easier than ever to fine-tune timing and create motion magic. Relative Keys : Relative Keys in Release 10.5 allow you to easily adjust the length of a motion sequence without changing the basic timing. Simply set intermediate keys to relative mode and their time value will automatically be adjusted as you tweak the timing of surrounding keyframes. This makes it simple to speed up an animation sequence without affecting the overall timing. Reduced Modification Mode : Complicated animation tracks with many keyframes, such as those created via motion capture data, can be difficult to manipulate. One method of simplifying the animation is to use Key Reducer. The Key Reducer features an improved algorithm in Release 10.5. Another new method of dealing with such tracks in CINEMA 4D R10.5 is the Reduced Modification Mode, which provides a simplified F-Curve based on keyframe data. When adjusting this simple curve, the resulting change in the overall animation is immediately applied to each of the keyframes. Summary Track : In addition to hierarchal summary tracks on each object, CINEMA 4D Release 10.5 now features an overall summary track for the Timeline view. This makes it easy to see exactly where keyframes are located, whether they’ are on objects, materials or even post effects, and to easily adjust the timing of an entire filtered timeline view at once. More New Features: In addition to the major changes, many smaller changes have been made to the Timeline to help improve your workflow. Among these are improved display of keyframe data, expandable mini F-Curves within the keyframe view, the option to link the Timeline selection with the Object Manager, and the ability to copy data between different Timeline views. XRefs - External References Release 10.5 offers a powerful new external referencing system (XRefs) to help manage large projects and share assets within a team. Using XRefs, a single master file is used to reference objects and materials stored in separate CINEMA 4D files. The master file updates all the references automatically so changes made by one user in a workgroup are displayed immediately in the master project. With this great team-based workflow, individual pieces of an animatic can be split into XRefs and assigned to separate artists for development and refinement. The master scene updates as each artist works and provides an overview of the status of the project. In addition to the time savings, XRefs saves hard drive space as well. You can simply reference commonly used objects and materials rather than copying them into multiple scenes. Improved HTML Documentation The context-sensitive HTML help system introduced in Release 10 has been enhanced in R10.5 to make it easier to find the feature or solution you're seeking. An improved index and full-text searching now return more relevant results, and search terms are now highlighted within the help text. Once you've found the information you're seeking, the page can now be bookmarked for easy future reference - just like in your web browser. All this makes the integrated HTML help system much easier to use, which in turn makes it easier for you to use CINEMA 4D. UV Tools - Unwrap UVs Faster and More Cleanly CINEMA 4D Release 10.5 adds UV unwrapping using the powerful ABF algorithm, for faster and more clean unwrapping of organic meshes. This new weapon joins an arsenal of UV editing tools available in CINEMA 4D and BodyPaint 3D, including LSCM mapping, optimal mapping and projection-based mapping. A good UV mesh balances the size of a each UV to its respective polygon, while keeping neighboring UVs evenly sized. The ABF algorithm relaxes the UV mesh into a compromise between these two conflicting ideals resulting in a clean, paintable mesh. DWG Import CINEMA 4D Release 10.5 continues to open new doors to the architectural visualization and engineering communities with the addition of DWG import. Widely used by AutoCAD users and the CAD community as a whole, the DWG format offers an outstanding means of importing CAD drawings into CINEMA 4D for visualization. The robust DWG import supports not only geometry, but also layers (with colors) and object attributes such as visibility. Blocks and block references within the DWG file are represented in CINEMA 4D as object groups and instances, so the basic project structure is retained. The importer also supports other DWG object types, including: Line, arc, circle, ellipse, elliptical arc, polyline, 2D polyline, 3D polyline, face, polyface mesh and polygon mesh. Colors (RGB and indices) within the DWG file are imported as materials, and the ByLayer and ByBlock settings are taken into account on import. Users also have the opportunity to define the scale and curve subdivision factors used in the import. New Allplan 2008 Connection CINEMA 4D R10.5 offers much improved connectivity to Allplan 2008. A CINEMA 4D scene file or object can now be easily sent to Allplan 2008 with a click of the mouse. Previous poly count limitations are now a thing of the past. Even objects that are deformed, twisted or smoothed maintain their appearance when transferred to Allplan 2008. This functionality offers fantastic possibilities for finding new shapes and forms in architecture. Two methods are available for applying this new technology: Either the user creates a new model from scratch in CINEMA 4D and sends it directly to his Allplan project, or an Allplan object can be imported in CINEMA 4D, modified and then sent back to Allplan. Heads Up Display CINEMA 4D's Heads Up Display has proven to be an outstanding workflow aid since its introduction with Release 9. This powerful tool has been greatly enhanced in Release 10.5 to make working on complex projects easier than ever before. Among the many HUD improvements, you can now drag and drop parameters directly from the Attribute Manager into the HUD. Objects can be dropped directly into the HUD as well, to make selections easier. Object HUD elements can automatically activate the move, scale or rotate tools, or even execute any CINEMA 4D command or script. HUD parameters are now stored with their associated objects too, so you can merge multiple scenes without losing your controls. The display of each HUD element can be individually customized with custom icons and unique colors for each element. HUD groups and sliders can also be set to automatically fold and expand on mouseover, so elements stay out of the way until you need them. Lighting Tool Release 10.5 introduces a revolutionary way of lighting your 3D scenes. With the new lighting tool, you don?t arrange lights within the scene. Instead, you arrange the lighting itself. Simply click on an object surface to create lighting that will affect that area. Activate modes to control the overall surface lighting, diffuse or specular placement, or to move lights in a trackball or pivot fashion. Easily create complete lighting setups with keyboard modifiers to generate new lights and adjust existing lights. Discover an entire new way of lighting your 3D scenes. New Modeling Tools Three new tools are available to make life easier for those needing to model clean, polygon-based topologies.   In order to work cleanly with Subdivision Surfaces or Deformation Objects, particularly objects created using box modeling must be edited manually when creating topology. Connect edges or points flawlessly using the Connect command, and use the Disconnect command to reverse the results. The Spin Edge command can be used to angle horizontal or verticle lines that result from box modeling, without causing unwanted deformation of the geometry. Applying the Spin Edge command will not generate additional points - the selected edge will automatically be attached to existing points. These three tools help you create clean geometry that will stand up to and deformation when animated. MAXON CINEMA 4D R10.5 Core New Features List Images for background templates can be dragged directly into a 2D view. Noise shader display in OpenGL mode. Any CINEMA 4D command can be dragged into the editor view to be used as a HUD element. Navigation speed setting for tablet users. Option for saving objects polygonally in the native CINEMA 4D format. New Auto-Save function. Native CINEMA 4D file format can be opened directly in Allplan 2008. New DWG import format. Selection assistance in the HUD. New HUD commands. Commands with which existing objects or materials can be put out as XRefs. Camera rotation can be fine-tuned via a manually adjustable pivot point. Objects and materials can be saved to separate scenes using the XRef function. The last eight tools used are displayed Tool for interactively placing lights (and reflections). Selecting all Phong Edge Breaks. New Structure command for connecting Points or Edges. New Structure command for removing edges in consideration of the Phong Angle. Command to spin selected edges. A new Animation Palette option that makes it easier for users of other applications to use CINEMA 4D. Scalable mini F-Curves. Selected keys can be moved using the cursor keys. New key property, "Relative". Pseudo sequences for easy selection and repositioning of all keys on a given track. Exchanging Markers between scenes. Selecting objects simultaneously in the Object Manager and the Timeline. New KeyReducer algorithm. Deletion of redundant Keys. Commands for defining an animation before the first and after the last Key. Command to make Keys relative. Command for switching the Key state between Mute and Active. Selected Keys can be scaled and moved temporally. Commands to source out existing objects/materials as XRefs. Up to 5 F-Curve snapshots can be made.. Complex curves can be controlled using RM Curves. Command for displaying the Material Managerâ€TMs layer tabs in rows. Resetting parameters to default setting. The Editor Cameraâ€TMs settings can now be accessed. A full text search can be conducted in the context-sensitive Help system. Help can be accessed directly from dialog windows. Help pages can be bookmarked. Minimum System Requirements: Mac OS X 10.4 or Windows XP, Vista 1024 MByte RAM, Single Core CPU with 2GHz Recommended System: Mac OS X 10.4 or Windows XP, Vista 2048 MByte RAM, Dual Core CPU or greater Additional Requirements: OpenGL graphics card, DVD ROM drive, Quicktime 7, Depending on your license Mac or Windows only. For continued use of the program registration with MAXON is necessary. BodyPaint 3D R3.5 Wouldn't it be great if you could have all your favorite image editing tools directly in a 3D environment? Wouldn't it be great if they worked in conjunction with your 3D application rather than against it? Well, that's exactly what BodyPaint 3D does! Wave goodbye to UV seams, inaccurate texturing and the constant back-and-forth switch to your 2D image editor. Say hello to hassle-free texturing that lets you quickly paint highly detailed textures directly on your 3D objects. Forget flat compromises and paint in three dimensions. BodyPaint 3D offers the ultimate control over your textures with complete layers, filters and tablet support - all optimized for working in 3D. With BodyPaint 3D you can paint on up to ten channels with a single stroke, so a single brush can define an entire material rather than a single color. Plus, BodyPaint 3D's exclusive RayBrushTM technology lets you view the results of your painting real-time in a rendered image. BodyPaint 3D's Projection Painting tool makes distortion-free painting a snap. This quick and easy tool lets you paint across UV seams or even multiple objects. Even the most complex UV coordinates can be tamed with the help of a complete suite of UV editing tools. BodyPaint 3D includes three automatic UV unwrapping algorithms, including the new Optimal Cubic Mapping system. BodyPaint 3D was created for all 3D artists and includes free plugins to exchange models and textures with popular 3D applications. These plugins transfer models, textures and UVs between BodyPaint 3D and your 3D application of choice, with no hassle at all. New Features in BodyPaint 3D R3 Painting with maximum Color Depth (32 Bit Floating Point):With BodyPaint 3D R3 you can work with more depth than ever before. Now you can paint upto to 32 bit colour depth which gives even more texture control and amazingly smooth colour gradiations. BodyPaint also enables editing of HDR and EXR formats enabling you to use these powerful formats in your 3D scenes. LSCM Unwrapping and new Selection Tools: Complex objects; especially detailed organic mesh can be a nightmare to unwrap when it comes to UV's. But BodyPaint's new LSCM Unwrapping and new selection tools make even the most complicated objects a doddle to UV unwrap. A new path tool lets you define the seams you want. Once you've picked your seams then simply activate the LSCM tool and watch BodyPaint unwrap that UV nightmare into a nice flat surface for you to work with. Freeze 3D View : Projection painting / mapping used to be limited to screen size. But no more! Now you can freeze the view to any size you wish. Now you can use huge images to add ultra fine detail to your textures. New Interface : The new interface is much less distracting when working on textures. You'll note that your model now has more contrast than before. New icons are easier to identify. And much more... BodyPaint 3D is so much more than just texturing. With just a flick of a switch, BodyPaint users can now access all the tools of CINEMA 4D R10 which gives a full suit of modelling, animation and rendering tools. With BodyPaint 3D R3, your only limit is your imagination. New Features In MAXON BodyPaint 3D R3.5 The latest upgrade boasts a number of new features to make life easier for texture artists. Numerous additional improvements have also made working with the new BodyPaint 3D Release much more comfortable. Included are: Improved HUD functlionality, a configurable Auto Save function, adjustable navigation speed for graphics tablets and much more. UV Tools - Quicker and Cleaner UV Unwrapping BodyPaint 3D R3.5 now offers UV unwrapping using the powerful ABF algorithm for quicker and cleaner unwrapping of organic meshes. This new weapon joins an arsenal of UV editing tools available in CINEMA 4D and BodyPaint 3D, including LSCM mapping, optimal mapping and projection-based mapping. A good UV mesh balances the size of a each UV to its respective polygon while keeping neighboring UVs evenly sized. The ABF algorithm relaxes the UV mesh into a compromise between these two conflicting ideals, resulting in a clean, paintable mesh. Improved HTML Documentation The context-sensitive HTML help system introduced in Release 3 has been enhanced in R3.5. It is now easier to find the feature or solution you are looking for. Improved indexing and a full text search now return more relevant results, and search terms are now highlighted within the help text. Once the desired information has been found it can now be bookmarked for easy future reference - just like in your web browser. All this makes the help in BodyPaint 3D R3.5 much easier to use and speeds up your workflow even more. Why 2D painting is never enough for 3D textures Textures can make or break your 3D image and experienced artists know the issues involved with creating 3D textures in a 2D application. Immediate feedback : Graphics applications designed for 2D don't account for your scene's lighting or the effect of different material channels. BodyPaint 3D does that and more with its unique RayBrush feature. Rather than saving, reloading and rendering textures, you can paint in real-time on a rendered image and see the results of reflection, transparency, bump and more. Tools, tools, tools : More than 200 presets put a plethora of natural media and special effects brushes within easy reach. Clone, smear, smudge, dodge and burn, gradient, magic wand, transform tools and more are all available within the easy-to-use interface. Direct connection to your 3D application: With 2D applications, creating and including textures 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, XSI and LightWave. Painting over different objects : BodyPaint 3D can paint over multiple objects with a single stroke. Projection painting allows distortion-free painting across multiple objects to eliminate seams and get the results you want. You could never do this in 2D! Painting in multiple textures : 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 affects color, bump, specularity, reflection, transparency and other properties. There's no need to match the various channels in your 3D application. Free Tech Support : Maxon's top-notch technical support staff will guide you through the valley of the shadow of deadlines, with quick and complimentary resolutions to your issues. Completely Cross-Platform: Whether you're a Windows wizard or Mac addict, you'll enjoy the same great features and outstanding performance. Works with XSI, Maya, 3ds max, and LightWave with unrivaled 3D painting. BodyPaint 3D will revolutionize the way you texture your 3D models. Regardless of how you've textured before, 3D texturing has never been easier. BodyPaint 3D makes painting by vectors as easy as painting by numbers. The complete layering system, tons of painting tools and filters and a fully featured rendering engine to see all your efforts in real-time makes texturing with BodyPaint 3D a pure pleasure. Forget flat compromises and paint in three dimensions. The XSI Connection With BodyPaint 3D MAXON delivers a connection to SOFTIMAGE|XSI. If you're looking for the ultimate texturing solution for SOFTIMAGE|XSI, BodyPaint 3D should definitely be your choice. Let yourself be inspired by the RayBrushTM-mode that allows you to paint your textures in a rendered image including full control over specular maps, transparency and reflection. Not to be forgotten: the MultiBrush, which enables you to paint in up to 10 textures simultaneously - even while in RayBrush mode. BodyPaint 3D's Projection Painting tool makes distortion-free painting a snap. This quick and easy tool lets you paint across UV seams or even onto multiple objects in a scene. The link is as easy as one can imagine. Create your mesh in SOFTIMAGE|XSI and apply a simple material. You choose whether you want to set up the UVs in SOFTIMAGE|XSI or with BodyPaint 3D´s sophisticated set of UV tools. The Setup-Wizard prepares all necessary textures and UVs for an object with just three easy mouse clicks. It’s even possible to set up a complete group or hierarchy of objects using this method. The complete layering system, tons of painting tools and filters and a fully featured rendering engine to see all your efforts in real-time makes texturing with BodyPaint 3D a pure pleasure. The MAYA Connection One of the many features in BodyPaint 3D is the direct link to Maya for Windows and Macintosh. Maya users benefit from BodyPaint 3D’s unparalleled features, such as the RayBrush mode, which enables the user to paint in the rendered image and see the final result in real-time. Or the MultiBrush, which can paint in up to ten textures simultaneously - with a single stroke, so a brush can define an entire material rather than a single color. BodyPaint 3D's Projection Painting tool makes distortion-free painting a snap. This quick and easy tool lets you paint across UV seams or even multiple objects in a scene. The link itself is as smooth as you can imagine. Create your model in Maya, set up the UVs and apply a basic material. All texture creation is now up to BodyPaint 3D. Select the "Send to..." command and your model will be transferred to BodyPaint 3D. The Setup Wizard makes it easy to create all the different textures for the individual channels even for multiple objects or complete hierarchies. Three mouse clicks and you're all set to start painting. The complete layering system, tons of painting tools and filters and a fully featured rendering engine to see all your efforts in real-time makes texturing with BodyPaint 3D a pure pleasure. The 3ds max Connection Looking for the ultimate solution to paint on your max-models? BodyPaint 3D Release 2 is here with hundreds of new features to give your objects the perfect outfit. The RayBrushTM-mode is, in a way, its own outfit. You can paint in 3D in a rendered image - but with more than just a simple color. In combination with the MultiBrush you can paint in up to ten texture channels with just one brushstroke and see the results simultaneously. BodyPaint 3D's Projection Painting tool makes distortion-free painting a snap. This quick and easy tool lets you paint across UV seams or even multiple objects in a scene. Two plugins, one for 3ds max and one for BodyPaint 3D, offer a perfect connection between the two programs. Create your model in 3ds max and apply a material. You may set up UVs in max as well or use BodyPaint 3D's sophisticated tools to create UVs as perfect as the model you´ve built. The Setup Wizard in BodyPaint 3D now does the job for you of creating all the necessary texture maps and, if desired, automatically generated UVs with just three mouse clicks. This even works for multiple objects, groups or even hierarchies just the same. Now you're all set to start the paint job. The LightWave Connection With BodyPaint 3D MAXON delivers a great connection to LightWave 3D. If you're looking for the ultimate texturing solution for LightWave on Windows or Macintosh BodyPaint 3D should definitely be your choice. Let yourself be inspired by the RayBrushTM-mode that allows you to paint your textures in a rendered image with full control, even over specular maps, transparency or reflection. Not to be forgotten; the MutliBrush which, in conjunction with RayBrush, enables you to paint in up to 10 textures simultaneously. BodyPaint 3D's Projection Painting tool makes distortion-free painting a snap. This quick and easy tool lets you paint across UV seams or even multiple objects in a scene. The link is as easy as one can imagine. Create your mesh in LightWave's Modeler and apply a simple material. You choose whether you want to set up the UVs in LightWave or with BodyPaint 3D´s sophisticated set of UV tools. The Setup-Wizard prepares all necessary textures and UVs for a given object with just three easy mouse clicks. It is even possible to set up a complete group or hierarchy of objects in this manner. Minimum System Requirements: Mac OS X 10.3 or Windows 2000 / XP 512 MB RAM 1 GHz CPU Recommended System Requirements: Mac OS X 10.3 or Windows 2000 / XP 1024 MB RAM 2 GHz CPU OpenGL compatible graphics card

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