Cinema 4D Studio Bundle R10.5 Upg from C4D R10 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:  $2795.00 Our Price:  $2749.99   • or •

CATEGORY:	3D Animation		PARTNUMBER:	MXNN0300051
MANUFACTURER:	Maxon		PLATFORM(S):	Win
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Note! Cinema 4D Studio Bundle R10.5 Upg from C4D R10 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 R10 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. 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. 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. 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. 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.

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