Cinema 4D Studio Bundle R11.5 Competitive Upgrade

DESCRIPTION
Eligible upgrade products include:

• 3d studio max Discreet / Autodesk 
• LightWave NewTek
• Amazon 3D
• Art*lantis Abvent
• Maya Complete/Unlimited Alias Wavefront
• Deep Paint 3D Right Hemisphere
• Amapi 3D Yonowat
• Merlin 3D Digital Immersion Software Corp.
• Painter 3D Corel (MetaCreations)
• Bryce Corel
• RayDream MetaCreations
• Carrara Adobe / MetaCreations
• Real 3D Realsoft
• ElectricImage Electric Image / Play
• Rhino McNeel
• form-Z auto-des-sys
• Shade XpressionTools
• Houdini/Houdini Select Side Effects
• Softimage 3D/XSI Avid
• Infini-D MetaCreations
• Strata Studio C 3
• Inspire 3D NewTek
• trueSpace Caligari

You must provide your serial number AND either a screen grab of the license screen or a photo of the box showing the serial number to qualify.

Module: Advanced Render 3 for R11.5

The key to ultimate photo-realism! Includes Global Illumination, Caustics, SKYand PyroCluster.

DESCRIPTION
While the standard renderer produces outstanding results in little time, the Advanced Render module provides advanced features like Global Illumination 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 for the simulation of wax or skin.

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 SubPolygonDisplacement 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 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.

MAXON CINEMA 4D's Advanced Render module makes it easier than ever to render realistically.

If your 3D tasks require real-world results, count on CINEMA 4D to deliver them.

Caustics
Caustics provide even more realism to your 3D images by simulating the hyper-focusing of light as it reflects off of 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. MAXON 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 (SPD) you do not need to subdivide your object into high- poly-count memory killers in order to create awesome displacement effects.

SPD offers intelligent and efficient algorithms to subdivide geometry as needed for 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 MAXON CINEMA 4D features.

Ambient Occlusion
Ambient Occlusion (i.e. the blocking of ambient light by neighboring surfaces) is a new method with which realistic shadows can be quickly rendered in Advanced Render. The lighting of neighboring surfaces will be occluded – the closer the surface, the greater the degree of occlusion.

Until now, a realistic simulation of this natural phenomenon was only possible with the use of Global Illumination. A major disadvantage of GI, though, was the long time it often took to render. Although GI still has numerous advantages, a near realistic casting of shadows is often sufficient.

Ambient Occlusion can be created in one of two ways in MAXON 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 looks 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 Have Never Been So Near!
You will reach the same conclusion once you have taken a look at Advanced Render’s SKY.

Create realistic skies and atmospherics in the blink 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 SKY's 50 presets.

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 is more: You can also accurately create rainbows and even define any location or time zone in which your simulation should take place!

With SKY you can accurately simulate the position of the sun, moon and stars. You can paint clouds or stars onto the firmament, place a rainbow on the horizon or 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 MAXON 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.

CineMan - the CINEMA 4D connection to Renderman
Pixar's RenderMan has become the standard in the motion picture industry not just for its use on films but also as a format for exchanging rendering data. With Release 11, the Advanced Render 3 module includes support for the RIB format so you can render your CINEMA 4D projects using Pixar's RenderMan Pro Server, or other RenderMan-compliant engines including 3Delight from dna research and AIR by SiTex Graphics.

CineMan translates the entire CINEMA 4D scene, including lights and materials to a RenderMan-complaint RIB file. CINEMA 4D shaders are immediately available in RenderMan, and RenderMan shaders can even be used within CINEMA 4D as long as a compatible render engine is selected. Best of all, third-party render engines integrate seamlessly into CINEMA 4D, providing editor rendering and material previews.

CineMan offers the flexibility to allow power users to leverage everything that the RenderMan standard has to offer, making it easy to fit CINEMA 4D into any professional pipeline.

Cineman supports the following RenderMan engines:

• Pixar's RenderMan Pro Server (Win and Mac)
• dna research 3Delight (Win and Mac)
• Sitex Graphics AIR (Win only, software not available for Mac)

REQUIREMENTS

• Cinema 4D R11.5

Module: MoGraph 2

Create breathtaking 3D motion graphics.

DESCRIPTION
Quick workflow, fast rendering and easy export to compositing applications have long established CINEMA 4D as a staple among motion graphics artists. With the MoGraph module, motion graphics artists can sink their teeth into a palette of powerful tools that make it easy to create everything from flying logos to abstract effects.

Clone numerous objects and create extruded text with just a few simple clicks. Add Effectors to the mix and put everything in motion and much more, often without creating a single keyframe!

These tools have been perfectly integrated into CINEMA 4D and offer the same fast, easy workflow you have come to expect. All functions are completely interactive and non-destructive.

With MoGraph, "going through the motions" and getting the job done will be a joy!

MoGraph 2 Module's New Features:

• Render Instances for the Cloner object.
• Clones can be arranged in tubular-shaped volumes.
• Rail Spline functionality for the Cloner object.
• New animation modes for the Cloner object.
• Most MoGraph objects can be defined as a falloff source.
• The MoGraph C.O.F.F.E.E Effector offers full control over all Clones.
• Random Effector: New random mode, Sort.
• Rail Spline functionality for Spline Effector.
• New Segment mode for the Spline Effector.
• Dynamics system for MoGraph Clones.
• Scene-wide MoDynamics settings in Preferences menu.
• The new Rigid Body tag is an important part of Dynamics.
• The Force object for attracting or repelling Clones.
• MoSpline object generates and modifies existing splines in a parametric manner with effector and force support.
• Rail Spline functionality for Spline Wrap.
• Polygons and Splines (or spline segments) can be viewed as Clones using the MoGraph object, "PolyFX".
• New options for the MoGraph Cache tag.
• Camera shader can assume any camera view.

New Dynamics System for Stunning, Realistic Motion
MoDynamics is based on the proven Bullet physics library and gives you an amazingly simple way to create jaw-droppingly realistic motion. Now, as well as controlling cloned objects in all kinds of ways using MoGraph's powerful effectors, you can add dynamics for awesome realism.

Add Gravity, Bounce, Friction and More
Imagine having to use keyframes to get objects to look like they are naturally bumping into each other as they fall, then getting them to bounce realistically off the floor, bounce into each other again, then eventually come to a stop somewhere along the floor. It's extremely difficult to get natural-looking results in cases like this when you use keyframes.

With MoDynamics it's much easier. Set simple parameters like Mass, Bounce, Gravity, Friction and more and let MoDynamics do the work. Create breathtaking, realistic motion every time.

Quick and Easy to Use
When you consider how many options you have in MoDynamics, it's surprisingly easy to use. To get started, simply add two tags - one to the cloner and one to the object with which the clones should collide - and you already have a working dynamics system!

No matter whether you are adding dynamics to dozens, hundreds or thousands of clones, MoDynamics works fast to calculate the motion. At the heart of MoDynamics is the Bullet dynamics engine, used in complex 3D games to calculate realistic motion almost instantly. Chances are it will eat many of your MoDynamics simulations for breakfast.

Flexible and Fully Integrated
Why use MoDynamics on its own when you can use it with other CINEMA 4D components? Full integration means you have the flexibility to use MoDynamics in many different situations, for example when colliding MoGraph clones with keyframed objects or cloth created in MOCCA.

Animated Organic Lines the Easy Way
One of the most popular effects in motion graphics today is the animation of organic lines. The new MoSpline tool makes these beautiful and elegant lines easier and quicker to create. Create amazing shapes with any number of splines and animate them within seconds to create backgrounds that will grace your motion graphics. There's nothing quite like it on the market.

Endless Ways to Animate
Create organic motion for your lines simply by changing a few MoSpline parameters. You can also animate the lines using MoGraph's powerful Effectors, such as the Formula Effector to create a wave-type effect or the Delay Effector to create interesting trail effects.

Use MoSpline with the Rest of CINEMA 4D
Animate your MoSplines within seconds by adding forces like wind and turbulence from CINEMA 4D's standard Particle System. Although these forces were originally designed for use with particle effects, you'll find they work just as well with MoSpline.

You can also combine MoSpline with conventional spline functions. Why not "grow" some text and add hair using the HAIR module, or render out the effect using a sketch style from the Sketch and Toon module?

Effectors for an Object's Polygons
With PolyFX you can apply effectors not only on object clones but also on an object's polygons.

Until now, MoGraph's powerful Effectors have given you countless ways of animating or altering the position, scale, rotation, texture and other features of object clones. One limitation, however, was that Effectors only worked with clones. With PolyFX you can unleash these powerful Effectors on an individual object's polygon surfaces.

This gives you an easy way to create cool effects such as an object that shatters into thousands of pieces, only to reassemble itself, or even reshape itself completely.

New Camera Effects
The new Camera Shader lets you put what the 3D camera sees directly onto an object's surface as a texture. In other words, it's a great way to create closed-circuit television displays. You can also use it to create fascinating camera effects.

CCTV Displays
Choose any 3D camera in your scene and apply it to an object surface using the Camera shader to turn that object surface into a display showing a live feed of the camera.

Previously, to create these types of effects in CINEMA 4D, you had to first render out the CCTV camera's view, then apply the rendered movie as a texture to the display object. This additional rendering is no longer necessary, even when the closed-circuit television camera is looking at objects out of view of the main 3D camera. This speeds up workflow immensely.

Striking Effects with Optical Loops
Optical loops, such as the almost endless reflections seen in two mirrors opposite each other, really grab a viewer's attention. You can create similar striking effects using the Camera Shader by letting the CCTV camera look at its own monitor.

New Settings for the Cloner Object
The powerful Cloner object is at the center of many MoGraph setups thanks to its ability to create object clones and place them in various shapes. New settings for the Cloner object make it easier for you to manipulate the cloned objects it generates. For example, you can now use a tunnel shape for more control over the clones' positions. New animation modes have also been added, providing you with even more ways to animate clones.

New C.O.F.F.E.E. Effector
Good news for the programmer in you: CINEMA 4D's programming language, C.O.F.F.E.E., now gives you access to many of your MoGraph clones' parameters via the new C.O.F.F.E.E. Effector. Create spectacular effects that were previously impossible to create with just a few lines of code.

Improved Effectors
A number of MoGraph's effectors have been improved. You now have much more control over arranging, animating and deforming objects based on splines thanks to the new rail spline support for the Spline Wrap object and the Spline Effector. And the Random Effector's new Sorted mode gives you much more control over the arrangement of cloned objects in cases where you are mixing different types of clones, especially when you want only one of each type of clone.

Think of a deck of playing cards, for example, where each card is a clone. Naturally, you want one of each card (Ace of Spades, Queen of Diamonds, etc.) to be generated by the cloner so that when you use MoGraph to spread the pack of cards, it looks like a genuine shuffled pack with no duplicate cards. By combining the new Sorted mode with the Multi Shader you can ensure that there is one and only one of each card arranged in a random order.

INCLUDED ITEMS

• MoGraph module for CINEMA 4D
• More than 40 animated, resolution-independent backgrounds
• Motion graphics material library
• 350 MB of exclusive, royalty-free sound loops and samples
• Massive archive of ready to use animations (text, countdown, transitions, etc.)

REQUIREMENTS

• Cinema 4D R11.5

Module: Dynamics for R11.5

Simulate rigid and soft body dynamics.

DESCRIPTION
MAXON CINEMA 4D's Dynamics is a breakthrough technology for recreating natural forces to create startlingly realistic visual effects. This exciting module allows CINEMA 4D users to easily simulate real-world dynamic forces including friction, gravity, collisions, springs, wind and more.

This module'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 not have the plugin but need to render it (such as NET Render).

Rigid Body Dynamics
This mode is used to simulate rigid bodies, i.e. solid objects like wood or metal. With rigid bodies you assign a collision method (spherical, ellipsoid or full). Which affects the accuracy with which an object collides with others.

Add properties such as mass or friction to define how Dynamics should affect a particular object. Objects can also be connected via springs. When animated, Dynamics will automatically calculate the correct behavior! To make calculations faster you can you proxy objects, which will require less memory.

Soft Body Dynamics
Soft Body Dynamics is used to simulate soft objects such as jelly, cloth, a slug, etc. Such soft bodies can be deformed by forces available in Dynamics. Once Dynamics has been set up you can make objects behave elastically, like plastic or let them deform whenever moved or impacted.

Soft Body dynamics creates a net of springs on the polygon surface of the selected 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 are distributed over the surface via the net of springs. This net in turn 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
Dynamics lets you restrict objects' motion, e.g. rotation or position, using constraints. Force fields can be used to attract or repel other objects. Objects can also be connected using Springs.

REQUIREMENTS

• Cinema 4D R11.5

Module: HAIR for R11.5

Create hair, fur, feathers and even grass!

DESCRIPTION
HAIR is a fully integrated CINEMA 4D module for the creation of hair, fur and feathers. Breathtakingly fast, this module requires minimal use of memory and offers an intuitive interface.

Revolutionary

• Easy to use
• Real-time editing
• Awesome styling tools
• Completely animatable
• Breathtaking speed
• Minimal memory usage

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 collision, 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, mighty eagle feathers, or anything in between. All you have to do then is animate the bird's flight.

Add Hair
Just add hair - 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, Straightened, 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 is thick, curly or a mohawk. No chemical perms needed here!

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 multi-colored tiger fur. Some properties can also be adjusted even more precisely using function graphs. All HAIR settings work using the same principal, which makes HAIR easy to learn and to 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 complaint 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 with 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.

REQUIREMENTS

• Cinema 4D R11.5

Module: MOCCA 3 for R11.5

Bring your characters to life, including muscle and cloth!

DESCRIPTION
These days animated characters can be seen everywhere: Advertising, movies, websites and even on corporate presentation movies. People love characters and there is a huge demand for those created in 3D simply because they look cool and can do amazing things. Character animation may be one of the most demanding type of CG but MOCCA 3 makes animating characters a piece of cake!

MAXON has created a brand new engine for MOCCA 3 based on joints rather than bones. This makes rigging much easier and much more reliable. Combined with new constraint options, skin deformers and muscles, one of the easiest and most powerful character animation systems around is at your fingertips.

Use MOCCA's amazing cloth system to easily dress your characters and automatically take care of the cloth animation as your character struts its stuff!

Jiggle
MOCCA includes powerful specialized 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 Stretch
The Squash 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 numerous settings allow for very accurate control of the object's animation behaviour 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 and 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.

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 and Stretch Deformer directly to the object.

You can easily control Squash and 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.

CINEMA 4D includes a 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. An option in the weight tag also makes it easy to clean up a rig by removing joints that don't have any weight applied.

Character Rigging
MOCCA offers a multitude of tools for easy rigging. Joints are the way to go! Simply select where your character's joints should be and MOCCA will figure out the flexing defaults automatically. Joints do not even need to be placed in a specific hierarchy!

The Auto Weighting and Binding options make a character animator's life so much easier. It will save you hours of work compared to manual weighting. Various constraint options and spline IK help create a flexible and powerful character rig. Face or body morphing is now easier than ever before! Rigging has been made up to 50% faster and far more flexible.

Muscle System
In MOCCA 3 not only the skeleton deforms the mesh, the muscles deform it as well. Having muscles under your character's skin automatically creates a much more realistic animation. Muscles are 'pinned' to the skeleton and act like real ligaments.

The movement of the skeleton will automatically cause the muscles to bulge and stretch accordingly. You can easily adjust the muscles' contraction or relaxation states by adjusting the muscle parameters. For even more realism, ligaments (the pins) can be attached far away from the muscles. As in reality, the muscles that move the fingers are actually located near the elbow.

Morphing
The MOCCA 3 morphing tools offer a solution for any problem. Various facial expressions and poses can be created, referenced and animated quickly and easily.

Morph targets do not require much memory and can be created as absolute, relative or rotational morphs (e.g. to prevent an eyelid from intersecting an eyeball when it closes). Animators can quickly achieve breathtaking results when using morph targets in conjunction with the HUD and the Visual Selector.

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 many types of characteristics - stiffness, flexion, friction, etc. Cloth can stretch or break, just like any real fabric would do, be it wool or satin, cotton or silk. Aerodynamic forces can also influence cloth and create stunning animations. Cloth can even collide with elements in your scene as well as with itself.

Cloth NURBS (comparable to HyperNURBS) smoothes your cloth, so low-resolution geometry can be used to ensure a speedy workflow. You can even add thickness to the fabric.

Thanks to Clothilde's unique algorithms, most simulations can even be viewed in real-time in the Editor View.

Clothes are more than just cloth. Clothilde has all the tools you need to make you a digital fashion designer - Dress-O-Matic.

Design the very basic shape of a shirt or a dress with just a few polygons and then use CINEMA 4D's amazing new modelling features to modify it by stitching and sewing the seperate parts together. Time for Dress-O-Matic! This tool ensures the perfect fit for your design. Tight or loose - whatever you prefer. You can even belt a dress or trousers to a character's geometry!

After getting to know Clothilde you will want to visit your local News Agent for the latest fashion magazines and the hottest new sewing patterns!

Visual Selector
Even with CINEMA 4D's layers and hierarchies to tame your scenes you still need quicker and easier access to handles and controls when animating characters. Visual Selector gives you this quick and easy access without having to sift through long lists to find them.

To start, just use the standard visual selector image or create your own. Then place the respective symbols on top via drag and drop. You can add handles, morph tags, cameras and more. Once everything is in place you can animate without needing to know how the scene or the character has been set up technical.

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.

DVD Training
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.

REQUIREMENTS

• Cinema 4D R11.5

Module: NET Render for R11.5 - Unlimited Client License

Render your animations across your network.

DESCRIPTION
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 masterpieces is constantly being reduced.

One way to gain the upper hand is to use multiprocessor systems. Another is to use networks. How about using 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.

HTML Interface
NET Render lets you delegate your rendering tasks so you can get on with your life. 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. Any completed file can be downloaded directly for a 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 is no need to worry - peace of mind is only a web connection away.

Dynamic Load Balancing
All computers were not created equally. This is why 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 as they complete their assigned frames. If faster computers finish their assigned frames they are automatically assigned frames from slower machines to get your job done as quickly as possible. There is no need to manually adjust frame ranges or jobs to optimize render times - NET Render does it all for you!

Safe Recovery
You can count on NET Render to do everything possible to complete your job. Once a job is started all relevant scene data and textures will be 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 its connection is re-established. 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 images. Localized network or power problems may slow your render down, but will not stop NET Render.

REQUIREMENTS

• Cinema 4D R11.5

Module: Sketch and Toon for R11.5

Easily and quickly create hand-drawn looks.

DESCRIPTION
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 a wide range of options for drawing object edges and outlines. This powerful tool makes it easy to create high-quality technical illustrations with a few clicks of the mouse. Lines can be drawn in any color and 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 across multiple scenes.

Strokes can even be animated, letting the picture be drawn right before your eyes - an excellent effect for presentations.

Artistic Style
Just a few parameters separate clean, technical illustrations from a daring creative concept. Lines can be given variation for a more hand-drawn look. Vary thickness, angle and opacity to imitate calligraphy or various natural media. Add color inside the lines using shaders, images, other textures or solid colors. Add hatching for a hand-drawn shading look.

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 be used to 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 in 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 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 want and turn your 3D scene into an animation success.
• Hatch Shader: This shader creates custom hatch shading for 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 can be created by varying the sphere's surface and coloring. 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
Sketch and Toon is a fully integrated CINEMA 4D module. You will enjoy the same basic interface known for easy learning and speedy workflow.

Sketch and Toon's many parameters are always convenient and responsive. Like all MAXON tools, Sketch and Toon gives you the ability to achieve the results you desire while enjoying a barrier-free workflow. Sketch and Toon effects can be combined with any CINEMA 4D features, including Radiosity, Shaders, Splines and Particles.

REQUIREMENTS

• Cinema 4D R11.5

Module: Thinking Particles for R11.5

Control your particles perfectly.

DESCRIPTION
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 uses CINEMA 4D's XPresso interface to provide complete control over individual particles and particle streams. Thinking Particles can interact with one another and with their environment. 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 special effects envelope. If you demand the ultimate discipline of your particles you will 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 be used to 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 and be 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 effects. By utilizing XPresso and an extensive node system you can achieve the look you want without having to deal with multiple dialog boxes. When you are thinking of creating a dynamic scene involving particle effects, Thinking Particles what you need.

REQUIREMENTS

• Cinema 4D R11.5

Cinema 4D R11.5

DESCRIPTION
The next generation, representing two decades of excellence.

The Easiest To Use 3D Application
CINEMA 4D's intuitive interface and logical workflow make it possible for those new to 3D artistry to dive in and be productive quickly. Feedback is smooth and interactive so you can let your creativity run free.

State-of-the-Art Technology
CINEMA 4D's state-of-the-art architecture means it is always the first to benefit from new technologies and advancements - 64-bit support on Windows and Mac OS or Multiprocessing to name a few. MAXON is a development partner of many leading IT companies, including Intel and Apple. As such MAXON has early access to many future technologies which makes it possible to tailor our products accordingly. Our customers can rely on latest technology and maximum security for their investment.

Modularity makes it suitable for all industries.
The core application contains everything you need to create high-end 3D images and animations. For those artists whose work demands more than the basic application, MAXON provides numerous seamlessly integrated modules. Modules can also be purchased individually or in affordable bundles. For specific industries, such as architecture and engineering, MAXON also offers Editions that contain specially tailored functionality.

New in R11.5

Picture Viewer
The Picture Viewer has undergone a revolution and is now a time-saving powerhouse. Its new features include tools for comparing your test renders so that you can easily see the result of your changes. And when you try the new image correction tools, you'll soon realize just how much time they’ll save you. With these handy changes, you can't help but get the results you crave quicker than ever.

Compare Your Test Renders with Ease
Wouldn't it be great if there was an easy way to compare test renders so that you can see which changes to lighting, materials, render settings or other elements work best?

The new Picture Viewer lets you do this with ease. Your renderings are stored automatically to the Picture Viewer's History list where they can be viewed with a single click. The render time is stored for each test render, helping you to find out which render settings work best for your project.

What if you want to take a really close look at the differences between two of your test renders? This can be done with the new AB Compare tool, which lets you you choose any two of your test renders in the History list and blend between them by simply dragging a slider left or using the Difference mode.

Scrub Sound and Play Back Animation
The new RAM Player lets you step through or play back the frames in an animation that have already been finished, even while the rest of the animation is still being rendered. If you spot any show-stopping problems, such as poor timing for the animation, abort the rendering and rescue hours of valuable render time.

Another welcome feature is sound scrubbing. Check how well the audio syncs up with the rendered frames and avoid problems early on.

Rendering to HD and worried your computer won't be able to play back the rendered animation in real-time? For smooth real-time HD playback you can drop the resolution for the RAM player down to half, third or quarter - whatever works best for you.

Fine-Tune Multi-Pass Layers without Switching Apps
Previously when you wanted to adjust multi-pass layers such as Shadows and Reflection, you had to switch to an image editing application and make the changes there, which takes time.

This is a thing of the past with the new Layer list. Here you can adjust the blending mode and strength of your multi-pass layers directly in CINEMA 4D to quickly get great-looking results.

Correct Images Directly in CINEMA 4D
How often have you had to switch to an external image editing application to make slight corrections to your rendered image such as adjusting contrast, brightness or saturation? Now you can save yourself the time it takes to switch applications by making these small adjustments that make a big difference directly in CINEMA 4D. This is made possible thanks to the new Filter tool's image correction controls.

Or perhaps you've gone back and adjusted the lighting or other elements in the scene and re-rendered the image. The new image correction controls can save you lots of time by cutting the need to re-render when the filter does the trick in seconds.

Faster Multi-Core Rendering
Get CINEMA 4D Release 11.5 and you'll exploit the raw power of your multi-core computer. CINEMA 4D's renowned render engine has been fine-tuned so that your scenes will, on average, render quicker than ever before. Here's what's new:

Up to Seven Times Faster Subpolygon Displacement Calculation
Do your renders sometimes have surfaces that look too "perfect" and obviously computer-generated? Could the roof tiles on your 3D house do with sticking out a bit so that they look like the individual, imperfect surfaces that real tiles are?

CINEMA 4D's subpolygon displacement feature, which was introduced in Release 9, enables you to give surfaces an incredible amount of detail, using simple textures and shaders. It works even if the object you apply it to only has a few polygon surfaces. It's like a bump map on steroids...

What's new is that this fantastic effect is prepared much faster - up to seven times faster on a quad-core machine, for example, allowing you to use this feature much more often.

Render Up To Billions of Polygons Faster with Less RAM
When you are working with very complex scenes, chances are you'll have multiple copies of some of the objects in the scene - such as 1,000 copies of the same chair in a scene of a grand hall.

In CINEMA 4D Release 11.5, memory handling has been vastly improved for these object copies (that is, instances, arrays, clones or duplicates). So much so that you can now render billions of polygons on a modestly equipped computer.

Think massive forests, crowds, cities... Previously, these would have eaten up enormous amounts of memory and processing power. The question is: "What could you do with lots of in your scene?"

An added bonus is that CINEMA 4D now requires significantly less time to prepare the clones for rendering.

New Bucket Rendering and Faster Antialiasing
CINEMA 4D doesn't render your scenes in lines anymore. It renders them in tiles called "buckets." The advantages are improved memory handling and faster rendering.

And on the subject of faster rendering - a new hybrid antialiasing mode greatly speeds up the rendering of highly-detailed surfaces.

Improved After Effects and Motion Support
CINEMA 4D is the 3D program of choice for motion graphic artists. Combine CINEMA 4D Release 11.5 with Adobe After Effects or Apple Motion and all the tools you need for creating world-class 3D motion graphics are at your disposal. The latest export enhancements include:

Full 3D Support for Apple Motion
CINEMA 4D's pioneering 3D support for Adobe After Effects has been a hit. And if you use Apple Motion you can now get in on the act. CINEMA 4D's Motion export has been updated to fully support the exciting new 3D features in Apple Motion.

In addition to your CINEMA 4D renders you can now bring the CINEMA 4D camera, lights and animation paths straight into Motion's 3D space. Freely mix the worlds of 2D and 3D to create attention-grabbing motion graphics.

Export Clones and XRefs
You can now export object clones created using MoGraph as well as XRefs that reference objects stored in other scene files directly into After Effects and Motion. This saves you the considerable amount of time it can take to bake clones or consolidate XRefs for export. With the time saved, you can be more creative.

Another new feature is that you can now create solids in CINEMA 4D and export them to After Effects. Bring the solids into After Effects and within seconds you can put video or pictures onto the faces of rendered 3D objects - even if they are animated.

Effortless Transfer of Multiple Cameras
Do you use several cameras and switch between them when you animate? CINEMA 4D will now export all of your 3D cameras in the animation so that you can bring them into After Effects or Motion in one fell swoop.

What this means is that you don't have to export each camera in the animation as a separate file. Because CINEMA 4D takes over this chore for you, you can spend more time being creative.

No-Holds-Barred File Exchange Using FBX 2010.0
How much would it be worth to you if there was an easy way to get a character created in another application into CINEMA 4D so that you could animate it for your biggest customer?

For those times when you need quick transfer of files between applications, FBX is one of the leading file exchange formats you can call on.

CINEMA 4D's support has been updated to FBX version 2010.0. As a result, you can now transfer advanced joint-based character rigs and multiple UV sets using this powerful exchange format.

Now Use QuickTime on Windows 64-Bit
Release 11.5 now allows you to render movies as QuickTime files on Windows 64-bit.

Previously this was not possible on Windows 64-bit and movies had to be rendered as AVI files or image sequences because QuickTime is not available as a Windows 64-bit application. Additional tools had to be used if your end result needed to be a QuickTime movie.

Thanks to the new implementation, not only can you now render out QuickTime movies - you can also render fantastic panoramic and object-based Quicktime VR files to look around a room or view an object from virtually every possible angle.

Improved Project Management
The new tweaks to the Project Settings are designed to make your 3D life easier. A number of settings that were previously located elsewhere but look more at home in the Project Settings have been moved in. And new settings that help you manage your projects have been added, such as Author, Creation Date, Version Number, and Info, where you can enter notes.

Other New Features

• Double-clicking on the edge of a manager window will automatically reposition the manager window.
• The entire group window can be switched to fullscreen mode.
• Palettes and managers can be opened in Fullscreen mode.
• New palette separator to fill space between icon groups, allowing them to be aligned in a justified manner.
• Project Settings can be edited in the Attribute Manager.
• Several scene parameters are now displayed in the Project Settings dialog window.
• Import/Export settings are displayed automatically. Alt/option key bypasses the dialog.
• FBX now supports Joints, multiple UV tags and evaluates expressions upon export.
• Environment variables for external plugin directories.
• Use Render Instances to render an almost unlimited number of objects.
• Render Instances for the Array object.
• Render Instances for the Particle Emitter.
• Duplicate function can generate Render Instances.
• Greatly expanded falloff functionality for all particle modifiers.
• Particle turbulence modifier with expanded noise turbulence.
• Particle wind modifier with expanded noise turbulence.
• Export Doodle objects in compressed PNG format.
• The Connect command correctly joins Texture tags and polygon selections.
• New Connect+Delete command.
• New hotkeys for creating and deleting keys and tracks.
• New keyframe dot behavior yellow dot indicates changed value not yet keyframed
• FCurves: Switch quickly between custom and pref colors.
• Keyframe baking can be cancelled in the Timeline.
• Motion source hierarchy can now be changed to match skeleton.
• Quaternion and HPB can be switched manually when Motion Layers are blended.
• Render settings now include region specification to render a portion of the view.
• Export of camera data, lights and Objects for Apple Motion.
• Numerous additions for After Effects export.
• Improved antialiasing for alpha channels and Multi-Passes.
• New Hybrid and Raytracer modes to optimize antialiasing.
• Bucket rendering optimizes memory usage and speed.
• Greatly expanded color correction post effect that can be generated directly from the Picture Viewer's filter settings.
• Higher samples possible for Scene Motion Blur.
• Compositing Background now works with Global Illumination (under certain circumstances).
• The External Compositing tag now works with Cloner objects and XRefs.
• The External Compositing Tag has several new parameters for export to Adobe After Effects.
• Materials can be replaced by alt-dragging from the Content Browser or Material Manager.
• Numeric attributes can be modified using keyboard arrow keys.
• Parameters in the Attribute Manager can be filtered by name.
• Double-clicking an element icon in the Attribute Manager selects the element.
• Newly developed Picture Viewer with integrated RAM player.
• Improved (many more functions) and faster formula parser.
• Native support for reading and writing PNG images.
• Support for reading and writing DPX images.
• QuickTime can now be used by Windows 64-bit users; QuickTime and Avi sound import/export.
• Overall speed optimization in various areas.?
• CINEMA 4D can read and write 32-bit PSD files with layers.
• Objects are numbered incrementally on creation or duplication

REQUIREMENTS

• General
  • Windows XP or Vista running on Intel or AMD CPU with SSE2-Support
  • Mac OS X 10.4 or higher running on PowerPC G5 or Intel-Mac
  • 1024 MB RAM
  • DVD ROM drive
• Detailed
  • Supported Operating Systems
    • Windows
      • Windows 7 (all Variations)
      • Windows Vista (all Variations)
      • Windows Vista 64 Bit (all Variations)
      • Windows 2008 Server
      • Windows 2008 Server 64 Bit
      • Windows XP (Pro / Home) Service Pack 1 and 2
      • Windows XP Pro 64 Bit
      • Windows 2003 Server
      • Windows 2003 Server 64 Bit
    • OS X
      • Apple OS X 10.6 (and up)
      • Apple Mac OS X 10.5.3 (and up)
      • Apple Mac OS X 10.4.11
  • Minimum CPU Requirements
    • Windows-PC
      • Intel Pentium 4
      • Athlon 64
      • Sempron (K8 with SSE2)
      • VIA C7
    • Macintosh
      • IBM PowerPC G5
      • Intel CoreSolo
  • Supported Processors
    • Intel Pentium M
    • Intel Pentium 4
    • Intel Pentium 4D
    • Intel XEON
    • Intel Core Solo
    • Intel Core Duo
    • Intel Core 2 Duo
    • Intel Core 2 Quad
    • Intel Core i7
    • Intel Core i5
    • Intel Celeron
    • Intel Celeron D
    • AMD Sempron (K8/Socket 754)
    • AMD Athlon 64
    • AMD Opteron
    • AMD Phenom
    • IBM PowerPC G5
  • Unsupported Processors
    • Intel Itanium
    • Intel Itanium II
    • Intel Pentium
    • Intel Pentium II
    • Intel Pentium III
    • Intel 486
    • AMD K6
    • AMD K7
    • AMD Athlon XP/MP
    • AMD Duron
    • Power PC G4
  • Render acceleration cards are not supported.
    • Examples: Gelato (Nvidia cards), Aegis Physix, BlueICE, ART VPS
  • Game consoles are generaly not supported and cannot be used for NET rendering (even if they use technology that is similar to that in PCs they neither have the RAM nor the operating system that would allow them to run CINEMA 4D).

DESCRIPTION
New Features in R11

• Non-Linear Animation : Move beyond the keyframe with the new non-linear animation system in CINEMA 4D Release 11. With non-linear animation, it's easy to build, layer and loop discreet motions containing hundreds of keyframes in complex hierarchies. You can easily block out animation based on predefined motions and build upon the basic movement by overlaying additional keyframes or motions.
• Animation Layers : Animation layers allow you to build up a complex movement from individual layers, much like editing an image. You can block out the basic movement on one layer, then refine the motion with secondary animation layered on top. Define the "opacity" of each animation layer to control its influence over the final movement. In fact, you can animate the mix strength of each layer. Animation layers even work with complex hierarchies, allowing you to layer the animation of even the most complex character rigs.
• Motion Clips : Motion Clips provide true non-linear animation functionality by allowing you to group complex keyframe animations on an entire hierarchy into a single clip that can be easily moved, layered or looped. Whether you're building motions for a character, defining presets animations for motion graphics or designing mechanical simulations, you can easily create a library of motions that can be dragged and dropped like video clips to define the final animation. CINEMA 4D automatically blends between each motion, or allows you to define the length and curve of the transition. Each clip can easily be looped, scaled or cropped; and just as with animation layers, motion clips can be layered with individual mix strength settings for each layer. The animation itself can be easily repositioned in 3D space using CINEMA 4D's new Pivot Object, making it easy to integrate your motions with one another and place the animation within the 3D environment.
• Pivots: These little helpers come in handy if you need to change the direction of e.g. a walking character, without changing the walkcycle itself. Or if the character walks upon a moving surface (elevator, escalator). In this case only the pivot needs to be animated (move or rotate) and the character follows immediately.

Ghosting
Ghosting, also known as onion-skinning, is a technique from traditional 2D animation which allows you to analyze a series of frames of animated objects before and after the frame you are currently viewing.

This enables you to easily analyze the animation of an object, so you can fine-tune its motion. Release 11 incorporates the ability to show all or selected frames, in different display modes (object, points, axis, trails, and speed vector) for meticulous animation control. It's even possible to define fixed keyframes that stay visible during the whole playback of an animation.

Twice as fast
While CINEMA 4D has always been known to be fast, our developers are never ones to rest on their laurels. Once again, they have been able to squeeze out even more processing power from the latest CPUs. In a test of over 29 different scenes and settings, Release 11 rendered an average of twice as fast as Release 10.5. Of course, results will vary depending on the project and render settings.

Collada Support
Staying true to MAXON’s commitment to integration, Release 11 now supports Collada™, an open standard XML-based format that facilitates the transfer of 3D assets between applications. Exchanging scenes with other 3D applications is now easier than ever for diverse DCC production pipelines. CINEMA 4D‘s support of the Collada provides for comprehensive exchange of scenes including geometry, hierarchies, weighting, UVs, normals, and animation.

Export

• All normal materials with color, brightness, bitmaptexture, speculars and refraction
• Material assignments
• Layernames and assignments
• Hierarchies
• Polygon objects
• Normals and UVs of polygon objects
• Splines (approximated by linear lines)
• Lights
• Cameras
• Joints with weighted skinning
• Position-/scale-/rotation-animation (no tangents)

Import

• All materials and effects included in the "profile_common"
• Material assignments
• Layernames and assignments
• Hierarchies with instances
• Meshes of all kinds with normals and UVs
• Splineobjects are recreated using lines and linestripes with other polygon objects
• Lights
• Cameras
• Joints with weighted skinning
• Position-/scale-/rotation-animation (no tangents)

Network administrators can define groups, assign individual licenses, modules and extension kits, and define a unique lease time for each group. This means you can allow laptop users to extend their lease for offsite work, or give a specific project group access to additional modules. All this control means you can make more effecient use of your investment in CINEMA 4D.

Projection Man
With Release 11 you can now leverage the same powerful matte-painting system developed by MAXON exclusively for Sony Pictures Imageworks and used in blockbuster features such as Polar Express, Open Season and Beowulf.

Digital matte painting provides much of the magic of movies, utilizing camera mapping to project detailed paintings onto simple geometry to create an environment that a 3D camera can move around and through. Projection Man revolutionizes the workflow for creating digital mattes, making it simple to setup an initial painting and even easier to patch the matte when necessary.
 
3D-Painting Improvements
Tight integration with Adobe Photoshop and MAXON's own 3D-painting system BodyPaint 3D makes it easy to edit and manipulate extensive digital mattes so that long, wild camera rides are possible. Whether you're ballooning over a city, shooting rapids, flying off cliffs or simply creating a basic set extension, you'll be amazed at the power and speed of the Projection Man matte painting workflow.

CINEMA 4D R11 contains outstanding enhancements to the 3D painting toolset, allowing to paint rich detailed textures directly on your 3D model. New Blur, Sharpen and Colorize tools make it easier than ever before to tweak your textures, and all paint tools now retain their own independent settings.

It's now simple to create and manage brush presets for your own use or for sharing within a team or the CINEMA 4D community. You can even take advantage of the larger Photoshop community with BP's new ability to import Photoshop brushes in the ABR format.

Your WACOM tablet provides more power than ever before, because any brush parameter can be controlled by the rotation of the 6D Art Pen, in addition to Pressure, Tilt, Direction and the Airbrush Finger Wheel. And for those times when you need to tweak a texture outside BodyPaint 3D, you can easily add a layer displaying the UV mapping of the object and export the texture as a layered PSD.

Native 64-Bit Mac Leopard Architecture
CINEMA 4D Release 11 has been completely re-engineered to take full advantage of Mac OS X 10.5. As a native 64-bit Cocoa application, CINEMA 4D can be used in 64-Bit mode to utilize greater RAM resources so you can build and render more complex projects. All 64-Bit processors are supported, so you can tap into this power whether you've got a MacPro featuring Intel's Quad-Core Xeon processors, a MacBook Pro featuring the Intel Core Duo, or even a G5 PowerMac. CINEMA 4D still works in 32-Bit mode as well for compatibility with your existing plugins - choosing between the two modes is as easy as flipping a switch.

Navigate with 3Dconnexion on Mac and PC
CINEMA 4D users on Windows have long enjoyed support for 3Dconnexion's revolutionary 3D mice, such as the SpaceMouse and SpacePilot. Now Macintosh users can take advantage of the SpaceNavigator and SpaceExplorer to navigate within your CINEMA 4D scenes. Whether you use a Mac or PC, you simply open the 3D Mouse dialog to enable the device and choose what axes or objects to control. The final frontier of 3D navigation awaits.

Stay up-to-date with CINEMA 4D's Online Updater
Release 11 now checks for updates automatically each time it's launched, so you can quickly and easily apply fixes and enhancements to CINEMA 4D's functionality, help content or presets. If you're in the middle of an important project, you can choose to download an update later or archive your existing installation just in case. Of course, updates can still be applied manually if your workstation is off the grid.

Create Custom Interface Elements with the User Data Manager
CINEMA 4D's user data parameters let you build a custom interface for object presets or character rigs. In Release 11, you've got more control than ever before with an enhanced manager that allows you to arrange parameters in multiple columns, collapsible groups or new Attribute Manager tabs. You can choose whether parameters are animatable, define their default value, and control their appearance and behavior to a greater degree than even before. And even if you don't get into this degree of customization, you'll benefit from enhanced presets that take advantage of these new options.

Ready your renders
The optimized Render Settings dialog in Release 11 makes it quick and easy to setup your renders, so you can spend more time rendering and less time adjusting settings. Options such as Global Illumination and Sketch and Toon settings now appear only when you need them, and third-party render engines can be integrated more seamlessly into the settings dialog. An extensive list of output presets for screen and print allows you to quickly set the render size, resolution pixel aspect and frame rate. An updated preset system allows you to store hierarchal presets within the scene, so each preset affects only the settings you choose. In much the same way, you can store Difference Presets within the Content Browser that modify only the chosen settings. With the Release 11 Render Settings dialog, it's easy to make your work flow from scene to screen.

Render realistic transparency
Release 11 helps you achieve greater realism when rendering glass and other transparent objects, using new options to control absorption and reflections. As transparent objects absorb light, they start to appear more opaque and reveal their original color. Now you can define both the distance from the surface at which the object will become opaque and the color of the opaque areas. You can also use the new Exit Reflections option to specify whether the object should be interpreted as solid or hollow when calculating reflections.

Doodle your way to greater efficiency
CINEMA 4D's Doodle tool allows you to draw directly in the editor view, to previsualize animation or add other annotations to the scene. You can mark out animation with doodles at different keyframes, and ghost the previous and next doodle to work out animation. Doodles aren't confined to the viewport - you can render them with the scene or export them as images. If you're working in a team, Doodle makes it easy to comment on work in progress; and if you're a solo artist Doodle can be helpful in planning out your projects.

Custom Material Channel
Expanding on its well known reputation for easy integration into any production pipeline, CINEMA 4D R11 now includes the ability to create custom material channels. Utilizing the integrated BodyPaint 3D functionality you can even paint on these custom channels. Whether you need to define custom maps for a game engine, or hair density maps for a feature film character, you can enjoy the ease of painting directly on your 3D objects.

BodyPaint 3D R4.5

Wouldn't it be great if you could have all your favorite image editing tools directly in a single 3D environment? Wouldn't it be great if they worked in conjunction with your 3D application rather than against it? Well, that is exactly what BodyPaint 3D does!

DESCRIPTION
Wave goodbye to UV seams, inaccurate texturing and constant back-and-forth switching to your 2D image editor. Say hello to hassle-free texturing that lets you quickly paint highly detailed textures directly on your 3D objects.

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 in real-time as 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 many 3D applications, with no hassle at all.

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 do not take into account 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 wide array 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
Creating textures using 2D applications and including these in your 3D scene involves a lot of manual setup and a lot of application switching. BodyPaint 3D offers plugins to easily exchange models, textures and UVs between BodyPaint 3D and popular 3D applications like 3ds max, Maya, XSI and LightWave 3D.

32-Bit Color Depth and HDR Editing
With BodyPaint 3D R3 you can work with more depth than ever before. Now you can paint in up to 32-bit color depth, which gives even more texture control and incredibly smooth color gradations. BodyPaint 3D also enables editing of HDR and EXR formats letting you to use these powerful formats in your 3D scenes

Painting Over Multiple Objects
BodyPaint 3D can paint over multiple objects using a single stroke. Projection painting allows distortion-free painting across multiple objects to eliminate seams and get the results you want - which is not possible in 2D!

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 can affect Color, Bump, Specularity, Reflection, Transparency and other properties. There is no need to match the various channels in your 3D application.

Free Technical Support
Maxon's top-notch technical support staff will guide you through the valley of the shadow of deadlines with quick solutions to your issues, free of charge.

Completely Cross-Platform
Whether you are a Windows wizard or Mac addict, you'll enjoy the same great features and outstanding performance.

Workflow
The interface has been designed for maximum workflow and is now based even more on leading 2D applications in order to offer you optimal comfort and efficiency.

All managers are non-modal and have a real-time preview, e.g. for the Brush tool's settings. Numerous interface tools that have already made headlines in CINEMA 4D can also be found in BodyPaint 3D - the Content Browser, Quick Access menu or the Head Up Display, for example. This ensures a fast workflow at all times.

Setup Wizard
The Setup Wizard reduces the time required to prepare a model for painting and lets you focus your time and talent on the canvas and the finished result. The Setup Wizard creates basic layers, optimizes UVs and determines the optimal texture map size for an individual model, selected hierarchies or an entire scene. With BodyPaint 3D's Setup Wizard you are just a few mouse clicks away from starting your masterpiece.

OpenGL Optimized
BodyPaint 3D also intelligently switches on-the-fly between OpenGL and software shading, letting you benefit from the speed of OpenGL when moving around the scene and the quality of MAXON's own software shading while painting your models.

RayBrush Technology
MAXON BodyPaint 3D's exclusive RayBrush technology allows you to paint directly onto a raytraced image.

RayBrush eliminates the need to continually switch applications or perform test renders. You can see the actual rendered effect while painting in any channel, including reflection, transparency and bump. You can even paint on multiple textures at once when in RayBrush mode. This outstanding feature takes advantage of MAXON's award-winning render engine, known for speed and quality.

MultiBrush Technology
With BodyPaint 3D you can paint an entire material with a single stroke. Each brush can paint up to ten channels simultaneously. A single brush stroke can be used to affect color, bump, specularity, reflection, transparency and other properties. There is no need to match the various channels in your 3D application.

Painting Tools
All your favorite painting tools are available in BodyPaint 3D, including Clone, Smear, Sponge, Dodge and Burn tools. The standard brush tool includes pressure, hardness, size, bitmap, distortion, rotation, jitter and other parameters for hundreds of painting possibilities. The effect of any parameter can be controlled by the pressure, tilt, direction or finger wheel of your graphics tablet. Over 200 presets are provided with BodyPaint 3D, representing a variety of natural media and special effects.

Support for Photoshop Brushes
A real highlight of BodyPaint 3D Release 4 is that it now supports the .abr format for Adobe Photoshop-compatible brushes. BodyPaint 3D artists can now take advantage of vast resources available in the Photoshop community- thousands of brushes are available, many of them are free; and we've even added over 1,400 new brushes to the brush preset libraries.

Multi-Views
With BodyPaint 3D you can paint in the 2D view, in the shaded 3D view or in the raytraced 3D view. Changes that you make in the 3D view are applied to the 2D view in real-time and vice versa. For the first time ever you can open and edit multiple 3D views. This enables you to quicky switch between views - there is no need to adjust camera settings. For example, you can use separate views for important or difficult to reach regions.

Projection Painting
Projection painting offers hitherto unknown comfort when painting textures onto complex geometry. Visible seams at UV edges are now a thing of the past. The detachable projection layers in particular make this process easier by letting objects or images be placed freely before the projection is applied.

With projection painting enabled, you can paint onto a virtual glass plate over the model and subsequently project this painting onto the actual textures. This powerful feature supports all of BodyPaint 3D R3's painting tools and provides full control over the projection and final appearance of your paint strokes. Say goodbye to unpredictable distortion caused by model contours and perspective - with Projection Painting, what you see is truly what you get.

Paint Across Multiple Objects
Projection painting even allows users to paint across multiple objects with a single stroke to eliminate seams.

Copy and paste paint between layers  You can copy and paste between layers while in projection paint mode and you can even join two separate images with perfect blending and distortion.

Getting the results you want without seams or distortion has never been easier than with the new BodyPaint 3D R3.

Layering In the Third Dimension

Layers
This familiar layering system operates much like 2D graphics applications, giving you the power to combine various effects and experiment with confidence. In addition to its own B3D format, MAXON BodyPaint 3D can read and write layers and masks in PSD and TIF file formats. Each layer can be assigned a unique opacity and mix mode. BodyPaint 3D also features a real-time preview of layer transformations so you can easily position, scale, rotate, skew and distort layers until your composition is just right.

You can also define a mask in any layer, work with alpha channels or apply different blend modes to layers. Even .psd files can be read and their individual layers or layersets easily accessed.

The Layer Shader makes it possible to quickly assign filters or procedural shaders to images. BodyPaint 3D is second-to-none when compared to conventional 2D image editing applications, and is ideal for high-end compositing and montage work.

Selections
BodyPaint 3D offers a wide variety of intuitive and highly flexible selection tools All the common tools, like Lasso or Magic Wand, can also be used in the 3D view. Even better, you can easily transform UV selections or polygon selections into image selections.

Of course, selections of all kinds can be stored for re-use.

Filters
In 2D image processing you are accustomed to working with bitmap filters such as "blur" or "noise" with which you can modify your image. BodyPaint 3D also offers the most important 25 filters - equipped with some functions that turn these filters into real 3D tools. They offer a real-time preview of the filter's effect in the editor and, even better, an edge mode that guarantees your texture can subsequently be tiled.

If the built-in filters are not enough, BodyPaint 3D offers you even more. You can now use the huge arsenal of Adobe Photoshop®-compatible filters directly in BodyPaint 3D - from simple shareware plugins to complex filters like a pattern generator.

UV Tools
MAXON BodyPaint 3D features an arsenal of UV editing solutions that ensure your models and their materials line up properly.

Painting in 3D is governed by UVs, a set of coordinates that relate polygons to texturing areas. Properly designed UV coordinates are essential to successful painting and quality texturing in 3D. Because almost all 3D models involve contours in 3D space, standard projections like spherical and flat mapping can never provide distortion-free texturing. Each model must be set up with correctly aligned UVs prior to painting, just like taping off the trim in a room prior to painting.

Optimal Mapping and LSCM Unwrapping
BodyPaint 3D includes numerous tools that help you achieve the best UV map for each individual model. You can utilize one of three different algorithms, including Cubic Optimal Mapping, to automatically optimize your UV coordinates and remove overlapping points. The Relax UV tool adjusts the size of UVs in relation to their corresponding polygons, and the UV Terrace tool lets you easily include additional geometry in an existing UV map. The Store and Remap UV features allow you to easily remap areas of UV coordinates to eliminate seams. Using BodyPaint 3D's powerful Interactive Mapping feature you can generate UVs based on standard projection types for different regions of a model. Of course, BodyPaint 3D also includes Move, Scale, Rotate, Shear and other tools to let you manually tweak individual UV coordinates.

The LSCM unwrapping method, which lets you unwrap a model's UVs based on defined seams, also comes in handy when working with complex shapes. Whether adjusting UVs for a low-res game model or a high-res matte painting, BodyPaint 3D provides the UV tools you can rely on when the UV mapping is not as perfect as the model you have built.

Plays well with others
MAXON 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. Forget flat compromises and paint in three dimensions.

The Perfect Connection
Looking for the ultimate solution to paint on your 3D models? BodyPaint 3D has hundreds of features to give your objects the perfect outfit. The RayBrush-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 your favorite 3D package and one for BodyPaint 3D, offer a perfect connection between the two applications. Create your model in the familiar environment of your favorite 3D software and apply a material. You can set up UVs in your 3D solution as well or use BodyPaint 3D's sophisticated tools to create UVs as perfect as the model you´ve built. BodyPaint 3D’s Setup Wizard now creates all the necessary texture maps for you and, if desired, will automatically generate UVs with just three mouse clicks. This also works for multiple objects, groups or even hierarchies just the same. Now you're all set to start the paint job.

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.REQUIREMENTS

• General
  • Windows XP or Vista running on Intel or AMD CPU with SSE2-Support
  • Mac OS X 10.4 or higher running on PowerPC G5 or Intel-Mac
  • 1024 MB RAM
  • DVD ROM drive

Detailed

• Supported Operating Systems
  • Windows
    • Windows 7 (all Variations)
    • Windows Vista (all Variations)
    • Windows Vista 64 Bit (all Variations)
    • Windows 2008 Server
    • Windows 2008 Server 64 Bit
    • Windows XP (Pro / Home) Service Pack 1 and 2
    • Windows XP Pro 64 Bit
    • Windows 2003 Server
    • Windows 2003 Server 64 Bit
  • OS X
    • Apple OS X 10.6 (and up)
    • Apple Mac OS X 10.5.3 (and up)
    • Apple Mac OS X 10.4.11
• Minimum CPU Requirements
  • Windows-PC
    • Intel Pentium 4
    • Athlon 64
    • Sempron (K8 with SSE2)
    • VIA C7
  • Macintosh
    • IBM PowerPC G5
    • Intel CoreSolo
• Supported Processors
  • Intel Pentium M
  • Intel Pentium 4
  • Intel Pentium 4D
  • Intel XEON
  • Intel Core Solo
  • Intel Core Duo
  • Intel Core 2 Duo
  • Intel Core 2 Quad
  • Intel Core i7
  • Intel Core i5
  • Intel Celeron
  • Intel Celeron D
  • AMD Sempron (K8/Socket 754)
  • AMD Athlon 64
  • AMD Opteron
  • AMD Phenom
  • IBM PowerPC G5
• Unsupported Processors
  • Intel Itanium
  • Intel Itanium II
  • Intel Pentium
  • Intel Pentium II
  • Intel Pentium III
  • Intel 486
  • AMD K6
  • AMD K7
  • AMD Athlon XP/MP
  • AMD Duron
  • Power PC G4
• Render acceleration cards are not supported.
  • Examples: Gelato (Nvidia cards), Aegis Physix, BlueICE, ART VPS
• Game consoles are generaly not supported and cannot be used for NET rendering (even if they use technology that is similar to that in PCs they neither have the RAM nor the operating system that would allow them to run CINEMA 4D).