Posted On:December 2019 | Greyscalegorilla
Cinema 4D parent company, Nemetschek Group, merges Maxon and post-production plugin developer Red Giant.
Hot on the trails of the acquisition of Redshift Rendering Technologies earlier this year, Nemetschek Group doubles down on their red offerings with a merger with Red Giant.
Red Giant, makers of Trapcode, Magic Bullet, Universe, and my personal favorite PluralEyes, had just released their own subscription all-you-can-eat offer with Red Giant Complete. After a successful launch, it looks like the company made enough noise for others to notice.
In the announcement, it was revealed the Maxon and Red Giant would from a new Media and Entertainment Division under Nemetschek. This will allow them to bring all their production and post-production tools together.
Maxon’s Cinema 4D, Redshift, and Red Giant are now all subscription services that are used by countless production facilities all around the world.
“This merger is a major milestone, not only for Maxon and Red Giant but also for the design industry as a whole,” said David McGavran, CEO of Maxon. “Our combined technology and know how have the potential to progressively reshape the content creation landscape for years to come.”
“The combination of our companies is an exceptional fit of people, culture and technology.” said Chad Bechert, CEO of Red Giant. “We look forward to working together under a shared vision of how to design powerful and approachable software to serve creative artists around the world.”
Greyscalegorilla founder Nick Campbell shared his excitement, “Huge news! I can personally say that I’ve never met two companies so full of talented, creative, and genuinely nice people. Can’t wait to see what they do together.”
The merger is still pending, and is expected to close in January 2020, subject to regulatory approval and customary closing conditions.
We will be sure to keep you up to date with the latest.
*Update – A previous version of this story incorrectly reported this as an acquisition, but it is in fact a merger.
Looking for Cinema 4D or Red Giant Trapcode tutorials? Check out the free tutorials page.
Back in April, Maxon aquired Redshift. Stay tuned for an upcoming podcast with the latest on the Red Giant merger.
With the latest release, Autodesk’s Arnold renderer becomes the most versatile C4D render engine that works on both CPU and GPU.
One of the most asked questions Greyscalegorilla receives is which render engine to use. It’s still not a simple answer, but for the first time, we can definitely recommend one based on versatility + features.
Autodesk Arnold is one of the leading Cinema 4D render engines that can be used by both Mac and PC artists, and now that the NVIDIA GPU version is fully released it’s incredibly powerful.
Arnold 6 is not the most feature-rich new release, but it doesn’t really have to be.
The removal of the word BETA from it’s GPU offering could be called premature (and I wouldn’t necessarily argue with them), but there is no denying the power of being able to flip from CPU to GPU. The new licensing methods are also a welcome change to the old, overly complicated system that required a degree in IT to get up and running (though still has tons of room for improvement).
Let’s dive into the latest release, and really take a look at things.
Overall Benefits to Arnold 6:
- Easy to Use
- Most versatile renderer for both Mac and PC (CPU + GPU), though GPU is not supported on Mac
- Works across all major DCC’s including Cinema, Houdini, Maya, and Max
- Most feature-rich renderer (including a full Toon System)
- Supports more native C4D features than most current renderers (Noises, Background Object, Floor Object, etc)
- Extremely stable
- Memory Efficient
- Affordable Single Seat Licenses
- Monthly subscriptions available
- No watermark restrictions – You can work on the watermarked version with no feature limitations
- Extremely responsive IPR in both CPU/GPU
- Supports industry standards like OCIO+ACES, OSL
5 Must-Know Things About Arnold 6
- Arnold GPU:
- Out of Beta
- More Stable
- Supporting nearly every feature of CPU (including light filters, LPE’s, and nearly all AOVs)
- No Mac Support
- Lower Pricing Structure
- New Arnold license process – Somewhat easier to get up and running, and cheaper options.
- A ton of bug fixes. Stability matters in production.
- Quality of life updates (node alignment tools, material exports, etc)
Thoughts on Arnold GPU
Arnold GPU was no small feat. Taking a production-proven CPU renderer and pushing it to deliver 1:1 results on the GPU is very difficult. Renderman is currently working on XPU which promises to harness the power of your CPU and GPU simultaneously, but it’s proved challenging to bring to market. We believe the future is about leveraging ALL your hardware. Power and flexibility will always win out. Arnold being able to give 1:1 results on both CPU and GPU is incredibly compelling.
If I were starting a small studio right now, I would be using Arnold GPU on my artists’ workstations to do look dev/lighting and then switching to CPU mode to throw to an inexpensive cloud render farm solution such as Pixel Plow. I’d outfit every 3D workstation with dual 2080ti’s and a Threadripper to give every artist the flexibility to use whichever mode better suits their work. What a time to be alive!
Now I’ve been on the beta for Arnold GPU since it opened over a year ago. I’ve watched it slowly go from a buggy, noisy mess into something I actually use on a daily basis.
The first question anyone ever asks me is whether or not it’s faster than it’s competitor Redshift. My answer is always the same, mostly no. In my testing, Arnold GPU is 10-20% slower than Redshift on most tasks. However, in some cases, it can close that gap very nicely (usually on scenes with tons of GI bounces).
Even with Redshift besting it in terms of sheer speed (as one would expect from a biased GPU renderer), it cannot touch Arnold in terms of features and user experience. Arnold outshines its competitors with production proven features and a Cinema 4D plugin that is easily best in class.
I’m also a bit spoiled as I use Arnold with a 64-core AMD Threadripper. So Arnold CPU for me is certainly no slouch. In fact, only now with Arnold 6 can I say that their GPU offering is giving my beast of a CPU a run for it’s money.
Should I switch to Arnold GPU?
Well, there are a few things to consider
- Arnold GPU is Windows only, sorry no Mac support at this time
- Arnold GPU is Nvidia ONLY and more cards the better. I HIGHLY recommend RTX cards as Arnold GPU is optimized for that platform. I’ve got two 2080ti’s and I wish I had more!
- Arnold GPU takes advantage of NVLink (an $80 device that links multiple RTX cards together) and in my opinion, is a MUST HAVE if you want to maximize speed in Arnold GPU.
- You also have to be “OK” with Arnold GPU taking a bit longer to render than it’s competition, but in exchange you get superior features and first-in-class plugin experience. Plus, you can always design in GPU and send to a CPU farm. Versatility!
What are the Key New Features of Arnold 6?
- Faster creased subdivs: Hard creases are now fully supported in adaptive and multithreaded mode. This means creased surfaces will use all procs during subdivision.
- Dielectric microfacet multiple scattering: Rough dielectrics are now energy-preserving by accounting for multiple scattering between microfacets for both reflection and refraction, avoiding the energy loss of the previous implementation. Disabling the global option enable_microfacet_multiscatter will restore the previous look.
- Physical Sky shader improvements: The physical sky shader will now extend the color at the horizon all the way down to the bottom pole.
- Improved roughness mapping of the Oren-Nayar diffuse BRDF: The Oren-Nayar roughness parameter has been remapped so that values close to 1 no longer result in excessive darkening. This change also improves the Standard Surface and Car Paint shaders.
- Improved rough thin-wall transmission in Standard Surface shader: Refractions in thin-walled mode now appear blurry with non-zero roughness.
- OCIO roles: Roles can now be listed with the color manager API by querying color spaces available in the Role (OCIO) family. This makes it possible to build UIs that list all known roles.
- Skip RGBA denoising: Noise now accepts -ignore_rgba or -irgba to skip denoising of RGBA even if it’s present.
- OpenImageIO 2.1.4: OIIO support is now upgraded to 2.1.4.
- More accurate albedo AOVs: Albedo AOVs now correspond more closely to the true albedos of the material’s BSDFs.
- New AOV Write Vector shader: This enables the writing of vector values into a typed AOV, for example for recording positional values. These would previously have been clamped when using typed AOVs
C4DtoA Plugin Enhancements
- Material export/import: Materials can be exported to ASS files and MaterialX files (.mtlx) via the C4DtoA > Utilities > Material > Export to ASS… menu item or via the Alt~W+X shortcut in the Material Manager. Materials can be imported via the C4DtoA > Utilities > Material > Import from ASS… menu item or Alt~W+I shortcut. Selected shaders from a material can also be exported from the network editor.
- Align nodes in the network editor: New Edit > Align nodes menu item and Alt~W+L shortcut is added to the network editor to align graph nodes in the layout.
- Notification when no license found or license will expire: Now a message is displayed in the render settings when no Arnold license found or two weeks before the license expires.
- New Licensing menu: Licensing menu moved to C4DtoA > Licensing with menu items to open the new Arnold License Manager, help and purchase pages. Note that single-user licensing is not available for testing.
- Add Details and Project tabs to Arnold Sky: ****Light filters, user options and light linking settings are moved to these new tabs to be consistent with other lights.
- Flush Caches menu moved under Utilities
Want to learn more?
Cinema 4D Noises and Nodes are now available in Redshift, or are they? A look into the confusing world of experimental updates.
This week I found the latest Maxon Press Release, Redshift update integrates Cinema 4D Noises and Nodes for improved rendering workflow, in my inbox. It was some exciting news that I was quick to open and read.
Per the release, Redshift 3.0.12,
provides content creators deeper integration of Redshift within Cinema 4D. Redshift materials can now be defined using Cinema 4D’s nodal material framework, introduced in Release 20. As well, Redshift materials can use the Node Space system introduced in Release 21, which combines the native nodes of multiple render engines into a single material. Redshift is the first to take advantage of the new API in Cinema 4D to implement their own Node Spaces. Users can now also use any Cinema 4D view panel as a Redshift IPR (interactive preview render) window, making it easier to work within compact layouts and interact with a scene while developing materials and lighting. – Maxon
It was some pretty exciting news that garnered quite a bit of attention online.
Now there was something blatantly missing from this press release. Maxon never clarified that the latest Redshift release was in fact a beta.
Then I looked at the version number again. “3.0.12”
Redshift 3.0 has not yet been released, so this new announcement just fed further confusion.
If you were to head to the Redshift download area, you’ll notice that only v2.6.50 is currently listed. That is the recommended production-ready build of Redshift.
If you actually want to experiment with the C4D Noises and Nodes, you’ll need to find the Redshift experimental builds in the forums.
Experimental builds is the term used by Redshift for their beta builds. You get what you get. Know that there will be many bugs and likely crashes involved.
Typically Redshift experimental builds are just rolled out to users without much fanfare. But in this case, I was led to believe that C4D Noises and Nodes were production ready.
It seems like there may be some miscommunication between Maxon and Redshift regarding “updates” versus “experimental builds” but despite the confusion, we still wanted to investigate the newest feature additions to Redshift.
After a quick install, it was quickly apparent that this release IS NOT production ready.
Now to further investigate, I turned to our resident render expert Chad Ashley to take a deeper dive into the latest Redshift release. He too found a series of issues with this release. I asked for him to catalog his experience, and here are his findings.
This is a good first stab at supporting both C4D noises and nodes, but this still feels very beta overall. I’d say that the noises seem farther along than the node experience.
I should note that the noises are missing some key features, like looping and movement, but they are at least functional. However, until the node system gets a bit more mature, I’ll be sticking with the Xpresso editor.
Redshift Node Implementation
I’ve never particularly enjoyed using the Xpresso nodes in Redshift or Arnold. Connecting those minuscule lines make my eyes water, so when Maxon released its own node-based material editor, I was very excited.
I even did some C4D node training (using physical) and got to know it a bit better. Overall their node system has a clean, functional, UI that doesn’t cause blindness but is not without its flaws.
A majority of the issues I found were with the node editor itself, not necessarily the Redshift implementation. Though there were a few things that bugged me.
- Ability to Mute wire’s is nice
- Ability to right click to replace nodes is useful
- Grouping is useful but would be better if groups could be opened/closed quickly
- Overall Node issue: Undo doesn’t work when connecting/disconnecting nodes.
- Overall Node issue: UI desperately needs a CTRL+A select all hotkey.
- Redshift Node issue: Some RS previews show black or are the wrong color for no apparent reason.
- Redshift Node issue: Frequently, nodes require a manual renderview refresh to see any changes.
- Overall Node issue: New nodes start in the center of the UI and not under your mouse as one would expect.
- Overall Node issue: Cant save node materials to the content browser (big one for me)
- Overall Node issue: No preferences to set initial view state for nodes (no previews, etc)
- Overall Node issue: Doesn’t support custom material previews
- Redshift Node issue: RS Texture nodes are shown on sphere material preview for some reason (see below image)
- Redshift Node issue: Referenced materials are not yet supported
- Redshift Node issue: Soloing upstream textures in a material with displacement shows the material with no displacement. Displacement seems to be omitted from upstream solos.
Redshift Noise Implementation
Redshift’s implementation of Maxon’s noises is a welcome and long-awaited addition. It is fairly feature-complete with only a handful of omissions. I’m especially delighted that they included UV/vertex, Object and World source (spaces).
- Missing looping animation features.
- Missing movement + speed features.
- Would be nice to drive noise types with user data.
- Would be nice to drive noise seeds with user data.
- Maxon Noise material preview is on a sphere despite being a texture?
It looks like Redshift 3.0 is on it’s way to incorporating some nice new features, but it’s apparent that the build just isn’t quite there yet. Which brings us to wonder when the public will finally see a Redshift 3 full release.
We saw issues with Arnold’s first GPU release beta which has made major strides since it’s first release earlier this year. With Maxon backing Redshift, let’s hope that Redshift is also quick to innovate and release big updates soon. It’s really starting to look like the GPU rendering competition is about to heat up.
Overall, it looks like there was a lot of “noise” made for features that aren’t ready for the public, but if you are tempted to play with the new experimental build, Redshift customers can find a download in the Redshift forums.
Four years in the making, Beeple never thought he’d finally release ‘Manifest Destiny.’ Now you can watch it and download all the scene files he made for free.
Mike Winkelmann, a.k.a. Beeple, wrote the treatment for his latest film, Manifest Destiny, a little over four years ago, never dreaming that it would actually take so long to get the film finished.
Derailed by procrastination, he finally got back on track after making a deal with an artist he met at SIGGRAPH, him agreeing that he would finish his film in 100 days, and she would create an Everyday for 100 days. “I don’t know why I agreed to that, but it forced me to f—ing do it,” he says, admitting that “I still didn’t do anything until the last two weeks, and I seriously finished it on the 100th day.”
Reached in Denver last week where he was one of the featured speakers on Maxon’s 26-city 3D Design + Motion Tour, Winkelmann talked with me about the making of Manifest Destiny, using Cinema 4D, Octane and Houdini; losing interest in making longer films; and how his Everydays have turned darker and more political in the last year, but he remains optimistic about the future.
Mike Winkelmann: Yeah, this one is not vague at all. The things I’m pointing out are literally happening now. But there is a bit of sensationalizing, like I did with the other films. There is so much inequality in the world, and it is improving in some areas, like statistics show that the number of people living in extreme poverty is slowly declining.
But things are getting worse in a lot of ways too. I tried to choose statistics that people may not have been aware of, like how Jeff Bezos made over $100 million dollars every single day in 2018, and the average Chinese worker assembling iPhones makes $1.85 per hour. I wanted to hit on a lot of different points about money.
MM: You’ve been saying this film would be done for a long time. What happened?
MW: I don’t know. I think, to be honest, I’m not actually that interested in making things that are this long anymore. I’m more interested in doing short 10- to 30-second videos. I think that you can be more experimental when you have less time, like, ‘I’ve got two days invested in this, who cares? I can do whatever.’ But when you spend four years, you’re like, ‘OMG, should I do this, or that, or this?’ It becomes paralyzing. I don’t even watch short films much anymore. If I do another video, I’m giving myself a deadline, like a month or something.
MM: Were you redoing it over and over? What was left to finish?
MW: No, the only thing left to do was edit it to the Run the Jewels track. I had everything done and rendered. But then I just didn’t touch it for a year and, honestly, it wasn’t even bugging me that I wasn’t getting it done. I was always planning on using that Run the Jewels song, “Legend Has It.” I liked the overall vibe of the song, but I hadn’t talked to them about it yet. And then one of the guys got in touch with me to say they’d seen some of my Everydays and wanted to talk about making a video. So it all worked out.
MM: Talk a little bit about your process for making this.
MW: The workflow was pretty simple, really. I mainly used Cinema 4D and Octane. Octane gave it a great look that really felt super realistic. I could just set up a couple of lights and throw some volumetrics on it to get a lot of depth and atmosphere.
The buildings were modeled in C4D, and all of the fire and destructions was simulated in Turbulence FD and rendered in Octane. There was no compositing: I just went straight out of C4D and Octane and did one color correction and that was it.
MM: What about the fat gold characters, and how they sort of melted together?
MW: Oh, yeah, I used Houdini for the melting gold people. I have no idea how I did that. When I started this four years ago, it was the first time I’d ever done characters. I used Mixamo for the big gold character, and Houdini for the melting effect. It’s a good thing I saved that as an Alembic file, or I would have had to start over since I don’t remember how I did that.
All of the fighting was done with Mixamo models that we already in poses, like they were hitting, ducking or punching. I just had to choreograph the characters, so it looked like they were fighting. I’m happy with how it turned out. The melting thing was kind of symbolism for this weird orgy of people at the top, like our politicians and upper-class elite, all bumping heads and wrestling around in a big pile. They’re not really doing anything meaningful, just shifting their weight around while very little changes for the rest of us.
MM: Why did you go with text and music rather than narration this time?
MW: I was going to do a voiceover with music, like I usually do, and I had like 140 people submit auditions, but none of them were right. So I decided, pretty much at the last second, to put use text, even though it would be covering up all that sh-t I worked on for so long. That was probably a better choice anyway because a lot of people watch videos on mute, so they wouldn’t have heard the narration. I wanted to get a lot of stuff across, like how much debt we’re in, how rich Americans are, and how so many people are insanely poor and a few are insanely rich.
MM: Do you worry, or think about, the state of the world a lot these days?
MW: No, I wouldn’t say that. But I do work a lot more with two TVs on, one turned to FOX News and the other to CNN. I mute the sound, but it’s very interesting to see how differently they cover things. FOX is just all of this propaganda and, pretty much the opposite of what CNN says. You can see why the country is so divided.
I’m definitely interested in politics, and I do think we are headed for a time when we’re all going to have to make some changes and adjust to a new reality, including changing our levels of spending. But there are things we can do, like give money. Most of us can afford to give money, but we don’t. Or we don’t give enough. Honestly, as I’ve made more money, I’ve given less money. This film is kind of a wake-up call, for everybody, me included.
MM: It seems like you’re trying to say more with your Everydays now, too.
MW: I’d say it was about July when I started doing things that are overtly political. I like taking a political- or commerce-related scenario and abstracting it out to a ridiculous degree, like the pro-choice one where robot Trump is being forced to have a baby in the future, or where Mark Zuckerberg has no nipples because women can’t show nipples on Facebook.
The response has been super, much bigger than anything else I’ve done. It really just felt like a natural progression from the storytelling I’ve been doing.
MM: What else are you doing these days?
MW: I’m working on a couple of things I can’t talk about yet. I just did some concert visuals for Zedd, and I’m doing a video sculpture for a festival that Amazon’s doing in December. I’m traveling a lot more. A month ago, I was in Brazil with my wife and the kids. And my wife and I are going to Russia soon for a conference I’m doing with Maxon. There’s a lot going on.
Credits and Free Downloads:
Directed by: BEEPLE
Music: RUN THE JEWELS
Donations to Direct Relief.
DOWNLOAD ALL CLIPS:
Does not require Cinema 4D.
DOWNLOAD CINEMA 4D PROJECT FILES:
Meleah Maynard is a writer and editor in Minneapolis, Minnesota.