Posted On:Redshift Archives | Greyscalegorilla
With several options to choose from, which version of Cinema 4D is right for you? Follow along with this guide to choose the right version or subscription.
In an attempt to simplify the entire purchasing process, Maxon has eliminated the various versions of Cinema 4D (Studio, Prime, Broadcast, etc) and has announced that going forward there will be only one version of C4D.
While choosing the right version of Cinema 4D has now become a lot easier, choosing the right subscription bundle has users scratching their heads.
So let’s dive into the new options to pick which is right for you.
Cinema 4D Purchasing Options
Cinema 4D is available as either a one-time purchase with the perpetual license or as an ongoing subscription. Read More
Cinema 4D goes subscription with a Redshift bundle option. Learn about the newest features of C4D R21, like a new Caps and Bevel system, Field Force dynamics, and more.
During the Siggraph 2019 show in Los Angeles, Maxon announced the new Cinema 4D R21 with new features, like Field Forces, a Caps and Bevel system, new Mixamo Control Rig, rendering improvements and interface speed enhancements.
The biggest news was that R21 would introduce a single version of Cinema 4D that is available with either a perpetual license, or a new subscription. On top of that, users can now bundle a C4D and Redshift license. Let’s take a look at all the C4D news. Read More
MAXON takes a bold step in its acquisition of Redshift, one of the most popular third-party render engines for 3D artists and motion designers.
Today at NAB 2019, Maxon CEO David McGavran announced the acquisition of Redshift Rendering Technologies. At the Maxon booth, McGavran and Redshift co-founder Nicolas Burtnyk shared the stage during the live announcement on c4dlive.com.
In a press release, McGavran shared,
“Rendering can be the most time-consuming and demanding aspect of 3D content creation. Redshift’s speed and efficiency combined with Cinema 4D’s responsive workflow make it a perfect match for our portfolio.”
Redshift co-founder Nicolas Burtnyk went on to say,
“We’ve always admired Maxon and the Cinema 4D community, and are thrilled to be a part of it… We are looking forward to working closely with Maxon, collaborating on seamless integration of Redshift into Cinema 4D and continuing to push the boundaries of what’s possible with production-ready GPU rendering.”
Redshift already supports Cinema 4D, as well as other 3D apps Maya, 3DS Max, Houdini, and Katana. Read More
Get the latest on the new version of After Effects, learn about GPU render updates from GTC, and find about about the new features in X-Particles.
Tons of news and updates as we head into NAB 2019. Are you headed to the 2019 NAB Show? Be sure to join us at the many events like the MoGraph Meetup and Maxon Booth presentations. Swing by for some GSG Swag.
Let’s dive into what’s new.
New in Adobe CC and After Effects
Adobe seems to be on a tear lately. After their acquisition of Allegorithic, makers of Substance, the company has now made big updates to the Creative Cloud. Adobe has just added support for Substance materials in Adobe Dimension.
Tons of new features were just released in the latest version of After Effects. You’ve likely seen headlines for Content-Aware fill for video, which many thought was just an April Fool’s Day prank. Jokes on them, the feature is available now. Read More
Watch as Nick sets up his first PC in 20 years. See where he struggles, questions he has, and getting things ready to render.
Nick will give you a guided tour of his office, unboxing his new computer, and PC setup challenges. Want to know more about the gear and the tools we installed? Check the list down below.
What happens in this video?
Nick shows up to the office to open his new PC and monitor. He will show you challenges of his office space, where and how he works, unboxing all the gear and accessories, and then setting up the machine. Read More
We talk to motion designer James Owen about his experimental series of looping animations. See how he uses C4D, Redshift, and the new Everyday Material Collection.
All images via James Owen.
The benefit of scrolling through the Instagram accounts of the many talented C4D motion designers is the treasure trove of stunning imagery.
One of the most recent eye-catching designs that caught my attention where the series of flourishes created by James Owen.
It’s a really beautiful series of shorts, and to find out more I reached out to creator James Owen. Here’s what I learned about his Flourishing series. Read More
Take a look at how these beer cans were designed for production, and later ended up featured in TIME Magazine for their eye-catching design.
We talk to designer Eileen Tjan of OTHER studio and Chad Ashley about the creation of the Peekskill Brewery beer cans recently featured in a special edition of TIME Magazine.
Learn about the process in designing product labels and imagery, then take a glimpse into the making of 3D product renders.
How can you make a commercial celebrating Mickey Mouse’s 90th birthday, without being able to feature the legendary character himself? You get clever.
We talk to Already Been Chewed‘s Barton Damer about their newest Nixon watch commercial featuring Disney’s Mickey Mouse.
Now you may remember Nixon’s 3D watch commercials from our previous interview and tour of the Already Been Chewed (ABC) studio in Texas. If not, check out or interview with founder Barton Damer here.
ABC had just launched the latest in their series of spots for Nixon watches, this one celebrating the 90th anniversary of Mickey Mouse. It proved to be no easy task, as the team did not have the rights to use the character himself. Read More
See how Blind used Cinema 4D, After Effects, Octane, and Redshift to create several 3D scenes of popular games to announce Xbox Game Pass at E3 2018.
All images courtesy of Microsoft / Blind.
In 2018, for the fourth year in a row, Microsoft and the Ayzenberg Group tapped Los Angeles-based design and brand strategy studio Blind to create content for their high-profile E3 (Electronic Entertainment Expo) show. While last year’s project was devoted to the launch of the Xbox One X, this year’s goal was to highlight Microsoft’s monthly subscription service, Xbox Game Pass.
We chat with Trevor Kerr from MANVSMACHINE about 3D workflows, third-party rendering, and the new Greyscalegorilla Guide to Redshift.
Trevor Kerr, the Technical Director at MANVSMACHINE, chats with Chad Ashley about all things rendering. They talk about the strengths and weaknesses of Arnold, Octane, and Redshift, and also dive into the many topics covered in the new Greyscalegorilla Guide to Redshift.
In this informal discussion Trevor Kerr and Chad Ashley discuss the meteoric rise of Redshift in production as well as an in-depth Redshift training product the two recently teamed up on.
See how Run, Kick, Shout and Calabash Animation used Cinema 4D and Redshift to create a series of animated spots for PayPal.
Did you know that over 19 million sites use PayPal? That’s the fun fact I learned in these new animated spots from Run, Kick, Shout. Then I realized that this campaign was 100% effective on me. I learned facts about the client, I enjoyed the animation, and now here I am sharing my thoughts. I consider that a well executed campaign.
Take a look at the PayPal videos here to see what I fell in love with.
I wanted to learn more about this project, and the team behind, so I reached out to Chicago’s Run, Kick, Shout for more. Read More
When should you start thinking about color in your 3D and motion design projects? It’s time to think like a Director of Photography.
While listening to an Entagma discussion, where Manuel Casasola Merkle and Moritz Schwing rant about render engines, the duo spends a little bit of time talking about LUTs in the post-process.
This led me down a tangent of questions, which ultimately led me to wonder if 3D artists should operate more like cinematographers. A Director of Photography (DP) will often devise a color scheme before production even begins. They’ll talk with the director about the emotional connection they want the piece to convey, and then the DP, either on their own or with a DIT or colorist, will create a look. Read More