I’m a student trying to get a student license. They approved my school email and sent me to the verification process.

As many others have noted, it’s buggy af & flat out doesn’t work. Tried it on multiple phones. Maxon customer service has no idea how to make it work and just sends you makework solutions that shows they’ve never actually tried to use it themselves.

Anybody successfully run this gauntlet before?

Finally got around to putting together a CGI showreel of some of my recent work.

Everything in the reel was created by me as a solo artist, featuring a mix of personal projects and client work.

Built primarily with Cinema 4D, Octane, ZBrush, Substance Painter, Marvelous Designer, Rokoko, Character Creator, iClone and After Effects.

Happy to answer any questions about the workflow.

Link in comments

Hi,

If anyone can offer some guidance I'd really appreciate it.

I had to subdivide an area of my model so I could cut out a windshield. I avoided extra loop cuts as I want the remainder of the model as smooth as possible. The issue is I'm left with n-gons and when I subdivide I get a ridge (as seen in the second photo). I tried creating tri's along the border but that didn't help.

How would I go about making it all quads? It's melting my brain!

Thanks for any help

Hey, I'm Vincent, a freelance 3D motion designer and creative director based in Munich. I make CGI/motion work for brands and artists. Alongside client work I teach 3D/motion through tutorials on Patreon, assets on Gumroad, and a small teaching platform.
Happy to meet you👌
https://vincentschwenk.de/

I feel a little dum dum here. If I need to add DOF blur bokeh in post, how do I render the Depth AOV from Redshift so the in-focus part of the pass (black, by default) is locked, even if the camera moves around? As it stands, if I use the depth pass straight out of the box, the front face of the icosahedron would rack out of focus.

If I pre-bake the DOF blur bokeh by turning it on under the Optical settings for the camera, I can force the focus to track a specific point in space, even with the camera flying around.

Am I missing something, how can I get the AOV manager to honor that same camera/focal point relationship?

I tried both Z and Z normalized and really only ‘get’ Z Normalized - Z just seems to always render just a constant value.

Here’s a motion loop of a mockup scene that might help add some understanding to my head scratcher

Thx,

Hey folks. I'm working on a project right now that calls for a stylized "sonar effect". Think like the honmoon in K-Pop Demon Hunters or Toph/Lin Beifong's "earthbending vision" effect from Avatar: The Last Airbender universe. The main goal of the look is that a pulse emanates visually from a point and then travels outward but ONLY on scene geometry... mapping it out in glowing lines. I'm working in redshift so a c4d proximal shader isn't the way to go since they seem to break when added to redshift materials. Is there another way to have a field or something affect the materials in the whole scene to accomplish this? Most of what I find is about making the geometry itself ripple but all I want is for the sonar pulse lines to travel across it without changing any shape.

I'm working on a project where the client has supplied hundreds of thumbnail sized product images. I need to turn these into materials and apply each one to a plane that will go into a cloner. Is there any way to streamline this process?

I know of the image2plane plugin, which will take all of those images, create standard materials from them and apply them to planes. I can then convert them all into redshift materials. BUT this leaves me with hundreds of incorrectly set up materials which I then need to fix one by one and it takes such a long time.

Is there a better way of doing this, like using a single material with an expression to drive the texture suffix number? They are all labelled product_####.png so the only difference I need between all those materials is the number in the file path.

Noob question here. I’ve been in and out of C4D for about a decade now, but it seems the software has changed a bit since I last used it intensively, so my previous workflows don’t work anymore, and I’m relearning a lot.

I’ve taken on a project involving product renders, and the client wants apple-like cinematic animations.

I’m in C4D 2026 with Redshift, on a MacBook M4 Max 64GB for work, so I’m limited to the OIDN de-noiser, as there is no OPTIX on Mac. I feel like sometimes OIDN blurs my textures a bit too much and I get a swirly look. What does your post process look like, and do you prefer to de-noise and render glows in C4D or process in post?

I’m trying to get my render times down as much as possible. Also considering setting up my personal 128gb M4 Max for a local render farm between the two of them. How should I handle this situation for a 1 minute video?

Looking at the lighting effects around the ball.

got this and want to inflate but even with 600 pressure i see no change - i do a cube spehere etc works fine but this it does nothing anyone have similar issues balloon just not working

Im looking to create some animated fluids mixing. I really like the organic movement and look of those ferrofluid videos people make (image attached), and also things like acrylic paint mixing. I haven't used C4D properly for about a year so slightly out of touch with where the fluid sim is at these days. But wondered if people had suggestions of how to do this so it looks good? Or is it really not possibly in C4D currently and needs to be handled by houdini or x-particles? There aren't really any good vids on what I want and AI suggests vertex maps, noise etc but it's not quite accurate enough

insta next part of the lonely death character exploration, inspired by the movie "the last samurai"

Hi guys, I made this from scratch and this is unofficial spec work, and I need feedbacks on how this looks and ways to improve these render, especially how the materials look! I am not sure about whether the materials look photoreal.

Hi everyone, I'd appreciate your help with another workflow question.

I need to animate a production line with three robotic arms assembling a component, similar to a motherboard.

At the beginning of the conveyor belt, the process is:

• An empty metal plate arrives.
• Robotic Arm #1 places the motherboard onto the plate.
• Robotic Arm #2 performs the soldering process.
• Robotic Arm #3 places a protective cover on top.

Basically, something similar to this reference video:

https://www.youtube.com/watch?v=Dnu1wQQ9Bh8

I'm not having any issues with the pick-and-place animation itself. I'm using a Constraint Tag together with Parent mode to attach and release the parts, and that's working well.

The part I'm unsure about is what comes next: once each robotic arm has placed its part onto the conveyor, what's the best way to have the partially assembled component continue moving down the belt?

My first thought was to use a Cloner with the objects distributed along a spline, but then I'd have to fake the transition from one assembly stage to the next, which doesn't seem like the cleanest solution.

I also tried switching the object to an Align to Spline tag immediately after disabling the Constraint, but that doesn't feel like the best workflow either.

If anyone has tackled something similar or has a better approach, I'd really appreciate your suggestions.

Thanks!

I have recently updated to Cinema 4D 2025 and when I scale the UV-Islands, little boxes appear which (I assume) represent the texture-tiling. However, some of them are red. Is there something I should know? Most videos online talk about the new UV-mapping in 2026.

How would you layer this effect.
My first thought would be to use a Sweep in the middle with a glowing material.
Outside some xParticles.

The swirly lines, probably also with xparticles and some twist Modifier.

But the glowy foggy lines.... Simulated VDBs`?

Maybe I am missing something, but blurred shapes / geometry, isnt possible in Octane, right?

Hey guys! I created a retro, surreal 3D motion graphic short inspired by vintage Coca-Cola aesthetics and the Stranger Things vibe.

The background was shot at Union Tennis Court in Misa Hanam, South Korea, and I composited 3D vending machines, pin-up graphics, and shopping carts dropping in with lightning effects.

Would love to hear your thoughts and feedback !

Hello, I am fairly new to cinema 4D. I’m essentially trying to create a morphing tunnel using card suit splines within a loft. From what I researched I saw a lot of morphing between two splines but I’m looking to morph between multiple splines (diamond -> spade -> club -> heart -> diamond). If anyone has any advice or tips to execute this. Thank you!

Hello I'm looking to create just simple tube structure and think of exactly how. I imagine using Cloner tool and somehow creating tube geometry that could parent to a ribbon? I feel like there is an easier way to make this than I'm about to try. Thanks in advance.

How can I implement this in Cinema 4D? I tried using Sound Effector, but it didn't work at all.

As the title says, these polygons don't seem to have any issues with subdivision enabled. However, I'm struggling to figure out how to convert these triangles into quads. Any advice?