MAXON CINEMA 4D Helps Ignite Broadcast Customers' Creativity
April 27, 2009 12:02 am
Tags: 3D, ABC, Al Jazeera, BBC, Capacity, CINEMA 4D, CMT, CNN, Comedy Central, Cosmocyte, d.inc design, E!, ESPN, FOX, HBO, HGTV, Innovative Show Design (ISD), MoGraph, MSNBC, MTV, NAB, National Geographic Channel, NBC, NFL, NHK, Perception, Protokulture, Red Car, Renderosity, TBS, Telefutura, The Mill, The Weather Channel, Third Eye Design Group, TMZ, TNT, Troika Design Group, TRU TV, Univision, USA Network
MoGraph Module, Global Illumination Engine and NET Render Deemed Essential Elements in Broadcast Customers’ Motion Graphics Production Pipelines
Las Vegas, NV – NAB, April 20, 2009 – MAXON Computer, a leading developer of professional 3D modeling, painting, animation and rendering solutions, today announced that MAXON CINEMA 4D continues to be the 3D digital content creation software of choice for the broadcast industry’s most widely recognized networks and production facilities. CINEMA 4D’s motion graphics module, MoGraph, is noted by customers as being particularly essential due to its quick workflow, fast rendering and easy export to compositing applications. Entities of note who count CINEMA 4D as a key part of their creative toolkits include: The Weather Channel, MTV, CMT, Comedy Central, TMZ, NBC, FOX, NFL, TRU TV, TNT, TBS, HGTV, Capacity, Cosmocyte, MSNBC, ESPN, HBO, CNN, USA Network, Troika Design Group, National Geographic Channel, Univision, ABC, E!, Telefutura, Third Eye Design Group, Al Jazeera, Red Car, d.inc design, Innovative Show Design (ISD), The Mill, NHK (Japan), NTV (Japan), SAT (Germany), RTL (Germany), Protokulture, Perception, the BBC and more. Overall, customers cite efficiency, cost savings, ease-of-use, and a significant boost in workflow productivity as the primary benefits for adopting CINEMA 4D into production pipelines.
“Broadcast designers are challenged to produce highly complex, technically perfect and over-the-top creative content every day; and they require a reliable, fast and flexible production workflow to meet those expectations,” said Paul Babb, president and CEO, MAXON USA. “The fact that so many broadcast customers have placed CINEMA 4D at the heart of their production pipelines and count on it to help them meet real world motion graphics goals is extremely gratifying and very clearly demonstrates the value that CINEMA 4D can bring to any graphics production environment.”
MAXON broadcast design customers currently finding success with CINEMA 4D, include:
“CINEMA 4D has been our weapon of choice for years. We’re extremely pleased with its performance, stability and seamless integration with other applications and find its interface and workflow to be amazingly intuitive. We also like that it’s a very stable and flexible environment for building, rigging, texturing, and animating characters; capabilities which definitely came in handy during our recent rebrand of Cartoon Network, which is practically all character animation, and for our latest short film, "Upgrade + Mobilize". We’re also huge fans of Net Render and BodyPaint 3D, and consider both to be key elements in our pipeline.”
- Ellerey Gave, Creative Director
Studio: The Mill
"The results [achieved with the new GI render engine] were amazing. I could render a 175 frame camera animation at widescreen PAL resolution overnight on a Mac Pro without a trace of GI flicker. Without that, these shots would never have been completed on time...I have used several 3D apps and CINEMA 4D is like the 3D equivalent of just pulling out your sketchpad and pencil and being creative."
- Simon Wicker, Lead Matte Painter
Company: Innovative Show Design (ISD)
“CINEMA 4D always plays a critical role in our set design; most especially when it comes to textures, color and lighting. To configure lighting in particular, we first take a look at the ‘real’ methods a show will use and move forward to build imagery showing lighting that uses the same color temperatures, intensities, directions, etc. Using CINEMA 4D Xpresso, we’re able to show lighting as it would look from the same lighting instrument that will be on the final set using a library of lights controlled in the software; so anything that particular light does in the rendering will be what the light can really do. All of this takes place prior to the actual physical set being manufactured which is an incredible boost to our workflow.”
- Nate Mitchell, Graphics Supervisor
“The Super Bowl pitch to NBC involved creating an infinite field of confetti appearing to flow freely and at a moments notice swarm together to form personalities, a task usually assigned to a particle system. Because of our tight turnaround, we opted to avoid the sometimes unpredictable process of wrangling free-roaming particles with the more predictable controls of CINEMA 4D’s MoGraph module and its various cloner effectors. The software’s ease-of-use has given us the ability to make miracles happen in the face of laughably tight timeframes; especially during the pitch process. We’re able to blow clients' minds with original style-frames that have a distinctly ‘epic’ scope to them, while our competition only has time to write a carefully worded paragraph.”
- John LePore, Associate Creative
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“CINEMA 4D is an essential part of our pipeline. Its efficient scalability and simplistic network rendering allows us to take advantage of our idle machines processing power to create visual complexity using a simple toolset, which is a godsend when working under tight deadlines. Currently, CINEMA 4D is used in every department to create titles, liquids, characters and more; and is so critical to our work that having a solid working knowledge of the software suite is considered mandatory for all designers and animators creating digital content at the studio. The MoGraph module in particular has been invaluable to our creation process and has even replaced helpful plug-ins that we relied on in the past.”
- John Michaels, Creative Director
Studio: Cosmocyte, Inc.
“All scenes we produce for this series are 3D, and as a result there is no part of the project to which CINEMA 4D hasn't contributed. Because of its easy-to-use farm rendering, comprehensive multi-pass capability and streamlined integration with Adobe After Effects, CINEMA 4D was the natural choice for producing High Definition broadcast animation where accuracy, beauty and clarity of the final product is essential and the deadlines are written in stone. As a practical company we frequently check to see if there are other software packages that will better suit our production pipeline needs, but always conclude that CINEMA 4D equips us with everything we need to produce solid animations of the highly technical and detailed nature that are Cosmocyte's specialty. We always look forward to the next release of the software and will undoubtedly be CINEMA 4D users for life.”
- Cameron Slayden, M.S., CEO
About CINEMA 4D
CINEMA 4D is a robust 3D animation software application. Its core application contains everything needed to quickly and easily create high-end 3D images and animations. Additional modules provide added functionality and customization to suit a wide array of industries. Modules can be purchased individually or in bundles. CINEMA 4D renders scene files directly to popular editing and compositing applications including After Effects, Final Cut, Shake, Combustion, etc., and is completely cross-platform for Windows and Mac.
About MAXON Computer
MAXON Computer is a developer of professional 3D modeling, painting, animation and rendering solutions. Its award-winning CINEMA 4D and BodyPaint 3D software products have been used extensively in the film, television, science, architecture, engineering and other industries. MAXON has offices in Germany, USA, United Kingdom, France and Japan. MAXON products are available directly from the Website and its worldwide distribution channel. Specially priced learning editions of the company’s software solutions are also made available to educational institutions. For additional information on MAXON visit www.maxon.net.
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