• Tuesday, Aug. 12, 2014
Shotgun Launches iPhone Review App, Shotgun Desktop, and MARI Integration at SIGGRAPH
Shotgun's mobile app.

Shotgun Software, developer of cloud-based production tracking, review & approval, and asset management tools for film, TV and games, delivered three major releases today at SIGGRAPH to help creative companies streamline processes and go faster. The company--recently acquired by Autodesk--launched a mobile app that brings the power of Shotgun Review to the iPhone; Shotgun Desktop, a native app shelf that gives artists fast access to productivity tools; and integration with The Foundry’s MARI 3D paint software, which helps speed up the workflow for texture artists.

With Shotgun’s first mobile app, supervisors can take their projects anywhere they go with a full set of tools to review and give their artists clear, visual feedback on work in progress. They’re able to stay connected without slowing down while they’re on set or on the run, and unblock artists for faster iteration. Now, on their iPhones, supervisors can:

-- Browse media and playlists in all projects
-- Play back movies
-- Annotate on one or more frames in the movie
-- Give feedback with notes and attach camera images or movies
-- See history on related versions and their notes

VFX supervisor Joshua Saeta, who recently worked on films that include “Sin City 2” and “Earth to Echo,” has been beta testing Shotgun Review for iPhone. “Having Shotgun on my iPhone is a complete life saver,” he said. “I could be in the middle of a shoot in New Mexico and have the director take a quick look at a digital matte painting and get feedback right there on set, on the fly, and get it back to my artists. Having the flexibility to get basic feedback instantly on a device that everyone carries in their back pockets is invaluable.”

Shotgun Desktop
Shotgun Desktop is a simple, visual interface that gives artists fast access to key productivity tools directly from the menu bar. Artists can quickly launch tools like Maya, Nuke or Photoshop, pre-configured with integrated apps that help automate key tasks -- like loading files created by other artists or publishing their work -- without having to go back to a browser or remember naming conventions and directory structures. Any app that the studio chooses to make available can be accessed, whether it’s a 3rd-party product, an in-house pipeline tool, or something from the growing list of apps that Shotgun is building and delivering.

Shotgun Desktop also makes developers’ jobs easier and more efficient, supplying a high-quality, productized app framework with a polished, artist-friendly UI that works across Linux, Mac and Windows. They can build Python apps quickly and deploy them right out to artists’ desktops.

Scott Ballard, pipeline supervisor at Encore Hollywood (which works on post and VFX for TV episodics including “House of Cards,” “Under the Dome” and “Extant”), has been working with an early version of Shotgun Desktop. He said, “This tool is going to save me a ton of time on the development side when we roll out pipelines for new shows; a lot of the initial setup and project configuration are nearly automatic. When our artists get their hands on it they’re going to love having an easy, consistent place to launch things. With the kind of timetables we face in TV work, anything that saves steps and gets us up and running faster is a huge help.”

MARI Integration
Shotgun has integrated The Foundry’s MARI 3D paint tool, including the full suite of Pipeline Toolkit apps. Now artists using MARI can work faster with the Shotgun loader, publisher and other apps, right inside the MARI interface, saving steps related to file management and connecting to other artists on the project. The integration also includes a Maya/MARI round-trip that connects modeling, textures, and lookdev.

Jack Greasley, MARI product manager at The Foundry, said, “The Foundry and Shotgun share a strong commitment to improving the experience of all of our clients, and it’s great to be able to make processes more efficient for them by integrating the tools they use every day. With Shotgun’s native support for MARI we’re streamlining a process that’s very common for texture artists in film and commercial work by enabling them to snapshot and publish files directly from within MARI.”

  • Tuesday, Aug. 12, 2014
Vicon introduces Pegasus products at SIGGRAPH
Pegasus Advanced

Vicon, the motion capture technology specialist for the entertainment, engineering and life science industries, today at SIGGRAPH announced the launch of two products, Pegasus and Pegasus Advanced, a new set of retargeting and solving tools developed with IKinema, as well as Blade 3, the newest version of the company’s capture and data processing software.  The products offer a new level of flexibility, accessibility and increased value for money in motion capture.

Pegasus is the industry’s first off-the-shelf retargeter that simplifies the process of streaming real-time motion capture data from Vicon Blade onto game assets in engines like Unity or Unreal Engine (UE4). Previously, users would have to spend time and money on developing their own bespoke software to access the dynamic environment a game engine provides.

“Pegasus represents an unprecedented step forward for motion capture in enabling customers of all sizes to import their data into game engines for a more dynamic experience,” said Phil Elderfield, entertainment product manager, Vicon.

Pegasus Advanced
With all the benefits of Pegasus, Pegasus Advanced solves joints to rigid body data and streams from Vicon Tracker. Users can take advantage of the Pegasus Advanced solver and stream data into ubiquitous ergonomic packages such as Siemens’ Jack software or Dassault Systèmes’ DELMIA solutions, as well as flawless integration with Unreal and Unity.

“Pegasus Advanced is the first product of its kind to allow tracking data from rigid bodies to drive custom avatars or manikins in such a wide variety of platforms,” said Warren Lester, engineering product manager, Vicon. “This allows customers to easily drive their own models--in applications that they are familiar with--and place markers where the task demands, rather than being hamstrung by fixed marker sets or having to suffer poor data quality due to occlusion.”

Alexandre Pechev, CEO at IKinema, an animation technology company that developed Pegasus and Pegasus Advanced in conjunction with Vicon, said: “IKinema goes back to fundamental biomechanics to deliver realistic motion based on skeletal analysis of humanoid and creature forms. Our highly optimized heuristic algorithms bring the highest degree of realism and believability to the Pegasus solving pipeline.”

Blade 3
The new version of Vicon’s motion capture software, Blade 3, builds upon the power and performance of Blade 2 and Axiom--Blade’s live engine that reproduces fast, clean performances for real-time visualization. With the Axiom engine now also available offline, it can be used in a full, interactive post-processing pipeline. Other features of Blade 3 include the ability to calibrate Vicon’s Bonita video reference footage into the capture volume and overlay its images onto CG environments for easier character setup and solve quality assessment. Blade 3 also introduces compatibility with Python for the first time, allowing users to run scripts with offline Blade 3 data.

“The launch of Pegasus and Blade 3 continues our ongoing commitment to delivering innovative solutions to the motion capture community,” said Imogen Moorhouse, CEO, Vicon. “Pegasus enables direct connection to game engines for all customers, while the new features in Blade 3 continue to build on the advances made in Blade 2, making Vicon motion capture more accessible, efficient and cost effective.”

  • Tuesday, Aug. 12, 2014
Autodesk unveils extensions for Maya 2015, 3Ds Max 2015
Maya 2015

At this week’s SIGGRAPH confab, Autodesk has unveiled its latest extensions for Maya 2015 and 3ds Max 2015.

The newest update for Autodesk Maya 2015 delivers powerful new production tools to help studios large and small build more efficient and productive pipelines. Features include: a sophisticated new color management system that offers a color-safe workflow throughout the lighting, rendering and compositing process; new tools that help make it easier to share, transfer, and collaborate on data; and extended customization options for Viewport 2.0, Maya 2015 Extension 1 helps provide studios with new opportunities to create differentiated, future-proofed pipelines.

-- Color Management: A completely new color management system preserves artistic creative intent throughout the lighting and rendering process with a simple linear workflow is provided out of the box. Studios can customize the system to closely match their color pipeline, enabling artists to work across The Foundry’s NUKE software, Adobe Photoshop software, Autodesk Creative Finishing solutions, and certain other applications to help allow for color compatibility throughout the studio pipeline.

-- Performance Profiler: Technical directors can now gauge, measure, and debug the performance of individual nodes, character rigs, and Maya scenes. Performance Profiler offers a graphical interface that enables performance measurement and graphing for dirty propagation, evaluation, deformations, rendering, Qt events, XGen instancing and Bifrost simulations. Developers can now use Performance Profiler in other custom tools and plug-ins using a robust API (Application Programming Interface).

-- Modeling and Workflow Productivity Enhancements: Requested by artists, the update now includes workflow enhancements to make daily tasks easier and more efficient: expanded wireframe color choices; a per-menu keyboard shortcut to repeat the last command; object visibility toggling; color coding in the channel box to reflect various key states; performance improvements and multi-UV tiling support for OpenSubdiv; enhancements to the Multi-Cut tool; further integration of the Modeling Toolkit; and new custom pivot workflows.

-- XGen Performance Enhancements: Artists can now create and groom hair, fur, and feathers on characters, and populate large landscapes with grass, foliage, trees, rocks, and debris trails faster and more efficiently, with targeted performance enhancements for the XGen Arbitrary Primitive Generator.

-- Python API for Viewport 2.0: Maya 2015 Extension 1 introduces a Python API for the high-performance Viewport 2.0 hardware-accelerated display, offering increased flexibility for viewport customization using this popular and easy-to-learn scripting language.

Availability: Autodesk Maya 2015 Extension 1 will be available September 10, 2014.

Autodesk 3ds Max 2015 Extension 1
Autodesk 3ds Max 2015 software helps increase overall productivity for artists and designers working with the high-resolution assets required by today’s demanding entertainment and design visualization projects. The newest update adds new features that help artists easily create and exchange complex assets across multiple workflows:

-- OpenSubdiv Support: Extension 1 adds the top featured requested from the community. Open-sourced by Pixar, OpenSubdiv allows artists to represent subdivision surfaces, visualize their model interactively without the need to render, and offers overall greater productivity.

-- Alembic Support: Alembic makes processing complex animated and simulated data more memory efficient and allows artists to view large datasets in the Nitrous Viewport and transfer them to other programs.

-- Enhanced ShaderFX: Enhancements to the ShaderFX real-time visual shader editor offer expanded shading options and better shader interoperability between 3ds Max, Maya, and Maya LT. With new node patterns -- wavelines, voronoi, simplex noise, and brick -- as well as a new bump utility node and a searchable node browser, game artists and programmers can create and exchange advanced shaders more easily.

Availability: Extension 1 for 3ds Max 2015 is now available.

  • Monday, Aug. 11, 2014
ftrack rolls out version 3.0 at SIGGRAPH
An overview of the ftrack dashboard.

ftrack, a project management platform for the creative, visual effects and animation industries announced version 3.0 and is showing previews at the SIGGRAPH conference in Vancouver, August 11-14.

Working closely with existing customers including The Mill, Cinesite, MPC Commercials and ZeroVFX, ftrack has focused on enhancing an already intuitive workflow while expanding the tools for multi-location pipelines and deeper integration with key VFX software packages.

The 3.0 release will provide numerous new features and improvements, including a further refined user interface and a focus on collaborative workflows with seamless asset syncing between multiple locations and the introduction of global filters to quickly narrow scope.

Deeper pipeline integration includes a more robust API and a standalone publishing application that has been designed to allow quick and easy publishing outside of any host application.

Additional features include improved time tracking tools for artists and review and approval tools to allow outside clients to annotate and communicate efficiently with production.

Working with key software partners will also see deeper forthcoming integration with Thinkbox Software’s Deadline, Imagineer Systems’ Mocha and Cospective’s Cinesync. In addition, ftrack is collaborating with The Mill on development of plug-ins for Nuke and Hiero to provide a smoother, more intuitive experience for artists using ftrack in these applications.

The version 3.0 announcement comes in the wake of recent major client adoptions; The Mill has selected ftrack as its worldwide production management solution across all of its studios in the UK and USA, while Germany HQ’d Mackevision has purchased a site license and migrated all of its existing production management tools over to ftrack for both its design visualization and VFX projects.

  • Monday, Aug. 11, 2014
A Closer Look: Multitasking on mobile devices
This screen shot taken from a Samsung Galaxy S5 demonstrates the device's Multi-Window function, which lets you run multiple apps side by side. (AP Photo)

Smartphones and tablets would be much more useful if they allowed us to multitask the way desktop and laptop computers do.

When I'm watching video, for instance, I have to pause it to read an email or text that comes in. When I'm composing a message to make plans, I have to leave the app to check the weather forecast. For the most part, I'm not able to do more than one thing at a time on a single screen.

That's starting to change with Android devices, though. Windows tablets do let you run multiple apps side by side, but Windows phones do not. The iPhone and iPad don't, either.

In this installment of A Closer Look, I assess some of the Android devices that offer limited multitasking. These approaches aren't as smooth as what I'm used to on Mac and Windows personal computers, but they are a start.



Samsung offers Multi-Window, which lets you see multiple apps running side by side on the screen. You're typically limited to two, though Samsung's 12.2-inch Pro tablets let you do as many as four. There's a slider you can use to control how much screen space each app takes.

Multi-Window works with only selected apps, though. You can use Samsung's Video or Google's Play Movies & TV app as one of the selections, but not Hulu or Netflix. Even so, the choices have gotten better since Samsung first made this feature available in 2012.

As much as I like this concept, I've rarely used it on my two-year-old Galaxy S III. It takes me longer to figure out which apps are supported than to simply grab another device and get what I need there.

Owners of Samsung's Note smartphones and tablets also get a second way to multitask. It's called Pen Window and gets activated when you use the stylus that comes with the device. You simply use the pen to draw a box in the screen. The box floats over the main app on the screen, and apps open inside the box. You can have several apps open at once, and you can temporarily set an app aside by minimizing it into a small dot.

Again, this only works with selected apps.


— LG's G3 PHONE:

LG's latest smartphone, the G3, has a Dual Window feature. Just hold the back button and choose two apps to open side by side. As with Multi-Window, you're limited in your choices. You can adjust a slider to determine how much on-screen real estate each app occupies.

The phone also has Qslide, which gives you easy access to three apps at once. Unlike Dual Window, these apps are in overlapping windows, similar to traditional PCs. There's a slider to make two of the apps semi-transparent while working on the third. So if you're composing a text message to make plans and need to see whether you're free, you can launch a calendar through Qslide. Unfortunately, Qslide works with even fewer apps than Dual Window.

For the most part, you're limited to messaging, Web browsing and tools such as the calendar and calculator. Dual Window has a few extras, including Maps, YouTube and the photo gallery. Neither offers weather or streaming video services.



The Mate2 has a feature called Window on Window, or WOW. When you turn it on, a small translucent circle hovers over the home screen or any app you're using. Clicking on it gives you quick access to some basic tools — a calculator, a calendar, a note pad and text messaging. You're limited to just those four.

The app hovers in a window over whatever you're doing. Hit the arrow to expand it to full screen, or hit the "x'' to make it go away.

The extent of apps available doesn't exactly wow me, but it's another effort toward making mobile devices as useful as laptops. There's more work to do, but I'm glad device makers are working on it.

  • Monday, Aug. 11, 2014
Chaos Group's V-Ray comes to The Foundry's MODO, NUKE, KATANA
Chaos Group logo

In response to artist and designer demands, Chaos Group and The Foundry have announced that V-Ray will be available for a number of The Foundry’s creative software solutions.

The two companies have been working together on the development of V-Ray for three of The Foundry’s products: V-Ray for MODO, V-Ray for NUKE and V-Ray for KATANA. The MODO and NUKE versions are being unveiled for the first time at SIGGRAPH.

Starting today, V-Ray for MODO and NUKE are available as a public beta, and the commercial version of V-Ray for KATANA is available for purchase.

“Chaos Group and The Foundry’s products have been cornerstones of Atomic Fiction’s workflow since day one,” said Kevin Baillie, co-founder and VFX supervisor at Atomic Fiction. “Both companies share an obvious passion for making amazing, production-focused tools, and are constantly looking towards the future. We’re excited that their futures are converging to unify our rendering pipeline across our favorite applications!”

Built on V-Ray’s latest 3.0 core rendering technology, the integration with The Foundry’s tools streamlines the workflow for studios with pipelines built around V-Ray, NUKE, MODO, and KATANA.

The products:

V-Ray | MODO – Provides flexibility and production-proven rendering capabilities for MODO artists creating 3D content. Now in public beta.

V-Ray | NUKE – Unifies the pipeline between NUKE artists and 3D artists for unprecedented workflow improvements at all stages of production, while providing access to V-Ray’s advanced ray tracing capabilities. Now in public beta.

V-Ray | KATANA – First used on “Captain America: The Winter Soldier” by Industrial Light & Magic, the industry-leading lighting and look development package is now coupled with industry-standard rendering technology. Available upon request.

  • Friday, Aug. 8, 2014
Mark III HD Interrotron hits marketplace

The latest iteration of the Interrotron--the new Mark III HD model--has become available. At this time The American Movie Company and its TeleprompterRental.com subsidiary are the only sources to rent the Mark III in North America.

The Interrotron was invented by Errol Morris, Academy Award winning documentary filmmaker.  He found a novel way to get non-professional interview “talent”  to relax, look directly into the lens, maintain correct eye-line and give a genuine, believable  response.

Morris is credited with naming the device but actually his wife thought of combining the words  interview and terror.  The device  prevented “terror” in his non-professional actors.

Unprofessional talent, children… those who had little or no comfort facing a TV camera found they could relax and give natural, effective performances in front of the Interrotron.

Basically, it’s two modified, improved teleprompters connected by video cable.  Both have cameras which feed the signal to the other.  Thus, the “talent” and  “director can see each other “face to face”  on the screens of the Interrotron units.

So, an unprofessional interview subject does not have to stare into the cold lens of a video camera.   Instead he/she sees the face of the director/interviewer and the two have a simple, relaxed conversion.   Each is able to read the facial expressions of the other, get all of the non-verbal cues involved in normal conversation.

The director sees his subject directly via the lens of the main camera.  He sees the framing, focus, etc. at the same time he judges performance.  Because the talent is relaxed and comfortable, the process not only goes faster but elicits a more realistic, believable, authentic response.

The American Movie Company refined the device and created the  Mark II. And AMC has been renting this improved device with a trained technician in major cities all over the country for the last five years.

Now, in response to the many directors who have found he device gets them substantially better interviews, the new Mark III HD model has evolved and is now accessible to the industry at large.

  • Wednesday, Aug. 6, 2014
Vicon to give Cara a facelift at SIGGRAPH
Vicon's Cara technology.

Vicon, the motion capture technology specialist for the entertainment, engineering and life science industries, will launch next week at SIGGRAPH 2014 a series of updates to Cara, billed as being the world’s first out-of-the-box facial motion capture system for film and games production. The latest version boasts significant quality enhancements that accelerate facial capture workflows for fast-paced performance capture productions.

A new version of CaraLive, the software at the heart of the system during set up and capture, vastly improves overall operating performance, while reducing capture and postproduction costs and time.

CaraPost, which provides the engine and tools to extract high-quality 3D point data from marker-based CaraLive capture footage, officially launches out of beta and features a range of radical enhancements and workflow efficiency improvements influenced by Cara’s real-world production use.

Vicon also designed and developed a custom controllable rig of four on-board lights enabling customers to work in environments with insufficient or changing ambient light. The accessory kit has been extended to provide greater flexibility and comfort over a wider range of head sizes.

“The Cara updates reflect our continuing commitment to delivering modular, high-performance facial motion capture that’s accessible to all,” said Phil Elderfield, product manager, Vicon. “Based on customer feedback from Cara’s use in real-world production environments since its launch a year ago, Cara now offers even more flexibility with features like the Cara Lighting Kit, as well as faster, more efficient workflows that enable users to focus on the creative process. Cara continues to set the standard for affordable, accessible, high-quality character realism.”

Cara updates will be on show at Vicon’s SIGGRAPH booth, #733.

  • Tuesday, Aug. 5, 2014
FilmLight focuses on evolving workflows at IBC 2014
FilmLight's FLIP

FilmLight, an innovator in color grading and postproduction workflows, is using its presence at IBC 2014 (Amsterdam, Sept. 12–16) to demonstrate how its technology helps broadcasters, movie producers and creative studios shorten timescales without compromising creativity and quality. FilmLight’s IBC stand will showcase its comprehensive range of products as an end-to-end process from shoot to delivery, using the same footage at each stage.

“Whether they are involved in Hollywood blockbusters or high-pressure television production, all our clients tell us that workflow is critical,” said Wolfgang Lempp, co-founder of FilmLight. “Collaborative working is not only more artistically satisfying, it is the best way to get the project finalised and out the door. The result is that audiences see the best possible quality and creativity, and our customers can take on more business.

FilmLight manages color from set to deliverables. On display at IBC 2014 will be a new version of FLIP, the real-time image processor for on-set grading of digital cameras, and a new dailies product, the comprehensive solution for near-set production.

Visitors will also be able to try Baselight Editions, which takes the color processing engine from full Baselight workstations and implements it as a plugin within the foremost professional editing and VFX packages—including Avid, Final Cut Pro and Nuke, with more planned. The grade can be exchanged and adjusted simultaneously between editorial and effects as well as the colour suite, in a highly efficient and render-free workflow.

“What we have built, over the years, is a suite of products with cost-effective and highly productive technology, which all have the same core functionality but allow each production to design its own collaborative process,” said Lempp. “Creative professionals can work where and when best suits the needs of their production, knowing that all their decisions are securely captured and preserved in the final deliverables.”

FilmLight will also show a high-end 4K Baselight grading system at IBC 2014, allowing visitors to understand how the grading and finishing power can be applied to top-end TV productions, world-class commercials, music promos and feature films.

The new version of Baselight software has a number of key enhancements including direct DCP rendering, and comes with ACES 1.0 support and full HDR grading capability, including Dolby Vision.

  • Tuesday, Aug. 5, 2014
MAXON unveils CINEMA 4D R16

MAXON has unveiled CINEMA 4D Release 16 (R16), the next generation release of the company’s 3D motion graphics, visual effects, visualization, painting, and rendering software application. In addition to assorted workflow enhancements, CINEMA 4D R16 delivers new features including a modeling PolyPen “super-tool,” a Motion Tracker for easily integrating 3D content within live footage and a Reflectance material channel that allows for multi-layered reflections and specularity. CINEMA 4D R16 reinforces MAXON’s commitment to provide creative professionals with exceptional stability and performance, integration, and a straightforward, efficient and flexible interface to optimize any workflow for VFX, motion graphics, visualization and game development.

MAXON will debut CINEMA 4D R16 at the SIGGRAPH 2014 convention in Vancouver, BC, August 12 -14, Booth #1422.

Innovative new features in R16, available for both the Mac OS X and Windows platforms, include such animation features as:
Motion Tracker – Delivers quick and seamless integration of 3D elements into real world footage. Footage can be tracked automatically or manually, and aligned to the 3D environment using position, vector and planar constraints.

Interaction Tag – Gives users control over 3D objects and works with the new Tweak mode to provide information on object movement and highlighting. Ideal for technical directors and character riggers, the tag reports all mouse interaction and allows object control via XPresso, COFFEE or Python.

Modeling features include:
PolyPen – Utilize the new “super-tool” to paint polygons and polish points as well as easily move, clone, cut and weld points, edges of 3D models. You can even re-topologize complex meshes. Enable snapping for greater precision or to snap to a surface.

Bevel Deformer – The powerful Bevel toolset in CINEMA 4D can now be applied nondestructively to entire objects or specific selection sets. Users can also animate and adjust bevel attributes to create all new effects.

Sculpting – R16 is packed with numerous improvements and dynamic features to sculpt with precision and expand the overall modeling toolset. The new Select tool gives users access to powerful symmetry and fill options to define point and polygon selections on any editable object. Additional features give users more control and flexibility for sculpting details on parametric objects, creating curves, defining masks, stamps and stencils, as well as tools for users to create their own sculpt brushes, and more.

Other modeling features in R16 include an all-new Cogwheel spline primitive to generate involute and ratchet gears; a new Mesh Check tool to evaluate the integrity of a polygonal mesh; Deformer Falloff options, and Cap enhancements to easily add textures to the caps of MoText, Extrude, Loft, Lathe and Sweep objects.

Rendering features are:
Reflectance Channel – The new Reflectance material channel in R16 provides more control over reflections and specularity within a single new channel. Features include the ability to build-up multiple layers for complex surfaces such as metallic car paint, woven cloth surfaces, and options to render separate multi-pass layers for each reflection layer to achieve higher quality realistic imagery.

New Render Engine for Hair & Sketch – A completely new unified effects render engine allows artists to seamlessly raytrace Hair and Sketch lines within the same render pass to give users higher quality results in a fraction of the time.

Team Render Server
Team Render, introduced by MAXON in 2013, features many new enhancements including a client-server architecture allowing users to control all the render jobs for a studio via a browser.

Additional productivity boosting features in R16 include:
Content Library – Completely re-organized and optimized for Release 16, the preset library contains custom made solutions with specific target groups in mind. New house and stair generators, as well as modular doors and windows have been added for architectural visualizers. Product and advertising designers can take advantage of a powerful tool to animate the folding of die-cut packaging, as well as modular bottles, tubes and boxes. Motion designers will enjoy the addition of high-quality models made for MoGraph, preset title animations and interactive chart templates.

Exchange/Pipeline Support – Customers can now exchange assets throughout the production pipeline more reliably in R16 with support for the most current versions of FBX and Alembic.

Solo Button – Offers artists a production-friendly solution to isolate individual objects and hierarchies for refinement when modeling. Soloing also speeds up the viewport performance for improved workflow on massive scenes.

Annotations – Tag specific objects, clones or points in any scene with annotations that appear directly in view for a dependable solution to reference online pre-production materials, target areas of a scene for enhancement, and more.

UV Peeler – Delivers an effective means to quickly unwrap the UV’s of cylindrical objects for optimized texturing.

CINEMA 4D R16 is scheduled to ship in September 2014.

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