midlet retweeted
🚀 Introducing ValueLadder for Cinema 4D!
Houdini-style value scrubbing, now in C4D!
🖱️ Middle-click & drag
🎯 Precise step control
✅ C4D 2026/2027 (Windows)
❤️ FREE & Open Source!
🔗 GitHub: github.com/Aitidi/c4d-value-…
🔗 Boghma: boghma.com/zh/c4d/plugins/10…
#Cinema4D #C4D
When people talk about the AI bubble popping, a lot of people seem to think it means AI will just go away, it won't, BUT stuff like this...this kind of thing will go away because literally no one wants this. I don't even like real people trying to sell me stuff.
What if every module of all the 3D software just became plugins you could mix and match. Have Blenders viewport with Eevee, take Mograph from C4D. Take Simulation from Houdini, etc. Pay a lower fee to just access one aspect. Everyone builds their own custom application.
It would be great if they shared the budget to create this. I've seen comparisons to Love Death and Robots, or Secret Level, but I think the reality becomes more clear if we know how much this costs to produce. My guess would be that this doesn't cost one thousandth of what one of those shorts cost. It's also nowhere near as good, but is it good enough to be profitable is the real question?
Watch Episode 1 of our Odyssey series made with Grok Imagine.
Let us know in the comments if you'd like a full breakdown of how it was done!
Creative collaboration with @WonderStudiosX and director Dev Walker @glumlot_
Very cool!
BlenderをMayaのようにできるMaya Workflow Kitを少し触ってみたけど、めっちゃMaya！
すごい！
5hyuns.github.io/maya-workfl…
It is what it is...
En esta prueba he querido poner Claude al límite con Houdini (modelo Opus 5.5). He montado toda la escena hablándole al iPhone para ver dónde está el límite, y mi conclusión es que no hay límite. Esto que veis es donde he puesto el freno, hay cosas que corregir aún pero quiero seguir experimentando con otros proyectos.
El render ha tardado 50 horas en mi 5090 dado lo compleja que es la escena, volumétricas etc.
El color grading lo he hecho en Davinci trabajando en Aces y también lo hice hablándole al teléfono con el MCP de Davinci.
Me cuesta imaginar un futuro donde no vayamos a trabajar con esto de forma masiva.
I've been thinking about this a lot. There's a lot I've wanted to do, but wrote it off because it was too complex, too technical, too expensive, too much work, etc. Now...there's a solution to pretty much everything on the table, but it comes with some pretty heavy baggage...
One of the hardest things for designers with 20+ years in this industry might be recognizing how much of their thinking is still shaped by limitations that no longer exist.
For decades we’ve been trained to work within heavy constraints (which isn’t inherently bad). We limited ourselves to what’s technically feasible, what engineers can build, what budgets allow and what platforms support. We learned to compromise before we even explored the idea. It's a big part of being a designer.
Limitations still exist, but the ceiling moved upwards by a big margin. The doors are now opening in every direction and I don’t think we have fully grasped what that means just yet.
You can rethink almost anything from first principles. And you should. Step into any industry. Build software, hardware, whatever you want really.
What we need to learn today is unlearning our limits from the past decades. Far more is possible today than we’ve been conditioned to believe.
@MaxonVFX I used the C4D MCP and Opus 5.5 to build an Arboreal Effector for scattering plants on a terrain. It analyzes the terrain based on height, slope, valleys vs. ridges, which way each slope faces the sun, and moisture, builds a habitat map, then allows you to control the plant distribution based on the settings in the image. This was from a single prompt with no back and forth. Big conifer trees grow where there is more moisture, shrubs where there is less. Debugging tools included to visually see the different variables. (Moisture, slope, curvature, etc) 🤯 Crazy...
