Germany-based 3D modelling and animation developers Maxon, has acquired Redshift Rendering Technologies Inc, creators of the world’s first fully GPU-accelerated biased rendering engine, for an undisclosed sum.
Maxon is the creators of Cinema 4D, a motion graphic, animation and modelling rendering suit of tools. The company’s software has been used to create high-budget films such as Hollywood’s 2017 production of Ghost in the Shell.
While Redshift has provide the visual effects motion graphics for high-budget production such as Disney’s Black Panther, Aquaman, and Captain Marvel. In TV production it has worked on visually stunning shows like American Gods.
The acquisition of Redshift and its intellectual property (IP) adds cutting edge rendering capabilities to Maxon’s portfolio. A key factor in the creation of computer graphic (CG) images is rendering, which is the automated process of generating visuals from files that contain the informational data required to develop the image.
As the creation of CG content gets more advanced and visually spectacular, so production times and cost rise.
Redshift’s rendering offering is recognised for its stability, efficiency and performance; key factors in high-product endeavours like Hollywood blockbusters.
David McGavran, CEO of Maxon commented in a release that: “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.”
Team to be Kept Intact
The acquisition was not just to buy the IP, but to obtain the “talented driving forces behind Redshift” Maxon said, pledging to keep its team intact and invest in expansion.
Nicolas Burtnyk, Co-founder and CEO, Redshift Rendering Technologies commented: “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.”