Cinema 4D 2027 Adds Scatter and Liquid FX

Maxon released Cinema 4D 2027.0 on October 14, 2026, alongside updates to ZBrush, Redshift, Red Giant and Autograph. The headline additions are a new procedural Scatter System and Liquid FX that automatically generates secondary effects such as foam, spray and bubbles. These are practical upgrades for artists building detailed 3D environments, motion graphics and visual effects.

The release is notable because it addresses two persistent production problems: populating large scenes without placing every object by hand, and making simulated liquid look convincing without building multiple secondary-effect systems. Maxon also introduced workflow changes across rendering, sculpting and compositing, giving the update broader relevance than a single Cinema 4D feature.

The new Scatter System builds environments faster

Cinema 4D 2027.0 adds a Scatter Generator and Scatter Tag for distributing assets across surfaces and scenes. Maxon describes controls for density, clustering, filtering and transforms, making it possible to populate landscapes with vegetation, rocks, debris or other repeated elements. Artists can avoid some of the manual placement work that slows down environment production.

The system is connected to Cinema 4D’s MoGraph tools, including Fields and Effectors. That integration matters because scattered objects can be shaped and animated with techniques artists already know. A motion designer can direct distribution toward an area of a scene or vary instances over time instead of treating scattering as a separate static operation.

Liquid FX adds foam, spray and bubbles

The second headline feature extends Cinema 4D’s unified simulation system. Liquid FX automatically generates secondary effects that respond to the motion of the underlying fluid simulation. In practical terms, a pouring liquid can produce foam and spray without the artist constructing every additional effect from scratch.

That does not eliminate simulation setup or art direction. Artists still need to choose the physical behavior, scale, camera framing and look of the scene. But it can shorten the distance between a technically correct fluid simulation and a shot that feels visually rich enough for advertising, product visualization or cinematic work.

Redshift aims for quicker look development

Maxon says Redshift 2027.0 uses an updated GPU memory architecture with more efficient resource sharing and stronger support for unified-memory systems. It also improves interactive rendering responsiveness in Cinema 4D. The intended result is faster feedback when changing lights, materials and scene elements, particularly in demanding scenes.

The update includes procedural fur, fibers and textile effects generated at render time. That gives artists more options for fabric, knitted surfaces and other material details without necessarily building every strand as separate scene geometry. As with any rendering feature, the benefit will depend on project complexity and the hardware used.

ZBrush brings more production work inside the app

ZBrush now includes a UV Editor with support for tasks such as UDIM workflows and texel-density control. This addresses a common point of friction: sculptors often need to leave their primary application to prepare models for texturing. Keeping more of that process inside ZBrush can reduce context switching while a design is still evolving.

Selection Sets also let artists save and recall groups, masks and other working selections. ZBrush for iPad gains Spotlight reference and projection tools as well as non-destructive 3D Layers. These features make the tablet workflow more flexible, but teams should verify that their required desktop-to-iPad handoffs behave as expected.

Red Giant introduces depth-aware relighting

Red Giant 2027.0 adds Scene Light, an AI-assisted relighting effect for After Effects. It uses depth-aware information to help artists add light to existing footage or CG imagery. Maxon describes applications ranging from interactive light caused by an explosion to broader day-for-night treatments, while preserving art-directable controls in the composition.

For motion designers, the release also brings Maxon Noise into Universe and expands lens-flare customization. These tools are relevant when a project needs procedural textures, transitions or lighting imperfections that can be adjusted repeatedly. The important distinction is that the effect remains part of the editing and compositing workflow.

Autograph can now work with AI agents

Autograph 2027.0 introduces an optional Model Context Protocol server, giving compatible AI assistants a route to supported application tools. Maxon positions this as help with navigation and repetitive tasks rather than a replacement for manual editing. The software also gains direct copy-and-paste support for selected animated objects, cameras and lights from Cinema 4D.

That bridge could be useful for studios moving scenes between 3D and compositing. It reduces the need to rebuild compatible scene elements by hand, though artists should still check transforms, materials, timing and any unsupported features after transfer. A shared workflow is only valuable if the result stays dependable and editable.

Who should update first

Environment artists, motion designers working with MoGraph and teams producing fluid-heavy visuals have the clearest reasons to investigate Cinema 4D 2027.0. Sculptors with UV bottlenecks and compositors interested in depth-aware lighting may also find value in the wider Maxon release.

Before moving a production project, test plugins, render farms, GPU drivers, scene compatibility and any pipeline scripts. Maxon says the 2027.0 applications became available October 14, but availability alone is not a reason to change a stable studio environment in the middle of a deadline.

Sources and further reading

Maxon official Fall 2026 release announcement

Cinema 4D 2027 feature overview

Explore the Nejma Blog

Visit Nejma