Changelog

Release notes and version history for MAX2C4D. Every update, fix, and new feature documented.

v2.1.1

2026-10-12Latest

Fixed2 changes

Materials

On the Redshift target, V-Ray leaves and petals no longer come in black. A translucency color map that V-Ray does not even render was turned into full subsurface scattering, and the translucency of a V-Ray 2-Sided material was dropped when it had a back material. Re-import needed.
Opening a `.max` without 3ds Max now reads the translucency map of a V-Ray 2-Sided material, which used to be lost. Re-import needed.

v2.1.0

2026-10-09

Fixed17 changes

Lights and sky

On the V-Ray target, a rendered image no longer bakes in the frame buffer's color corrections (curves, saturation...) unless the 3ds Max scene asks for it, as in 3ds Max. Saved renders used to come out much brighter and paler than the same render saved by 3ds Max. Re-import needed.
A sky wrapped in a 3ds Max Color Correction map now arrives in Cinema 4D, whether you open the `.max` directly or export through 3ds Max. The scene used to lose its sky and its skylight portals, and came in much darker than in 3ds Max. Re-import needed.
Opening a `.max` without 3ds Max now reads the decay of a Target Spot light: it used to come in with no decay at all. Re-import needed.

Materials

On the Redshift target, V-Ray materials no longer come in pure black or far too dark. Textures were darkened twice, reflection maps left a black reflection, and strongly reflective woods were turned into metal. Re-import needed.
On the V-Ray target, grayscale textures (reflection, glossiness or bump maps saved in grayscale mode) now get the same gamma as in 3ds Max. They used to come in much too bright, which gave some materials far too strong a reflection. Re-import needed.

Geometry and modifiers

Opening a `.max` without 3ds Max now reads objects placed with TCB position, rotation or scale controllers. They used to come in at the scene origin, unrotated. Re-import needed.
Opening a `.max` without 3ds Max now thickens a Shell modifier on both sides of the surface, as 3ds Max does. Shells set to thicken inwards and outwards used to come in shifted to one side. Re-import needed.
Displacement set per object with a V-Ray Displacement modifier now arrives in Cinema 4D, as a V-Ray Geometry tag on the V-Ray target or in the object's material on the Corona target, whether you open the `.max` directly or export through 3ds Max. It used to be lost by both routes. Re-import needed.
Splines made renderable by a Renderable Spline modifier, rather than by their own Enable In Renderer checkbox, now arrive as tubes with the modifier's thickness, whether you open the `.max` directly or export through 3ds Max. They used to arrive as bare curves, and a spline whose modifier turned rendering off came in as a tube that 3ds Max does not render. Re-import needed.
Opening a `.max` without 3ds Max now applies the Taper, Twist and Skew modifiers, which used to be skipped: the object came in with the shape it had before them. Re-import needed.
Opening a `.max` without 3ds Max now applies the Material modifier, which sets the material ID of an object's faces. Objects using a Multi/Sub-Object material used to show the wrong sub-material: on one test scene, 354 objects out of 360 came in with the wrong one. Re-import needed.
Opening a `.max` without 3ds Max now applies the Smooth modifier, which rewrites where an object is smooth and where its edges stay sharp. Objects used to keep the smoothing of the mesh below it: with its default settings, an object that 3ds Max shows faceted came in smooth. Re-import needed.
Opening a `.max` without 3ds Max now warns in the import log when a Push, XForm or Symmetry modifier uses a setting it cannot convert (Push multipliers and relax, a reference object), instead of quietly giving a different shape.
Opening a `.max` without 3ds Max now applies the Slice modifier, and the edits made on top of it. Objects came in uncut, and pieces that 3ds Max cuts away entirely still showed up. Re-import needed.
Opening a `.max` without 3ds Max now applies the Mirror modifier, which used to be skipped: the object came in unmirrored. Re-import needed.
Opening a `.max` without 3ds Max now applies the vertex edits of an Edit Mesh modifier, and the edits made on top of it. Objects used to come in with the shape they had before it. Re-import needed.
Opening a `.max` without 3ds Max now rebuilds the Symmetry modifier as 3ds Max does: it cuts the object at the mirror plane, follows the object's pivot and respects the order of the modifier stack. Parts used to come in halved, or with their mirrored half far away from the object. Re-import needed.

v2.0.3

2026-09-21

Fixed1 change

Cameras

Targeted V-Ray Physical Cameras now focus at their real target distance, whether you open the `.max` directly or export through 3ds Max. They used to arrive with a focus distance of 200 cm whatever the target position, so depth of field was wrong. Re-import needed.

v2.0.2

2026-09-21

Fixed45 changes

Materials

A map in the Fresnel IOR slot of a V-Ray material now drives the IOR on the V-Ray target, as in 3ds Max, instead of being multiplied by it. Re-import needed.
Multi/Sub-Object materials whose IDs skip numbers (1, 3, 6) now keep each slot's name on the right slot when you export through 3ds Max, and no longer produce extra empty grey slots. Re-import needed.
Opening a `.max` without 3ds Max now keeps the displacement amount of V-Ray materials, read the right way whether the scene was saved with an older V-Ray or with V-Ray 7. Re-import needed.
Standard (Legacy) materials from 3ds Max are now imported, with their textures, on all four targets. They used to arrive as a plain grey default material, whether you opened the `.max` directly or exported through 3ds Max. Re-import needed.
V-Ray glass now comes through in both of its tricky forms: tinted glass keeps its fog depth, so it no longer turns much darker or much paler than in 3ds Max, and mirror glass made the classic way (Fresnel IOR locked to a refraction IOR of 15, with black refraction) arrives as a mirror on the V-Ray and Corona targets instead of glossy black. Scenes saved with older V-Ray versions, opened without 3ds Max, used to get a 1 cm fog depth; exported through 3ds Max, the depth could come out many times too large. Re-import needed.
Opening a `.max` without 3ds Max now reads V-Ray Override materials with their sub-materials. They used to arrive with default settings, such as a concrete floor coming in plain grey. Re-import needed.
Material slot names now come through correctly when you open an older `.max` directly. On scenes saved with 3ds Max 2014 and thereabouts, a Multi/Sub-Object slot named `aluminium` or `glass` used to arrive as a row of Chinese characters, while a name one letter longer came through fine. Re-import needed.

Textures and shaders

When you open a `.max` directly, textures whose Output color map is set to RGB mode in 3ds Max now get their red curve applied, as they do through 3ds Max. They used to come in with no curve at all, noticeably darker on some foliage. Re-import needed.
V-Ray Dirt maps now keep the textures plugged into their Radius, Occluded and Unoccluded slots, their Glossiness slot on the V-Ray target, and the Inner occlusion mode saved by older V-Ray versions (the old "Invert normal" option). Walls whose dirt is driven by a mask used to come in with an even layer of grime, and a wood material with dirt in its diffuse arrived plain black and white, without its wood texture. The Corona and Redshift ambient occlusion shaders have no glossiness slot, so that one is reported in the import log. Re-import needed.
Opening a `.max` without 3ds Max now keeps the textures, the object list and the inside mode of V-Ray Distance maps. They used to arrive with plain colors only, and without the objects the distance is measured from. Re-import needed.
Noise maps that mix two textures rather than two flat colors now keep both textures when you open the `.max` directly. Foliage painted this way used to arrive as two plain colors, in both the base color and the reflection. Re-import needed.
A texture switched off with the Map 1 or Map 2 checkbox of a Noise map in 3ds Max now stays off in Cinema 4D, whether you open the `.max` directly or export through 3ds Max. Re-import needed.
Textures darkened or brightened with the RGB Level of their Output group in 3ds Max now arrive with that setting applied, whether you open the `.max` directly or export through 3ds Max. A concrete wall set to 0.1 used to come in ten times too bright. The Bump Amount of the same group is now kept too. Re-import needed.
Textures set to a second UV channel now land correctly when you open the `.max` directly, even on objects that carry only one channel. As in 3ds Max, those objects fall back to their first channel instead of losing the texture. Re-import needed.
V-Ray Normal Map shaders now keep the extra bump texture plugged in beside their normal map when you open the `.max` directly. Bread crust and fabric set up this way used to lose that relief, even though its strength was read. Re-import needed.
V-Ray materials whose Fresnel IOR is driven by a texture now keep that texture, whether you open the `.max` directly or export through 3ds Max. Those materials used to come in with a flat IOR of 1.6, so chrome, brushed metal and wool reflected evenly instead of following their map. On one Evermotion interior this affected 81 of its 173 V-Ray materials. Re-import needed.
V-Ray glass frosted by a texture in its Refraction Glossiness now keeps that texture on the V-Ray, Corona and Redshift targets, whether you open the `.max` directly or export through 3ds Max. Lamp shades and frosted bottles set up this way used to come in as clear glass. Re-import needed.
Textures whose gamma was set by hand to a value other than 2.2 in 3ds Max, such as 2.0, are now decoded with that gamma instead of being left linear. They used to come in washed out, close to white. On the V-Ray target, V-Ray Bitmaps set to a gamma of 0.4545 are no longer brightened instead of decoded. Re-import needed.
Textures dimmed with the RGB Level of their Output group, such as a sky image, now keep their contrast on the V-Ray target. The curve that reproduces that setting in Cinema 4D was bent into an S, which made the image look harsher than in 3ds Max. Re-import needed.
V-Ray Fur now comes through when you open a `.max` without 3ds Max, with its length, thickness, gravity, bend, taper, distribution, variation, curl and level-of-detail settings, and linked to the mesh it covers. Fur used to arrive as an empty placeholder, so a rug or a blanket came in bare. Re-import needed.
V-Ray Fur now keeps the textures that drive its length, thickness, gravity, bend, density, curl and direction, whether you open the `.max` directly or export through 3ds Max. They were never applied before, even through 3ds Max. Re-import needed.

Lights and sky

V-Ray mesh lights now light the scene, whether their shape is an edited mesh or a plain cylinder, sphere or box, and whether you open the `.max` directly or export through 3ds Max. The mesh they carry now arrives under the light: a lamp shade lit this way used to stay dark, and a light built on a primitive arrived with no shape at all, so it lit nothing. On the Corona target, V-Ray IES lights are no longer dropped. Re-import needed.
V-Ray sphere and mesh lights now keep their Affect reflections, Affect atmospherics and Occlude other lights settings, their contributions and their cutoff on the V-Ray target. A sphere light hidden from reflections in 3ds Max used to show up in them. Re-import needed.
V-Ray lights set to a color temperature in 3ds Max, IES lights included, now arrive with the same color as in Max on the V-Ray target. IES lights used to light the scene in plain white, or be tinted twice, which made them too orange and too dim. Re-import needed.
V-Ray Dome lights are no longer dropped at import, and they now arrive with the orientation they have in 3ds Max. A dome that carries the sky arrives as a V-Ray Dome light with its texture, or as the environment sky on Corona and Redshift, whether you open the `.max` directly or export through 3ds Max. Scenes lit by such a dome used to arrive with no sky at all, or with the sky image tilted by 90°. Re-import needed.
V-Ray skylight portals now light the room in Cinema 4D, on both the V-Ray and the Corona target, when the 3ds Max scene has an environment for them to pick up. Interiors whose daylight comes in through such windows used to import noticeably darker than in 3ds Max. The lights stay hidden from the camera, so you still see the sky through the opening, and a scene without an environment is unchanged. Re-import needed.
A new **Ignore skylight portals** checkbox in the Import tab leaves V-Ray skylight portals out of the import. They do light the room in 3ds Max, but measured on an Evermotion interior the imported light comes out about twice as strong as Max gives it, which brightens the room by roughly 8%. Until the right strength is known, the checkbox lets you drop them and match the Max render. It is off by default, so nothing changes unless you tick it.
Opening a `.max` without 3ds Max now finds the IES profile of V-Ray IES lights when the scene only records its file name, by looking next to the scene and in its texture folders. Those lights used to arrive without their profile. Re-import needed.
Standard lights now keep their attenuation setting, and V-Ray skies their « Specify sun node » checkbox, when you open the `.max` directly. Re-import needed.

Cameras and frame buffer

V-Ray physical cameras now keep their field of view, whether you open the `.max` directly or export through 3ds Max, and their vignetting and focus distance when you open the `.max` directly. A camera set to Field of view used to take the greyed-out focal length instead, which could turn an 80° view into a 160° one, and the V-Ray render ignored the field of view even once the viewport was right; vignetting was dropped, and the focus distance fell back to the camera target even when a different one was set. Re-import or re-export needed.
Opening a `.max` without 3ds Max now keeps the Curves adjustment of the V-Ray frame buffer on scenes saved with older V-Ray versions, even when a curve point sits slightly below zero. The curve used to be dropped. Re-import needed.

Geometry and modifiers

When you open a `.max` directly, textures now sit correctly on objects that had faces deleted in 3ds Max. Everything after the first deleted face used to take the texture coordinates of a neighbouring face, which scrambled the texture, and one very large object could arrive empty. Re-import needed.
Opening a `.max` without 3ds Max now rebuilds `Edit Poly` objects: Chamfer, Connect, Inset, Extrude, Bevel, Collapse, Bridge and Remove, the faces and vertices deleted, the holes capped, the faces cut and the vertices welded, the edits made after a chamfer, and the copies made by Shift-dragging faces. Lamp parts and bent tubes used to arrive empty or as bare curves, and a window frame came in 50 cm too tall. Re-import needed.
Opening a `.max` without 3ds Max now applies Bend, Shell, XForm, FFD (2x2x2, 3x3x3, 4x4x4) and UVW Map modifiers. A curved backdrop used to arrive flat, a panel thickened on both sides came in shifted to one side, and textures were stretched into streaks on objects carrying one UVW Map on channel 1 and another on channel 2, such as concrete beams, a ceiling or a rug. Modifiers that have no equivalent yet are now named in the import log instead of being dropped silently. Re-import needed.
Opening a `.max` without 3ds Max now builds splines shown as tubes in the viewport, including tubes made of several pieces and those whose Renderable box is unticked, and they keep their material. They used to arrive as bare curves that do not render, or as a single sweep with pieces missing. Re-import needed.
Smoothing now follows the smoothing groups set in 3ds Max when you open the `.max` directly, instead of being approximated by a 40° angle. Hard edges stay hard and curved surfaces stay smooth, on every object in the scene. Re-import needed.
Faces hidden in 3ds Max (Hide on an Editable Poly) no longer arrive in Cinema 4D, whether you open the `.max` directly or export through 3ds Max. 3ds Max neither shows nor renders them, so they used to turn up as stray geometry, such as a mirror frame spread across the middle of a room. Re-import or re-export needed.
Exporting from 3ds Max with `Export with Subdivision` unticked no longer breaks objects that have an `Edit Poly` or similar edit on top of their smoothing. Their smoothing now stays baked into the mesh, where it used to be removed from under the edit and leave parts of the object sticking out, such as a chandelier piece four times its real height. Re-export needed.

Objects and scene settings

Objects whose rotation is built up in a rotation list, or goes through a Float Limit controller such as hanging lamps with limited swing, now arrive facing the right way when you open the `.max` directly. Seventeen objects in an Evermotion interior used to come in with no rotation at all, lying flat instead of standing, and the lamps arrived rotated wrong, dragging their children and lights with them. Re-import needed.
Objects with Cast Shadows or Receive Shadows unticked in the 3ds Max object properties now keep that setting in Cinema 4D, on all four targets. A sky dome set not to cast shadows used to block the sun and leave the whole scene in the dark. Corona has no Receive Shadows switch, so that half is reported in the import log. Re-import needed.
Objects with Renderable turned off in 3ds Max no longer render in Cinema 4D; they stay visible in the viewport, as in Max, and the objects hanging under them still render. Re-import needed.

Scene converter

Corona Light Materials with a texture now keep it when converted to Redshift or V-Ray from the `Convert scene` tab, and Corona Legacy materials keep their self-illumination. Both used to lose their glow: the light material as a flat color, the Legacy material switched off. Re-convert needed.
Ctrl+Z now undoes a conversion from the `Convert scene` tab in one step, bringing back the original materials, lights, cameras, sky, proxies and render settings. Until now it did nothing.
Textures taken from the Cinema 4D Asset Browser now survive the `Convert scene` tab on Redshift and Corona targets. They used to render black after the conversion. Re-convert needed.

Import log

Opening or importing a `.max` no longer prints deprecation warnings in the Cinema 4D console, and no longer reports camera and light targets as objects that came in empty. Nothing was missing: those targets arrive as Nulls, as before, and the import itself is unchanged.

v2.0.1

2026-09-18

Changed1 change

The macOS download is now a signed installer approved by Apple. Double-click it and MAX2C4D is put into every compatible Cinema 4D on your Mac, with no folder to copy and no Terminal command.

Fixed29 changes

Opening a `.max` without 3ds Max now builds rounded rectangles, circles and arcs, which used to arrive as empty placeholders, and carries the `Edit Poly` edits made on top of an extrusion.
Opening a `.max` without 3ds Max now carries the `Edit Poly` edits made on top of a lathe. Those lathes arrive as meshes instead of parametric lathes, which is what it takes to hold the edits.
Opening a `.max` without 3ds Max now warns when a spline arrives as a generator (lathe, sweep, extrude) without the `Edit Poly` edits made on top of it. Those edits were dropped silently before, on an object that otherwise looks right.
Opening a `.max` without 3ds Max now carries the `Edit Poly` edits of chamfer boxes, cones and cylinders that use the default cap segment, where those objects used to arrive as empty placeholders. On a test apartment scene, 88% of the edited objects now arrive with their edits, against 85% before. Re-import needed.
Corona proxies converted to Redshift or V-Ray, from the `Convert scene` tab or when opening a `.max`, now arrive as a single object that renders, carrying its materials. They used to arrive as two objects: an empty one with the materials, and the mesh underneath with rendering switched off. Re-import or re-convert needed.
Opening a `.max` without 3ds Max no longer leaves unused `matid_` polygon selections on objects that have a single material. On a test interior the scene now carries the same 172 selections as an import through 3ds Max, instead of 1,051. Re-import needed.
Objects that use a single ID of a Multi/Sub material now get their material through its selection when you open a `.max` without 3ds Max, instead of falling back to the first sub-material with a warning. It was already right when that first slot was ID 1, and wrong otherwise. Re-import needed.
On a Windows machine without 3ds Max, the `3ds Max` choice in the import window is now shown as `3ds Max (not installed)` and cannot be picked, and the window opens on `Native reader` instead. Dropping a `.max` set to go through 3ds Max also uses the native reader when 3ds Max is missing, instead of failing after the fact.
If 3ds Max closes in the middle of an Alembic export, the next export notices it and exports the mesh as OBJ instead, saying why in the log and in the end-of-export message. Until now a scene that crashed the Alembic exporter crashed it again at every attempt, with nothing telling you to untick Alembic. The export after that tries Alembic again. Re-export needed.
The exporter's scene diagnostic now counts MeshSmooth modifiers in its polygon estimate after subdivision. They were left out, so a scene smoothed with MeshSmooth looked lighter than it would be.
Exporting from 3ds Max is much faster on scenes with many instances or many objects sharing materials, and the export window now shows its progress step by step instead of freezing on a still bar. A test scene with 1,000 instances went from 169 s to 31 s, a real interior from 66 s to 49 s, with the same exported result. Re-export needed.
Corona Triplanar textures now keep their size on Redshift and V-Ray, where they came out 100 times too small, and on Corona too when the scene is not in centimeters. V-Ray Triplanar textures converted to Corona get the right size in such scenes as well. Re-import needed.
V-Ray Triplanar textures converted to Redshift now keep their size. The texture came out far too large, 11 times for a 3 cm triplanar and 100 times for a 1 cm one, because the size was translated as if it were a percentage. On V-Ray, scenes that are not in centimeters now get the right triplanar size too. Re-import needed.
Exporting from 3ds Max with `Export with Subdivision` unticked now brings TurboSmooth, MeshSmooth and Editable Poly NURMS into Cinema 4D as live Subdivision Surface objects, with their viewport and render iterations, instead of a flat cage. Instanced copies stay render instances and share one Subdivision Surface, so heavy smoothed scenes keep both their instances and their subdivision. MeshSmooth was also ignored by that option until now and always arrived baked. Re-export needed.
Primitives such as a Box smoothed with TurboSmooth or MeshSmooth now arrive smoothed when you open a `.max` without 3ds Max. They used to come in with sharp corners. Re-import needed.
Instanced copies of an object smoothed with TurboSmooth or MeshSmooth now stay render instances when you open a `.max` without 3ds Max. Each copy used to carry its own subdivision and render as a full mesh, which made scenes with many smoothed copies far heavier than they should be. Shell and Symmetry copies benefit too. Re-import needed.
V-Ray Triplanar textures now keep "same image on each axis" on Redshift, V-Ray and Corona targets. The setting arrived inverted, so a triplanar meant to repeat one image left the other two axes empty. Re-export needed; already exported scenes are read correctly on re-import.
V-Ray bitmaps projected by a Triplanar (the Triplanar placed in the bitmap's mapping source) now keep their triplanar projection on Redshift. The Triplanar was dropped and the texture fell back to the object's UVs. Re-import needed.
Normal maps converted to Redshift now go through a texture plugged into the Bump Map node, set to tangent-space normal, instead of a standalone Normal Map node. This lets a Triplanar or UV settings reach the normal map. Re-import needed.
Colour textures from V-Ray set to sRGB now arrive in sRGB on Redshift and Cinema 4D targets, instead of an undecoded linear colour space. Re-import needed.
V-Ray Triplanar textures opened without 3ds Max now keep their images. They used to arrive empty, which left those materials without their textures. Re-import needed.
Alembic exports now work when the export folder path ends with a double backslash (`C:\TEMP3D\max2c4d\\`). 3ds Max silently wrote no Alembic file on such a path, and it could appear in the exporter on its own after the folder was set from Cinema 4D. Re-export needed.
When 3ds Max failed to write the Alembic file, the exporter still said "Export complete!" and Cinema 4D then refused the folder, however many times you re-exported. The exporter now notices, exports the mesh as OBJ instead and tells you so, and the import message names the right files. Re-export needed.
Normal maps converted to V-Ray now arrive with their transfer function set to Linear. They used to come in on `Auto`, which decodes them like a photo: the relief looked wrong and far too strong until each map was switched to Linear by hand. Re-import needed.
Normal maps behind a Corona Normal with `Add gamma to input` ticked no longer come out too strong on Corona, V-Ray and Redshift. That box undoes a gamma already applied to the texture, and we were reading it the other way round, decoding the map a second time. Re-import needed.
Normal maps built with the 3ds Max `Normal Bump` map now keep their textures when you open the `.max` without 3ds Max. They used to arrive empty. Its additional bump strength and red/green swap now come across too, and a map you switched off inside it stays off. Re-import needed; through 3ds Max, re-export needed.
V-Ray Light Materials opened without 3ds Max now keep their opacity map, so flames and other cut-out emitters render with their shape instead of as a full glowing plane. `Compensate Exposure` and `Multiply by Opacity` also come across now, on both import routes. Re-import needed; through 3ds Max, re-export needed.
Converting a scene no longer reports a lost value on a V-Ray Blend Material layer that has both a mask and a tinted Blend Amount. V-Ray ignores the Blend Amount whenever a mask is plugged in, so the converted material already rendered the same.
On macOS, when Cinema 4D refuses to load the plugin, the Python console now names the real reason. It used to say the build was made for another version of Python whatever had happened, which on an up-to-date Mac contradicted itself; it now tells you when macOS has quarantined the files instead, and prints the exact Terminal command to clear them.

v2.0.0

2026-09-07

Added6 changes

You can now open a `.max` without 3ds Max at all, and the scene is converted on the way in: a client sends you a Corona scene, you drop it onto Cinema 4D, and you get a Redshift scene, materials, lights and render settings included, without opening 3ds Max and without touching anything. Corona, V-Ray, Redshift and standard Cinema 4D are all valid targets whatever the 3ds Max scene was built with, and the Renderer menu says which one you land on. Drop the file onto Cinema 4D, use `File > Open` or `File > Merge`, or pick `Native reader` in the MAX2C4D window. Geometry with its modifier stack (chamfer, lathe, symmetry, shell, push, subdivision and poly editing), instances, layers and groups, materials and textures, lights and cameras, splines, proxies, decals, Chaos Scatter, atmospherics, environment, render settings and tone mapping all come across. `.zip` and `.rar` archives and several files at once work just as they do through 3ds Max, and a `Drag & drop` setting can still route drops through 3ds Max if you prefer.
A new `Convert scene` tab converts the scene you already have open, without any `.max` file: open a Corona, V-Ray or Redshift project, pick the engine you want, and the scene is rebuilt in place. Materials and their textures come across whole, layered materials included, and so do the lights and the sun, the sky and the exposure, the cameras, the render settings, the proxies and the scatters. Corona proxies are baked into real geometry, keeping their place, their materials and their name, and Chaos Scatter objects follow the geometry they are distributed on. The scene renderer is switched over with them, so you can render straight away, and your texture tags are kept as they are, so polygon selections, projections and tiling survive the conversion. The tab tells you what your scene will become before you click, and the log names anything the target engine cannot carry.
The Renderer menu has a new `This document` setting: materials are built for the renderer your Cinema 4D scene already uses, rather than the one the 3ds Max scene was made with. Handy when you work in one renderer and buy assets made in another.
A `Preview size` setting in the Setup tab sets the texture preview resolution of the materials MAX2C4D creates, on import and when you convert a scene. A heavy scene arrives with hundreds of materials, and until now each one had to be turned down by hand to keep the viewport light. It works the same on Corona, V-Ray and Redshift, and materials already in your scene keep the size you gave them.
The macOS download now comes with a `READ-ME-FIRST` file. macOS quarantines plugins that are not distributed through the App Store, and Cinema 4D then refuses to load MAX2C4D without showing anything at all, so the plugin looks broken when it is only blocked. The file gives you the one Terminal command that clears it, and the rest of the Mac install in order.
V-Ray 2-Sided materials bring three more settings across: Force Single-sided Sub-materials, Multiply by Front Diffuse, and the translucency Mix Strength. Re-import needed.

Changed5 changes

The import window has been reorganised. The three import buttons are now one `Read with` choice (`Native reader`, `3ds Max`, `Existing export`) followed by a single `IMPORT` button, with a line under it telling you what will come in before you click.
A `.max` opened without 3ds Max lands in the scene you are already working in, and no second document is opened. This applies to `File > Open` as well: if you want the scene on its own, create an empty document first.
`Override render settings` and `Convert instances` are now remembered between sessions, instead of switching themselves back on every time the window opened.
If the export folder holds no export, `IMPORT` now asks you for one instead of refusing with an error.
Scenes now transfer through Alembic instead of OBJ, and it is the new default: about four times faster, half the transfer file, and a third less memory used in Cinema 4D. Object names with accents survive the trip, and vertex colours come across for the first time. OBJ is still one tick away in the exporter. Re-export needed.

Fixed58 changes

Gradient Ramp textures now come across with all their colour stops. If you had ever deleted a stop from a ramp in 3ds Max, everything after the gap was silently dropped -- one of our test scenes exported a four-stop gradient as a flat black-to-white. Re-export needed.
Corona textures from a scene set up in OCIO now keep the brightness 3ds Max gives them. A texture with its `OCIO legacy gamma` box unchecked used to arrive too dark, because we decoded it when 3ds Max does not. Scenes on the classic gamma workflow were already correct and are unchanged. Re-import needed.
V-Ray textures converted to Corona now keep the gamma they were set to. A texture on the `Gamma` setting used to come across as if it were sRGB whatever value it carried, and a texture actually set to sRGB fell back to a guess from its file extension. Re-import needed.
A layered material used as a layer of another layered material now arrives nested. That layer used to come in empty, with the inner material left beside it in the material manager for you to drag back by hand. Re-import needed.
A V-Ray Blend layer that has no mask now keeps its blend amount when it goes to Corona or Redshift. A layer set to 37% used to arrive at full strength on those two engines, while V-Ray to V-Ray was already right. Re-import needed.
A layer you switched off in a V-Ray Blend material now arrives switched off, instead of rendering at full strength. The per-layer `Enabled` box was never found when the material was built, so every disabled layer came back on. Re-import needed.
A layer mask you switched off in a Corona Layered material now arrives switched off. The setting was read from the 3ds Max scene and then dropped on the way in, so the mask came back active and the layer was cut where it should have covered. Re-import needed.
The `Renderer` menu no longer lets you pick an engine this machine does not have. Choosing V-Ray on a workstation without V-Ray for Cinema 4D used to be accepted, and the scene then came in with no materials at all. Engines that are not installed are still listed, marked `(not installed)` so you can see MAX2C4D supports them, but they cannot be selected, and the window says which one is missing. A setting copied from another machine no longer selects an engine that is not there.
A V-Ray sky set to `PRG Clear Sky` used to lose the whole scene environment: Cinema 4D's V-Ray plugin does not accept that model, and the sky was dropped with only a line in the log. It now falls back to `PRG Clear Sky New` and says so.
A VRay Flakes material whose flake count was not a whole number was lost entirely, falling back to a plain metallic material with only a line in the log. The material is kept now.
A Corona sky with procedural clouds or stars converted to V-Ray lost them without a word. The two warnings that name what a V-Ray sky cannot carry were looking for those settings under the wrong names, so they never fired.
Checker textures now keep their two colours, a Falloff set to Fresnel keeps its IOR, and instances are rendered as render instances. Three settings were written to parameter names that do not exist in Cinema 4D, so every checker arrived black and white, every Fresnel stayed at the IOR of water whatever glass you had, and instances behaved like full copies at render time. Re-import needed.
Noise, Cellular and Gradient textures now arrive with the right pattern. The noise type, the sampling space and a radial gradient were all rejected by Cinema 4D without any error being shown, so every noise came in as the same default noise, a Cellular came in as ordinary noise instead of cells, and a radial gradient came in linear. This affects all three renderers. Re-import needed.
Converting a Redshift scene to Corona or V-Ray no longer replaces its sky with a default Corona sky and reports it as applied: a Redshift sky has no setting in common with a Corona one, so yours were ignored while the log said the sky had been applied. The environment is now left alone and named in the log instead. Re-import needed.
Redshift cameras and per object Redshift mesh settings are now named in the import log when you convert to Corona or V-Ray. Camera type, bokeh, distortion, LUT and vignetting, and per object visibility, shadows, matte and displacement, have no equivalent on those engines, and they used to disappear without a word.
A single material that fails to build no longer cancels the whole import. The material is named in the log and skipped, and the rest of the scene comes across; before, a scene of 312 materials could stop at the 201st and leave you with nothing.
Exporting from 3ds Max 2020 no longer fails with `TypeError: range() integer end argument expected` and nothing exported at all. Max 2020 runs its scripts under an older Python where text read from the scene has a different type, which the exporter mistook for arrays; all three ways of exporting were affected, including the `IMPORT .MAX FILE` button in Cinema 4D.
Exporting now works when your Windows user name is not written in English. If your account is named in Cyrillic, Chinese, Japanese or simply with an accent, every export used to fail at the very last step with a `UnicodeDecodeError`, leaving you a full folder that Cinema 4D could not read, whatever the scene or the renderer.
A material with its reflection switched off in 3ds Max no longer arrives as metal. Corona leaves a Fresnel IOR of 999 behind in materials that reflect nothing, and that leftover was read as a metal signature, so a wool rug came in as tinted aluminium with its diffuse texture buried underneath. Re-import needed.
Redshift scenes from 3ds Max now convert to Corona and to V-Ray. Their materials were not handled at all, so objects arrived empty; colour, reflection, refraction, coat, sheen, emission and bump now all come across, and anything left behind is named in the log. Re-import needed.
Blend materials keep the strength of each layer, pure colour swatches keep values above white, and V-Ray textures marked Linear are no longer read as sRGB under Redshift, which was washing out roughness maps, masks and bumps. Re-import needed.
Lights and render settings now come across from V-Ray scenes. A light taken out of reflections or out of the fog arrived doing both again, Redshift area lights all arrived rectangular, and deep glass darkened because the whole scene shared a single ray depth. Re-export and re-import needed.
Advanced material settings now come across: sheen, anisotropy, thin film, translucency and subsurface scattering, IOR maps and opacity cut-out. None of them were read before, on any renderer, so a velvet, a brushed metal or a waxy translucent material arrived as a plain surface. Tinted glass is fixed too: nearly clear glass could arrive up to a hundred times too dense. Re-import needed.
Colour Correction, Falloff and Normal maps now respect the switches 3ds Max puts on them: a Colour Correction left in Standard mode no longer applies its Advanced values, a Falloff slot switched off no longer comes through wired, and a normal map marked "add gamma" is no longer read as raw data. Re-export and re-import needed.
Textures now keep their alpha setting and their colour space. A bitmap told to use its image alpha arrived with alpha switched off under Corona, which breaks every cut-out (foliage, labels, decals), and V-Ray textures tagged ACEScg came in as sRGB under Redshift. Re-import needed.
Textures set not to repeat now stay that way. Every bitmap was forced to tile in both directions, so a decal, a label or a single-use texture came in repeated across the surface. Re-import needed.
Standard 3ds Max bitmaps now keep their gamma and their filter blur. The gamma set on the texture was ignored on all three renderers, and a texture deliberately set razor-sharp came in softened. Re-export and re-import needed.
Colour Correction maps now bring their per-channel settings across to V-Ray and Redshift, and no longer invent them for Corona. The red, green and blue tuning was dropped on two renderers, and applied on the third without checking whether its tick boxes were even on. Re-export and re-import needed.
Texture output curves now come across on every texture type, without the texture's own tiling and blur mixed into them. A tiled leaf texture arrived with its correction curve squeezed into the middle, and a Falloff or Noise map lost its curve entirely. Re-export needed.
Texture randomizers now actually randomize when converting to Redshift. Their seed, offset, rotation and scale were written into a block Redshift only activates in hexagonal tiling mode, so a tiled surface came across with its repetition fully visible. Re-import needed.
Environment projection now comes across correctly. The exporter was reading the Texture/Environ selector where the projection was expected, which left the Corona Sky in an undefined state. Re-import needed.
Curved splines now keep their curve. Every spline came across as straight segments between its points, so a cable that bends arrived as a zigzag and had to be switched to Cubic by hand. Re-import needed.
Splines that render as tubes now bring their material. It was never exported, so a renderable spline arrived grey. Re-export and re-import needed.
Splines set to render as tubes now come across with their volume. A spline with "Enable In Renderer" ticked is not a curve at all in 3ds Max, the renderer wraps a tube around it, and they arrived as bare curves, invisible at render time. They now come in as a Sweep at the right thickness and number of sides. Re-export and re-import needed.
Objects aimed by a Look At constraint now arrive correctly oriented. 3ds Max computes that orientation live and never writes it down, so those objects came in turned by up to eleven degrees. Re-export and re-import needed.
Cellular textures now keep their three thresholds. They were never exported at all, so a cell pattern arrived with Cinema 4D's own contrast whatever the 3ds Max scene was set to. Re-export and re-import needed.
Scenes with ForestPack no longer risk closing 3ds Max on export. Reading a Forest's density used to ask it to build every item at render quality just to count them; the export now stays within what ForestPack already displays, and says in the log when the density it wrote is a floor. Re-export needed.
Chaos Scatter settings that never made the trip now do. Scatters spread along a spline or inside a volume were silently turned into surface scatters, clusters were ignored, and the Look At orientation was dropped; collision spacing, UV spacing and offset, and cluster scale also arrived a hundred times too large. Re-export needed.
The modern Corona white balance (the default one in Corona 11+) was silently dropped by every import path, even with 3ds Max. It now arrives, whichever engine you convert to.
A Corona Color Correct lost its exposure and its tint on the way into Cinema 4D, so anything darkened, brightened or warmed with it came in wrong. Both now come across, on every renderer. Re-import needed.
A Corona Color Correct with a gamma also lost its brightness and its contrast when converting to V-Ray, silently. The brightness now comes across, and the contrast is reported in the log. Re-import needed.
A Corona Color Correct converted to Redshift lost its contrast. It now comes across. Re-import needed.
Affect Atmospherics was never exported from a V-Ray light: it always came across ticked, whatever was set in 3ds Max. Re-export needed.
A decal hidden in 3ds Max no longer shows up as a solid plane laid over the geometry on the Redshift target. Redshift has no decal object, so a decal is stood in for by a flat plane, and that stand-in ignored the hidden switch. Re-import needed.
When two materials shared the same name, common with Multi/Sub-Object sub-materials, the end-of-import cleanup could delete the one actually in use and leave an object pointing at nothing. The right one now always survives.
A camera's depth-of-field focus object, and the mesh of a V-Ray mesh light, could land on the wrong object when another object's name contained the requested one (like 'Water' matching 'CS_Water_Lilies'). Both now match by exact name only.
An HDRI placed on a light now benefits from the same fallback as material textures when the scene has moved: if the saved path is stale, the file is searched next to the .max file.
Corona and V-Ray proxies no longer arrive with "File does not exist!" when the scene has been moved since it was last saved. The proxy file is now looked for inside the scene's own folder, and then through Cinema 4D's search paths, exactly as textures already were. Re-import needed.
Imported textures no longer stay unresolved when the scene's images live in your own library rather than next to the .max file. The import now asks Cinema 4D to look through the folders listed in Preferences / Files / File Assets / Paths, instead of leaving you to open the Asset Inspector by hand. Re-import needed.
Copies made with 3ds Max instances came in out of place, and sometimes turned a quarter turn, when their pivot had been moved in 3ds Max. Each copy now lands exactly where 3ds Max shows it, with its axis on its own pivot, and stays an instance. Thanks to Nikita Gushchin for spotting it. Re-export needed.
Every imported material arrived with Corona's Glints layer ticked on. Corona 15 writes a default colour ramp on every material even when Glints is off, and the import read that ramp as a sign the effect was in use. Re-import needed.
V-Ray lights set by colour temperature came in over-saturated: a 3000 K light rendered a hard orange where 3ds Max rendered a warm near-white. Note that Cinema 4D's V-Ray light has no temperature field, so the colour is baked in on import and the Kelvin value cannot be re-tuned afterwards. Re-import needed.
Every layer of a V-Ray Blend material arrived at half strength, flattening blended terrains, mountains and water into their base material. Re-import needed.
A curve drawn on an Output map was thrown away whenever the map's other settings were left at their defaults, so a mask meant to keep snow on the peaks spread it over the whole mountain. Re-import needed.
The Tile and Mirror checkboxes of a 3ds Max bitmap were not carried over to the Redshift target, so a texture you had set not to tile came in tiling anyway, and a mirrored one came in unmirrored. Re-export needed.
Redshift lights lost their entire Scale group, so it came in on Cinema 4D's own defaults. Camera is the one you notice: 3ds Max leaves it at 0 and Cinema 4D at 1, so every light arrived visible to the camera and its source could show up in the render. Re-export needed.
On Redshift, the denoiser's Bucket and Progressive Overhead came in a hundred times too low, leaving the denoiser almost no render time to work with. Re-import needed.
The import log claimed it had configured Cinema 4D's OBJ importer even when Cinema 4D had silently refused the settings and used your own preferences instead. It now checks each setting after writing it, and warns you by name when one did not apply.

Known limitation1 change

Chaos Scatter does not render under Redshift, so a scene converted to Redshift keeps its scatters as they are and the log says they will not render.

v1.4.3

2026-08-20

Added1 change

Corona 15's Glints layer, the sparkle of metallic car paint or glittered plaster, is now carried over on the Corona target, colour ramp and per-knot textures included. Re-export needed.

Fixed13 changes

Imported objects came in with their transformations zeroed, as if you had run Reset XForm in 3ds Max: the object sat in the right place and looked right, but its rotation read 0/0/0 and its scale 100%. Every object now carries the exact position, rotation and scale it has in 3ds Max. Thanks to Nikita Gushchin for spotting it. Re-import needed.
Auto mode picked the target engine by counting materials, so a single leftover Corona or V-Ray material was enough to send a whole Redshift scene to the wrong engine, and a scene built on Multi/Sub-Object materials could land on V-Ray whatever you rendered with. It now follows the renderer that is active in your 3ds Max scene. Re-export needed.
In Auto mode, materials belonging to another engine were left as they were instead of being converted: a Corona scene holding a few V-Ray materials came in with those still V-Ray. Every material now follows the engine Auto picked, exactly as it already did when you chose the engine yourself. Auto also no longer targets an engine that is not installed in your Cinema 4D. Re-import needed.
Explicit normals were dropped on import, so CAD parts came in with their smoothing rebuilt from a 40-degree Phong angle instead of the normals 3ds Max carried, and surfaces looked flipped or faceted. Your normals now come across untouched, on a Normal tag, and 3ds Max smoothing groups follow with them. Re-import needed.
On top of that, an object carrying explicit normals and sitting at an angle in your scene came in lit as if it had never been rotated, because the 3ds Max OBJ exporter turns the mesh but not those normals. The import now spots it and puts the normals back where they belong, object by object, and leaves everything else untouched. Re-import needed.
Objects using several 3ds Max smoothing groups keep Cinema 4D's own smoothing instead of the normals in the file. 3ds Max writes a single averaged normal per point, which quietly rounds off every hard edge it declared one line earlier, so a plain box came in looking inflated. Meshes with a single smoothing state, CAD parts included, still get their normals exactly as 3ds Max has them. Re-import needed.
On Redshift, a Round Corners map was wired through a Bump Map node, which treated its rounding as a height and softened the edges instead of rounding them. It now plugs straight into the material's Bump slot. Re-import needed.
On Redshift, anything plugged into an RS Texture's Scale, Offset, Rotate, Colour or Alpha inputs was dropped, and the texture came in with those inputs empty. They are now carried over. Re-export needed.
A UV Context map placed under a texture was lost, so projections and randomisations did not survive the transfer. It now comes across on all eight Redshift maps that accept one. Re-export needed.
Chaos Scatter areas arrived with their Scale and Density forced to 100%, wiping out your 3ds Max settings. Corona 15 turned both into falloff curves, and those curves are now read and carried across. Re-export needed.
An area that could not be resolved in the scene shifted every following area's Scale and Density onto the wrong spline. Re-import needed.
Importing a scene could crash Cinema 4D with a Chaos Scatter error, right after the import reported itself complete. When a scatter's distribution surface was missing from the export, the import could end up pointing the scatter at itself, which Cinema 4D follows in circles until it runs out of memory; such a scatter is now left switched off, with the reason in the import log. Re-import needed.
A Chaos Scatter arrived empty whenever its distribution surface or its scattered models were hidden in 3ds Max, which is how most scenes are built: hidden objects are left out of the export, so the scatter came in with nothing to sit on and nothing to scatter. Everything a scatter points at is now exported even when hidden, and the export log names each one. On the test scene that is 28 objects. Re-export needed.

Changed2 changes

The Renderer dropdown now names the engine Auto is going to use, "Auto (Redshift)" for instance, as soon as you point it at an export folder, and the import log lists any material that belongs to another engine.
Exporting no longer runs a full memory collection in 3ds Max, which is the kind of housekeeping that can clear your undo history. The exporter now gives MaxScript a larger memory pool up front and only does light collections, so your Ctrl+Z stack is left alone. Thanks to Nikita Gushchin for spotting it.

Known limitation1 change

Cinema 4D's Chaos Scatter has a single Scale and Density per area, with no curve, so a curve that is not flat is transferred using its value at the inside of the area and the import log names it.

v1.4.2

2026-08-14

Fixed13 changes

ACEScg textures, and any colour space other than sRGB or Raw, arrived as sRGB and rendered too dark. Every colour space your Cinema 4D document knows is now carried over. Re-import needed.
Texture colour spaces now also transfer on V-Ray, Corona and standard Cinema 4D materials, not just Redshift. Corona has no setting for colour primaries, so ACEScg comes in as linear there and the log says so. Re-export needed for V-Ray and plain 3ds Max bitmaps.
On V-Ray, a bitmap set to "Gamma corrected" in 3ds Max was applied upside down and rendered far too bright. Re-import needed.
Leftover settings in the 3ds Max "OBJ Export Options" dialog leaked into the export, and a single unticked box could break a whole scene. The exporter now sets what it needs, logs each change, and puts your settings back exactly as they were. Re-export needed.
Hidden objects now really follow the "Skip hidden objects" box instead of the 3ds Max OBJ dialog's own setting. Re-export needed.
Scenes with their sky set in Corona's own Scene Environment arrived with no environment at all, around five stops too dark. Corona's slot is now read first. Re-export needed.
The exposure of a Color Correct map wrapping the environment was ignored, leaving the sky too bright or too dark. It now carries over into the sky intensity.
"Match 3ds Max color management" did nothing on an ordinary 3ds Max scene, leaving your document in ACES when 3ds Max had rendered in Rec.709.
The same option also left documents half converted, in OpenColorIO when the scene should have arrived as Legacy. The import now reads which colour pipeline 3ds Max was actually on and says so in the log.
Corona lights arrived with the IES box ticked but no profile attached. The box is now only ticked when a profile is really there.
The secondary GI solver could be written with a value Cinema 4D does not recognise. It is now left at Corona's default, with a note in the log.
Material colours arrived washed out in Cinema 4D 2026, a near-black metal coming in around eight times too light. Colours are now written in whichever space your document uses. Re-import needed.
Note: Cinema 4D's colour picker will not show the same hex value as the 3ds Max one, because the two encode their display differently. The colour itself, and the render, do match.

Changed1 change

Every machine that runs a conversion now needs its own activation, including one that only drives a batch. Offline use is unchanged, the 7-day grace applies everywhere.

Added2 changes

Redshift can now be picked as the target renderer in the Batch Export window, which previously offered Auto, Corona and V-Ray only.
New "Match 3ds Max color management" option in the import dialog, off by default. Switched on, it sets your document to match the 3ds Max scene instead of leaving it untouched. Re-export needed.

v1.4.1

2026-08-10

Changed1 change

A licence is now tied to the machine it was activated on, so the machine limit you paid for is the machine limit that applies. Your existing licence keeps working exactly as before: nothing to re-enter, no reactivation, and renaming your computer or changing its graphics card, drive or peripherals no longer affects it. If you move to a new machine, deactivate the old one from the License button first, or contact support at max2c4d.com.

Fixed23 changes

The contrast of a Corona tone mapping stack arrived saturated at the top of its range on the Redshift target too, burning out the image: a setting of 3 in 3ds Max came in as the maximum Redshift allows, instead of the third of the range it should be. Same fault as the one already fixed on the V-Ray target, which had never been carried over. Re-import needed.
The saturation of a Corona tone mapping stack was written to the wrong Redshift setting on the camera tag, one that multiplies rather than adds: a scene asking for more saturation got less. Scenes leaving saturation neutral, which is most of them, were unaffected. Re-import needed.
The import log now names what a Corona tone mapping stack loses on the Redshift target, and stays quiet about operators left at their neutral value. A highlight compression that Redshift cannot reproduce is called out with its value, and the points of a tone curve are listed so they can be re-entered by hand: Redshift's curves cannot be written by a plugin.
A Corona sky set to the "Rawa-fake" model arrived on the Redshift target as a late-afternoon sky, warm and golden, whatever colours it was given in 3ds Max. That model is not a physical sky at all, just a blend between a zenith colour and a horizon colour, and Redshift has no equivalent, so it was falling back to a real atmospheric sky that recalculates everything from haze and sun position and ignores both colours. Such a sky now arrives as a Redshift Dome Light carrying the actual gradient, ground colour included. Re-import needed.
A scene with a physical sky but no sun arrived with one anyway, adding direct sunlight the 3ds Max scene never had, coming from wherever Redshift places a sun by default. Redshift keeps sun and sky on a single object, so one had to be created to carry the sky; its disc and glow are now switched off, exactly as they already were for a sun disabled in 3ds Max. Scenes that do have a sun are unaffected. Re-import needed.
When a licence cannot be validated, both plugins now tell you why instead of always saying "No license". Long status messages no longer overlap the buttons next to them in 3ds Max.
Working without an internet connection now shows how many days of offline use are left. Until now the 7-day offline period ran silently and access simply stopped, with nothing having warned you.
Corona Legacy materials arrived with refraction switched on when it was off in 3ds Max, turning walls, floors and fabrics into clear glass; renders were far slower and could bring Cinema 4D down. Corona multiplies a refraction level by a refraction colour, and the level is 1.0 by default, so a black colour is the usual way to switch refraction off - only the level was being read. On one customer scene this affected 21 of 42 Corona Legacy materials. Their reflection glossiness was overwritten too, so they also came in mirror-smooth. All three targets (Corona, V-Ray, Redshift). Re-import needed.
Corona lights, sun, sky, moon, decals, proxies, Chaos Scatter and the Corona camera tag were all skipped on a non-English Cinema 4D, even with Corona properly installed - the import log simply said the plugin was not found. They were looked up by their English plugin name. They are now found by their internal identifier, which does not change with the interface language, and the log names what it actually found when a lookup still fails. Re-import needed.
The installer no longer reports success after installing into a Cinema 4D that cannot load the plugin. MAX2C4D requires Cinema 4D 2024 or newer; older versions are now listed, greyed out and named in the final message, instead of receiving a plugin that never appears in the Extensions menu. Copying the plugin folder there by hand cannot work around this either, and Cinema 4D's Python console now says so.
The installer no longer skips a Cinema 4D version whose `plugins` folder does not exist yet, which is the case for a freshly installed one. It creates the folder instead of silently leaving the version out of the list.
The colour Tint of a Corona tone mapping stack came into the V-Ray Frame Buffer the wrong way round: a warm tint arrived cool, and a cool one warm. It was written as a White Balance colour, which names the colour to be treated as white and therefore divides the image by it, where Corona's Tint multiplies. It now arrives as a Constant layer set to Multiply, which is the V-Ray Frame Buffer equivalent of Corona's Tint, and stays fully editable in the frame buffer. Re-import needed.
A Corona LUT arrived in the V-Ray Frame Buffer set to "Work in linear", where Corona applies it in sRGB, so the image on screen did not match the one in 3ds Max. The Lookup Table layer now arrives set to "Work in sRGB", and to "Work in log" when the Corona operator is set to a logarithmic LUT - a setting that was being dropped entirely until now. Re-import needed.
The contrast of a Corona tone mapping stack arrived saturated at the top of its range on the V-Ray target: a setting of 3 in 3ds Max came in as the maximum the V-Ray Frame Buffer allows, instead of the third of the range it should be. Re-import needed.
The exposure of a Corona scene now arrives as an Exposure value in the V-Ray Frame Buffer, where you can read and edit it, instead of a brightness multiplier buried in the render settings. The image is unchanged: 0.86 EV in the frame buffer is the same as the multiplier of 1.815 it replaces. Re-import needed.
Light colours arrived washed out on the V-Ray target, a gamma correction being applied twice. Most visible on lights set by colour temperature in 3ds Max: a warm 4500 K lamp came in pale peach instead of amber. White lights were unaffected. Re-import needed.
Corona Ray Switcher materials arrived on the V-Ray target reduced to a single one of their four materials, the other three silently dropped: a surface meant to look different to the camera, to reflections and to refractions came in uniform. They now become a V-Ray Override Material, which is the same idea on the V-Ray side, with the camera, global illumination, reflection and refraction slots filled. Re-import needed.
The hue, saturation and gamma randomisation of a Corona MultiMap or a V-Ray MultiSubTex arrived far too strong on the V-Ray target: a discreet 0.1% gamma variation came in at 10%, visibly shifting the tone of every scattered object. The two renderers do not use the same scale for these three settings either, and the Corona conversion now accounts for that. Re-import needed.
A directional Corona light arrived on the V-Ray target with its directional strength forced to a value neither 3ds Max nor Cinema 4D uses by default. V-Ray splits directionality into two settings where Corona has one, and the second was being set to 1.0 instead of V-Ray's own 0.9. Whether Corona's directionality matches V-Ray's on the same number is still an open question, so the neutral value is used rather than an invented one. A Corona sphere light loses its directionality entirely, the V-Ray sphere light having no such setting: the import log now says so instead of dropping it in silence. Re-import needed.
Corona Legacy materials came in too shiny on the Corona target: their reflection colour was dropped entirely. A parquet floor set to reflect at a third of its strength arrived reflecting at full strength, close to three times too much. Corona's newer material has no reflection colour, only an index of refraction, so the setting is now folded into that index rather than ignored. Mirrors and tinted metals are unaffected, and a reflection driven by a texture rather than a colour is preserved. Re-import needed.
Reflections were almost gone on the V-Ray target wherever a 3ds Max texture slot used a percentage below 100, leaving whole scenes flat. A parquet floor whose reflection is a grey colour with a texture blended in at 10% arrived with a reflection roughly ten times too dark and a glossiness of 0.07 instead of 0.70, which wipes out the highlight completely. 3ds Max blends the slot's colour with its texture at that percentage, whereas the equivalent V-Ray field is a gain applied to the texture alone, so the colour was being thrown away and the texture dimmed on top. The blend is now built explicitly. Affects the diffuse, reflection, reflection glossiness, metalness, refraction, opacity and self-illumination slots, from Corona, V-Ray and 3ds Max materials alike. Re-import needed.
Sheer curtains, lampshades and foliage came in opaque on the V-Ray target, and the room behind them went dark. A Corona material can let light through without being transparent, and that is how these are built; on the V-Ray side the same setting only works together with refraction, so on a curtain it did nothing at all and the sunlight it should scatter into the room was blocked instead. Such materials now become a V-Ray 2-Sided Material, which is the V-Ray way of doing the same thing. Materials that do use refraction are unchanged. Re-import needed.
Composite maps arrived on the V-Ray target with only one of their layers visible: a wood floor built from a texture, a grain overlay and a tint came in as a flat colour. Every layer but the first was created with an empty mask, which V-Ray reads as black, so those layers contributed nothing. All layers now come through. Re-import needed.

v1.4.0

2026-08-05

Added7 changes

Choosing V-Ray as the target now converts Corona and 3ds Max materials into native V-Ray materials, instead of leaving Corona materials inside a V-Ray scene. Their maps come with them, as do the Light, Layered, Ray Switch, Select, Portal, Hair, Skin and Toon materials; tinted glass keeps its absorption and old-style Corona metals are converted as real metals. Anything untranslatable is listed in the import log. Re-import needed.
The V-Ray target now converts the whole Corona scene, not just its materials: lights with their real units and IES profiles, sun and sky, camera exposure, decals, global volume, proxies, and render settings that switch Cinema 4D to V-Ray. The Auto and Corona modes are unchanged. Re-import needed.
The Corona tone mapping stack now arrives as real, editable V-Ray Frame Buffer layers, LUT and lens effects included, instead of an empty default stack. Re-import needed.
Lights switched off in 3ds Max no longer arrive switched on. Affects all target engines. Re-export needed.
V-Ray IES lights now use the intensity set in 3ds Max, instead of the power prescribed by the IES file. Re-import needed.
The RGB Multiply map is now converted on all three targets, colour slot included. Re-export needed.
Background .max conversions keep a `log/batch.log` in the export folder, recording every 3ds Max launch, completion and error. Handy to attach to a bug report.

Fixed22 changes

Scenes whose 3ds Max system unit scale is not 1 (typically "1 unit = 10 cm") arrived at the wrong real-world size. Nothing looked wrong, since the geometry and cameras were scaled together, but depth of field, light falloff, the Distance and Round Edges shaders and volumetric absorption were all silently off. Re-export needed.
Chaos Scatter arrived empty: bare ground where 3ds Max showed a full forest, and nothing in the import log said so. Re-import needed.
Importing a V-Ray scene with Corona as the target dropped the physical sky, the whole exposure of a V-Ray Physical Camera, the colour mapping and the aerial perspective. Three of the four went without a word. They now come through, and whatever has no Corona equivalent is named in the import log. Re-import needed.
Importing with V-Ray as the target could freeze Cinema 4D 2026 and close it without any error, just as the Material Manager drew its previews. A V-Ray import now only ever contains V-Ray and standard Cinema 4D shaders, and several maps that used to be approximated are converted natively. Re-import needed.
Scenes from a non-English 3ds Max, or from a repackaged renderer plugin with translated type names, lost most of their materials and textures. Types are now identified by an internal identifier that never changes with the language, so you can keep your software in your own language. Re-export needed.
Gradient and Gradient Ramp maps arrived on the V-Ray target as a default ramp, losing every colour stop. Re-import needed.
The installer could report success while 3ds Max kept running the previous version. It now asks you to close both applications first, says which files it could not write, and drops a `version.txt` next to the exporter.
A failed export could look like a successful one when the destination folder could not be written to. The destination is now checked before the export starts.
"JSON file not found" in Cinema 4D now explains which case you are in and gives the exact path to use.
A file missing from your installation let the export run to the very end before failing with a cryptic message, leaving a folder that looked complete but held no scene data. It is now checked first, and named.
Materials using a V-Ray Switch (common on floors and mirrors) arrived pure black. Re-import needed.
In scenes containing faces with 5 or more sides, Multi/Sub-Object assignment could put the wrong sub-material on some faces. Re-import needed.
On the Redshift target, the volumetric absorption of Corona materials was dropped and tinted glass arrived colourless. Re-import needed.
The refraction IOR of Corona Legacy materials was never exported, on any target. Most visible on sheer curtains, which turned into thick dark glass. Re-export needed.
On the Redshift target, Corona Legacy materials with a disabled reflection but a leftover Fresnel IOR were converted to opaque metals, losing their colour and transparency. Re-import needed.
Mix maps (3ds Max Mix and Corona Mix) arrived fully mixed: a subtle 20% blend became a full swap of the two inputs. Re-import needed.
V-Ray materials with Fresnel reflections turned off were wrongly converted to metals on the Corona and Redshift targets. Real old-style metals still convert as metals. Re-import needed.
Color Correction maps: the Standard lightness mode could cause wild colour shifts (green leaves turning purple), and the Saturation value arrived much too weak. Re-import needed.
Textures wrapped in a Corona Mapping Randomizer rendered 100 times too large, typically floor planks noticeably bigger than in 3ds Max. Re-import needed.
Objects with ring-shaped faces (window frames, picture frames) could arrive with the hole filled in, turning a frame into a solid panel and blocking the light through windows. Re-import needed.
Scenes with Chinese, Japanese, Korean or accented texture names could arrive with every texture missing, depending on your Windows language. Copied textures now get safe ASCII names and the originals are never touched. Re-export needed.
Batch conversion: .max files whose name or folder uses those characters failed to load, importing several files in one go stopped after the first, and a background 3ds Max that dies before an export now restarts once by itself.

v1.3.0

2026-07-31

Added3 changes

Redshift is now supported as a third target engine, alongside V-Ray and Corona. A 3ds Max scene built with V-Ray, Corona or Redshift materials can be imported directly into a Redshift scene in Cinema 4D: materials and textures, lights, sun and sky, cameras and their exposure, proxies and tone mapping. Pick Redshift in the import dialog.
3ds Max's own lights are now exported and imported. Spotlights, omni lights, directional lights and photometric lights were never carried over at all, on any target. A scene lit with them arrived in Cinema 4D with those lights simply missing, and nothing in the export log said so. They now come through with their colour, brightness, cone angles, decay and shadow settings, aimed the same way as in Max. Where they land depends on your target: V-Ray and Redshift both have matching spot, point and directional lights, and Corona gets a native Cinema 4D light, because Corona's own light object only comes in area shapes and has no spot or point at all. Photometric lights carry their intensity in candelas and their IES profile when they have one. Worth knowing: 3ds Max's inverse (1/d) decay has no exact equivalent in a native Cinema 4D light and is approximated by a linear falloff. You need to re-export a scene for this to take effect.
The full Cinema 4D import log is now saved to `log/import.log` inside the export folder (next to Max's `export.log`), so it can be reviewed or shared without copying the console.

Fixed11 changes

The direction of a V-Ray Sun with a target was computed from the world origin instead of its target: a sun that is high in 3ds Max could arrive below the horizon in Cinema 4D, turning the scene into night. Affected all three targets; scenes must be re-exported to benefit.
V-Ray physical sky: a scene with a physical sky came into V-Ray for Cinema 4D almost black — the importer skipped the sky and left the environment empty, leaving the room lit by the direct sun alone. The sky now arrives as a real V-Ray Environment with a V-Ray Sky linked to the render settings, and its settings (turbidity, ozone, ground albedo, sun size, filter colour) are exported at last. The sun-linked brightness and the ground albedo, which were read wrong, are fixed with it.
The film width of a Corona Camera was never applied on the Corona target, changing the framing for cameras with a non-standard sensor size.
Multi/Sub-Object material assignment could silently fall back to the first sub-material on every face (power sockets, switches, doors showing a single material) when the exported OBJ contained accented or non-ASCII object names. The OBJ material mapping is now read reliably, and if it ever fails again the import log states the exact reason.
Proxy objects had the wrong texture mapping at render time on Corona: their UV channels were shifted by one, and the vertical flip that proxies need was applied without its offset. V-Ray and Redshift are unaffected.
V-Ray Skin materials exported as a bag of default values, on every target: nearly all of the settings were read under names that do not exist on this material. They now transfer for real, second reflection lobe and displacement included.
Textures switched off in a 3ds Max Physical Material were imported anyway, on all three targets. The clearcoat, coating roughness and coating bump maps of a Physical Material were also never exported at all. Re-export needed.
Objects using a material ID higher than the number of slots in their Multi/Sub-Object material exported an empty material name. The export now wraps around to an existing slot, as 3ds Max does when rendering.
Camera sensor width was never applied on import. Only visible on scenes whose sensor differs from the 36 mm default.
"Keep original texture paths" still copied the whole texture library into the export folder, re-encoding your JPEG and TIFF files through Max on the way. Nothing is copied any more when the option is on, and the export is noticeably faster.
The export log no longer says "Textures copied" when the "Keep original texture paths" option is on and no copy takes place.

v1.2.5

2026-07-23

Fixed2 changes

Instances that use a different material than their original object now render with their own material in Cinema 4D. Previously the instance always rendered with the original object's material. Such instances are now imported as real meshes (V-Ray for C4D ignores a texture tag placed on an Instance object whenever the reference object has its own material); instances that share the original's material still import as Render Instances as before.
Objects using several UVW map channels now transfer correctly: textures mapped to channel 2 or higher (for example a mask on a second UV channel) arrive with the right mapping in Cinema 4D. The exporter now writes the extra UV channels alongside the scene and the importer adds the matching UVW tags (named UVChannel_1, UVChannel_2, ... as in Max) to each object. Previously only the first UV channel was transferred and these textures rendered wrong.

v1.2.4

2026-07-20

Fixed3 changes

V-Ray lights, the V-Ray Sun and V-Ray proxies were never created in Cinema 4D when Corona was not installed, even with V-Ray for C4D present: the importer stopped with "Corona Light plugin not found - lights skipped" (and the equivalent messages for suns and proxies) before trying the native V-Ray conversion. Scenes now import these as native V-Ray C4D objects on V-Ray-only setups.
V-Ray lights that were switched off in 3ds Max arrived switched on in Cinema 4D when converted to native V-Ray lights. They are now created with their on/off state preserved.
Importing a .max file directly from Cinema 4D no longer hangs forever on "Loading .max scene..." when the scene triggers a renderer dialog on open (such as the V-Ray "automatic subdivs calculations" upgrade warning on older V-Ray scenes). These dialogs are now answered automatically in the background Max instance, keeping the scene's legacy render behaviour untouched.

v1.2.3

2026-07-17

Added2 changes

The 3ds Max scene hierarchy is now rebuilt in Cinema 4D on import: Max groups become Null objects and parent/child links are preserved, so the Object Manager matches your Max outliner. Objects keep their exact world position. A new "Rebuild object hierarchy" option in the import dialog (enabled by default) lets you switch back to the previous flat import.
Object exclude/include lists are now transferred for five more shaders and materials: Corona AO, Corona Round Edges, Corona Slicer, Corona Light Material and VRay Dirt (render and affect-result lists). Previously these lists always arrived empty in Cinema 4D and had to be rebuilt by hand.

Fixed4 changes

Cinema 4D 2026: the import no longer stops with an "Error: __setitem__ expected int or bool, not c4d.bitmaps.ColorProfile" message. This error interrupted the import right before materials were assigned, leaving objects in the Object Manager with question-mark texture tags even though the materials were correctly created in the Material Manager.
Corona Distance and VRay Distance shaders now keep their "Distance from" object list on the "(UV-flip)" material copies created for proxies. Previously only the original material was linked and the proxy copy arrived with an empty object list.
The 3ds Max export window now shows the actual installed version in its title bar (it was stuck at "v1.2.1").
Meshes now arrive in Cinema 4D with their original quad topology instead of being fully triangulated. Only faces with 5 or more vertices (n-gons), which the C4D OBJ importer cannot read, are still decomposed on export.

v1.2.2

2026-06-01

Fixed3 changes

The Cinema 4D importer could report "3ds Max not found" even when 3ds Max was installed correctly. This happened after upgrading to a newer 3ds Max release (such as 2027), and on network or repaired installs where the registry entry was incomplete. The importer now recognises 3ds Max 2020 through 2030 and falls back to scanning the default Autodesk install folder.
Cinema 4D 2026: importing large scenes no longer freezes or crashes at "Importing into Cinema 4D...". A material preview step that crashed inside Cinema 4D 2026 on big scenes has been removed. Imports are also faster on large scenes, with no visible change to the materials.
Corona Legacy materials using the "Fresnel IOR 999" trick with a light diffuse colour and a near-black reflection (for example a white plastic bottle) no longer come out black in C4D. They are now treated as a dielectric that keeps its diffuse colour, instead of being forced into a near-black metal.

Changed1 change

The import logs and the import interface are now in English.

v1.2.1

2026-05-24

Fixed1 change

Scenes with certain non-standard spline objects no longer break the export. Problematic splines are now skipped so the rest of the scene transfers normally.

v1.2.0

2026-05-23

Known limitations1 change

3ds Max Color Correction (native) in Advanced Lift/Gamma/Gain mode: the `Pivot` and `Lift/Offset` values are not yet converted to C4D. The exact Max formula for these two parameters is undocumented and would need empirical reverse-engineering before we can reproduce it precisely. On materials that use non-default values for Pivot or Lift/Offset (uncommon), this may produce a slight tint shift in C4D compared to the Max render.

Fixed5 changes

3ds Max Color Correction in Advanced (Lift/Gamma/Gain) mode now transfers the per-channel gamma values to C4D. Previously only the master RGB gamma was applied, so colour-graded textures relying on per-channel gamma to add a warm/cool tint came out grey or off-tint in C4D.
3ds Max Gradient Ramp shaders now transfer their colour stops correctly to C4D. Previously the stops were always lost on export, so any material relying on a Gradient Ramp (directly or nested through Color Correction / Falloff) came out plain black in C4D.
Corona Legacy metals (the "Fresnel IOR 999" pattern with black diffuse and a Falloff on Reflection) no longer come out fully black in C4D. The material now converts to a proper Corona Physical metal with the Falloff driving the front/side colour variation, matching the Max render.
Materials with a self-illumination texture but the Multiplier left at 0 no longer come out glowing in C4D. Previously a Falloff (or any texmap) connected to Self-Illumination would be applied at full strength even when the artist had set the Multiplier to 0 to neutralize it — most visibly turning clear glass into lit/glowing glass. The Multiplier value is also now correctly transferred to C4D for Corona Legacy materials (previously it stayed at 0).
Corona Legacy materials now convert with subsurface scattering, volumetric absorption and scattering, anisotropy (amount + rotation), dispersion, caustics, thin shell, single-bounce, volumetric caustics and binary opacity (cutout). These were previously silently dropped on export — tinted glass came out clear, waxy candles looked plastic, brushed chrome lost its anisotropic streaks. Conversion is now at parity with Corona Physical for every feature the legacy material actually supports.

v1.1.9

2026-05-09

Fixed3 changes

License error messages are now context-aware — Deactivate no longer shows "Activation limit reached" when the real issue is something else, and the error surfaced reflects what actually happened on the server.
License activation from Cinema 4D no longer fails with "Activation limit reached" on machines that have free slots — the plugin's HTTP client was being blocked by Cloudflare in front of the license server.
License activation no longer consumes a new slot when the license is already active on the same machine (e.g. when activating in C4D after 3ds Max). Both plugins now share the existing activation transparently.

v1.1.8

2026-05-08

Added3 changes

Open `.zip` and `.rar` archives directly from the `IMPORT .MAX FILE` button — they're extracted automatically next to the archive on the way in, no need to unpack manually.
Multi-file batch import — Ctrl-click several `.max` files and/or archives in one go and they'll be queued and imported one after the other. With **Keep Max alive** on, the queue reuses the same 3ds Max instance between imports.
New picker shown when an archive contains several `.max` variants (e.g. `scene_corona.max` + `scene_vray.max`) — pick what to import via checkboxes; the variant matching the chosen renderer is pre-selected.

Fixed2 changes

Composite map base layer no longer darkens the imported material — the bottom layer's blend mode (Multiply, Screen, etc.) is now correctly treated as inoperative as it is in Max, and the layer reads as Normal.
Composite map layers using `Average` blend mode now produce the correct averaged result in C4D (previously imported as plain `Normal` and ignored the Average math).

v1.1.7

2026-05-02

Fixed3 changes

Camera White Balance now imports correctly from the Corona VFB pipeline (was previously stuck at 6500 K).
Falloff Front/Side amounts now keep their original values on import (could previously balloon to thousands of percent).
Colors now stay accurate when 3ds Max uses ACEScg color management (OCIO) — materials, lights, white balance, environments and atmospherics are converted to linear sRGB so picks match between Max and C4D. Scenes without OCIO are unaffected.

Added1 change

3ds Max Color Map shader (Color / Gamma / Gain) is now supported, including nested usage inside Falloff and other color slots.

v1.1.6

2026-05-01

Fixed1 change

Additional fix for the `IMPORT .MAX FILE` button on installs where v1.1.5 wasn't enough (notably some 3ds Max 2026 setups).

v1.1.5

2026-05-01

Fixed3 changes

`IMPORT .MAX FILE` button failing on some installs — the headless 3ds Max launch is now stable.
Export errors now show a popup with the full message and a one-click button to open the log folder, making it easier to report issues.
The error log file is kept on disk after a failed export so it can be attached to bug reports.

v1.1.4

2026-05-01

Fixed3 changes

Corona and V-Ray proxies with offset pivots (curtains, vegetation, Archicad assets, etc.) now land at the correct position.
Corona lights now respect the Max settings for **Occlude other lights** and **Generate caustics** at import.
Scenes with multiple objects sharing the same name (typical of Archicad exports) now get the correct materials on each object — fixes issues like missing glass on windows using a Multi/Sub material.

Added4 changes

Scenes now arrive at the correct real-world scale regardless of the 3ds Max System Unit Scale (mm, cm, m, inches, feet).
OBJ import settings are now forced to the correct configuration before each import, so your personal C4D OBJ preferences can't break the importer.
Failed exports now write a diagnostic log file in the export folder to make issues easier to report.
Main Export button no longer freezes the dialog if the export fails — error is shown and the button is re-enabled.

v1.1.3

2026-04-12

Fixed3 changes

Batch import no longer crashes c4dpy in headless mode (skip shader InitRender preview)
C4D file save on network paths no longer fails silently (saves to local temp first, then copies)
UNC paths now always use extended prefix (avoids failures when filename pushes total past 260 chars)

Changed1 change

New plugin icons and banners (v2 design)

v1.1.2

2026-04-04

Added1 change

**Batch Exporter** — Standalone app to convert entire folders of `.max` files to `.c4d` in one click. Recursive folder scanning, filename filters, parallel C4D imports, skip existing files, chunked 3ds Max sessions to avoid memory issues, and real-time progress log.

Fixed2 changes

Batch import no longer fails on long network paths (>260 characters) — common with deep folder structures on NAS servers
Auto-detect mode no longer creates VRay elements (Dome Light, split splines) in Corona scenes when VRay C4D is installed

v1.1.1

2026-03-29

Added1 change

License expiration support for time-limited licenses. **Existing lifetime licenses are not affected.**

v1.1.0

2026-03-29

Added3 changes

**V-Ray scene support** — Full V-Ray 3ds Max to Cinema 4D conversion with two pipelines: **V-Ray → V-Ray C4D** (native 1:1 transfer) or **V-Ray → Corona** (automatic fallback when V-Ray C4D is not installed). 30+ material types, 25+ texture types, lights, sun, proxies, fur, clippers, decals, environment fog, aerial perspective, render settings (~130 params), VFB2 post-processing, and physical cameras.
Renderer selection dropdown in import dialog (Auto / Corona / V-Ray) to choose the target pipeline
Corona Decal mask texture and include/exclude list support

Fixed9 changes

Camera clipping planes ("Clip Manually") not applied for standard Max cameras
OBJ import crash ("Invalid file operation") on scenes with n-gon faces
OBJ import material assignment finding 0 objects in large scenes
Corona MultiMap rendering gray with empty layers
Chaos Scatter compound include splines ignored at render
Chaos Scatter "Distribute On" list missing instances
Chaos Scatter area splines not exported
Physical Camera shutter speed and focus distance export
Color Correction brightness too dark in Advanced lightness mode

v1.0.8

2026-03-10

Added5 changes

Cellular texturemap support
Forest Color (iToo) texturemap support
**ForestPack to Chaos Scatter conversion** — automatic conversion with density, transforms, areas, clusters, camera clipping, and more
"Keep original texture paths" option in export dialog
Vertex Color map support

Fixed2 changes

ForestPack distribution map scale not applied
Standard Gradient map not exported

v1.0.7

2026-03-10

Fixed4 changes

License now shared between 3ds Max and Cinema 4D (single activation per machine)
Added deactivate button to 3ds Max license dialog
Harmonized offline grace period to 7 days on both sides
User-friendly license error messages

v1.0.6

2026-03-08

Fixed2 changes

Corona Bitmap cropping/placement parameters not transferred
Chaos Scatter scale randomization Y/Z axes swapped

v1.0.5

2026-03-04

Added3 changes

"Keep Max alive" option (reuse 3ds Max instance for faster subsequent imports)
"Override render settings" checkbox in import dialog
MultiTexture (CG-Source) plugin → Corona MultiMap conversion

Fixed25 changes

Materials

Corona Ray Switcher and Slicer materials arrived empty
Corona Legacy Material translucency not transferred
Corona Legacy metallic materials imported with black base color
Corona Physical Material advanced options not transferred (IOR mode, complex IOR)
Corona Skin, Toon, Fabric, Hair Material missing textures
Corona Select Material sub-materials missing
Corona MultiMap per-layer colors and frequency weights not exported
Texture map amounts (mix strength) not exported for all material channels
Glossiness slider acting as unintended multiplier with texture map
Thin Shell handling fixed for glass/opalescent materials
Merge import no longer destroys pre-existing scene materials

Textures & Shaders

Texture name collision between scenes now resolved with per-scene subfolders
Stale texture on re-export now correctly overwritten
Corona Bitmap gamma override now respected
Double tiling on import (tiling applied twice)
Normal maps in Triplanar shader now use linear color profile
Bitmap invert now uses Corona Color Correct

Falloff

Perpendicular/Parallel mode now uses accurate Dot product method
Fresnel type now uses Physical Fresnel with correct IOR
map1On/map2On and map1Amount/map2Amount now respected

Cameras

Focus/target distance now imported
White Balance now applied to Corona Camera tag

Scatter

Chaos Scatter texture maps (density, scale, rotation) now functional

Performance

JSON export 1100x faster on large scenes
SSL/TLS errors on restricted networks handled gracefully

v1.0.4

2026-03-02

Fixed6 changes

Objects with special characters now import with correct materials
Corona Layered Material inside Multi/Sub no longer dropped
Corona Legacy chrome/mirror materials no longer black
Falloff in opacity slot no longer enables clip mode
Script Manager dev mode import errors fixed
Export path in Max no longer resets on launch

v1.0.3

2026-02-28

Added1 change

Automatic update check on dialog open (Max + C4D)

Fixed3 changes

Fixed syntax error on Max export dialog open
JSON parser handles compact format from update API
Normal maps in bump slot auto-detected and wrapped with linear color profile

v1.0.2

2026-02-26

Added5 changes

macOS support for C4D importer
Direct .max file import from C4D (3ds Max launches in background)
Progress monitoring with elapsed time and cancel button
"Skip hidden objects" option
Shared export path between Max and C4D

Changed1 change

Max exporter button renamed "EXPORT" → "EXPORT SCENE"

Fixed5 changes

EXR/HDR textures now use linear color profile
Normal maps in Corona Bitmap forced to linear
Dielectric mode correctly applied for refraction materials
Consecutive .max imports no longer reuse stale data
Fixed path corruption in shared preferences

v1.0.1

2026-02-24

Fixed2 changes

Corona Mix blend modes correctly transferred
Corona Mix per-slot multipliers imported

v1.0.0

2026-02

General12 changes

Initial release
OBJ-based geometry export
Corona Physical & Legacy Material support
Multi/Sub-Object materials with selection tags
Corona shaders (Bitmap, Normal, Color Correct, Mix, Triplanar, AO, MultiMap, Falloff, Composite)
Corona Lights, Sun, Moon, Sky
HDRI environment with overrides
Camera export (physical, target, free)
Proxy (.cgeo) support
Spline, Decal, Layered Material support
Tone mapping and per-camera render settings
Inno Setup installer