Corona, V-Ray & Redshift Material Converter — Full Feature List
MAX2C4D converts your entire 3ds Max scene to Cinema 4D — not just geometry, but the full Corona, V-Ray and Redshift material graphs, lights, cameras, and render settings. Here's everything that transfers.
1Corona Materials
Every Corona material type supported in 3ds Max is recreated as a native Corona material in Cinema 4D. Not a Standard material approximation — the actual Corona material with all properties intact. See the full Corona materials guide.
CoronaPhysicalMtl
Base color, roughness, metalness, IOR, anisotropy, SSS, clearcoat, thin film, volumetrics, emission — every parameter mapped
CoronaLegacyMtl
Diffuse, reflect, refract, opacity, bump, displacement — full legacy material support
CoronaLayeredMtl
Multiple material layers with blend modes, masks, and per-layer properties preserved
CoronaLightMtl
Self-illuminating materials with intensity, color, and emission properties
CoronaHairMtl
Hair-specific shading with melanin, roughness, and scatter parameters
CoronaSkinMtl
SSS skin shader with scatter radius, color, and absorption
CoronaVolumeMtl
Volumetric materials with absorption, scattering, and emission
3ds Max Standard / Physical
Native Max materials converted to the closest C4D equivalent
Multi/Sub-Object
Material ID assignments transferred via polygon Selection Tags — per-polygon accuracy
CoronaToonMtl
Toon shading with outline, refraction, and opacity textures
CoronaFabricMtl
Fabric shading with opacity, bump, and displacement values
CoronaRaySwitcherMtl
Per-ray-type material switching — camera, reflection, refraction, GI
CoronaSlicerMtl
Boolean slicing with cap material and pattern settings
CoronaSelectMtl
Object-based material selection with nested container support
CoronaDecalMtl
Projection-based decal material with position and blending
2V-Ray Materials
Every V-Ray material type is mapped 1:1 to its V-Ray for Cinema 4D equivalent. Full shader trees, nested texmaps, and all per-material parameters are preserved — no baking, no approximation. Walk through how V-Ray materials transfer to Cinema 4D.
VRayMtl
Diffuse, reflect, refract, SSS, coat, sheen, thin film — full 1:1 mapping to VRay C4D
VRayLightMtl
Self-illuminating with intensity, color, two-sided emission
VRayBlendMtl
Base + up to 10 blend layers with masks and weights
VRay2SidedMtl
Front/back materials with translucency
VRayFastSSS2
Subsurface scattering with scatter radius, color, profile
VRaySwitchMtl
Per-ray-type switching — camera, GI, reflection, refraction
VRayHairNextMtl
Hair with melanin, pheomelanin, glossiness, scatter
VRayCarPaintMtl
Automotive paint with flake, coat, and base layers
VRayFlakesMtl
Stochastic flakes for metallic/glitter finishes
VRayToonMtl
Toon/cel shading with outline and fill controls
VRayBumpMtl
Bump/normal map wrapper for any material
VRayOverrideMtl
Per-ray-type material overrides
VRaySkinMtl
Skin SSS with deep/medium/shallow scatter layers
3Redshift Materials
Redshift is a third target engine alongside Corona and V-Ray. A Redshift scene rebuilds as a native Redshift node graph in Cinema 4D — 152 of the 152 in-scope Redshift classes transfer, 147 of them with no approximation at all. You can also send a V-Ray or Corona scene here instead, and get native Redshift out. Walk through how Redshift materials transfer to Cinema 4D.
RS Standard Material
The full ~35 channels — base, reflection, refraction, SSS, sheen, coat, thin film, anisotropy, emission, plus bump, coat bump and displacement
RS OpenPBR Material
Redshift 2026’s newer shading model, transferred like for like
RS Incandescent
Emissive with colour, alpha, intensity and temperature
RS SSS
Subsurface scattering with scatter radius scaled to scene units
RS Material Blender
Base plus layers with their masks and weights
RS Car Paint
Flake, coat and base layers
RS Skin
Shallow, mid and deep scatter with both reflection lobes
RS Toon Material
Base, roughness, IOR, opacity and tone ramps
RS Matte / Shadow Catcher
Matte and shadow-catch surfaces
RS Architectural
The legacy architectural shader, common in older archviz scenes
RS Material (legacy)
Older Redshift scenes still convert
RS Ray Switch
Per-ray-type material switching
RS Sprite
Opacity cut-outs for vegetation — file, repeats and sub-material
RS Volume / Standard Volume
Volumetric shading with ramp values (VDB grids are not transferred)
4Shader Nodes — 200+ Types Recursively Mapped
The full node graph is preserved, not collapsed. Nested composites, Output curves, mapping channels — every connection is recreated in Cinema 4D's node editor exactly as it was in 3ds Max. The same recursive traversal runs on all three engines: Corona and V-Ray texmaps, plus the complete 123-node Redshift texmap set.
Corona Nodes
V-Ray Nodes
Redshift Nodes — 123 Texmaps
Plus 15 colour nodes (mix, invert, splitter, maker, HSV, gain, bias), 32 scalar maths nodes and 29 vector maths nodes — the whole Redshift maths library, so any expression chain sitting between your bitmap and your material arrives with its connections intact.
Plus additional procedural maps, utility nodes, and Max Standard nodes. Every node is recursively traversed — if a CoronaBitmap feeds into a CoronaColorCorrect that feeds into a CoronaPhysicalMtl's roughness slot, that entire chain is rebuilt. Same on the Redshift side: an RS Texture into an RS Color Correct into an RS Standard Material's roughness input comes across whole.
5CoronaBitmap — Every Property Preserved
CoronaBitmap is the most-used node in any Corona scene. MAX2C4D transfers every property, not just the file path.
- ✓File path with automatic texture collection and path resolution
- ✓UVW tiling (repeat U/V), offset, rotation
- ✓Real-world scale mapping with physical dimensions
- ✓Filtering mode (SAT, None, Summed Area)
- ✓Gamma / color space settings
- ✓Output curve adjustments (RGB, R, G, B individually)
- ✓Blur, crop, and placement settings
- ✓Mapping channel assignment
Their equivalents on the other two engines get the same treatment: VRayBitmap on the V-Ray target, and RS Texture on the Redshift one — tiling, offset, rotation, colour space and wrap/mirror mode all carried over, with the texture file collected and relinked.
6Lights
All Corona, V-Ray and Redshift light types are recreated in Cinema 4D with matching intensity, color temperature, shape, and directionality. 3ds Max's own lights — spot, omni, directional and photometric — now transfer too, on every target.
Corona Lights
CoronaLight
Rectangle, Disc, Sphere, and Cylinder shapes with intensity, color, directionality, IES profiles, and exclude/include lists
CoronaSun
Sun position, intensity multiplier, size, and color shift
CoronaMoon
Moonlight with phase, intensity, and atmospheric settings
Light properties
Position, rotation, scale, target objects, visibility to camera, and shadow settings
V-Ray Lights
VRayLight
Rectangle, Sphere, Disc, Cylinder, Mesh, IES with intensity, color, directionality
VRaySun
Sun position, intensity, size, turbidity, ozone, atmosphere
VRay Dome Light
HDRI environment with mapping, intensity, UV offset
VRay IES Light
Photometric profiles with filter color and intensity
Redshift Lights
RS Physical Light
Area, Point, Spot and Infinite with colour mode, temperature, exposure, decay, area shape and spread
RS Dome Light
HDRI environment with multiplier and rotation
RS IES Light
.ies profiles collected and relinked with their full parameter block
RS Portal Light
Height, multiplier, tint, transparency and environment map
RS Sun & Sky
Sun, sky, moon and stars transferred 1:1 — an existing Sun & Sky is completed rather than duplicated
3ds Max native lights
Omni → Point, spot → Spot, directional → Infinite, photometric → IES or Area with intensity in candelas
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7Cameras
Physical and Standard cameras with all exposure, DOF, and post-processing settings transferred to Cinema 4D.
- ✓Physical camera: focal length, sensor size, f-stop, shutter speed, ISO
- ✓DOF: focus distance, bokeh shape, blade count
- ✓Bloom & glare, sharpening, vignetting
- ✓Per-camera overrides (tone mapping, white balance, exposure)
- ✓Camera position, rotation, and target
- ✓Standard cameras with FOV and clipping planes
- ✓VRay Camera Tag with VRay-specific exposure and lens settings
Redshift Camera Tag
- ✓Camera type, including fisheye, cylindrical and stereo settings
- ✓The full post-effects stack, block by block — bloom, flare, streak, LUT, colour controls, optical settings and backplate
- ✓Each block keeps its own override and enabled state — a camera with bloom switched off in Max arrives with bloom switched off in C4D
Redshift post effects are read per camera. Global post effects are not reachable from MaxScript, so they are logged rather than guessed.
8Render Settings
Your render configuration is transferred so the C4D output matches what you had in 3ds Max — no manual copying of GI settings, denoiser config, or tone mapping values.
Corona Render Settings
- ✓GI solver configuration (UHD Cache, path tracing, progressive rendering)
- ✓Denoiser settings (mode, strength, radius)
- ✓Tone mapping (filmic, reinhard, linear) with highlight compression
- ✓LUT file reference
- ✓Caustics settings
- ✓Environment overrides (direct visibility, reflection, refraction)
- ✓Resolution, aspect ratio, region rendering
V-Ray Render Settings
- ✓V-Ray render settings — ~130 parameters via VideoPost
- ✓VRay VFB2 Layers — full post-processing stack
- ✓VRay image sampler, DMC, color mapping
- ✓VRay caustics, displacement, environment overrides
Redshift Render Settings
- ✓Unified sampling, sample overrides and noise threshold
- ✓GI, irradiance cache, irradiance point cloud and caustics
- ✓Trace depth read from your scene’s real materials — no more black glass at the 6-bounce cap
- ✓Motion blur and denoising (OIDN / Altus)
- ✓Global displacement and per-object tessellation via the RS Object tag
- ✓Per-camera post effects — bloom, flare, streak, LUT, colour and optical controls
- ✓The Redshift VideoPost is created and the engine pre-selected, so F9 renders immediately
9Texture Path Resolution
Broken texture paths are the #1 headache when moving scenes between software. MAX2C4D resolves every path type and collects textures into a clean local folder — zero missing bitmaps.
UNC paths
\\server\share\textures — network paths fully resolved
Mapped drives
Z:\Projects\Textures — drive letter paths resolved to real locations
Synology NAS
Synology Drive placeholders and cloud-synced files resolved
OneDrive / cloud files
Cloud placeholder files detected and resolved to local copies
Relative paths
Scene-relative texture references resolved correctly
Per-scene isolation
Each imported scene gets its own texture subfolder — no filename collisions between projects
Local collection
All textures copied to a clean /tex folder alongside the exported scene
10Chaos Scatter
Chaos Scatter instances and their texture-driven distribution are transferred to Cinema 4D. Vegetation, furniture scatters, and other distributed objects work out of the box.
- ✓Density texture maps
- ✓Scale texture maps
- ✓Rotation texture maps
- ✓Translation texture maps
- ✓Scatter object references and material assignments
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11ForestPack to Chaos Scatter
ForestPack objects (Forest Lite and Forest Pro) are automatically detected during export and converted to Chaos Scatter in Cinema 4D. Vegetation, grass, forests, and other distributed objects transfer with their full scatter configuration.
ForestPack uses grid-based distribution while Chaos Scatter uses density-based scattering, so the conversion is a high-fidelity starting point — expect to fine-tune density values after import.
Distribution modes
Surface/2D, spline-based (1D), and volume (3D) distribution modes converted to Chaos Scatter equivalents
Density & count
Per-square density conversion from ForestPack grid spacing to Chaos Scatter density, with instance count limits preserved
Instances & frequency
Scattered model objects with per-model frequency and probability weights transferred
Transform controls
Translation, rotation (with normal alignment), and scale ranges converted from percentage-based to absolute values
Include / exclude zones
Spline include areas, spline and geometry exclude zones with per-zone falloff — geometry excludes auto-converted to outline splines
Collision avoidance
Inter-object collision detection with strictness control
Slope & altitude limiting
Angle range and height range constraints for terrain-aware scattering
Camera clipping
Near and far clipping distances for render-time optimization
Texture maps
Density, scale, rotation, and translation distribution maps for texture-driven scatter variation
Clustering
Cluster size, roughness, edge blend, diversity, spacing, and rotation for natural-looking grouping
12V-Ray Scene Objects
V-Ray-specific scene objects — proxies, clippers, fur, decals, and atmospheric effects — are transferred with full parameter fidelity to their V-Ray for Cinema 4D equivalents.
VRay Proxy (.vrmesh)
File path, preview, scale, flip axis, animation, material assignments
VRay Clipper
Boolean section plane with intersection/subtraction mode, cap material
VRay Fur
Parametric hair/fur with length, thickness, gravity, density, curl
VRay Decal
Projection-based decal with dimensions, angle, mask, material
VRay Environment Fog
Volumetric fog with color, distance, height, scatter, emission
VRay Aerial Perspective
Atmospheric haze with visibility range, height, filters
13Renderer Selection
MAX2C4D detects your scene's renderer automatically, or you can force a specific pipeline. A dropdown in the importer dialog gives you full control over how materials are processed.
Auto mode
Detects whether the scene uses Corona, V-Ray or Redshift automatically, based on the materials and render settings found in the exported data
Corona mode
Force the Corona pipeline — all materials processed as Corona types regardless of auto-detection result
V-Ray mode
Force the V-Ray pipeline — all materials processed as V-Ray types regardless of auto-detection result
Redshift mode
Force the Redshift pipeline — a Redshift, V-Ray or Corona scene all rebuild as native Redshift node graphs. Requires Cinema 4D 2024.4 or newer
V-Ray to Corona fallback
V-Ray scenes convert to Corona materials when V-Ray for Cinema 4D is not installed — a best-effort cross-renderer conversion
Redshift as a safety net
A Corona scene with no Corona for C4D, or a V-Ray scene with neither V-Ray nor Corona installed, falls back to native Redshift instead of plain Standard materials — Redshift ships with Cinema 4D, so it is always there
14Proxies & Splines
Corona Proxy objects (.cgeo), V-Ray Proxy objects (.vrmesh), and 3ds Max splines are transferred to Cinema 4D with correct transforms, material assignments, and shape data.
Corona Proxy (.cgeo)
Proxy file path, position, rotation, scale, and per-slot material assignments preserved
VRay Proxy (.vrmesh)
Proxy file path, preview, scale, flip axis, animation offset, and material assignments preserved
Proxy UV handling
Automatic V-flip for .cgeo UVs — cloned materials with corrected tiling so textures render correctly
Spline export
Open, closed, and multi-segment splines with knot points and segment types
Spline modifiers
Edit Spline and other modifiers collapsed before export — final shape transferred accurately
On the Redshift target, proxies work differently: Redshift cannot read .vrmesh or .cgeo, so V-Ray and Corona proxies are baked into real geometry instead. Redshift's own .rs proxy files are not exported either — the mesh path is preserved and written to the conversion log.
Stop rebuilding your
entire scene by hand.
Every hour you spend rebuilding materials, relinking textures, and reconfiguring lights and render settings is an hour you're not rendering, not iterating, not billing. MAX2C4D pays for itself on the first scene.
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