Maxon has released Cinema 4D 2025.3 on June 18 2025. It introduces a GPU-accelerated liquid simulation system, UDIM support in the UV editor, texel-density tools, AI-driven searches in the Asset Browser, and native integration of Laubwerk plant assets. All updates reflect real production needs—though as always, they should be tested before rolling out in client work.

Liquid simulation lands

The update expands the existing particle system into liquid territory using GPU-accelerated Position Based Dynamics (PBD). Users can create fluids via the Liquid Fill emitter or convert existing particles using the Liquify modifier. Liquids expose parameters such as surface tension and viscosity, can be meshed to geometry using the new Liquid Mesh, and can interact with other particle systems, cloth, and rigid bodies under the Unified Simulation System. The solution is optimized for small-scale effects—beer pours or sauce drips—not large-scale FLIP-type simulations. Users can recreate white-water or bubbles using existing tools. That was teased at Cinema 4D 2025.2

UDIM and texel-density tools

Cinema 4D now supports UDIM and UVTILE standards directly in the UV Editor. Tile grids extend indefinitely, allowing UV elements to be moved, rotated, and packed across tiles, with new controls for tile-specific packing. Game-art workflows benefit from texel-density tools offering get/set/match functionality across UV elements, tiles, and objects, with presets tailored to first-person, third-person, and top-down perspectives.

AI searches in Asset Browser

An AI-powered search feature now complements the standard text search in Maxon’s Asset Browser. The feature is image-aware, allowing a query like “furniture” to return relevant results even when metadata lacks the keyword. The searches operate locally, preserving asset privacy.

Laubwerk plants go native

As part of Maxon’s acquisition of Laubwerk, this update adds a parametric Plant object that enables adjustment of age, seasonal variation, level of detail, and display settings directly within Cinema 4D. The complete Laubwerk library now ships as Capsules, while prior LBW assets remain compatible.

Requirements and pricing

Cinema 4D 2025.3 installs over the 2025 base, requiring Windows 10 22H2 or macOS 13.6+; AI Search is not supported on Intel based Macs. Subscription pricing remains at US $109/month or $839/year, rental-only, now bundled with Redshift GPU acceleration.

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Final word

The introduction of native liquid simulation and UDIM tools brings Cinema 4D closer to a full-featured DCC solution. However, this new PBD system is aimed at small-scale effects; larger fluid dynamics will still require FLIP-style tools or external solvers. As always, users should validate stability, performance, and visual fidelity in production-standard scenarios before migrating pipelines.

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Release notes // Cinema 4D 2025.3 – June 18, 2025

The post Cinema 4D 2025.3 gets liquid sim and UDIMs first appeared on DIGITAL PRODUCTION and was written by Bela Beier.

Adobe has unveiled the 25.2 updates for Premiere Pro and After Effects at NAB 2025, introducing a suite of AI-powered features and workflow enhancements aimed at streamlining video editing and motion graphics processes.

Generative Extend: Stretching Clips with AI

Premiere Pro’s new Generative Extend feature, powered by Adobe’s Firefly AI, allows editors to extend video clips by up to two seconds and ambient audio by up to ten seconds. This tool is particularly useful for creating smoother transitions or correcting unintended movements without the need for reshoots. Initially available for free, Generative Extend will eventually require Firefly generative credits for continued use. We saw this in the Beta-Version, and had a play around with it. While it doesn’t generate a Stanley Kubrick Movie from a TikTok, it is amazing to get that “few missing frames”, when the footage cuts out. And, in some cases, we cut some the end of the footage (Because there came things into frame, like a Boom Mic, in that case), and just extended it. It is ludicrously intuitive to use, and, for an AI tool, as a shockingly high percentage of “Just working”. I am not used to that with AI tools. It isn’t exactly “Real-time”, but was, in that case, far faster than Roto-ing out the Mic. (Roto-ing is a verb, isn’t it?)

AI-Powered Search: Finding Footage Faster

The updated Search panel in Premiere Pro utilizes AI to automatically recognize and tag content within video libraries. Editors can now locate specific footage using text descriptions that include objects, locations, camera angles, and effects, significantly reducing the time spent searching for clips.

In a Pre-Release Demo we got last week, this looked actually like a useful AI-Feature – depending on the actual speed and precision (A Demo is per definition demo-footage) when being pushed into our footage – library (And Footage-Bin and Footage-heap-on-the-floor), if it works as advertised, it might be amazing.

Automatic Caption Translation: Reaching a Global Audience

Premiere Pro now offers AI-driven automatic translation for video captions into 27 different languages. This feature enables editors to cater to a broader audience by providing multilingual subtitles, enhancing accessibility and engagement.

Premiere Color Management: Simplifying Color Workflows

The introduction of Premiere Color Management allows for automatic transformation of log and raw files directly to SDR or HDR, eliminating the need for manual lookup tables (LUTs). This enhancement streamlines the color grading process, allowing editors to focus more on creative aspects.

Enhanced 3D Tools and HDR Monitoring

The latest After Effects update introduces Animated Environment Lights, allowing users to surround 3D compositions with dynamic lighting sourced from any video or animation. Additionally, support for 3D FBX models has been added, expanding the range of assets that can be integrated into projects. HDR monitoring capabilities have also been enhanced, enabling designers to preview their work in high dynamic range directly within the application.

After Effects

Adobe has released After Effects 25.2, introducing significant enhancements to its 3D workspace. Notably, the update adds support for the FBX file format, allowing users to just import 3D assets in FBX, OBJ, and glTF/GLB formats directly into compositions. This broadens the range of compatible 3D assets, facilitating more versatile motion graphics and visual effects workflows. And, might I say on a personal note, FINALLY.

After Effects 25.2 also features a new High-Performance Preview Playback system that utilizes both RAM and local disks for caching. This improvement enables smoother and longer preview durations, allowing motion designers to preview complex compositions without interruptions.

Additionally, the update enables the use of videos, animated compositions, or other layers as Environment Lights, supplementing the existing support for HDRIs in HDR and EXR formats. This advancement provides more contextually accurate lighting for 3D assets, opening new creative possibilities for motion graphics artists.

Workflow improvements include the ability to set compositing options for 3D models directly from the Properties Panel, such as determining whether they cast or accept shadows and lights. The Properties Panel also grants access to embedded animations in imported models. Furthermore, three new commands in the Layer menu facilitate common 3D operations, including controlling a light with a camera, applying 2D effects to 3D models, and creating an Environment Light background layer.

As always, it’s advisable to evaluate these new features within your specific workflow to ensure they meet project requirements.

The post Adobe’s Premiere Pro and After Effects 25.2 first appeared on DIGITAL PRODUCTION and was written by Günter Hagedorn.