Damjan Minovski, has released OmniStep 2.0, a major update to the interactive animation and prototyping tool for Blender. OmniStep provides a scriptable first person controller that runs directly inside Blender scenes. Instead of manually placing keyframes to animate cameras, users can move through a scene in real time while recording camera motion and interactions. The result can be used for walkthroughs, fly-throughs, previs shots, or rapid prototyping of interactive environments.

The add-on includes a built-in game loop, movement system, and collision handling. It can operate without scripting, but also allows users to extend functionality through custom scripts written directly within the scene. Version 2.0 introduces several architectural changes, including a new module system and improvements to collision behaviour. The update also integrates many previously external scripts directly into the add-on.

OmniStep is designed for scene exploration and interactive animation. Users can move through a scene using first person controls, with parameters such as speed, gravity, friction, and acceleration adjustable in the add-on settings. Walk and fly modes are available, allowing either grounded navigation or fully physics-based flight through the environment.

Camera motion can be recorded during navigation. This makes it possible to create continuous shots that would otherwise require extensive manual keyframing. The system can also interact with Blender physics and camera rigs, including constraints and other rig components.

Because the add-on includes a built-in scripting system and game loop, it can be extended to support custom interactions. Documentation for the tool notes that user-written scripts can be embedded directly in Blender scenes as text blocks and edited during development.

Modules replace scattered scripts

A central change in OmniStep 2.0 is a new module system that reorganises how extensions are handled. Earlier versions relied on external UserScripts that had to be managed individually. In the new release, most of these scripts are integrated into the add-on itself and can be accessed from a single interface. Users can selectively enable or disable them depending on their needs. The module system parses files stored in a designated module directory when Blender starts. This allows users to add new modules or modify existing ones without rebuilding or reinstalling the add-on.

Animated objects as dynamic colliders

Another change in OmniStep 2.0 is support for dynamic collisions. Any object in a Blender scene can now act as a collider, including animated objects and entire hierarchies driven by keyframes. This allows moving elements such as platforms or mechanical components to interact with the controller during runtime. The add-on already uses a capsule-based collision system backed by a BVH tree structure, which allows collision detection against complex geometry with large triangle counts. With the new dynamic collision support, animated geometry can participate in these interactions. In practical terms this means that moving obstacles, elevators, or other animated props can influence the player movement during recorded walkthroughs.

The underlying collision detection and physics integration rely on Blender’s existing physics systems. The exact internal implementation of the dynamic collision update has not been described in publicly available documentation.

Cursor warp and reshoot workflow

The update also introduces several workflow improvements aimed at interactive recording. One of them is the Start at Current Frame option. This allows users to restart OmniStep recording from the current timeline frame rather than the beginning of the animation. According to the developer, the feature simplifies re-shooting specific parts of an animation without re-recording the entire sequence. Another addition is Cursor Warp, a feature intended for multi-monitor setups. When moving the camera quickly, the system can automatically reposition the cursor so it does not reach the screen edge and lose focus from the Blender window. Cursor Warp replaces an earlier option called Center Cursor.

Compatibility and availability

OmniStep 2.x is compatible with Blender 4.5 and later. The developer states that the add-on has been tested on Windows, macOS, and Linux systems. The update is free for existing users of the add-on. New users can purchase OmniStep via the marketplaces (Name a fair price :D ) listed on the project website, including Superhive ()15$ and Gumroad(Name a fair price).

As with any add-on that modifies core animation workflows or introduces runtime interaction inside production scenes, artists should evaluate the tool in controlled test projects before deploying it in production pipelines.

// https://omnistep.atair.cc/index.html
// https://omnistep.atair.cc/Resources/DemoFiles.html

The post OmniStep 2.0 adds modules and dynamic collisions first appeared on DIGITAL PRODUCTION and was written by Bela Beier.

AFX Camera Tagger addresses a very specific but recurring problem in multicamera editing inside DaVinci Resolve. The application’s multicam creation dialogue allows editors to synchronise clips by timecode, waveform, or other methods, and to automatically detect camera angles. That angle detection depends on correctly assigned camrea tags in the clip metadata.

If those tags are missing, Resolve treats each clip as a separate angle. The result is not a clean multicam stack but a staircase of individual tracks, each containing a single clip. For editors handling concerts, interviews or live events with double-digit camera counts, that is not a minor inconvenience.

AFX Camera Tagger automates the assignment of Camera metadata, removing the need to tag clips manually in the Media Pool – for free.

Why tags matter

In Resolve, multicam creation is straightforward. Editors select their clips, choose the option to create a new multicam clip, define a sync method and enable camera angle detection. The angle detection relies on the Camera field in clip metadata. If clips share identical camera tags per angle, Resolve groups them correctly. Without tags, or if angle detection is disabled, each clip is placed on a separate track. The resulting timeline is technically functional but operationally inefficient.

Tags themselves are flexible. They can be any string, provided each camera angle is assigned a distinct value. The system does not enforce a specific naming convention. However, manual tagging becomes tedious in productions with frequent multicam setups or high clip counts.

Two tagging modes

AFX Camera Tagger provides two workflow modes. The first is based on bins, the second on file names.

In the From Bins mode, users select a main folder containing sub-bins with camera clips. After invoking a bin scan, the script lists available bins. A command labelled Set camera from bin names assigns Camera metadata based on the specified bin names. This approach suits ingest structures where each camera angle is organised into its own folder.

The script supports recursive processing, which automatically handles nested folders. According to the developer, deeply nested folder structures are processed without manual intervention. This is relevant for larger productions where DITs deliver structured Media Pools with multiple levels.

The second mode, From Clip Names, addresses the common scenario where all clips reside in a single bin but follow distinct naming patterns per camera. Users select clips in the Media Pool, specify which portion of the file name to parse, and preview detected camera angles before applying them.

The preview step reveals how many unique angles the selected name range produces. If the range is too narrow, the script may detect fewer angles than expected. Adjusting the selected character range corrects this. Once confirmed, the Set camera from clip names function writes the tags to the metadata.

This parsing approach depends entirely on consistent file naming. The tool does not claim to analyse image content, timecode or embedded metadata beyond the Camera field. It strictly operates on folder names or file name substrings.

Metadata handling and safety

AFX Camera Tagger writes to the Camera metadata field. If clips already contain camera tags, users can avoid overwriting them by enabling the relevant protection option. A Clear camera checkbox allows the removal of existing Camera tags from selected clips. Once assigned, tags persist with the clips throughout the project and work with every subsequent multicam synchronisation. The script does not advertise any background services or external dependencies. It operates within Resolve’s scripting environment.

Batch tagging is described as capable of handling hundreds of clips in seconds. The developer does not publish benchmark data. Performance, therefore, depends on project size and system configuration.

Studio requirement

AFX Camera Tagger requires DaVinci Resolve Studio from version 19.1 onwards. It is not compatible with the free edition from that version. Resolve scripting capabilities are typically tied to Studio features. The script is completely free and available for download from Art FX. An installation manual is included in English and Polish.

Practical implications for editors

For editors who regularly build multicam timelines, the tool addresses a narrow but real friction point. Manually entering camera tags via the Metadata panel is straightforward but repetitive. In larger projects, this can become a preventable source of error. The script’s value lies in its ability to map existing organisational logic, folder structure or file naming conventions onto Resolve’s Camera metadata field. It does not introduce new sync methods or alter multicam functionality. It simply ensures that the existing system works as intended.

The functionality is particularly relevant in workflows where assistants prepare Media Pools before the editor begins cutting. Automated tagging reduces prep time and minimises human error in repetitive data entry.

What it does not claim

AFX Camera Tagger does not claim to perform automatic camera detection based on image analysis. It does not claim to modify timecode, reel names or scene metadata. It does not advertise integration with external asset management systems. Its scope is limited to setting or clearing the Camera metadata field based on folder or file name patterns. Within that scope, the workflow appears clear and intentionally minimal.

That simplicity is likely its main strength. It solves one problem while leaving the rest unchanged.

As with any new tool in a professional environment, editors and post supervisors should test functionality, performance and metadata behaviour before deploying it in production pipelines. New tools and innovations should always be tested before production use.

// https://www.art-fx.eu/l/aizbi?layout=profile

The post AFX Camera Tagger sorts your Resolve multicam chaos first appeared on DIGITAL PRODUCTION and was written by Bela Beier.

Godot users can now experience the drama of a boss fight while typing. Ridiculous Coding, a free editor extension by developer John Watson (aka jotson), adds real-time chaos to the script editor: screenshake, fireworks, progress XP bars, and visual effects every time you hit Enter.

The plugin’s only purpose is to make coding “less boring”. When you write code, it rewards progress with particle bursts and celebratory effects. Syntax errors might not yet trigger explosions, but judging from the developer’s sense of humour, it feels inevitable. Watson is also developing The Mailroom, a “cozy horror job simulator” built in Godot, where you process infernal paperwork in a small regional office of Hell, located in Modesto, California. Ridiculous Coding is available now in the Godot Asset Library. As with any experimental editor plugin, artists and developers should test stability before adding it to production pipelines.

Anyone curious how serious Godot development actually works might want to visit Helge Maus on Patreon. His in-depth courses and project breakdowns show Godot at work, without the fireworks.

The post Godot Now Shakes When You Code Badly first appeared on DIGITAL PRODUCTION and was written by Bela Beier.

With some plug-ins, scripts and extensions, you wish you had known about them long before the start of the last project, in our case, a 100-minute archive documentary with over 1,000 individual media files. The “Project Sorter” script saves a lot of time when editing and post-processing larger projects, especially when it comes to sorting and cataloguing different media types.. Project Sorter is a bit like the post office clerk who sorts letters by city, district and street – only for media, not for direct mail items.

How Project Sorter works

But first things first… Who hasn’t been there: you find (or receive) one (or more) media files, drag them into Adobe Premiere (or After Effects) for processing, and leave them at the highest project level until you completely lose track of them and grudgingly (or the intern) start putting all the elements away individually and neatly in the bins provided for them. Only to be faced with the same problem of a completely overloaded project level a week later.

Project Sorter provides a fully automatic remedy here by sorting the elements into the correspondingly defined bins during import (including drag-and-drop directly into the timeline). Sounds simple? It should be, provided you make the effort and define a reasonably well thought-out order at the start of the project – which is actually common practice for larger productions. If even this first step is too time-consuming, you can simply rely on the “demo” settings supplied with the script to ensure at least basic sorting into audio and video bins.

Setup

The actual script can be found under Window -> Extensions and opens a three-column mask where the corresponding sorting parameters are defined. The user is not only limited to the type of file, for example video, sound or images, but can also search through metadata and file paths via a second column in order to carry out a precise sub-sorting.

An example: If you organise your raw material on the hard drive according to days and recorded cards, you can specify in the Project Sorter that all media from shooting day XY of card 1 (with the corresponding path on the hard drive) are also stored in the project bin with the same name. The secret lies in so-called sub-filters that can be defined within the “Video” filter column.

Project Sorter even goes so far as to change not only the names of the bins but also the names of the elements within Premiere (or After Effects). Instead of an element in Premiere being generically named “KLB0011.MXF”, it can be automatically renamed to “[creation-date] [creation time] cam 01″, which makes it much easier to find the clip again (if the editor knows the shooting date and time).

To perform a sort, the small chain symbol above the Project Sorter window must be activated. If you click on the “Play” button after an import, the bins are created, renamed and sorted automatically. If the link button remains pressed, the sorting function is also permanently activated, but this is not necessarily to the user’s advantage, as a file that is imported immediately disappears in the corresponding bin and must first be found there again. To avoid immediate sorting, deactivate the linking, import the element, process it in the timeline or comp, and reactivate the linking later, for example at the end of the working day (or if you lose track after a few hours), to restart the automatic sorting.

Subtleties

The Project Sorter includes lots of individual options and parameters, most of which you will never need in your entire professional life. What proves to be very useful, however, is the fact that you can add new sorting filters for each project using the ” ” symbol. The filter collections are retained and are not saved with the project so that the user can also access old settings at a later date.

In addition to the file type and creation date, the very useful sorting parameters also include file extensions, so that PSD and PNG files, for example, are not only sorted into one image folder but into different bins, as well as image sizes and resolutions, which can be used to separate HD, 4K and 6K material in the project. You can also sort by frame rates, alpha channels and multicam clips. In addition to the aforementioned sorting and renaming of project elements, the “Actions”, i.e. the tasks that the Project Sorter performs automatically, also include adding labels and automatic scaling to the active frame size.

Conclusion

The Project Sorter is not very easy to understand at first (which even the programmer admits), but once you have got behind the logic of the script, the sorter makes a lot of work steps easier that you either regularly procrastinate on, or the user may generally shy away from, for example renaming video elements according to shooting days and cards.

So if you don’t shy away from the time it takes to familiarise yourself with the software and invest 50 US dollars, you will save yourself many, many hours of work in the long run. Work hard, sort fast, retire young.

Info box

Leyero – Project Sorter v1.75: Script for automatic sorting and naming of media files.
Price for Project Sorter 1.75: USD 50
Host application: from After Effects / Premiere 2022
Further information: https://aescripts.com/project-sorter

The post Work Hard, Sort Fast: Project Sorter 1.75 first appeared on DIGITAL PRODUCTION and was written by Andreas Zerr.

Godot 4.5 Dev 5 introduces native support for Apple’s visionOS, marking the first officially-supported platform integration in about a decade. This addition, contributed by Ricardo Sanchez-Saez from Apple’s visionOS engineering team, enables developers to build applications for Apple’s XR environment directly within Godot.

GDScript: Abstract Classes

GDScript now supports abstract classes, allowing developers to define classes that cannot be instantiated directly but serve as a base for other classes. This feature, implemented by Aaron Franke, introduces the abstract keyword, enabling a more structured and object-oriented approach to scripting in Godot.

Shader Baker

The new shader baker feature, developed by Darío Samo and Pedro J. Estébanez, allows for exporting precompiled shaders to significantly reduce shader compilation times, especially on Apple devices and D3D12. While this feature can decrease load times by over 20× in certain demos, it comes with trade-offs, including increased export times and larger build sizes. Additionally, support for the Forward+ renderer on Intel Macs is no longer guaranteed due to the removal of certain MoltenVK bug workarounds.

WebAssembly SIMD Support

Godot 4.5 Dev 5 integrates WebAssembly SIMD support, enhancing performance for web builds by leveraging Single Instruction, Multiple Data (SIMD) capabilities across major browsers. This implementation, led by Adam Scott, provides an alternative to multi-threaded web support, which had been reverted in previous versions.

Inline Color Pickers

A new quality-of-life feature adds inline color pickers within the script editor, allowing developers to view and select colors directly in their code. This enhancement, contributed by Koliur Rahman, improves the intuitiveness of color assignments without the need to expose variables.

Rendering Enhancements

Several rendering improvements have been introduced:

• SMAA 1x anti-aliasing has been integrated into the engine, thanks to Raymond DiDonato.
• Bent normal maps, contributed by Capry, enhance specular occlusion and indirect lighting.
• The Compatibility backend now uses a fragment shader copy instead of a blit copy, addressing sample rate issues on mobile devices, as implemented by Clay John.

These updates aim to improve visual fidelity and performance across various platforms.

Community Contributions and Bug Fixes

The development snapshot includes numerous fixes and enhancements contributed by the community, addressing various issues and enhancing the engine’s stability. As the feature freeze approaches, developers are encouraged to test the new features and report any bugs to ensure a smooth beta period. For more details and to download the latest development snapshot, visit the official Godot Engine website: godotengine.org

The post Godot 4.5 Dev 5: Shaders, Colors & Abstracts Galore first appeared on DIGITAL PRODUCTION and was written by Bela Beier.

Foundry’s Nuke 16.0 has introduced native support for the multi-shot compositing workflow, a feature that adds new Nuke variables to create a shot and sequence paired with new multi-shot nodes to integrate those in our node tree. It enables artists to reuse and dynamically adjust scripts across multiple shots within a single Nuke script. Read a full list of new features in Nuke 16.0 Beta 3 in the online release notes.

As compositors we are used to compositing Nuke shots one at a time. This use of single shots often came with the challenge of achieving consistency across multiple shots in a sequence. Artists often had to juggle multiple Nuke scripts, painstakingly recreating looks or manually copying setups from one script to another. Remember the projects where we had to open and adjust a grade node in ten different scripts just to get a consistent intensity across all the shots? A repetitive and mundane process.

Foundry’s Nuke 16.0 introduced native support for the Multishot compositing workflow, a feature that adds new Nuke variables to create a shot and sequence, paired with new Multishot nodes to integrate them into our node tree. This allows artists to reuse scripts across multiple shots and adapt them dynamically within a single Nuke script.

The post TD Meetup 13: Nuke Multishot first appeared on DIGITAL PRODUCTION and was written by Alexander Richter.

The 15th Blender Day and BlenderSchool 2023 will take place from 28-30 July with many face-to-face workshops and a fine selection of cutting-edge presentations from our community. The location is in Mannheim, just a few minutes’ walk from the railway station.

You can find all information here: blender3dschool.de

As a keynote speaker, Tobias Roetsch will review his history as a 3D artist, which has always been accompanied by Blender. We are also planning the epic modelling contest again and this year we want to invite all participants to submit their own work for feedback.

The workshops will again be organised in 3 skill levels: Newbee, Beginner and Advanced. The workshops can be booked individually so that everyone can choose the knowledge booster that best suits their current skill set. This year we are once again offering Blender newcomers and Blender newcomers a completely separate First Steps track, consisting of 4 coordinated workshops.

And if the Blender articles at the DP make you think: Oh, I want to learn that: DP author Gottfried Hofmann will be giving a few workshops and will be on site :)

The 3-hour workshops will be supported with materials provided in advance and will guide you step by step through the workshop topic using practical examples. The Mafinex Technology Centre will once again be the venue for the event, offering a relaxed course atmosphere with good coffee (Café Agatha is in the building) as well as plenty of technical equipment.

An excerpt (there are half a dozen more) of the workshops planned so far:

The post Off to Blender School! In Mannheim from 28.7 to 30.7! first appeared on DIGITAL PRODUCTION and was written by Bela Beier.

Channel Hotbox

Some of you may remember the W_Hotbox from the last issue. Falk Hofmann’s Channel Hotbox works on a very similar principle. With the default shortcut set to “Alt-q”, a hotbox can be called up in the viewer or in the node tree, which displays all the channels available in the comp. The basic function of the hotbox is that the selected channel is then displayed in the viewer – so far, so good. But the hotbox can do even more.

Firstly, it has a search field, which can be very helpful the more channels our comp has. In addition, you can select several channels by holding down the Shift key and then shuffle them from the stream into the RGBA stream as shuffle nodes. And if you’d prefer to grade the channels directly in the stream without taking the diversions via the shuffle, you can hold down the
Control during selection.

is.gd/channel_hotbox

Shuffle Search

Miguel Torija’s Shuffle Search fulfils a very similar purpose to the shuffle function of the Channel Hotbox, but instead of covering the entire screen, it appears discreetly as the properties of a node. At first glance, this looks like the standard Shuffle Node from Nuke, but has an additional tab called “Search”. In this Search tab, you can either display all existing layers or – nomen est omen – search for them. The node has two searches that can be skilfully combined with each other using the “Find” and “Exclude” parameters. The results of this search are then generated as individual shuffle nodes via “Shuffle Out”. Particularly nice and well documented: The artist can decide via a very simple adjustment to menu.py whether this should happen with the old or the new shuffle node.

is.gd/shuffle_search

Rename Channels

Did you use a different renderer or did the CG artist make a typo when setting up the shader? Whatever the reason, especially if you work a lot with presets or toolsets, incorrectly named channels can make life really difficult. The “RenameChannels” node by Andrea Geremia, which is also part of the Nuke Survival Tool Kit, can help here. The first step is to select the existing layer that you want to rename.

The second step is to select the corresponding channels, i.e. RGB, Alpha, UV, Z, etc. The Properties Panel Live will now show you how this renaming would look once completed – because this process does not take place in the node itself. Instead, the appropriate copy and remove nodes are created at the touch of a button. This saves you from inadvertently creating superfluous channels and also ensures that the script can be opened anywhere, as the actual renaming is carried out using Nuke on-board resources.

is.gd/rename_channels

AutoContactSheet

Ben McEwan is already well known in the Nuke community for his excellent blog at https://benmcewan.com/blog/. And in one of his blog posts, he also took a look at Nuke’s LayerContactSheet and its limitations – and presented an improved version in the process. The blog post (accessible via the link above) is particularly interesting for those who want to get into Python scripting for Nuke themselves, the result should be of interest to anyone who wants to compare more than two passes, channels, clips, layers or similar.

Unlike Nuke’s LayerContactSheet, the AutoContactSheet has any number of inputs, so there is no need to shuffle multiple sources into one stream. In addition, the resolution scales with the number of inputs, which means you can create contact sheets without any loss of quality. However, to prevent the whole thing from getting out of hand, there is a “Resolution Multiplier” in the settings that can be used to scale the whole thing up or down to a tolerable level. If you have installed the Nuke Survival Toolkit, you will already find the node in your repertoire under “ContactSheetAuto”.

is.gd/autocontactsheet

LabelFromRead

If there is one thing missing from the AutoContactSheet, it is the labels that the in-house contact sheet provides. The LabelFromRead node provides a remedy here. Somewhere below the Read Node, it reads either just the file name or the entire path or just a partial path and displays it in the top left-hand corner of the image. Text size, colour, border and transparency as well as positioning can of course be individually adjusted. You also have the option of adding a customised description. As the tool was written by Tony Lions, it can of course also be found in the Nuke Survival Toolkit.

is.gd/labelfromread

MergeConnect

Whether manually or with one of the tools presented here, once you have shuffled all your passes out of the EXR, you want to get them back together again – otherwise it wouldn’t be a shader rebuild. You can do this step by step with the Merge Node… or you can use the Python script from Max van Leeuwen, which automatically creates the connection from several selected nodes to several selected Merge Nodes. But first things first.

Let’s assume that we want to combine five passes with each other. It doesn’t matter whether these are read, shuffle or other types of nodes. We create the corresponding number of merge nodes – ideally already with the correct blend mode. Using Shift-Select, we now first select the “source” nodes to be connected, then the corresponding merge nodes and press the shortcut, which is Shift-Y by default. The script now connects the nodes accordingly, even sets dots and aligns our connections at nice right angles.

The order of the multi-selection is taken into account – in our example, if you drag the selection from left to right over the shuffle nodes and then from top to bottom over the merge nodes while holding down the Shift key, everything will be connected as shown in the screenshot – otherwise there will be a mess of cables. But with a little practice, this little shortcut can be an enormous timesaver.

is.gd/mergeconnect

The post Nuke Tools Vol. 3 – Channels, Passes and Mattes first appeared on DIGITAL PRODUCTION and was written by Christoph Zapletal.

In nuce: Joker Martini releases a new script for 3ds Max. The script is called “Cable Basher” and is designed to make it easier to create a cable along a spline. The generation should not be limited to cables: pipes, ropes or other similar parametric path shapes should also be able to be created. You can use user-defined or ready-made models as a working basis.

The Joker among the Martinis: Joker Martini is an old friend to readers of Digital Production. We have repeatedly reported on his useful tools for 3ds Max. Discover the script variety of Joker Martini below.

• Vertex Colours: Apply vertex colours per element, object or vertex.
• Lazy Manager: Use this asset manager to compile objects, materials and modifiers across multiple instances.
• Image Texture Resizer and Material Manager: With Image Texture Resizer you can adjust the size of your images – while the dimensions of the original file remain untouched. The Material Manager, on the other hand, allows you to assign new application areas to materials.

Click further: The videos below demonstrate how “Cable Basher” works. You can download the 3ds Max script from jokermartini.com for a slim price of 8 US dollars.

Cable Basher – Preview

Cable Basher – Creating Custom Cables

Cable Basher – Zip tie cable

The post Now comes the “Cable Basher” for 3ds Max! first appeared on DIGITAL PRODUCTION and was written by Patrick Poti.

In nuce: Box of Apps releases its script called “BOA Ref” for 3ds Max, with which you can create blueprints.

What can BOA Ref do? The script lets you insert image references pretty quickly – from your clipboard directly into a 3D scene! According to the developer, the script is suitable for all those of you who like to work with references within their workflow.

And what does it cost? You can also use the alpha and beta versions of the script free of charge for commercial projects. However, the script is in an early development phase, which is why the developers advise against including it in the pipeline of a serious production.

Click further: If you’re now saying to yourself “Blueprints have always been my thing!”, get the cute script for free on Box of Apps. We wish you “Cheers and good luck!” with today’s Script Sundowner to kick off the week!

BOA Ref Quick Demo

The post Free script for 3ds Max | Script Sundowner first appeared on DIGITAL PRODUCTION and was written by Patrick Poti.

In nuce: Vojtech Cada publishes his script with the resounding name “Mesh Muscle” for 3ds Max.

What can Mesh Muscle do? The script is similar in its functionality to the regular CAT Muscle Strand from 3ds Max, with the difference that it is mesh-based and works with modifiers.

Click further: If you’re now saying to yourself “Gosh, I’d love to make that mesh muscle!”, you can now get the cute script for free on Scriptspot. We wish you “Cheers and good luck!” with today’s script sundowner!

The post Free script for 3ds Max | Script Sundowner first appeared on DIGITAL PRODUCTION and was written by Patrick Poti.