17 Dec 2019

Red Giant and Maxon are merging

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As two highly individual companies merge, the post production landscape shifts again. We think this could be very good indeed for the industry

 We have a good feeling about this. When two very strong and highly individual companies merge it can lead to great new products - and sometimes whole new categories of products. But let's not jump ahead of ourselves. Let's look at the basics first. 

Maxon is based in Fredrichsdorf, Germany. It has a portfolio of 3D modeling, painting, animation and rendering applications, possibly the best known of which is Cinema 4D. It's a professional, powerful but accessible 3D package able to create cutting edge 3D visuals. Interestingly, in April 2019, Maxon aquired Redshift and its GPU-accelerated render engine. 

Red Giant is well known for Trapcode, Magic Bullet, Universe and PluralEyes. These unique applications are widely used throughout the professional content creation world. 

Future intent

The future intent of the newly merged companies (actually likely to take place in January 2020) is neccessarily a little soft-focus at the moment, but while it seems likely that the existing products will continue to be developed and supported, it's also highly probable that we'll see new products, and new types of product emerging once the dust of the merger settles. 

And this view is supported by statements from the CEOs of the two companies. 

David McGraven, CEO of Maxon said: “This merger is a major milestone, not only for Maxon and Red Giant but also for the design industry as a whole. Our combined technology and knowhow have the potential to progressively reshape the content creation landscape for years to come.”

Chad Bechert, CEO of Red Giant said "We look forward to working together under a shared vision of how to design powerful and approachable software to serve creative artists around the world.”


David Shapton

David is the Editor In Chief of RedShark Publications. He's been a professional columnist and author since 1998, when he started writing for the European Music Technology magazine Sound on Sound. David has worked with professional digital audio and video for the last 25 years.

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