Any Free Render Farm for Cinema 4d, Maya, 3ds Max?


I think you always search for a free render farm for Cinema 4d, Maya, 3ds Max, but you will find that a completely free render farm does not exist, to be honest, most of the platforms needs to charge due to the reasons below.

Server Fox Renderfarm

1. Hardware cost

The bigger the render farm network, the quicker the rendering speed. According to the top render farm companies such as FoxRenderfarm, they have over 30,000 physical servers, you can calculate the hardware cost.

2. Maintaining Cost

Need to rent a room in the data centre to place all of the rendering nodes. It would also be a large expense every year.

3. Human Resource Cost

Need a lot of specialists in customer service, technical support, research & development, marketing.

However, you can find out which render farm is the cheaper one, at the same time, you can get a free trial from the render farm. I would like to introduce Fox Renderfarm, the best cloud rendering service in the world. It has high compatibility, supports most mainstream software and plugins, including 3ds Max, Maya, Arnold, V-Ray, Redshift etc.

Fox Renderfarm is a leading cloud rendering service provider in the industry. Since the operation in 2011, Fox Renderfarm has earned a good reputation for its quality performance, great customer service, and flexible pricing scheme. With over 20 years of experience, the pioneering core team served more than 200,000 users and top leading visual effects companies and animation studios from over 50 countries or regions, clients including multiple awards and Oscar winners.

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The picture is the web-based interface of the platform,

  1. The upper right corner is message, guide, setting and account info;
  2. The left is rendering steps;
  3. The middle is the dashboard of render info.

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Desktop client

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Ready for Windows and Linux users;

Drag-and-drop batch submission;

Submit your jobs inside your 3D software.*

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*Supported Software:Maya 2015 64bit+ / 3ds Max 2014 64bit+

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If you want to learn more about Fox Renderfarm, we offer a US $25free trial, welcome to take an experience.

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Enjoy your journey with Fox Renderfarm!

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How to Use ZBrush and Maya to Make A Stylized Character "The Dark Knight"(1)
How to Use ZBrush and Maya to Make A Stylized Character "The Dark Knight"(1)
Hi there, your best cloud rendering service provider, Fox Renderfarm, this time we will share with you the production process of how to use ZBrush and Maya to make the stylized character "The Dark Knight" from 3D Artist Mars. Mars divides the entire production process into pre-reference search, and then makes high-poly model sculptures such as mannequins and clothing, armors, baking and UV splitting, Substance Painter texture production and final rendering, I hope you will like it. Reference This part is very interesting. When looking for information, I mainly found facial references and a lot of information on medieval costumes and armors. The preparatory work is very important, which directly determines whether the subsequent work process can proceed smoothly. Model Making Because the character itself wears a lot of armor, the focus of the character model is on the sculpture of the head. I made some settings before production, and set the age of the character to around 35 years old, and he is very good at fighting. Because the body is covered by clothing, I just made a rough muscle structure to facilitate the post-production of the correct shape of the clothing. Add Pores After the head was made, I added facial pore details with the XYZ material, and all the pore details were made in ZBrush, not Mari. XYZ officially provides a set of materials with area numbers that can be directly dragged onto the surface of the model, as follows: To make pores, now switch the displacement brush of ZBrush, import the XYZ channel material, and finally change the MID of the Alpha material to 50, and then start to sculpt the pores by dragging. Clothing production, import the body model into Marvelous Designer for clothing production. The body model is imported into Marvelous Designer, and it is made to make a board (clothing production is mainly based on the effect of 3D display, and there is no need to consider some principle issues of clothing design. After that, the model is exported, and the plane style and 3D are exported here. The style is convenient for retopology for clothes. Topology I imported the flat-layout model into ZBrush and used tools for automatic topology, and then used Maya's topology transfer to wrap the topological model onto the 3D model, and then transferred the re-topological model through Maya's topology to transfer the 2D style again. To the surface of the 3D style, a uniform and smooth 3D clothing model is obtained, which is convenient for subsequent sculpting and modification in ZBrush. Armor Making The armor is made by using different shapes of faces and pieces, and then extruding the edge part and then detailing the model until all the work is completed. After importing the model into ZBrush, I once again sculpted the whole part of the outfit. Here I first sculpted the underwear part, and the sleeve part was especially important. This part of the work is to remove the unnatural part of the solution in Marvelous Designer and add smaller wrinkles. The main brush used is the Standard brush. In order to make the UV of the neckline model straighter, then import it into ZBrush to add surface texture (note that the subdivision level of the model should be as high as possible, the details will look better, here I give it 7 levels), and then add the displacement texture On the surface of the model (add it through Noise under the Surface menu, and change the projection mode to UV mode). I directly use the Slash brush to sculpt the armor pattern. Because the pattern design is already fixed and the material cannot be used, I can only sculpt it manually, which is time-consuming (you can open the ZBrush storage transformation before engraving to facilitate the use of Morph pens. Brush to erase and modify the pattern), the folds of the edge are carved with the help of brush materials to simulate the edge of the leather.
Maya Tutorial: How to Make An Axe(2)
Maya Tutorial: How to Make An Axe(2)
When I feel that there is no problem with the overall shape, I can start the middle mold of the detailed blade part. Continue to refine the three structural parts that were just split. We have refined the structure of the three parts. At this point, the basic shape of the entire model has basically reached the structure in the concept map. If these details are attached to the basic structure, if it is not easy to make in Maya, you can use the advantages of ZBrush's rapid sculpting for quick sculpting. This stage is just a transitional model, there is no need to sense volume or sculpt, like some smaller details, I just quickly generated the basic shape attached to the details on the whole. These are very time-consuming if they are directly modelled in Maya or 3ds Max, so what we need is to use the advantages of each software to quickly achieve the final effect. The software used is not important, the effect is the final. The specific operation is also very simple: - Masking - If the generated thickness is too thick, adjust the thickness and generate again - Separation model - Then adjust the shape according to the original painting. We need to take the topologies of the models planned in ZBrush into low-polygon models and import them into Maya for further mid-model refinement. Finally, some detailed models such as nails and ropes are put on, and then the models are merged, and the preparatory work is done for the model carving. At the edge, I deliberately added some notches and bumps to make this axe look like it is often used. Summary When making this model, there are more cumbersome parts. Don't be afraid. Just break the 2D concept map into many small parts, and then distinguish the priority and make it step by step according to the previous plan. Then sculpt some worn details to the model in ZBrush. Then you can go to ZBrush to carve some broken details. In this process, you need to pay attention to the overall structure and don't make too much detail. Do it first, then do it again, otherwise, the model will look too trivial. There are no details everywhere because they will distract the viewer. We only need to have relatively large damage in the distant view, middle-level details in the mid-range, and close-range views to see the texture of the details, and all the things can be combined to form a very beautiful model. When making a model, you will need to make the main character first, and then other accessories. The overall model's picture needs to be coordinated, instead of focusing all the energy on a broken sculpture. We need to use damage and details to set off the subject, not to make those details too attractive.
Maya Tutorial: How to Make An Axe(1)
Maya Tutorial: How to Make An Axe(1)
In this article, Fox Renderfarm, the best cloud rendering service provider in the CG industry, shares a tutorial from 3D artist G on how to make an axe with Maya. G is a 3D artist and has been engaged in model making for the game industry. Before entering the CG industry, he also made many mistakes that the beginners would make. In the process of making some 2D concept drawings into 3D works, he gradually realized that as a 3D artist. From flat thinking to three-dimensional thinking, it is necessary to have a good analysis and judgment ability for the understanding and grasp of the sense of space, especially when the 2D concept map is produced in 3D. G will mainly show the production process of the model and explain how to decompose the 2D drawing into a 3D drawing. I hope this article will be helpful for beginners. Reference I looked for a cool weapon concept map as a reference. The concept map of this axe has beautiful lines and a simple structure, which is very suitable for 3D. Before making it, I will observe the concept map first, and then have a blueprint in terms of structure, proportion and colour scheme. Take the following picture as an example. This axe looks very sharp, and the middle position is thicker, forming a strong contrast. Moreover, we need to infer the thickness and curvature of the side from the ratio and contrast of light and shadow, which is very important. Compared with the two weapons, the first one I personally feel is that it is not a knife, because it does not have a sharp blade similar to figure 2, so it must have a heavy texture. In addition, there are sharp thorns on both ends. I can imagine the way this weapon is used. It should first stun the opponent like a hammer, and then pierce his vitals with the spikes. It's bloody to think about it. Since this weapon is very heavy, I would imagine that the person using it should be very strong and domineering! Preparatory work is very necessary. If you need more, you can find more reference pictures, such as the thickness reference of the side, otherwise, the model will be unreasonable. Modeling My habit is to decompose the weapon according to the structure of the original concept painting before making the model, especially for this very complicated weapon, this step is more important. No matter how complicated things are, as long as they are broken down step by step, they will not be so complicated. The important point is that you should not directly make it on the basis of the concept map. If one of the structures has a problem, then a lot of repeated modifications are required, so that you need to redo it. This will be a waste of time and will lengthen the production cycle. Therefore, the early disassembly analysis is very important. In this project, first of all, we need to determine the main shape, which is basically divided into two parts: one part is the definable thing, the handle, etc.; the other part is the main body of the blade. My principle of production is the structure must be made with the least amount of surface in the early stage. What can be determined is that some parts of the above picture, such as the handle and the bottom of the lower end, are cylindrical, so you can make all these simple things first, and give a reference to the width of the blade. The main body of the blade is as follows: The main structure of the blade is composed of two red areas as a basic structure, and other details can be ignored. Therefore, the structure of our first step is as follows: The model of the blade must be made with the least number of faces, and the whole structure must be made first before the other things. This production step requires a lot of patience and time because we need to modify the shape as much as possible to be similar to the concept map in a small number of faces. Because this low-profile model will be a draft of our final effect. Of course, you can also import the reference image into the background image as a reference. For Part two of the tutorial, Maya Tutorial: How to Make An Axe(2)
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