Big News! 3ds Max 2021 Is Now Available

Big News! 3ds Max 2021 Is Now Available

Hey guys! Let’s check out the new features in the lately released 3ds Max 2021.1, including texture baking improvements, Arnold as Default Renderer, expanded PBR workflow capabilities, viewport, fluid and modeling tool enhancements.

The feature-rich update is targeted at modernizing and upgrading performance for artist workflows across design visualization and media and entertainment disciplines.

Bake to Texture:

  • Output now supports multi-tile UV mapping (UDIM)
  • Animated map outputs are now supported as well as multiple animated frames
  • Various usability improvements.

Model courtesy of TurboSquid and their artist, Luke_Ahearn.


  • The Fluid loader is now exposed so that object types such as particle systems can work with the data
  • The Velocity channel now reports correct information when not using meters as your default scene scale. This fix will enable motion blur in your renderer
  • PRT now supports a signed and unsigned integer values (via .ini change).

Interactive Extrusion and Inset:

  • Users can now utilize a Shift+Drag (left mouse button) with the Move transform tool to extrude polygon component selections when using an Editable Poly or an Edit Poly modifier
  • Shift+Drag with the Scale transform tool now performs a polygonal inset action on selected polygon component selections when using an Editable Poly or an Edit Poly modifier
  • Clone/Copy actions are now performed with Ctrl+Shift+Drag when using the Move transform tool on the polygon component on and Editable Poly or an Edit Poly modifier.

Viewport improvements:

  • Depth of field now affects the environment map
  • Vignetting scale is now the same value as defined in the camera
  • Matte/Shadows material now work in the viewport
  • Each view can now have its own exposure, white-balance and vignette settings.

Arnold renderer:

  • MAXtoA 4.0.4
  • AOV token system
  • Animation support for Alembic
  • Increased shader spinner accuracy
  • Bake to Texture support for projection of normals from high to low resolution, normals spaces, and Mikkt.

Enhancements and Changes

Weighted Normals Modifier

Now includes support for multi-threaded processing to enhance speed and performance when performing calculations as well as other stability improvements.

Explicit Normals Preservation for Mesh

Applying an Edit Mesh modifier no longer invalidates explicit normals, nor do the following actions: Attach, Detach to Object, Detach to Element, Clone to Object, Clone to Element, Detach as Clone to Element.

PBR material

Both PBR materials now support displacement.

Shared Views

Shared Views now supports Physical material.

SketchUp model importation

There is improved handling of internal edge visibility, improving the imported mesh quality, and SketchUp 2020 models are now supported.

Slate Material Editor

The Slate Material Editor now pans and zooms smoother and faster when using a 4k monitor. In addition, the Search field has been improved to perform global search through all materials and maps in the editor. For example, if you were searching for the Advanced Wood map and typed "wood," the old search would not find it but now it will.

Render output size

HDTV resolution of 1280 x 720 is the new default output size.

UDIM display

When you work with UDIM, you are now able to view all textures in the viewport when using the Bitmap Lookup OSL shader, instead of just viewing one as when using the Multi-Tile map.

User Defined Defaults

Allows you to set your own default values for ParamBlock2 supported spinner, radial, checkbox, or input field through MAXScript calls.


Depth of field now affects the environment map, the vignetting scale is now the same value as defined in the camera, Matte/Shadows materials now work in the viewport, and each viewport can now have their own exposure, white-balance and vignette settings.


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3ds Max Tutorials: Semi-realistic 3D Game Scene Interior Production Sharing(2)
3ds Max Tutorials: Semi-realistic 3D Game Scene Interior Production Sharing(2)
Fox Renderfarm, as the best Maya render farm in the CG industry, the tutorial we shared for you this time is from the 3D artist Thepoly, on how to use 3ds Max and Maya and other software to make a semi-realistic 3D game scene interior production process. Taking the wooden table as an example below, first of all, we must determine the material to be sculpted and then look for the reference picture corresponding to it. Because the wood in the scene is too old, you need to find some pictures of old wood when looking for reference pictures, for example, The carving process needs to be combined with actual life, so as to achieve a more realistic effect. In this scene, the wooden table is a bit decayed, so the edge of the table will not be made into a hard and sharp right-angle structure, so you can use a brush to make the right-angle part of the edge more smooth when carving. Reflect the texture to be expressed. Coupled with appropriate deformation, it can more vividly increase the visual impact (the modified place is slightly adjusted with the Move brush). The wood in the scene has to make a sense of oldness, so cracks are a good way to show that the objects are worn out, and reference pictures are also needed at this time. For example, the cracks on the window plate can be carved according to the cracks in the reference picture. This can reflect the material better, more realistically, and faster. The final high poly showed as below, Low polygon model and baking The final low-poly model uses ZBrush to complete the reduction and then imports into Maya to make the final low-poly model. This can get the low polygon model faster, but the wiring will be less neat. Note that near 90-degree angles, it is necessary to distinguish between smooth groups and split UVs. The final baking used Marmoset Toolbag 3. Material production After baking all normals and IDs, import Substance Painter to make materials. It is worth noting that the normals baked in Marmoset Toolbag 3 and Maya use OpenGL mode in Substance Painter, and the normals baked in 3ds Max use DirectX mode. After successful import, the remaining textures are baked in the texture set-baking model texture. Wall material basic process First, we make the intrinsic color of the material. The intrinsic color layer can add filters to increase details. To add dark colors, use the Dirt generator. Add a drawing layer to repair some unsatisfactory areas. Add bright colors and color changes to create a rough effect of wall corruption. Here mainly relies on hand-drawn layers to modify. Continue to add color changes and roughness changes. Try to get as close to the real effect as possible. Finally, you can add an adjustment layer to increase the brightness. The material made in Substance Painter should be led to Marmoset Toolbag 3, which will be a little lower than the brightness seen in Substance Painter. The wall material is finished. The furniture in the scene is gray and dark because of the old feeling. The damage and abrasion are to reflect the original color of the wood, so the saturation of the color will be higher than the color of the surface. 3. Rendering Before finally importing into Marmoset Toolbag 3, the lights must be set before rendering. Establishes the main light, and the auxiliary light supplements the light source to maintain the brightness of the picture. And to turn on high DPI and oversampling, turn on GI global illumination and AO environment occlusion. The final effect showed as below, I hope this learning and sharing can help you.
3ds Max Tutorials: Semi-realistic 3D Game Scene Interior Production Sharing(1)
3ds Max Tutorials: Semi-realistic 3D Game Scene Interior Production Sharing(1)
Fox Renderfarm, as the best 3ds Max render farm in the CG industry, the tutorial we shared for you this time is from the 3D artist Thepoly, on how to use 3ds Max and Maya and other software to make a semi-realistic 3D game scene interior production process. This project uses the standard PBR process, using 3ds Max to complete the basic model building, and determine the object scale. Complete high poly carving in ZBrush, topology in Maya, baking in Marmoset Toolbag 3, Substance Painter to complete the production of PBR materials, and finally use Marmoset Toolbag 3 for rendering. Production process The production is divided into three parts: - Modeling - Material production - Rendering Modeling Before production, determine what materials, what objects are in the scene, and the overall ratio, and then determine the production order according to the ratio. Most of the scenes are walls and stones and wooden furniture, so they are the key part of the production. Quickly build up their approximate proportions in 3ds Max. Complete the medium polygon model After establishing the proportion of large objects, continue to build down the remaining objects in the scene. And further, enrich the details of the model. There are a lot of repetitive objects, just make a few different shapes. This does not seem to be too repetitive. Taking the above book as an example, many different types have been produced, which can reduce visual duplication. There are two fabrics in the scene, here is a pillow as an example, This product uses the cloth calculation that comes with 3ds Max. The specific process is as follows, Create blocking objects, Create a pillow basic model (the higher the number of segments, the better the simulation effect, but it also stuck). Squash and find the fabric in the modifier, Analog computing Finally, get a simple pillow model. (The folds of the fabric should be sorted out, the above is a simple demonstration. The curtains are the same, MD may have better results) Next, import the model into ZBrush for sculpting. Carving High Poly Take the wall and stone of the house as an example: After importing the medium-surface model into ZBrush, it is because of the irregular shape of the stone. You can use Dynamesh in geometry editing to edit the model. The No.1, No. 2, and No.3 brushes are used for large-scale carving of stones. The No. 4 brush adjusts the shape to prevent insertion. Finally, the No.5 and No.6 brushes flatten some edges and corners to make the structure hard. Thus reflecting the texture of the stone. The big idea of the wall is the same. Finally, use the noise in the surface, adjust the curve and noise ratio, etc. to simulate the graininess of the wall and the stone surface. Finally, add some details such as cracks and bumps to enrich the picture. Use the No. 6 brush mentioned above and press it again to achieve better results. (This part of the production reference is very important)
Behind the Scenes: Spy House Production (3)
Behind the Scenes: Spy House Production (3)
Next, we will share the production process of two other materials: Making wood material Pay attention to the following points when making wooden materials: • When you split the UV, try to place the squares as much as possible to ensure that the post-texture image will not be distorted. • It is also necessary to consider the utilization rate of UV space and try to give priority to the things you can see, which can improve the quality of the material. • The texture of the wooden structure is simple to produce, and it is necessary to find a lot of references that combine with the situation of the scene. For example, what does the wooden structure look like in an underground wet environment for a long time? Or the wood in this environment is more corroded? So to make such a feeling, a lot of references is very important. Substance Painter wood texture production • Import the baked Normal stickers and prepared materials into Substance Painter. Before creating something, create two fill layers, leaving only the Color option. One layer puts the AO diagram on the Color and adjusts to a positive overlay, which is used to improve the dark color. Another layer puts the Curvature map on Color and adjusts to Overlay, which is used to improve the bright color of the edge. After these operations are completed, the production of the texture begins. Pay attention to the production of wooden texture: Consider the actual situation of the scene. Take the scene we made (spy house) as an example. For a long time in a dark and humid environment, the corrosion will be relatively serious. Afterward, it should be noted that the edges of the wood will not be particularly bright. The bright edges of the wear marks will also be darker, and then the scratches and the wear of the places where they are often used. A little brightness is needed here. Finally, there is dust accumulation and stains in places that are not often encountered. After these things are done, you can basically get a good real texture. The material for making paper and book When making a single-page paper with no thickness, please pay attention to the following points: 1. When you split the UV, try to place the square as far as possible to ensure that the textures in the later period will not be distorted. 2. The texture of the paper is simple to produce, without Hight Polygon, just baking Low Polygon Normal. How to make paper in Substance Painter: Import the baked Normal map and prepared materials into Substance Painter. Create a layer (unfilled layer), select Color for the material and put the material in Base Color, and select None for UV Wrap. In F1 3D/2D mode, place the picture material in the corresponding position. Just pay attention to the book texture production: from the beginning, it is necessary to distinguish between the shell and the content. If it is made into one, it will not be easy to separate when making the texture. Marmoset Toolbag 3 rendering Finally imported into Marmoset Toolbag 3 for rendering, the first is to layout the light source, choose to add an HDR suitable for the scene, adjust the Child Light to the appropriate position to make the model produce a 45-degree shadow. Because the scene is larger, more lights are added, but when rendering, pay attention to adjusting the size and illumination range of those fill lights to prevent the mutual influence of light. I hope our learning and sharing can help you, thank you.

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