How to Set Up a Maya Render Farm

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Maya is an excellent 3D production software owned by Autodesk. It is very famous in the animation design industry and belongs to the top design and production software. Especially in animation production, game characters, film special effects. For example, Blue Sky's animated movie Spies in Disguise in 2019 and Netflix's science fiction series Lost in Space. The issue of rendering is inevitably involved in animated film production. I believe that many people are worried about the rendering time is too long and the delivery time is too tight, but using the render farm is a good choice, so how to set up a Maya render farm?

Spies in Disguise

Spies in Disguise

Lost in Space

Lost in Space

How to build a Maya render farm? First of all, there are many issues to consider when setting up a render farm, such as the number of machines, the configuration of the machines, the network, labor, software, purchase of Maya's license, time cost, security, and your budget. You can refer to the following article: Is Building Your Own Render Farm The Best Option?

If the project budget is tight, and you don't want to spend too much time on setting up and managing the render farm, you can consider using a commercial Maya render farm. After all, it can be used anytime, anywhere, and there is no project or the project has not reached the rendering progress when you don’t need to vacate your resources or ask someone to maintain it. Especially in the process of using your local render farm, if you encounter unexpected problems, you can also get the assistance of professional technicians. You don't have to spend time researching the problem yourself until you find a solution. During this period, if you are in a commercial Maya render farm, Some projects are estimated that you have finished rendering. The Top Benefits of Online Render Farms

Of course, choosing a commercial render farm also requires choosing a large and well-known professional online render farm, which guarantees safety. In addition to security, the number of machines and the quality of service can be provided very well. For example, the TPN-Accredited cloud render farm, Fox Renderfarm, in addition to providing massive rendering nodes, 24/7 services, there are professional TD personnel to solve technical problems for you at any time. At the same time, Fox Renderfarm is the rare render farm in the CG industry that supports both CPU and GPU rendering. Various mainstream software, renderers, and plug-ins are supported, as well as personalized customization services. Fox Renderfarm provides multiple submission methods for users to choose from. In addition to web page upload, rendering, monitor, and download, offline software applications can also be used for asset uploading, rendering, monitoring, and downloading. It's very easy to use and it only takes a few steps.

If you are still hesitating to build local Maya render farm or use a commercial render farm, why not directly get a free trial of $25 on Fox Renderfarm, which can be used as a real experience reference.

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Maya Tutorials: Game Props Modeling
Maya Tutorials: Game Props Modeling
Fox Renderfarm, a leading cloud rendering service provider in the CG industry, will share with you the game props model produced by Maya. In this Maya tutorial, we will introduce how to create a game-style 3D model based on conceptual design drawings, from ZBrush carving to high poly and low poly UV texture production. The following is a brief description of the process of making 3D models of games. I hope that you can have some understanding of the models used in games. Concept Before making a model, there are usually some conceptual drawings as reference for making. In this case, you can directly put the reference drawing in the production software Maya as a reference. Modeling Before importing into ZBrush for sculpting, you can first do some preparation work in Maya. If the model is relatively simple, such as stone, tree trunk, floor tiles, etc., they are relatively simple. You can use ZBrush to sculpt High Poly directly without making a Low Poly model. If the model is more complex, such as a biological model (animal or the like), you can make a Low Poly export OBJ file in Maya and sculpt it in ZBrush. ZBrush Import the low poly model into ZBrush for sculpting. From Blocking, make sure that the scale is appropriate. The most important thing is that the model does not deviate from the conceptual diagram. It is necessary to determine the overall ratio first, and then it is the part of some accessories, and finally the detail part. This process only uses the basic brush. Retopo The number of model faces sculpted by ZBrush is very high, which may be as high as hundreds of thousands of faces, or even millions. Such models cannot be used in-game engines. Therefore, the high poly model sculpted by ZBrush needs to be topologically a low poly before it can be used in the game engine. The topology process uses a topology software TopoGun, TopoGun can help the model Resurfacing and Maps baking, and the details of the model will not be lost. If you are making a single static map, then the model does not need to rig bones, it is not necessary to make low-poly and Normal map. UVS After the topology is completed, it is the job of the UV. Normal maps can be baked after the UV is split. The UV can be organized using some plug-ins included in Maya, or can be produced using other software. You just need to expand them and adjust as needed. Try to be as reasonable as possible. Schematic diagram of UV deployment and placement Normal map Before bringing the model to Substance Painter, you need to bake the details of high poly onto the developed UV to make the texture. Baking and texture can be made using Substance Painter or Toolbag, especially Substance Painter has many tools and functions, which is very suitable for realistic and cartoon-like texture production. These textures represent different information such as Normal map, Specula, Hight, and Gloss. The higher the accuracy of the texture, the better the final display effect of the model. Import the baked texture into the most commonly used Substance Painter software to create PBR textures. Some parts can be adjusted using some preset textures, and then output different textures according to different needs.
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2020-06-23
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.
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2020-06-15
Behind The Scenes: Sagittarius(2)
Behind The Scenes: Sagittarius(2)
Scene refinement Three main buildings were built according to the position in the original painting, and then the entire background was spliced out with these three buildings. This step is relatively simple. Then put the objects made at this stage into the main scene, adjust a few materials, such as metal, leather, SSS materials, give the corresponding model, add an HDR skylight, and test the entire scene. Biological refinement Now it's time to break the symmetry between the character's head and the monster's head model. This step needs to enrich the details on the skin, such as adding some wounds or something. At this time, you need to split the head UV. Use ZBrush to export the displacement map to view the effect in Maya. The ZBrush export displacement method is as shown above: first connect the displacement map exported by ZBrush in Maya. You need to open the subdivision level in the object properties. In this way, the object can restore the display effect in ZBrush. Lighting When the model with refined objects is put into the scene, you can start to adjust the lights. Decrease the intensity of HDR light and use it as a secondary light source, with a film light source as the main light source, and adjust the effect of the light and dark boundary line in the sun with parallel light. The effects at this stage are as follows. Use of character XYZ Here you can start to try the smallest level of detail processing on all objects, such as the XYZ replacement texture of the skin, the metal texture and damage traces of the equipment itself, and the skin after the XYZ replacement, as shown below: Equipment refinement The effect of making detailed equipment: UV The model is almost finished. Now it ’s time to split the UV. Here, UDIM is used to facilitate textures, a set of UDIM, a set of background, a set of skin, and then the cumbersome UV process. SP texture production After splitting the UV, the textures are created. All textures are made in the substance painter. A set of UDIM models are directly imported into the Substance Painter. As long as the options shown in the figure above are checked, they will be automatically recognized. When making textures, it is mainly due to color changes. The color changes should be rich but they cannot cover his original main color. Of course, the roughness changes are also very important. The following picture is the effect of Substance Painter. The skin needs to be color maps, roughness maps, and rough range maps in the Substance Painter. The color maps are obtained by mapping the real face skin (the same method as XYZ). The roughness can be converted using the previous XYZ three-channel conversion then overlay some random ALPHA textures. The rough range is to control the position of the highlight, and it is hand-drawn. Generally, the forehead, the tip of the nose, and the highlights on the cheeks are more obvious. Maya texture connection After the three pictures are drawn, you can add the rough range in Maya, and paste the roughness below: The color map is attached to the arrow in the figure below, and then radius gives a red color (light transmission effect). We also need to apply the XYZ displacement and ZBrush-derived displacement that we created earlier to the displacement channel, After the first pass of the texture, you can test the rendering, and then you need to adjust it according to the picture effect. Then the monster's head also needs to draw a map. Just like the human head, it needs three pictures of color, roughness and rough range. The next step is to replace the wings. The method of wings uses patch stitching. First, make a single feather map in three or four different positions, and then stitch it. What it looks like at this stage, Xgen hair production Let's start adding hair, XGEN for hair, each part should be separated into different Maya files when making hair, and then integrated into the main scene. Mainly how to import into the main scene, first clean the Maya file of the Xgen hair that is made separately, leaving only the growth bodies and the grown hair, and then directly import the cleaned Maya hair file in the main scene, and the imported file will be prefixed with a name. The prefix cannot be deleted, otherwise an error will occur. Rendering When rendering, you need to add AOV channel as a later auxiliary layer. The entire scene is divided into the foreground and the background for rendering separately, and the later scenes are stacked together to facilitate the final effect adjustment. Finally, the final picture is rendered, White mold, And the detail,
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2020-05-14
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