Cloud rendering is based on the server via the desktop client. So, can the PC be turned off when using a renderfarm desktop client or web? Can I disconnect from the network during transmission or after the transfer is completed? So let's first look at the way how your rendering task be transmitted on . When users use renderfarm, they need to pack their own files with various settings and upload them from the client /webpage. However, when the upload is still not completed, it is not possible to turn off the computer, and it cannot be disconnected. Take Fox Renderfarm as an example. If the network is disconnected or the computer shut down during the upload process, the upload will be interrupted. However, when you open the /webpage again or connect to the network, you will resume the breakpoint. When the user has uploaded all the files, and the renderfarm has shown that all files has uploaded completely, the computer can be turned off or disconnected from the network. Renderfarm will render in its own server. Users' operations on their own computers will not affect the uploaded files, and there are many ways to query the rendering progress of their files. After the files uploaded, if you have WeChat installed on your mobile phone, you can query the rendering progress and results at any time in the WeChat Mini Program. →Tutorial: . By the way, the difference between Fox Renderfarm's desktop client and web page as follows: Via Desktop Client - Business: Video businesses such as movie and television, advertising, special effects. - Submission: By dragging - System: Windows, Linux - Software: At present, the software supported by Windows version is 3ds Max, Maya, etc. The software currently supported by Linux has Maya, more software supported, and we are also stepping up research and development. - Quantity of frame: Single frame or multiple frames - Features: Intelligent analysis,uploading and downloading. Bulk submission supportable. Via Webpage - Business: Video businesses such as movie and television, advertising, special effects. - Submission: Via webpage - System: Windows, Linux, MacOS - Software: 3ds Max, Maya, Cinema 4D, Blender, VR Standalone, Clarisse, etc. - Quantity of frame: Single frame of multiple frames - Features: Uploading the elements first, and then cloud-enabled intelligent automatic analysis and rendering. Bulk submission supportable. Using the , whether you choose the web page or the desktop client, your render task doesn’t take up your local machine during rendering. You can also shut down the local machine during the rendering process and don't have to worry about network disconnection, which can greatly improve work efficiency and time saving. Finally, thank you again for choosing the best renderfarm in the CG industry, Fox Renderfarm. If you encounter any problems during the process, we provide 24/7 service, professional customer service staff and TD staff to serve you.

How to manage large scenes in Cinema 4D's Redshift renderer, how to optimize things in the scene, and how to optimize rendering settings in the Redshift renderer. These are relatively far-reasonable things. How to optimize them is very helpful for scene management. - Proxy file For the Redshift renderer, you can generate proxy files from the scene and export them before rendering. For trees, the scenes with a lot of flowers and grasses are very suitable for the Redshift renderer. This is the theme that the leading in the CG industry, Fox Renderfarm, brings to you in this article. How to generate a proxy file? Now you need to generate the proxy file and export the Redshift Proxy (*.rs) to where it is needed. Proxy settings: after the ‘Add’, ‘Proxy to Scene’ are checked, the generated proxy file will generate a proxy file in the location where you want to export the file. If the exported file is animated, then ‘Range’ must be changed to ‘All Frames’. Then the generated proxy file will not occupy too many scene resources, and the production software operation will be smooth. And if you use a proxy file for replication, it will also reduce the resources of the system. Like the scenario below, most of the models are proxyed, so the rendering resources needed are even more economical. Take the following scenario as an example. Its number of faces is very large, and it will be stuck when it is operated. And all the models in the scene do not use proxy files, so you must optimize the rendering settings. - Sampling Before optimization, you must have a certain understanding of the working principle of Redshift. In the default case of Redshift, it does not emit light to the object through the light to show the light and dark effect. Redshift is the light emitted by the camera, hit on the object, and then the object will look for the source of the light to present the light and shade, which is somewhat different from other renderers. The two values in the picture below are generally used to reduce noise. Samples Min means that the minimum amount of light emitted from the camera is four, and the value below Samples Min can adjust the secondary reflection of the object. Sampling principle Noise The Samples MAX value, if adjusted too high, the camera calculations consume more resources, rendering time will increase a lot. In general, the values are around 64. However, if the motion blur is turned on, then the value should be at least 256 or so. Samples Min=4, Samples MAX=256 Samples Min=4, Samples MAX=16 If the noise is obvious, try to adjust the ‘Brute Force GI/Number of Rays’ under GI. GI adjustment The ‘General/Primary GI Engine’ under GI is a primary feature, and the Secondary GI Engine controls the number of bounces. Calculating the GI information of the scene under /Primary GI Engine/Irradiance Caching will be faster. The number of light carried by Num Rays, Adaptive Amount represents the attenuation ratio of divergent rays. If Num Rays is 200, then Adaptive Amount 0.8 will decay by 80%. The above are several ways to optimize large scenes and rendering. By optimizing the scene and rendering settings, you can save more time and resources during rendering, and better complete the scene production.

As the leading in the CG industry, Fox Renderfarm knows that in the creation of excellent works, if you do not follow some basic principles, even the best technology in the world can not help the works achieve real effects. Although 3D software has made great progress in the realism field, it can only let you finish 80% at most, and the remaining 20% is that the effect is between 'it looks real' and 'real'. If you are a creator of 3D technology, you need to know the needs of a scene that combines many aspects to create a true photo-realistic image. If not, you feel that a work does not achieve the goal you want, and you can't find the problem. This is very frustrating and time consuming. Here are 5 tips to make rendering more relistic, hope this can help you. 1. Sharp edge The computer is perfect, and the real world is not perfect. This is especially true for the edges of objects. Making a cube in any 3D software, its edges are perfect, but the perfect angular edges are usually unreal, they don't exist in the real world. The two surfaces of real-world objects cannot intersect at perfect right angles while remaining completely sharp. If you look at any intersecting planes, they will have rounded corners, broken and uneven areas where they meet. Rounded corners look more realistic Observe the surrounding objects and see how they differ in their edges This natural fillet is very important for creating visual accuracy, they produce highlights, define planes, divide surfaces, and increase volume. Even the sharpest edges must be chamfered. A better practice is to add some subtle scratches to the edges. Popular render engines such as Arnold and Vray have their own technology to achieve this. 2. Pay attention to the shadow Shadows are easily ignored by 3D artists, and it's easy to be too bright or too dark to notice the parts of the lights and shadows. And a common feature of CG light sources is that the edges are too sharp, and another disadvantage is that the shadows have no gradients or changes in hue. The shadows in real life are generally softer, and the farther the shadow edge is from the shadow projecting object, the softer it becomes. It is illuminated by the light portion of the surrounding environment, which affects its color and intensity. In general, the shadow intensity (shading) decreases with distance from the shadow projection object. You should avoid using the two light sources below, or use them very carefully. Point Lights /Omni Lights - emits light from all non-physical points in space in all directions. Not only do they produce fake lighting effects, they also produce sharp shadows. Ambient Lights – This light source has the effect of boosting the dark and midtones of the image, allowing more light to bounce off the scene, but it results in a desaturated, faded effect. The best thing is to increase the amount of global lighting bounce or add more lights to the scene. Area Lights Area Lights – This is a glowing surface. Like windows or photographic soft lights, area lights create natural shadows with soft edges and true attenuation, and they also provide the benefits of being visible on reflective surfaces, helping to add realism. Dome Lights /Skylights – Simulating large light sources, such as the sky, introduces a global light source that is useful for establishing realistic lighting conditions. Remember a simple rule that large light sources, such as area lights and dome lights, produce soft shadows, and smaller light sources, such as spotlights, produce sharper shadows. 3. Add imperfections For some even planar models, you need to add some imperfections to its surface. Like walls, those surfaces that look relatively clean and unweathered can still be diverse. Such as light, dust, wear, scratches and unevenness to highlights and shadows. Add noise Quick and easy to break the perfect, noise can easily do this. A variety of rendering engines provide a wide variety of noise, try to add noise to your diffuse color or texture, adjust the scaling, so that the effect is not particularly obvious, and can subtly break the balance of the surface. Perfect wall Add small bump details Mix a large bump to further break up the highlights Very simple, right? Be careful not to overuse when adding noise patterns. You can reduce the effect by 20% when the effect is obvious, which will have a very large impact on the authenticity of your image, especially in large-scale indoor scenes. 4. Focal length What is the default focal length of the camera in your 3D software? If you don't understand the effect of focus on the image, then it's a big obstacle to rendering realistic images. When the photographer composes the picture, he will pay great attention to choosing the appropriate focal length and framing frame. This is a side that 3D artists often overlook. It's too easy to start framing with the default camera. Many people don't even think about the focal length used. It is very important to have a basic understanding of the principles of composition and focal length. A common mistake is that the ultra-wide lens has no distortion, and the wide-angle lens has no depth of field. Distortion and depth of field are turned off by default in 3D software. It's best to come up with a real camera (preferably an SLR camera), experience the workings of the physical lens, study the results, and understand the choice of the lens, which will make your work better. 5. Add realism Highlight highlights and bloom. The highlight in the scene will be the visible light source and its reflection. The camera and lens will handle these bright areas as much as possible. In this case, using "copy" is correct, because when dealing with these bright areas, the lens will produce some illusions. The side effects of these strong spots are usually high light and glow. These imperfections have become part of our vision, so they can add a lot of realism to the image. It is recommended to add these effects to post-production. The image above is the original rendering. The picture below adds glow and glare. Add graininess The film used in traditional cameras will cause the image to produce an image of particles, while the 3D image of the camera can not produce graininess, and we will break the perfection of 3D images by adding some imperfect particles. In post-production, two main grainy sensations can be added to the image. It can be programmed in a program like Photoshop or Nuke. The advantage is flexibility and height adjustment, which can be fine-tuned according to the RGB channel of the image. It is also possible to use a material containing particles for superposition, although the degree of adjustment is not high, but it is fast and effective. Increase in graininess All these tips have a common feature that breaks perfection in order to be more realistic. The best results can be achieved by observing the real world and discovering the nuances you see, making up for the gap between the 3D world and reality.

This time, the CG industry's leading service provider, Fox Renderfarm brings you a case study tutorial of Redshift for Cinema 4D for interior rendering. This is a basic case of Redshift's interior rendering, so the case uses an existing interior model, the focus of this case is the lighting adjustment and rendering settings. The effect in the image below is to use the Octane renderer, which will now be recreated using Redshift. Lighting adjustment Before you make the lights, turn on the GI and choose the most appropriate way for this scene. The Primary GI Engine chose Irradiance Cache, and the scone GI Engine chose Irradiance Poince Cloud. In order to match the light source, an Area Light is placed in each window to simulate the skylight. The advantage of using three lights separately is that it can be adjusted separately and saves rendering efficiency. The default material for Cinema 4D will be darker, so before the rendering test, you can create a new Redshift material, adjust the Color Picker up to 70%, and turn off the Weight. Give the material to the model, and the rendering test shows that the model is much brighter. Now you can see that the overall color of the light is white, so you need to adjust the color, first change all the light modes to Temperature, the window light is blue, and the room is warm. And make up a light on the left side. Adjust the brightness of the light to the right position. If the picture is still dark, you can also adjust the camera's Film Speed (ISO). Now you can see that the light is no longer a problem. Material Use glass material. First adjust the glass material, you can directly use the preset glass material that comes with Cinema 4D. You can make a material and copy it to adjust other glass materials on this basis. Next to the toilet and sink, the bathtub is made of ceramic material, and the Chrome ball is used here. The hangers and door handles are made of metal. You can also create a preset metal ball to give them and adjust them on this basis. The mirror material uses the Material shader, and the Reflection/Fresnel Type is changed to IOR, and the IOR is changed to 30, which is basically a mirror effect. The following content is selected from other materials. The wall uses a tile-like texture with wood grain on the floor. Because this material is built into the model, so just paste it back, but the details can be adjusted. Now you can see that the material of the large model has been adjusted, leaving some details, such as baskets, branches in vases, books, bath towels, etc. If the scene is exposed, you can adjust the value of the camera's Exposure/Tone Mapping/Allowed Overexposure, where the value that allows exposure within the camera is controlled. Put it into Photoshop after rendering, the final result, Content quoted from: `Https://www.bilibili.com/video/av15713359?from=search&seid=5150307806316506488`

As a leading in the CG industry, Fox Renderfarm supports major software, renderers and plug-ins including Cinema 4D, Redshift. The text and images in this article refer to a tutorial produced by an artist named 1314, a rendering guide for a glass and ceramic class of Redshift for C4D. Fox Renderfarm hopes that sharing this tutorial will help more people learn Redshift for C4D. The difficulty in the production of this tutorial is the adjustment of the material of glass and water. The materials for wood and metal forks are made using textures. The final rendering is as follows: The part of the scene building model is very simple and consists of several elements: cola bottles, bowls and water, chopsticks, forks, plates, tablecloths and tables. One of the parts to note is that the cola bottle and the cola water inside are made up of two models, and the model of the cola water needs to be made separately. Now we mainly explain the lighting and rendering parts. Lighting Create an area of light that adjusts the direction of the light, which is used to reflect the high light of ceramics and glass. Create a camera and change it to Redshift mode. It can now be seen that the rendering is still dark. Create a Redshift material to increase the brightness and intensity of the Area light and test the brightness of the picture. Some of the northern part is dark, you need to open the GI part and brighten the dark part to see the details. And add a Dome Light to the scene, using an indoor texture to reflect the HDR. This part needs constant adjustment to find the most appropriate angle. Material First create a Redshift material to adjust the texture of the water. The water material is very simple, the most important part to remember: the water LOR is at 1.333. The bowl and the saucer use the same material and add a texture. The chopsticks are rough, remember to reduce the reflection, and the Reflection/Roughness value should be higher. In addition to Color, a Bump map has been added to add chopsticks to the wood texture. The IOR of the cola bottle is adjusted to 1.6, and the Samples of the Refraction/Transmission are adjusted to the highest. The IOR of the cola water is adjusted to 1.3 The reflection of the metal is the highest and the IOR of the fork is adjusted to 3. The tablecloth uses a texture that lowers Weifht and reduces the texture a bit. The table also uses a wood grain map. Now all the textures have been completed, but the light on the table is a bit exposed. In the production, it is necessary to leave some room for the later adjustment. If the exposure is too much, it will not be adjusted in the later stage. Therefore, when making, it should be neutral, not too dark or too bright, and used for later adjustment. In the Filter can also be adjusted, brightness, hue, saturation and the like, so here you can adjust and test the rendering to see the effect. Now try to weaken HDR a little bit. Then perform a rendering test. Now you can see that the refraction of ceramics, forks, glass and water is very good. I hope this tutorial article on Redshift for C4D can help you learn.

As the leading in the CG industry, Fox Renderfarm will continue to show you how to use Octane for C4D to make a natural scenes. In the previous article of production process, the forest was already done, and the part of the road was relatively simple, and the road model in the C4D preset library could be used directly. After rendering, you can see that the overall picture is already there. But there is a black color at the junction of the ground and the sky, because there is no model occlusion in the distance. Then this place needs to add some fog to block the black place. And compared with the real environment, there is still some environmental fog and depth of field, but also need to add some light and shadow, the part of the sun needs to be adjusted. If you want the current environment and the reference map to look similar, then the angle and strength of the light source need to be adjusted to add fog. Reduce the density of fog and increase the sense of the atmosphere. After the rendering, you can see the sun through the woods. Now that the woods look a bit narrow, you can increase the length of the woods and increase the number of trees to make the forest look denser. Using an Octane camera, with a suitable angle, you can see that the overall light and shadow effect is great. But now there is still a problem, the tree in front of the camera is a bit dark because of the backlight. This requires adding a slightly brighter HDIR to the entire scene. Rendering again, you can see that the entire scene is lit, and the light looks very good. It can now be seen that the reflection of the road is too strong and the color is also problematic. Then you can adjust the road material, reduce the reflection, increase the roughness, and add some dirt to the Shader's Amount layer. Now you can see the reflections and bumps on the road. If you want to be more realistic, you can add some old textures and stains to the road. The scene has been basically completed, you can compare the effects in the reference. Now you can add a car and render again to see the final effect. This workflow only explains how to make an outdoor scene. I hope you can learn something from this article.

Interview With Leonard Daly, Creating A New Future Of Websites Web-based 3D multi-media is becoming an important part of many websites. 3D on the web offers the advantages of seeing the information from a variety of viewpoints in a manner not possible with other media types. As a 3D/VR Systems Architect, Leonard Daly has made many contributions to the 3D multi-media industry. He founded Daly Realism in 1996, which can help businesses with project management, website development, secure business-to-business communications, elearning, and web-based 3D and multi-media content. Fox Renderfarm was honored to have an interview with Leonard Daly in SIGGRAPH 2019. Interview With Leonard Daly Fox Renderfarm: Have you meet any challenges during your development of Daly Realism? Leonard: The biggest challenge today on Xseen...

This article is organized from the CG industry's leading , Fox Renderfarm. The reason for writing this article is that once our customers encountered problems with Clarisse's asset path management, all the asset paths were originally in the A disk when they were made, and asked if there is any quick way to change the asset path to other. Drive letter. This asset path switch can be a very simple thing for Clarisse users. Fox Renderfarm hopes that this article will also help other Clarisse users. First, Clarisse provides a management path and is in Clarisse's menu bar: Windows-->Path Manager. The Path Manager is divided into 4 sections: the toolbar, the edit field, the path list, and the attribute list. (1) Check Paths (2) Show Missing Files (3) Search And Replace Tool (4) Replace with Variables Tool (5) Change folder path (6) Change File Path (7) Path Edition Field (8) Path List (9) ) Object Attribute List About the first column Check Paths: Basically, the path manager will check if the specified paths exist. Once completed, the last column of the path list (8) will switch from Unknown to either Found or Not Found. Show Missing Files: You can filter the path list to display only path flagged as invalid Search And Replace Tool: Provides a handy search and replace tool allows you to replace paths in batch. Type what you want to replace in the Search Text field and the replacement in Replace With text field. While you are typing your text, a preview of the resulting replacement is updated in real-time. Hit Apply when you are done or hit again Search And Replace to cancel. By default, the search is case sensitive. You can disable the case sensitivity by pressing Case Sensitive. You can also press Check Paths before applying your changes. This is very useful if you want to check the file existence prior applying your replacement. Replace with Variables Tool: It is a batch processing tool. It's a fast and easy way to replace a path by a Clarisse Variable. The path manager will look for the value of a given variable in the files paths and replace the value by the name of the variable. This is to be used with Clarisse's Variable Editor to work on multiple paths. First, define the variable in the Variable Editor and then replace the path with the variable. About the second column Change folder path: You can modify the folder of the asset. You can put the previous assets into a new directory and modify them directly into this directory. Change File Path: The path of the selected asset can be modified. Path Edition Field: Path of the currently selected asset Select the path in the Path List, displayed in the Path Edition Field, use the Change folder path to change the folder where the selected asset is located, and use Change File Path to change the path of the entire asset. The third column is the path list. Show all the paths in the current scene. Path List - Raw Path: The path shown on the object properties of Clarisse. - Resolved Path: The real path. - Type: path type. - Status: Found can be found. Not Found cannot find (lost) that does not exist. About the third column Object Attribute List: The Object Attribute List (9) is located at the bottom of the path manager. It displays all objects and attributes that reference selected paths. If you select any of the items located in the object attribute list, they will be selected in the application. Nothing prevents you from modifying their attributes in the Attribute Editor. At last, Clarisse also provides a scene packaging tool, which can package the whole scene into a zip compression package and change the asset path in the scene to $PDIR (the current project directory, like Houdini's $hip) The relative path at the beginning. This compressed package is copied to any directory and uncompressed to open the scene project. You can see that the path of all assets is normal. It should be noted that if the amount of assets in the scene is relatively large, it is not recommended to use this packaged work, it will take a long time, and there is a certain probability that the package fails. Some of the content is referenced from the official website of isotropix: `https://clarissewiki.com/3.6/using_the_path_manager.html`

As the leading in the CG industry, Fox Renderfarm will always gather some tutorial about 3D software, renderers. In this article, we will teach you how to make a natural scene in Octane for C4D. In terms of scenes, there are many types, like sci-fi scenes, realistic natural scenes, cartoon scenes, and so on. Different scenarios have different ways of creating them. We will use one of the production methods to explain the process and ideas of the creation of realistic natural scenes. Realistic natural scene reference Scene construction Taking the reference picture as an example, the scene ground is mainly divided into two materials, the middle is the road, and the two sides are the muddy mountains. According to the reference picture, the middle ground is a long road, so first create a ground in the C4D according to the reference picture, then use an ‘Octane Daylight’ to properly adjust the angle of the light to simulate the sunset. Firstly, creating a standard shader to make the land, in the mountains you can turn off some unwanted reflections, just use diffuse reflection, then add color, AO, Normal map, and adjust the UV mapping. The next step is to add plants using Cinema 4D’s Forester Tree and modify the tree type in the Tree Library. Before the modification, you can look at the trees in the reference picture and modify the size, height, color of the leaves, length of the branches, etc. according to the reference trees. After modifying the parameters, Before using cloning, you need to make several different shapes of trees. Adjust the height and shape of the tree to use as a cloning template to avoid being too repetitive in the final use. Here we use the Octane’s Clone. First, create an ‘Octane Scatter_Tree’ group and drag the three trees you just made below the ‘Octane Scatter_Tree’. Then use ‘Octane Scatter’ to clone the tree onto the ground of the well-prepared land. Changing the way of generated trees by Distribution to clone in the Surface. Add a layer of Noise in the Distribution under ‘’Octane Scatter to find the appropriate Noise type. Adjust the size of the tree and the direction of rotation. Now adjust the material of the leaf, first convert the material to the material of Octane, and then adjust. Copy a copy of Diffuse to the Transmission to increase the transparency of the leaves and look closer to the real feeling. Then adjust the trunk to achieve the final effect. Next, use Multiflora under Forester to select a suitable grass for adjustment. Use Multiflora to add some other plants. Continue to add other plants, adjust the size and position of the plants, make the grass look diverse, and adjust the plant material. The big environment has been built, and we will publish the part 2 next time. Article written by 3d artist Qixi.

This article is organized from the leading provider in the CG industry, Fox Renderfarm. This is a Cinema 4D tips, I hope it can help you. First of all, let's ask you the following questions first. Have you ever tried to customize the UI layout in Cinema 4D and want to use the same layout on other machines? Have you tried changing the settings of the shortcut keys in c4d and want this setting to follow you in the other machines? Do you want Cinema 4D to have a special set of its own, and this setting can be used with which machine you go to? When you don't use this machine, there is no trace of the machine you used. When someone uses your Cinema 4D software, it shows the default settings, and when you use it yourself, it shows your own unique settings. One day, when you want to make major changes to the settings of the c4d software, but are afraid of problems after the changes, is there a good way to restore the settings back to the beginning? Have you ever thought about the Cinema R19 on the same machine, can be installed several versions of Arnold? Ok, the following little tips can help you to solve the above questions. The tips are to change the preset position of c4d, pointing to a different location in different situations. In the normal situation, we open Ctrl+e in c4d to open the preset window. In the bottom "open preference folder", the default preset path of c4d is opened. In this directory, the plugin can be placed in the plugins directory, like some lighting presets or scene presets you can put in the library directory. Let's change the preset position to customize our own presets. 1. Create a folder to place your preset. We tested it and put it in D:\Temp\C4d_R20. 2. Create a bat file, the name can be a word or use that makes sense to you. Our test is called C4d_test.bat. 3. Open the C4d_test.bat. Enter:"C:\Program Files\MAXON\CINEMA 4D R20\CINEMA 4D.exe" -g_prefspath="d:\temp\C4d_R20". 4. Double-click it and run the C4d_test.bat. Open the software, Cinema 4D R20, then use ‘Ctrl+e’, to open the preset window, you can see that the default folder path has been pointed to the d:\temp\C4d_R20 directory, which we created. Open the directory to see the same directory structure as the default directory. 5. Let's understand the meaning of this sentence in bat: "C:\Program Files\MAXON\CINEMA 4D R20\CINEMA 4D.exe" -g_prefspath="d:\temp\C4d_R20" Among them: "C:\Program Files\MAXON\CINEMA 4D R20\CINEMA 4D.exe". This is the installation directory of Cinema 4D, you can change to your own Cinema 4D version and installation directory. -g_prefspath This is a c4d command that specifies a default directory for R16, R17, R18, R19, and R20. ="d:\temp\C4d_R20" The specified default directory can be replaced with the location you want to set the preset. This directory must exist. It should be noted that, 1. All punctuation marks in the command line are English symbols. -g_prefspath="d:\temp\C4d_R20" The ‘=’ there must be no spaces on both sides of the equal sign. 2. Versions prior to C4d R15 include R15, R14, and R13, the ‘-g_prefspath’ is replaced with ‘-homedir’ and there is no ‘=’, it should be as follow, "C:\Program Files\MAXON\CINEMA 4D R15\CINEMA 4D.exe" -homedir "d:\temp\C4d_R15"