How To Submit Maya In Using Vray Plugin Task On Cloud Rendering

This is a tutorial shows you how to submit Maya in using Vray plugin project on cloud rendering for rendering.

Steps1: Click the Register button:

After finishing the registration then Login your Fox account, and then start to upload your assets.

Press the Assets button on your left column and then press the upload button. Choose upload your assets folder or assets file.

Note: All file path on Foxrenderfarm storage will be the same as your local path, including drives.

Attention: Not support drive A, B, C, D, if you use absolute path on scene file.

Not support IP path of your files,such as \\192.168.0.2\..\\computer name\..

In these pics, I already upload my assets folder with E drive.

When you press the upload button, This file transfer MessageBox will automatically pop out, So please make sure you have installed our transfer plugin, If you already install it please make sure to initiating it.

Step2: Choose the Maya file you wanna upload. Then you'll see the transmission list and you could monitor the transmission speed.

Step3: When you finished the transmission, Please Press the New Job button to submit your Maya assets (That mean to create a new Render Task on our farm.)

Then Please select the asset directory and choose the render scene file you just uploaded, Press the Continue.

And add render software and plugin version (in this case you need to choose the Maya 2016 and the plugin is Vray for Maya 3.10.01.)

Then Save the config and press the Go Analysis button.

Step4: When you finish the Analysis phase you might wanna some changes on the common settings

You can modify all those common settings as you wish.

(We Highly suggest you turn on the Pre-test frames and After a test has done Pause the job. When you turn that on, will running the three pre-test frames first, and when this three-frame finished, the whole job will pause, Then you can check if the results are what you expected. If everything is alright then you can start the rest of the frame.)

When you finish all your settings, please click the Submit button to go the final render phase.

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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.
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2021-04-01
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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2021-03-31
ZBrush Tutorials: The Making of Hard Surface Models(2)
ZBrush Tutorials: The Making of Hard Surface Models(2)
Follow part one, Fox Renderfarm, your best cloud rendering services provider, still share the process of using hard surface technology to make a sci-fi style head model in ZBrush from 3d Artist ZX. The following part explains the production process, 1. Drawing reference In this step, ZX uses the standard brush. First, remove the sculpting function of the brush, turn on RGB, select red, and draw the hard edge part of the helmet that needs to be made as a reference. 2. Topology When the reference line of the edge is drawn, you can refer to it for retopology. Personally, ZX likes to use Zbrush's tool topology. It is easy to use, fast and the final result is good, which can improve ZX's work efficiency. Of course, the explanation here is not about topology on ZSphere, but topology on the basis of brushes, which can also keep files concise. The usage is simple, just use the brush to draw on the helmet model, simple and easy to use. After the red line is drawn, we only need to click on the model part to generate a thick model from the red line. For the hard surface model that needs to be made on the corners of the helmet, in addition to the thickness, it also needs to have a concave-convex structure. With a structure, it will be more abundant from other angles. 3. Crease We also need to add some lines to the corners of the crease to keep enough lines to support the hard surface. Then ZX used the ZModeler tool, selected the line mode, and selected crease. In this process, we can select crease, Edge, EdgeLoop Partial, EdgeLoop Complete. Hold down the alt key and click to delete the edge. The function used together in this process is the crease pg. If we don't want the effect of the crease, we can also use an increase to remove the crease. 4. Preview We can press the d key to preview our hard-edged effect, and we can cancel the preview by shift+d when we don't need it. Smooth Subdiv can be used to adjust the model smoothly. The above is an introduction to the process of making the entire model. If we are not particularly familiar with the ZModeler tool, this step can be made in 3ds Max or Maya. However, if time permits, please try Zbrush's topology tool, it is really good to use. One of the most troublesome parts is that Zbrush does not support 5-sided, so many places need to be adjusted, which is more cumbersome.
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2021-01-27
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