TOTAL CHAOS: Chaos Group Launched Its Second Annual Computer Graphics Conference

On May 17, Chaos Group launched its Total Chaos conference in Sofia, Bulgaria with a keynote from the minds behind V-Ray and Corona. The company reinforced its dedication to research and innovation, its commitment to bringing V-Ray to diverse creative industries and its continuing support for the creative community.
After an energetic performance from Rio Dance Crew 360 and singers Torlashki Napevi, CCO Lon Grohs welcomed the 1,000-strong audience of Total Chaos attendees to the Sofia Tech Park. Next, Peter Mitev, Chaos Group’s co-founder and CEO, presented the highlights of a busy year for V-Ray and Corona including the launch of V-Ray Next for all major platforms, V-Ray for Unreal, Corona 2 and 3 for 3ds Max and Corona for Cinema 4D.
The teams behind V-Ray and Corona have been collaborating closely on new technology. At Total Chaos, Corona’s Research and Development Partner Jaroslav Křivánek officially launched Chaos Research, a laboratory which will combine resources, experiment with new ideas and create the rendering technology of the future.
Jaroslav handed over to Corona’s Founding Partner and Main Developer Ondřej Karlík, who celebrated the innovative renderer’s 10th birthday with a demonstration of recently introduced features of Corona, including its caustic effects, and gave a glimpse at how they’ll be refined in the future.
No Total Chaos Keynote would be complete without a few words from Vlado Koylazov, Chaos Group’s co-founder and CTO. He introduced some of the exciting features users can expect in V-Ray Next updates for Maya, 3ds Max and Unreal, as well as the official release of V-Ray for Houdini.
VP of Product Management Phil Miller joined Vlado on stage to wrap things up. Together, they introduced a brand new demo of Project Lavina, the incredible real-time iteration of the V-Ray engine.
The day started with an incredible keynote from the most important people behind V-Ray and Corona. Then, the 1,000-strong crowd dispersed to check out a diverse array of presentations from professionals in the CG industry.

·Art track
Arch viz and interior design was the focus of the first two talks on Total Chaos’ biggest stage, with WeWork’s Gregory Rogers and Kengo Kuma Architect’s Tomohiro Matsunaga deconstructing workflows and delving into the role V-Ray plays in their visuals.
Then, we switched lanes to a presentation from Sonja Christoph. Her inspirational and moving talk looked back on a varied career which has taken her from work on movies, including Tomorrowland and Doctor Strange, to her current role as an environment artist at Massive Entertainment for games such as The Division 2.

There are many ways of representing the human form, and a trio of presenters showed their approaches to digital characters. Victor Hugo charmed the crowd with his uniquely stylized characters, Ian Spriggs showed how he’s using traditional techniques with cutting-edge technology and anatomy expert Scott Eaton blew the audience's minds with his research in AI and human figures. In a hugely exciting announcement, Ian even debuted a new portrait of THU event founder Andre Luis.
·Women in tech panel

Total Chaos was host to a packed discussion on how women can forge successful careers in the worlds of tech and CG. Juice’s Natalia Lasota, Chaos Group’s Albena Ivanova, Avengers: Endgame’s Production Technology Manager Piya Wadia, Massive Entertainment’s Sonja Christoph and INK’s Ioanna Ivanova talked about their unique career paths and switching between industries, personal and workplace challenges, advice on time and stress management and communication in the workplace, and — above all — how to follow your heart and stay true to yourself.

The Code track area is all about delving into the nuts and bolts of the technology behind powerful CG software. The lineup included software developers Javor Kalojanov (Weta Digital), Steven Parker (NVIDIA), Adrian Graham (Google), Prof. Dr.‐Ing. Philipp Slusallek (German Research Center for Artificial Intelligence), Attila Áfra and Jim Jeffers (Intel), and Asen Atanasov (Chaos Group).

This is where Chaos Group’s CTO and Co-founder Vlado Koylazov unveiled some supersmart new features coming to V-Ray Next for 3ds Max, including memory tracking, shader debugging, GPU advances and bump shadow improvements. He also shed light on a new Light Cache algorithm which even works with Project Lavina, Chaos Group’s real-time ray tracing technology.

·Craft track
Volvo revved up the Craft Track with a presentation on how it has developed a fully integrated pipeline for real-time and offline rendering and the knock-on effect this has had on the way its cars are built. Porsche’s Andre Matos was in swift pursuit with a look at how V-Ray GPU and VRscans have supercharged his workflow, and he was followed by fascinated and varied talks from Tobias Nientiedt (OTTO), Tarran Kundi (Woods Bagot), Adam Tunikowski and Natalia Lasota (Juice), and Anthony Christov (IDEA Academy).

London’s INK Studio has made a name for itself in creating clean-but-playful images, animation and VR experiences for the likes of Honda and Audi, and in Ioanna Ivanova’s presentation she showed off some of the tricks of the trade. She demonstrated how Cinema 4D can be used for quick and easy previews, showed a head-spinning Escher ad — and revealed why you should never, ever try to work with cats.
The Craft track finished with a journey into the (occasionally horrific) heart of Hellboy from Bulgarian VFX studios Nu Boyana and WorldWide FX.
Total Chaos's second and final day was every bit as good as the first. The line-up of 34 presentations and discussions across four stages demonstrated the incredible diversity of the CG industry. The crowds were astonished by AI-powered world builder Promethean AI, inspired to create a mobile game with Gameloft Sofia, learning how Blur Studio coordinates artists around the world or discovering the inner workings of Chaos Cloud.
Architecture and design was the theme of the Art track’s morning session. Gensler’s Scott de Woody was the first to grace the Total Chaos podium with his overview of the multinational architecture firm’s approach to creating buildings people want to work in — including an appropriately triangle-based HQ for chip firm NVIDIA.

Continuing the architecture theme was KPF’s Cobus Bothma, who detailed how the company built its cutting-edge pipeline with new V-Ray tools such as V-Ray for Unreal for creating Hololens scale models and easy, beautiful real-time walkthroughs in Project Lavina. The trip down the VR rabbit hole continued with Marko Margeta and Jose Pareja Gomez of Zaha Hadid Architects, and Factory Fifteen’s exhilarating Nissan Formula E experience.
Madrid-based creative studio Beauty and The Bit has brought big-screen sensibilities to the arch viz movie with “Landmark.” In his presentation, art director Victor Bonafonte Morales explained his initial intentions and demonstrated how his sketches and previz fed into the final movie.

Meanwhile, in the Craft track, Ingenuity’s Grant Miller went procedural with a guide to how the company uses Houdini and V-Ray for Houdini to create environments populated with dense fauna, crowds of thousands for a Kelly Clarkson music video and piles of bodies for The Walking Dead. There are sure to be some audience members who will make use of Grant’s techniques to cut out the fiddly bits of their VFX pipelines.

Quickfire round! Back in the Art track, ILM’s David Wortley and Falk Boje showed how V-Ray for 3ds Max has been used seamlessly to create environments in big movies including Black Panther’s Wakanda, A Wrinkle in Time’sfloating mountains, Jurassic World: Fallen Kingdom’s Isla Nublar, Star Wars: The Last Jedi’s Skellig Island (with Phoenix FD for the sea) and Rogue One’s tropical battleground. Despite covering so many films, there was no shortage of tips and tricks here.

The Assassin’s Creed series takes pride in its accurate historical recreations — albeit with a dash of 21st-century parkour. In Yavor Yakovliev’s presentation, he showed how Ubisoft Sofia used procedural techniques to recreate Ancient Egypt for Assassin’s Creed: Origins. Next door, in the Craft track, Slashcube’s Thomas Vournazos flew us to “Moon Village.” Developed in conjunction with architect SOM, the European Space Agency and the Massachusetts Institute of Technology, this short film used Corona for Cinema 4D to visualize a human colony on Earth’s natural satellite.

How can VR help the architecture industry? And what happens when we create spaces in VR without the constraints of the real world? These are the questions Agile Lens’s Alex Coulombe answered with his dynamic and charming presentation. He looked at how VR has changed the way we plan and explore prospective theaters, and how it inspires new forms of architectural, artistic and theatrical expression.

The day came to an epic end with two major players in the visual effects industry. Digital Domain’s Deke Kincaid showed the evolution of the company’s digital humans and characters, culminating in a thorough breakdown of its spellbinding V-Ray rendered work on Avengers supervillain, Thanos. After DD’s analysis of the 750,000-year-old big bad, Method Studios showed the techniques it used to create a photorealistic baby with an adult voice for a commercial project.
The wheels are already turning on Total Chaos 2020. Stay tuned, and we’ll see you in Sofia next year!
Cr.Chaos Group website


71 Tips And Technical For V-Ray In 3ds Max
71 Tips And Technical For V-Ray In 3ds Max
In writting this article, I want to share some tips in the rendering process for V-Ray in 3ds Max, which can save rendering time and improve rendering speed. 1.Try to limit the number of Ploygons, the less the faster rendering speed. 2.If you use V-Ray, use Proxy instead of the high-surface model. 3.When making shadows, subdivisions are best not to be too high. 4.Remove unwanted objects from the scene. 5.If the model is very small on the output screen, the texture resolution should not be too high. 6.Avoid excessive use of glossiness and highlights. You can achieve approximate results with simple diffuse, bump and reflection (0.95 ~ 0.75). Also try not to use Archshaders. 7.Use the high number of models near the camera or the main visual range. 8.When V-Ray is used in outdoor scenes, the built-in direct light (such as the sun made by yourself) and V-Ray's ambient light are much faster than V-Raysun and sky. You only need to adjust the color to achieve V-Raysun and sky effects. 9.Understand the difference between copy and instance, and the appropriate application, simple but effective. 10.Clear the undo data, especially the list of commands in the command line above, because this will eat a lot of memory. There is a need to clear, undo is not enough and it is very troublesome. 11.Regarding system resource management, turn off anti-virus software (such as norton or mcafee) when rendering, because this will slow down. 12.It is best to use textures in the details of the model. 13.Use the xref scene. 14.Optimize the model, such as using polycruncher and other plugins, MAX2010 already has ProOptimizer. 15.When making smooth surfaces (curves/meshsmoothing), note the value of iteration. 16.When using V-Ray's irradiance map, check the interpolation so that the value is the same as the reflection and refraction interpolation in the submenu. 17.Are you sure you want to use the time killer caustics effect? 18.When V-Ray renders, the first pass selection, brute force vs. irradiance map, is judged according to the case. 19.The core parameters, noisehreshold (noise threshold) and AA (AntiAlias) subdivision (anti-aliased subdivision), based on the case. 20. Fine-tune the parameters of glossy reflection and frosted materials, based on the case. 20.Avoid using the DOF of the physical camera, you can use other plugins instead. 21.Use render elements to make various channel outputs. Then do the post-synthesis system, which can shorten the rendering time, such as using some common synthesis software AE, Combustion, etc. 22.Evermotion Archshaders and Archinterior/Exterior's default material settings are time killers that need to be adjusted and rendered. 23.Commonly used Irradiance and Light Cache (save to file) options, if the scene is unchanged, you can skip the calculation part, directly access the cached data graph, and the rendering speed will be faster. 25. A balance is achieved between the output screen resolution and the irradiance map setting. For example, if you are 3600pixel large image, set min/max=-4;-3 (equal to "very low" preset option), interp. samples to 25 (smooth surface). or min/max=-4;-2 26.Before setting all the shaders, try to place the material in the Override mtl: Material button in the V-Ray: Global switches in the render dialog. Then test which parameter values are the fastest and the best. Use this method to get the optimal settings. 27.Too much light will also consume rendering time. 28.When rendering the test, please use the preset parameters, the speed is faster. 29.ADAPTIVE QMC improves detail and is slower; Adaptive Subdivision makes the picture smoother and less detailed, but faster. Based on the case. 30.Please check the render region division, region sequence, etc. in Raycast Parameters... 31.When using V-Ray's displacement, if 2d mapping and related settings eat a lot of memory, please limit the use area of the displacement. 32.It is recommended to use 3ds max 64 bit 33.Using the X-refs feature allows you to manipulate large, bulky external reference scenes in the main scene. 34.3ds Max handles 9000 scenes with 10k facets more efficiently than 200000 1K facets. So attaching objects can increase execution efficiency. 35.Using mrProxy or V-RayProxy in Mental Ray or V-Ray, Proxy is designed to efficiently load models and renders. 36.Bitmap Proxies: Reduces the amount of memory consumed in the scene. 37.Data resources are concentrated in one path for management, not to be scattered around. 38.Local computer operations can avoid the damage caused by remote network traffic jams or files. Remember to do backups often. 39.3ds Max users with a systematic organizational concept know how to use Layers, Groups and Selection sets. 40.Write MAX s to simplify heavy work and increase productivity. 41.Photoshop and post-production software (AE, Combustion) will be used, which will save a lot of rendering time. 42.Good knowledge of photography, training your own visual observation ability, you can immediately see where you need to modify and immediately stop rendering when rendering, you don't have to wait until you finish it to judge whether it is good or bad. 43.If the texture is too large, such as 3600pixel or above, please lower the AA (anti-aliasing) value, min/max=-1; 2. 44.Make sure to turn on the system multi-threading option. 45.Use a smaller size for the rendering test. 46.Area Rendering: Only test the important range, so have more time to check the Shader and adjust the results you want. 47.Try not to add Glossy (gloss, highlight) effect unless you think the effect will be good. 48.The more the number of scene model faces, the more memory is consumed. Some techniques can reduce the amount of RAM used. Adjust the Raycaster settings in the System volume column (reducing Max. levels, increasing Min. leaf size, increasing Face/level coefficient, switching Static to Dynamic) Default Geometry) 49.When rendering, using 2d displacement mapping will consume a lot of rams, especially large displacement maps. If so, you can use 3d displacement mapping. If you have multiple Displacement modifiers, but share a displacement map, And to set the same parameter value, it is best to replace the Displacement modifier with the attribute instance, that is, multiple models share a Displacement modifier. 50.Bitmap filtering: Summed area uses more RAM than Pyramidal. Summed area is only suitable for smaller textures. 51.Shadow maps obviously consume RAM, you can use raytraced V-RayShadows instead. 52.When the scene has only a simple model (no fine-grained model), you can use only the first Light Bounces. 53.Image sampler (AA anti-aliasing): V-Ray's anti-aliasing function requires a large amount of RAM to store data. The amount of memory depends on the bucket size (Rendering region division) and sampling rate (sampling rate). To reduce memory usage, you can reduce it. The bucket size and the use of different Image sampler, such as Adaptive QMC sampler memory usage is less than the Adaptive subdivision sampler. 54.Global illumination caches: Irradiance maps, photon maps and V-RaylightMtl maps all require additional memory for storage, with separate methods to control RAM. For example, the memory usage of Irradiance maps is based on the number of samples, so you can lower the Min/Max value and use the loose threshold values (higher Color threshold, higher Normal threshold, lower Distance threshold). For example, the memory usage of photon maps is based on the number of photosns, which can reduce the Diffuse subdivs of V-Ray material or increase the maximum Max. density. 55.Decrease the trace depth as much as possible. 56.Even if V-Ray's VFB (Visual frame buffer) is selected, MAX's VFB will still be colored, taking up extra RAM. You can turn off the "GET RESULOTION FROM MAX" option and set the MAX output resolution to 100×100. Set the correct resolution of V-Ray VFB. 57.Sometimes it is considered that the rendering settings are slower. If you check the scene carefully, see if there are any unused Polygons, or if there is any useless material in the Polygon? shader editor outside the Camera lens? Affect the speed of Render. 58.Sometimes the model in AutoCad is far from the coordinate center, and we call it in max, but render is very long, you can move this model to the coordinate center [0,0,0] position in AutoCad. 59. Avoid overlapping models, so you must raise the render setting to remove spots or blemishes. 60. It takes a lot of time to calculate a large image, so you can use a similar Super Render to split the block rendering. 61.Do not increase the Reflection/refraction value in V-Ray Global swithces, about 2~3 to meet most of the requirements. 62.The REFLECT ON BACKSIDE parameter can be turned off in the Option option of the V-Ray material. 63.If you spend a lot of time to render a flat and ungraded result, and similar to the contour map, you can check the Use interpolation in the reflection in the shader, and then adjust the reflect interpolation min/max = -3 in the Reflection volume. -1 64.Avoid using the Bump map with the glossiness of the check-in interpolation, which will produce a lot of impurities. 65.If you render 3600pixel and other large images, you can only count small sheets, such as 1600 or 2200, then use the PS/PP profit filter, or zoom in ssplinepro, unless the laser output, no one will notice . 66.Irradiance map with light cache can meet most of the rendering quality requirements. 67.After determining the GI solution (such as Irradiance + light cache), the setting of image sampling and antialiasing becomes extremely important. 68.The HSph. subdivs of Irradiance maps are adjusted upwards from 20 until the impurities are removed. Generally, good results can be obtained between 20 and 50. 69.The default min/max=1 of the Adaptive QMC sampler; 4 is only used for testing, min/max=3; 6 meets most high quality requirements, and the best between min and max should not exceed 2 or 3. 70.When Light Cache's Subdivs value is used for testing purposes, 100 is used for large scenes; 250 is used for small scenes or indoor scenes. When used as product output, multiply by 10, 1000 for large scenes; 2500 for small scenes or Indoor scenes (more details). In actual rendering, adjust according to the current environment. 71.After all, using a render farm can make the works more realistic, most useful in time-saving and money saving.
Using V-Ray For 3ds Max To Create A Real Grass Field
Using V-Ray For 3ds Max To Create A Real Grass Field
First, a separate grass is to be made, we take a kinds of grass as a reference for model making. After creating the patch, we edit the polygon, continue to segment, and slowly adjust the shape of the grass. Establish the segment number plane Editable polygon Adjust the stem shape of the grass Continue the segmentation number to facilitate the bending deformation. The shape adjustment of the leaf is completed Only affect the axis measurement, center to the object, move to the bottom of the grass, rotate the direction of the axis, in order to prepare the bending command Use the bending command to adjust Copy a few grasses, using different bending methods and twisting operations. Since the growth law of the grass is relatively random, we try to adjust the different curvature and the size of the grass. The model of the blade is made, so that it is convenient to draw the grass for a while. 2. Make the texture of grass leaf Next, we made the texture of the grass in photoshop, created a 1000X111 size image, then used a piece of grass material as the texture, buckled the part of the blade, dragged it into the image we created, try to ps into what we want The color and texture of the foliar texture. Below we use unwrap UVW to expand the model UV and then map the blade model. Then copy the model and make some edits to the copy model to make them look different. 3. Advanced drawing Below we draw a circle as a reference ground and then convert it into an editable polygon. Use the plugin advpainter_1.5.1, which is a special object for making random placements, such as flowers and plants, hair, etc. Add the grass you just made to the plugin, make some numerical adjustments, and then draw. Click on Paint to draw, then we have to select the ring we just created, and it is easy to draw a piece of grass like a ps brush. In order to avoid taking up too many points, we can edit the polygons, then export the v-ray grid and save the file. 4. Fast terrain Create a new scene and quickly create a terrain. After the plane is edited to the editable polygon, the deformation is drawn, and then the terrain is given a soil material, and the haystack model just created is imported. Now we are starting to use the Multiscatter tool to grow grass. This plugin can quickly create large patches of grass or forest. Now combine all the objects into a default object, then redistribute the inside to pick up the ground. Add the two v-ray meshes we just prepared to export the object. Set the number of distributions, set the two hay objects to different shapes, and assign different colors. The way the dots are displayed and the inherent colors of the objects will make the whole scene display clearer. So we will arrange the grass, you can try different values to see the effect. 5.Scene test The v-ray physical camera and vraysun are used to adjust and test the scene. For the close-up part, we need to locally strengthen the ground to make the grass and the ground more integrated. When using the Multiscatter tool to grow grass, if the terrain is too large, you can use the boundary linear cutting tool to reduce the area of the grass distribution and display only the parts that the camera can see. This form is very practical for handling large scenes.
Rendering Work Production Sharing of V-Ray for Blender
Rendering Work Production Sharing of V-Ray for Blender
John just wanted to draw a illustration of chicken. He also recently learned about the Blender version of VRay. He saw VRay's node in Blender, which is much more interesting than in 3ds Max and Maya, so he want to use the V-Ray for Blender to make the work. Software used: Blender 2.78a, 3ds Max2017, VRay 3.4 Collecting material, Setting drafts can be free, but when creating 3D, the collection of materials is a thing must to do! Modeling All models are done in Blender, using the same process as the current mature process, engraving the embryo model > topology based model > engraving fine model. The armor does not use the displacement texture, but directly after the low-module of the Blender, it is directly exported into the OBJ format and sent to 3ds Max for rendering. In the figure 2 is the engraving part, and the figure 3 uses Blender's own reducer modifier for the engraved fine mold reduction. This modifier can be regarded as a simplified version of ZBrush's Decimation Master, which is very easy to use and is almost exactly the same features as the Decimation Master. Feather production: According to the structure of the bird feathers, do it one by one > Show UV>Rig>Skinning>Tpose>Remove Rig> and adjust to the effect you want. The clothes and feathers are the same, first make the foundation, then rig, get the basic shape, remove the rig, use the engraving to complete the details of the fabric. The hair between the eyebrows and the feathers on the body are obtained by combing the particle hair system of Blender. Blender's Hair&Fur is very good and can be easily converted to a Polygon line segment for export to 3ds Max. After importing these guides into 3ds Max, he used 3ds Max's own hair system, Hair&Fur, to complete the hair generation. Pose Quickly built the bones, because it is not an animation, so do not consider IK, as long as there are bones to pose, it is an animation, mainly to facilitate the model image adjustment, you can quickly return to the original position. You can create a lot of Blender's window, so using dual screen operation will bring a very good efficiency. Light He watched Moana and was impressed by the bright light and shadows inside. Really liked this bright light, so the lights of the Sunstar Pleiades did not use the strong contrast of light and dark to render the atmosphere, mainly to let the luminous flux is very sufficient, so that the dark part has enough light to create a bright, fresh feeling. There is basically no suspense in the light, the main light, the backlight, the top light, the side light, the fill light, basically all used again. The lighting of surroundings uses HDR. In the white mold stage, the basic light and darkness of the light is created. TEX Material Production Instead of using the traditional way of drawing textures, I used nodes instead of the process of editing textures in flat software. Since the birth of Quixel and Substance, the production and editing of materials has begun to change in the process. Many softwares have also added similar node functions, such as 3DCoat, houdini, etc., so VRay is no exception. The advantage of this process is that with the help of real-time rendering capabilities, editing and creating materials is basically what you can see, which can greatly reduce the trouble of switching to flat software, save more texture size, and many details and effects are simulated by the node in the PS map. The layer method is obtained, and the material editing becomes very flexible and convenient. For the natural weathering and wear of objects, this process has awesome effects and can create many natural details quickly and easily. The golden armor of the next day is the use of this process, no UV, all rely on VRay's powerful nodes to mix the details of the material. Well, the sharing of parameters have no meaning at all. The model structure, the size of the volume, and the parameters will change accordingly. Here are two V-Ray map nodes, VRayDirt and VRayTriplanarTex: VRayDirt uses its AO effect to create sharp-angle masks for models without UV. The VRayTriplanarTex triangle map node is a box map fusion in Blender's Cycles. This is an important update node in VRay 3.4. It is an omnidirectional texture wrap node. It allows you to perfectly apply a texture to an object without UV, and there will be no seams. By relying on the combination of these two nodes, you can easily get the Mask of the right edge effect, and then use VRayTriplanarTex to complete multiple combinations such as Diffuse, highlight reflection, bump map, and then VRay material can be quickly obtained. The effect here is just a show, and you can go deeper into more details. It’s just that for the work of the Sunstar Pleiades, because it’s a god, and it should be new and clean. So, there is no deliberate pursuit of war damage and dirty material performance. (In fact, this guy has no time to do it) Another introduced node is Vray's MultiSubTex, which can perform multiple objects with the same texture but different texture colors through a material, which greatly reduces the number of materials and can manage these materials very intuitively. The clothes of the Sunstar Pleiades are made up of 4 objects. Although they are arranged in the same UV, the directions in the UV are not the same, so that the cloth size or the direction is unreasonable. In the cloth material node, I added the MultiSubTex node. Through this node, the object ID property can be used to effectively manage the texture direction and size of four different objects. This makes it easy to make the texture of the four models reasonable. Rendering The rendering settings are basically the same as the original ones. GI I used the Brute force + Light Cache method. A lot of channel output, rendering the finished product is not easy, so avoid the channels that can be rendered after the regrets are turned on, including highlights, reflections, Z channels, object ID and AO are necessary. Post-production Synthesize the color in the PS, add the background, correct some small defects, and finally the finished picture! BY: John (Liu Yang)

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