How to Make a Train Head Model in KeyShot(1)
Fox Renderfarm, your TPN-Accredited cloud rendering service provider, will share with you this tutorial article about How to Make a Train Head Model in KeyShot. KeyShot will be used to make a 3D model of the train head, and the problems encountered in the production will be shared. Although this model looks very simple, there are still many details that need attention, such as the surface.
Observing the reference picture and analyzing the structure and shape, We can see the bends marked by the red and green lines. The structure can be decomposed to make a better model.
Because the angle of the reference picture is fixed, we can directly use the reference picture to place the model in the software as a background. Firstly, we can determine an approximate angle and fix the angle of a camera. The model can be replaced by a BOX.
Draw a curve and create a finished face as the lower half of the train.
Copy the curve to adjust the control point to the position shown in the figure below.
The other side is also produced in the same way.
Create a face from the three lines, adjust the part where the face meets the body, and adjust the surface control points until the red intersection line reaches the edge position of the light in the perspective reference picture.
Adjust the position and cut off the surface of the other excess parts where the two parts meet.
How to Make The Hard Surface of Firearms
render farm for keyshot
The production of high poly is an important part of the 3D modeling, especially for the production of hard surface models such as inorganic materials. There are many ways to achieve it. Fox Renderfarm, your TPN-Accredited cloud rendering service provider share a article about How to Make The Hard Surface of Firearms. In this article, I will explain how to use Zbrush and 3ds Max to create a hard surface model of the high poly M500 revolver.
The final effect of M500 revolver:
The production process is divided into three parts, including 3ds Max and Zbrush for high poly, Keyshot for rendering, and Photoshop for post-processing. In this passage, the production of the pistol runner model will be introduced in detail.
Runner model production
Software used: the ZBrush Spotlight
- Find the Spotlight tool in Light: 5 sets of preset Alpha templates, choose an entry tool, and convert the generated model to ploymesh 3D.
Press Z key: select the desired Alpha, add to the model position, then mask. The Spotlight tool can freely control operations such as displacement, scaling and rotation, copying, and Boolean operations.
Generate the model: Operate in Front View to ensure that the Alpha graphics are selected, and the yellow frame is selected.
Click the Z key to exit the mask editing and edit the model. Shift+Z hides the extra tools. After making the first root, then continue to generate other models. The placement can be according to the reference picture.
Use the Array array tool to rotate the copy model. The array can control the number of copies and the distance between them at will.
Alpha menu can add custom Alpha graphics, black and white images made in PSD format, add to Spotlight to generate a custom Alpha-model. we can first create a black and white image in Photoshop and import it into Zbrush for use.
The triangle model used ZBrush's Spotlight to generate the model, imported 3DS max to copy the two rows of models, and then use the bend modifier to rotate and bend to fit outside the circle. This model fits better and is easy to operate.
Make a diamond-shaped convex structure, then present array and bending effect in the max.
The model before the Boolean operation is ready.
- Boolean use of ZBrush
Use Boolean to create the desired shape on the model of the main body. Here is one thing to note that it is best to put the model in a folder for Boolean.
After Boolean is used, the model will be automatically grouped. The resolution of danymesh is higher as 512-1024.
If you want the edges of the model to be soft, you can blur the Mask on the edges of the model a little bit, and then flip the mask.
The overall adjustment is almost complete, and the model can now be smooth.
Finally, use a smooth brush to adjust the effect.
The details can be modified according to needs. The runner model is almost complete. we can see that the effect of the hard surface is very good now.
A Guide to the Career Growth of VFX Compositors(2)
You must have learned about What is compositing, Six basic skills of compositors, Standards for cinema-level film compositing requirements from The Guide to the Career Growth of VFX Compositors(1). Now, your TPN_Accredited cloud rendering services provider, Fox Renderfarm, will still lead you deep into the career of VFX Compositor.
Part 4 Workflow specification of compositors
Because the workflow of each company is different, and even the operations of everyone in the same company will be various, it is difficult to have a unified workflow. I am here to share the basic process of a compositor making a shot from beginning to end.
The first step is whether to perform color conversion after the material comes in? How to deal with the conversion? It is usually set by the compositing director.
The second step is to create a variable speed and camera redefinition repo, which is specifically compared with the editing sample, and we make the same settings as theirs. If there is a green screen, and then there are tracking points on the green screen, the tracking points need to be erased. If there is no green screen and need to add something, it needs to do keying and Roto. And sometimes it even needs to quickly do some 30%, 50%, or 80% keying to prepare for the back.
The third step is to do the creation of 2D elements or increase the environment, characters, props and other elements output by the 3D department. According to the six basic skills mentioned above, making the first version, and then the director and client will give feedback after checking. Then compositors modify the project according to the feedback.
After completing the detailed processing and final inspection afterward,if there is no problem, it will be converted back to customer needs and the delivery documents are sent to the customer. The technical inspection above refers to verifying according to the standards of the cinema-level movies mentioned before.
Part 5 The five stages of the compositor's career
I roughly divide the career of a compositor into 5 stages, including junior compositor, senior compositor, compositing team leader, compositing supervisor, compositing director.
The work done by compositors is more art-oriented. And in the process of accumulating technical capabilities, they will continue to improve their artistic capabilities without worrying about losing their jobs.
For junior compositor, it is not easy to define by seniority. It’s more about ideas and how it realizes? It is recommended that those newcomers could explore the six basic skills, learn online, and practice at work.
When it comes to the senior level, more work is focusing on judgment on whether it is possible to independently complete a shot and where to do compositing. The senior compositing should be able to find these problems and have the team leader or supervisor to communicate.
The next stage is the compositing team leader. Some people will be confused that what is the difference between leader and supervisor? Like Base, there are many employees, and each project may have 5 to more than a dozen compositors, and even more, there will be team leaders and deputy team leaders. For small studios, the team leader may be the supervisor. The team leader serves the supervisor, the director and artists. At the same time, it needs to has a good sense of teamwork and serve the project well in the management of small teams.
At the supervisor level, the responsibilities are more about the management of the artists, finding more suitable artists for the department to become senior artists or project leaders. At the same time, we must continue to add new skills training for the team; of course, there are staff who are inappropriate, the supervisor should find out the reason and see if they can continue to grow together. If so, how to continue, etc.
The fifth step is to become the compositing director. At this stage, The focus will put more on the process of the project, etc.. The director will develop corresponding plans for different projects, including pre-stage, post-stage, setting and feedback of the 2D process effect, as well as auxiliary visual aids in departmental projects.
Many people will ask if it is possible to change directly from team leader to director? If you are a team leader, you can actually do the job of a supervisor. If not, I personally feel that there is a missing piece. Because the head of the compositing is basically in the group, but the director of the compositing needs to deal with the leaders of other departments.
What is the difference between these 5 positions in the actual process of doing the scenes? For example, both junior compositors and senior compositors can make a good shot, but the number of feedbacks received, versions, completion time, details, ideas are all different.
However, as a team leader, it needs to consider whether the entire plan is feasible and whether the entire color is unified. It’s also important to communicate well with each artist or do an effect test. After becoming a supervisor, it is necessary to consider whether the whole scheme is efficient? If as a director, it needs to be connected with the customer, decide whether to use 3D or 2D, control the quality of the project, and consider whether the cost is feasible. In short, the more you go up, the wider the scope of management and the greater the responsibility.
Call for Submissions: SIGGRAPH Asia 2020
The SIGGRAPH Asia 2020 Computer Animation Festival is open for submissions by 31 July, 2020, 23:59 UTC/GMT!
As the long-term partner of SIGGRAPH Asia, Fox Renderfarm is committed to providing more opportunities for CG artists to show their talents. Hence, we would like to invite CG artists around the world to submit your projects and showcase the world’s most innovative and excellent computer animation. The submission deadline is July 31, 2020. Visit the SACAF 2020 webpage for more information, including how to submit, submission rules and requirements, and an FAQ.
Or, you can submit your work directly by logging into the SIGGRAPH Asia Submission System.
Stay safe, keep creating, Fox Renderfarm hopes to see you at SIGGRAPH Asia 2020 Computer Animation Festival this coming November!
Fox Renderfarm Team
How to Build a Realistic Character in Maya
This video has been made as a technical test for his short film, André Jukebox. It tells a story about André, a busker, who intends to pursue a life doing music, his main passion, despite being born and raised in the marginality...
The FGT3D “Hero” Challenge is Still Ongoing!
Come shine your talent and loads of prizes are waiting for you!
A Guide to the Career Growth of VFX Compositors(1)
As the leading cloud rendering services provider in the CG industry, Fox Renderfarm has an outstanding team with over 20 years’ experience in the CG industry. Team members are from Disney, Lucasfilm, Dreamworks, Sony, etc. With professional services and industry-leading innovations, they serve leading VFX companies and animation studios from over 50 countries and regions, including two Oscar winners.
In this artichle, we will share a guide to the career growth of VFX Compositors from Zhiyong Zhang, Compositing Technical Director in Base FX(Base Media is the leading visual effects and animation studio in Asia).
Part 1 Introduction
What is compositing?
There are many different explanations about compositing on the Internet. Since it's difficult to explain, I would analyze compositing from some shots.
Like the scene in "Monster Hunt", the foreground is made with a 3D model, and the background is made with a combination of the original paintings and pictures. That is to do some MP, color adjustments, elements setting and real shot adding. Finally, all the pictures are going to be integrated, which is a compositing process.
The professional value of composting Compositing is the last part of the visual effects in the later period. You need to blend and match three-dimensional things with the real shot through compositing techniques and methods. Through techniques and methods, add some 2D or 2.5D elements to make the picture more interesting. Compositing is making the projects that the entire visual effects team makes. Hence, compositors are responsible for the entire team, striving to adjust the project to the final optimal effect. This is the professional value of compositing.
The artistic charm of composting
For me, every adjustment on color, virtual focus, interactive light and others will make the scene more realistic or better-looking. Every step of the operation will improve the scene, bringing the compositors hope and happiness. It is awesome to do better in the time allowed and finally show something beautiful. This is the artistic charm of composting.
Part 2 Six basic skills of compositors
The first basic skill is erasing. Many scenes have tracking points when shooting on the green screen, or there are some things that can’t be removed from the scene. We need to do erasing, which is very basic but important.
The second skill is rotoing and chroma key. The chroma key is to keying the green screen. There is also a key called no green screen keying, which is the rotoing.
The third skill is to match colors. Adding an element to the real shot to change the color of the material is actually matching the material, not creation.
The fourth skill is to match the virtual focus or depth of field. The material itself will actually have virtual focus, so the compositor needs to also be good at photography, otherwise, it may become a bottleneck for the compositor. The ideas of the director and the main photographer will be presented in the scenes. We use compositing to re-express what they want to express in CG. We are doing matching rather than recreating.
The fifth skill is tracking. Most compositors do 2D trackings, such as billboards or on-screen patches. And sometimes they also do 3d tracking.
The last one is the matching noise. For some demanding projects, it is necessary to switch between red, green, and blue screen, or even zoom in to the local area for comparison. It also depends on the broadcast platform. Generally, if it is broadcasting on a TV platform, the noise is not easy to see the noise. If in the cinema, as long as the brightness of the cinema is large enough, the noise of some scenes can be easily seen. The noise matching can make the picture more realistic.
Part 3 Standards for cinema-level film compositing requirements
The standards here are not officially stipulated standards but are just some common standards that I personally summarize based on experience. I divided the cinema standards for film compositing into two types: technical requirements and artistic requirements.
First of all, it depends on whether the color of the original material is changed. If you are not careful or have moved other parts of the screen including the color of the material for other reasons, it may cause customer dissatisfaction.
Secondly, whether the maximum and minimum values of the screen are consistent with the material or not. Of course, the maximum and minimum values are not for a certain scene, but for all the materials of a project.
Thirdly, whether the metadata is correct or not. If the editing requires metadata to be accurately restored, it needs to be correctly restored to the material. Generally, at the beginning of the project, it needs to agree with the previous DI or editing on how to set back.
Fourthly, whether the shifting is stuck will also be a technical requirement. The shifting should be discussed with the editor. If the editing does not require any shifting, even if it seems to be stuck, it may be a fast switch of the front and rear scenes. This is one kind of editing methods. if you do something to make it smoother, re-reverting to the clip may cause problems. The last is whether there is any obvious flaw in the picture. The so-called flaw is whether there is a black border on the edge of the picture and whether the edge of the real shot is stretched.
The artistic requirements will be significantly different from the previous technical requirements. We will check whether the details of the keying edges are enough to maintain the authenticity of the picture. In the normal budget, the details of the edges can be kept authentic. If the edges look fake, it may make the whole picture fall short.
Whether the bright and dark parts of the screen is matching with the material within the acceptable range? The dark and bright parts here refer more to brightening everything in the viewing facility, to see if the added thing is the same color as the real shot and whether the degree of the color cast is the same. Without considering the budget, as a compositor, the only requirement is to do something better, so try to match it.
Then, whether the compositing elements, the virtual focus of the background and the depth of field match the real shot. The depth of field of the real shot sometimes will be very shallow, sometimes it will be very deep. Generally, there will be a range, this range is taken by the lens and the camera. We can add an element in it, and change the depth accordingly.
In addition, we must also consider whether the simulation of the lens effect meets the real shooting standard. With a normal lens, the virtual focus is 1:1, and with an anamorphic lens, the virtual focus is vertical, similar to 2:1 circular virtual focus. While doing compositing, it needs to pay special attention to matching.
The next thing to consider is whether the addition of smoke, flame and other atmospheres is truly fused. The light and shadow, the virtual focus and the sharpness are matched with the whole, and the things that really melt into it are realistic.
The last thing is to consider the interactive effects, the corresponding interaction between the real shot material and the CG elements. When we do the compositing, in addition to shadows, there are some light interactions, we should consider whether to add them.
In the process of compositing, we need to give ourselves the opportunity to exercise and do more fine, otherwise, we can't make progress. In fact, the audience is very smart now, watching a lot of blockbuster movies. Therefore, we should try our best to be realistic in the time cost of cinema-level movies. If the audience feels satisfied in the cinema, it will be successful.
3ds Max Tutorials: Create God Of War Stylized 3D Characters(2)
3ds Max Tutorials
After High-poly is completed, use 3ds Max to carry out Retopology on the model. Of course, you can also use other software or plug-ins to complete. Pay attention to the reasonable distribution of Poly when making. Before Retopology, you can process the number of model faces in ZBrush. The subsequent work will be simpler.
This part is processed in the same way as the characters, and it is also necessary to pay attention to the distribution of lines.
Finally, all the parts completed by Retopology are merged, so that the Retopology work is completed.
Create the UVs
The UV of the completed model is made in Unfold3D. Unfold3D split UV work is easy to use. However, it should be noted that when the Unfold3D software enters the OBJ model, if the number of model faces is too large, there may be errors, and the model needs to be processed before it can be imported again.
Another thing to note is that it is best not to import the entire model into splits, because if something goes wrong, the previous work will be wasted. It is a part of the import. After unfolding, it is combined and placed in 3ds Max.
Next comes the baking map part. After finishing the UV in 3ds Max, export the model and High-poly in ZBrush to xNormal to bake the Normal and AO maps.
After baking two pictures, the next step is to draw the basic color Diffuse map. Before drawing, you need to bake a pure color map to facilitate the selection of the area. This map is not only simple to make but also improves work efficiency.
The diffuse map is relatively simple to create, you can directly fill the base color on the basis of AO.
When making textures, you need to add some special things according to the characteristics of the character. For example, the character Kratos needs to fight constantly, so he will have a lot of blood and scars on his body, so he needs to draw some dirty, worn, blood on the texture. And some traces of damage to the equipment.
The tattoos on Kratos are drawn in Mudbox. Except that the tattoos are normally drawn after Diffuse MAP, the seam problem can be dealt with in Mudbox.
Next is the drawing of Roughness Map, which was influenced by other artists during the drawing, and I learned a lot of methods and techniques for processing the map from them. The method is to first retain all the layers of Diffuse and then modify it, and use a plug-in of Photoshop xNormal to process the Normal Map, convert it into a map with worn metal edges, and then select the blending mode for color reduction.
The following is the production of the knife in Kratos, the process and the production of the stickers are consistent with the production of the equipment on the body.
Before rendering the output, a character needs to be placed in a suitable pose, because the character does not make bone settings, just use the tools in 3ds Max to make some adjustments. The lighting mainly uses a few spotlights and floodlights for placement, followed by rendering and compositing in Photoshop.
3ds Max Tutorials: Create God Of War Stylized 3D Characters(1)
3ds Max Tutorials
This is the production process of Kratos, the protagonist of God Of War, using 3ds Max and ZBrush to produce style 3D characters. This process includes the production process from reference, carving, and texture. The software used this time includes 3ds Max, ZBrush, Photoshop, etc. This 3ds Max tutorial is organized by the CG industry's leading cloud render farm, Fox Renderfarm, and I hope you can learn something useful from it.
First, collect reference pictures related to God Of War from the Internet. This link is very important. It is necessary to collect as many references as possible to obtain various angles of the character, facial expressions, deplaning structure, texture, lighting, etc. information.
Blocking the main forms
First, refer to the data in the picture in 3ds Max to create a blocking human model in the form of "A", and then import it into ZBrush to adjust the overall scale and sculpt. For the engraving work later, it is necessary to keep the number of faces reasonable when making in 3ds Max.
After importing the model into ZBrush, you can start sculpting the head model. This process is very challenging and the most difficult part. After sculpting the basic large-scale and muscular structure parts, the next step is to sculpt more detailed parts, such as scars, wrinkles, etc. The body parts must follow the principle of deplaning. Some basic brushes are used for head carving. Of course, you can also use the brushes you are accustomed to, as long as you can use them skillfully.
The wrinkles use a homemade Alpha brush, which is very easy to use. The method of making a self-made brush is also very simple, using black and white pictures, black is transparent and can be stored in PSD format.
The following picture shows the effect of each brush used on the model. Each brush and Alpha brush will have different effects when used together. It is recommended to try to use different brushes and Alpha in combination, there may be unexpected Surprises.
This project is in a hurry, so the details in some places are not very good. If time is free, there are still many places that can be modified better. The process of making is also a process of learning. Only by constantly applying what you have learned to the projects you can make better use of it.
The parts on the body are made in 3ds Max, and then imported into ZBrush for sculpting, especially the chain part is also placed in 3ds Max first, and then sculpted.
The following is the subdivision and sculpting of Krato’s shoulder pads. Almost all the details are sculpted in ZBrush. Draw the mask first, then make the shape and sculpt the details.
The other parts of the equipment use the same production method. Carving is a tedious and time-consuming process. Every link must be careful and pay attention to details. It needs to be revised and iterated many times.
Studio Ghibli Announced CG Animated Feature ‘Aya and the Witch’!
Studio Ghibli announced their first-ever full-length CG animated feature ‘Aya and the Witch’!
The film is based on Diana Wynne Jones' 2011 children’s book Earwig And the Witch. Hayao Miyazaki is once again responsible for planning the project with his son Goro taking on the role of director, lauded Ghibli producer Toshio Suzuki will also be overseeing the project. According to reports, Aya and the Witch will not be seeing a theatrical release but will rather be premiered on Japanese television channel NHK sometime this winter. It is currently not clear how Studio Ghibli’s first CG film will be released internationally.
FGT3D ‘Hero’ Challenge Is Online NOW!
Fox Renderfarm is excited to announce that FGT3D ‘Hero’ Challenge is online NOW! The 3D challenge theme is Hero!
Come shine your talent and loads of prizes are waiting for you! Learn more about the RULES and PRIZES.
TIME FOR ENTRIES: June 22nd - September 6th, 2020 (UTC+8)
SUBMIT YOUR ENTRY to FGT3D@foxrenderfarm.com
Enjoy your creation and happy render!
Fox Renderfarm Team
SUBMIT YOUR ENTRY NOW
Best Offers From Render Farm This Summer
The current situation with the spread of infection does not greatly stimulate the field of computer graphics regarding interesting news. Especially good ones. Nevertheless, it is necessary to be able in different situations to look for something positive and new ways and opportunities.
We have repeatedly noted that the skill and experience of using online render farms are very useful, even if you are involved in simple architectural visualizations and your computer can easily cope with rendering. At some point, quality requirements can go off-scale or tighten the deadlines, and here the render of the farm will always come to the rescue. There’s nothing to say about animation - instead of rendering for days, you can pay a reasonable amount of money and hand over the project in 1 day, to do something else.
Among the excuses that I often heard about the impossibility of using render farms, the following were most often mentioned:
There is no time (well, ok, now everyone has abruptly enough time)
I have my own render farm at work (now many studios will be reduced and maybe it’s worth preparing for work on freelance)
Now there is no need (when the need arises, it is usually too late one hour before the project is completed to learn something new)
In short, dear friends, we strongly recommend that you pay attention to the best offers of farm renderings that we have to provide and recommend.
Fox Renderfarm Special Offer
Fox Renderfarm is one of the most famous and successful farms, noted not only for quality services for studios and freelancers from around the world but also for participating in large-scale full-length projects! Our render farm allows you to send to the render both through the software installed on the computer or web and through your personal account, which, by the way, has become much prettier after the latest updates both in design and functionality.
Almost any popular 3D software, GPU, or CPU rendering - Fox Renderfarm will easily render any project in a short time because they have Alibaba Cloud Computing as partners.
Usually, Fox Renderfarm offers new users $ 25 when registering, and if you are a student or educator, freelancers, you can easily apply and get your special discount and exclusive offer from our render farm.
Welcome to have a free trial and get your special discount.
Maya Tutorials: Game Props Modeling
Maya render farm
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.
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.
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.
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.
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.
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
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.
V-Ray 5 for 3ds Max Is Now Shipping
V-Ray for 3ds Max
V-Ray 5 for 3ds Max is now shipping — and it’s more than a renderer!
V-Ray 5 for 3ds Max brings a modern and efficient material library workflow, faster look-development with material presets and flexible post-processing features that save you time and let you go beyond just rendering.
V-Ray 5 lets you do more with your renderer than ever before. Composite renders and interactively relight your scenes in the new V-Ray Frame Buffer. Set up materials fast with new presets and over 500 ready-made shaders. V-Ray 5 helps you save time and make your renders look even better.
Download and try it now at: https://www.chaosgroup.com/vray/3ds-maxnew
China Film Administration Release New License Logo
Maya 2018 Arnold's Method of Making Motion Vector Blur in AOV Channel
How the Redshift Proxy Renders the Subdivision
Arnold\ V-Ray\ Octane\ Conora\ RedShift, Which Renderer Is The Best?
Corona Renderer Learning - Denoising
Arnold\ V-Ray\ Octane\ Conora\ RedShift, Which Renderer Is The Best?
Is This Simulated By Houdini? No! This Is Max!
Arnold Render Farm | Fox Render Farm