Maya Tutorial: How to Make An Axe(2)


Maya Cloud Rendering

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.


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.

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.


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.


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)

ZBrush Tutorials: The Making of Hard Surface Models(2)


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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.

  1. 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.

  1. 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.

  1. 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.

ZBrush Tutorials: The Making of Hard Surface Models(1)


Maya Cloud Rendering

Today, Fox Renderfarm, your best cloud rendering services provider, is going to share a process of using hard surface technology to make a sci-fi style head model in ZBrush from 3d Artist ZX, and show the way of thinking in the production process and some points that need attention. This work is based on a reference that ZX saw on the Internet. And ZX decided to make it a 3D version. This is part one of the article.

Blocking the main forms

The first step is to create a basic sphere in ZBrush, and then use the Dynamesh function to make the head layout. The number of subdivision faces at the beginning should not be too high, otherwise, the adjustment of the faces will be troublesome. Then use the brush to make some shapes according to the reference image. The process is simple, and only some basic brushes are used, including Move, Standard, Claybuildup, Polish.

Adding detail

This part requires a lot of patience because the concept has only one front, and the side and back structures are not clear. Hence, we need to use our imagination, and some places need to be designed according to our own wishes in the production. So, in this process, ZX made a lot of trials and designs, and finally determined the result.

Next, ZX used the polish function of Dynamesh, which can make the surface of the model smoother under Dynamesh conditions. This function is very useful and the final effect is good. If you can, please try to use this feature.

In ZX's personal projects, many works have been redesigned and organized according to his own requirements, so this character only made a basic design to make the appearance look more reasonable, but did not have many details. The following are some highly variable models carved,

How to Build a Mechanical Warrior in Zbrush(3)


ZBrush Tutorials

To continue with part 1 and part 2, Fox Renderfarm, the No.1 cloud rendering services provider, will still share with you the tutorial from the 3d artist Dong Chao of part 3 about how to build a mechanical warrior with Maya and ZBrush.


Adjust a simple POSE, and then add a scene used in the previous project to test the light rendering. A total of 5 lights were used in this project, 4 VRay Area light sources and one Dome light source. The Dome light source is mainly to add an HDR map inside. Normally, you can check Dome Spherical in the settings, and then add an HDR. Because the final effect is more to highlight the main body, so the intensity is reduced to 0.5.

The other light sources are all adjusted in size and intensity color. One is the overhead light source, the other is the main light on the side and the two backlights. The final lighting effect is as follows.

The final renderer uses VRay, and all elements in the scene use VRaymtl material. VRaymtl is very easy to use, it only needs simple adjustment to get good results. Especially for the character body, I used a VRayblend material and FastSSS+Vraymtl. In addition to the SSS texture of the character itself, I also wanted to adjust the highlights more delicately, so I superimposed the highlight texture directly on the highlight color of vraymtl. In order to speed up, I used the completed Normal texture to convert it with the Ndo plug-in, and converted it into a concavity and Ao texture, Then I copied the concavity to highlight the concave effect of the skin, and superimposed the previous color texture and adjusted it again can. And the Scatter texture in the SSS material is not drawn, only the color texture is used to modify. The following are the settings of the head body part and the shader of the highlight map,


In the final rendering, I improved the lighting quality and rendering quality, and replaced the body with a 3-level subdivision model in ZBrush, and then used a normal map. In the test, the normal details are displayed better and faster than using displacement maps.

Finally, the rendering is divided into channels, and then adjusted using Photoshop. The resolution of the final image is 2.5K 3K, and the rendering time is about one and a half hours. The following are the renderer settings, and the red box is the place that needs special attention.

In the compositing stage, I added all the channel renderings to Photoshop for adjustment. I used the channels to refine the final effect, adjusted the depth of field blur, color adjustment, and superimposed a layer of dust and shadows.

Final render:

How to Build a Mechanical Warrior in Zbrush(2)


ZBrush Tutorials

To continue with part 1, Fox Renderfarm, the No.1 online render farm, will still share with you the tutorial from the 3d artist Dong Chao of part 2 and part 3 about how to build a mechanical warrior with Maya and ZBrush.


Now use the QRemesher function or the face reduction plug-in to reconstruct the topology of all required models. I imported all the biological models into UVlayout to make UV. I used 3 parts of the body, one for the head and body, one for the arm and foot, one for the tail, and the UV for the mechanical body. ZBrush's UVmaster automatically created it, saving a lot of time and the effect was quite good. Finally, it was divided into different UVs in Maya, and the armor used about 5 UVs.


All the details of the character itself are sculpted in ZBrush. You can directly draw textures in ZBrush, and then use different brushes to make various color changes. There is no superimposition or mapping of other textures. This method is produced. The textures are not too messy and the speed is faster. The armor part is only distinguished by some colors in ZBrush.

The production of the body has been completed, you can export the texture directly, and then import the model of the mechanical armor into Mari together, use a few textures to simply draw some damaged edge effects and some patterns, and finally superimpose a layer of color changes. The texture does not need to be particularly shabby, and in order to save production time, I only made half of the texture, and the other half was changed slightly to break the balance.

Finally, I baked the texture of the whole body in ZBrush. I baked the normal map and displacement map, which are needed in the quick test rendering that needs to be carried out. The next step is replacing the displacement map according to the test results. Hence the displacement and normals here are baked from small details.

Stay tuned for the part 3.

How to Build a Mechanical Warrior in Zbrush(1)


ZBrush Tutorials

This time, Fox Renderfarm, the best cloud rendering services provider, will share with you a ZBrush/Maya tutorial from the 3d artist Dong Chao, about how to build a Mechanical Warrior.

Hi, this is Dong Chao. In this tutorial, I will show you the production process of making a mechanical warrior. The focus is on the combination of organic and inorganic matter in the model.

Software used: Maya, ZBrush, Mari, UVLayout, Photoshop, and Ndo.

The overall production time is about 3 weeks, of which the model production took 2 weeks, and the texture and rendering took a week.


The collection of references is an important step. When creating this model, I collected the works on the Internet as references, mainly of various mechanical characters. In the design stage, I made a rough stitching diagram using these reference pictures, and then quickly carried out the detailed design of each part and character in ZBrush. Because there are many small parts, each part keeps as simple as possible. The coordination of completeness and proportions hopes that the roles will be integrated so that the post-production will be relatively quick and simple.


Now you can start to create the model, I made it in ZBrush. Because there is no specific reference picture, I had to use ZBrush's DynaMesh to start production from Zsphere. Starting with a simple shape, I made a basic body of a monster, and then slowly added details after determining the proportions. The next step was to copy the body to make the outer armor. The following were the brushes that I use frequently. Some of the brushes have been simply modified and then saved as default for use next time.

The early sculpting process is relatively simple, especially ZBrush is a very easy-to-use software for me.

In this step, I carried out some overall carvings on the pre-planned content and element structure, and then cut the model into different subtools, hiding some invisible places, so as to facilitate further conversion into ordinary multi-deformation for fine-tuning. As shown in the figure below, different colors represent one subtool.

The body model is subdivided, and then the body part is directly carved into the final effect. And the mechanical part can be made according to your requirements. I didn't waste too much time in this step, because in the end, I have to use the hard-edge function to perform the topological conversion. The following is the final ZBrush design drawing.

The final model in Zbrush and Maya

There are many ways to make mechanical armor because I have already made a shape in ZBrush, so I chose the appropriate method and used ZBrush for topology. And I modeled the small parts in Maya so that it can be copied and aligned conveniently, and most of the armor on the monster body will be hard-edged after topology in ZBrush.

Firstly, add a ZSphere to Subtool, and then hide other objects, select ZSphere for topology. Do not use too many turning faces, just use the model to outline the shape, especially where hard edges are required. Precise the line, and then set the appropriate preview thickness. Remember to subdivide the preview to 1, and then you can get an object with a thickness similar to armor during the preview. Create the cut surface that needs hard edges, gives a polish smooth bottom edge at a relatively high subdivision level, and that's it. Finally, you can get some desired details through some methods such as Alpha, eage loop, or extrusion.

Before making the details, I usually put these mechanical models into the Keyshot for metal texture adjustment and simple GI rendering tests to see if there are any problems with the model. The most important thing at this stage is not the details, but the turning point. The combination of some objects that are troublesome to make with hard edges in ZBrush can also be put into Maya for refinement. Of course, you can also operate according to your own habits.

Final effects of the details,

Stay tuned for part 2 and part 3.

3D Tutorial: How to Make an Old-growth Forest in Maya(2)


Maya Cloud Rendering

This tutorial shared by your TPN-Accredited cloud rendering service provider, Fox Renderfarm. It tells us how to make an old-growth Forest in Maya, including the entire process of modifying mountains and stones and making trees. This article undertake the part one.

After inspection, the main reason is that when using auto-map UV, the interspersed in the model structure caused the uneven UV distribution.

So here we need to use Delete by type/History to re-dissolve all merged mountain models.

The texture after clearing the history information is shown below.

Adjusting the parameters of the program texture snow, and the refreshed view will be displayed as shown in the figure below.

Change the texture color to black and white, and add particle emitters to all surface hills.

Change the particle emitter type to surface and the emission rate to 10000; apply the texture to the particle emitter to control the range of emitted particles; and turn on the enable texture rate option.

Using the program shown in the figure, you can quickly set the properties of all transmitters uniformly. Select all-mountain models and use the program as shown in the figure to set the texture connection for their transmitters uniformly.

The particles in the following two regions are too dense. This is caused by uneven UV distribution. Adjust the emission rate of the particle emitter in this area individually to ensure uniform emission of the particles as a whole.

Create a V-Ray Dome light to simulate the global effect; set the sampling subdivision to 8, create directional light, and set the light tracking shadow; select the tree model used, and create a proxy for Vray.

In the settings panel, set the path of the Vray object, and automatically import the options in Maya. The particle distribution after emission is shown in the figure.

Set initialization for particles, save particle state and set particle replacement. Add the attributes of the particle substitution control, INstancerId, scalePP, rotatePP.

In the expression editor, entering the expression when the particles are created because there are many proxy objects. Therefore, the amount of dynamic memory of Vray needs to be increased.

The final rendering effect is shown in the figure.

3D Tutorial: How to Make an Old-growth Forest in Maya(1)


Maya Cloud Rendering


This tutorial shared by your TPN-Accredited cloud rendering service provider, Fox Renderfarm. It tells us how to make an old-growth Forest in Maya, including the entire process of modifying mountains and stones and making trees.


Because this tutorial is mainly for creating trees, the mountain and stone part uses a scene made in the previous project. In this scene, you can see the river in the middle and mountains on both sides. Before production, it’s important to observe the range of mountains in the scene, determine which mountains need to be planted, and remove unnecessary hidden surfaces, where do not require tree planting.

In order to improve production efficiency, it is usually necessary to merge the mountain and the stone into a whole.

Use the polygon merge command as shown.

The mountain and rock model formed a whole.

Delete the model of the excess stone underwater, try to clean up the surface of the model, and avoid other errors in the production.

Clean up the interspersed surfaces inside the model, especially those outside the scenes, where they cannot be seen outside the scenes.

After cleaning the model, use Maya's UV tool Automatic Mapping for UV mapping.

The purpose of redistributing UV is to avoid the problem of texture overlap when generating color texture on the model later. The UV distribution is as shown below.

Firstly, it is important to add snow material to the model and adjust the Threshold value in the attribute to control the position of the snow line, so that the steep area does not have the effect of being covered by snow. The next step is simulating the position of snow for the emission of tree planting particles.

Select the shader of the model and snow material, and execute the texture conversion command.

Set the resolution of the generated texture. If the scene is large and the accuracy is high, please set a high texture resolution.

The effect of the texture setting is as shown in the figure below, but there is a problem, the texture is not mapped according to the layout of the procedural texture. Why? Part two will be continued.

Maya Tutorials: Production Process of 3D Artwork Crazy Fans(2)


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Part of the role modeling is basically done in ZBrush. But before ZBrush, a low-poly model is made. Most of the scene props are done in Maya. In terms of characters, I decided to exaggerate at the beginning, so I can’t make the character too realistic. If it is too realistic, the expressive power of the picture will be greatly reduced. Therefore, in the production of the character, I will exaggerate its characteristics abnormally, but I cannot. If it is too much, it will become too cute which is not what I want, so I positioned the picture as a cartoonish realistic style.

The prototype of the fans referenced Paul Bell, the greatest manager in WWE history, and then made some modifications on his basis.

The clothes are basic models made in Maya, then imported into ZBrush and sculpted using ZRemesher.

Hamburg still uses the previous brushes, but with an extra Alpha. The drink is carved with InsertSphere and Dynamesh.

The body still uses those brushes, and finally puts them together.

The role of the player is based on the French team’s Ribery. In order to be similar to him, I collected a lot of his information and added more exaggerations when carving the model.

The method of making player roles is the same as that of fans. The shoes are done in Maya.

the football referee-Colina is a reference to the role of the referee, I believe everyone who likes football knows him.

Since he is far from the lens in the picture, the carving is not very detailed.

Those fans who are farther away are even more omitted because they are too small and there is no need to make them too detailed.

The scene is made in reference to the Maracanã Stadium in Brazil, and the style is also a bit more cartoonish.

The fans first made a set of very low-poly models, and then shuffled, copied, and copied them. Don't place them too neatly and randomly.

The clouds in the sky are made using materials in Photoshop and then pasted on a flat surface. The airship is first modeled, and then rendered(Fox Renderfarm suppports Maya cloud rendering) separately for later compositing.


After the model is finished, start testing the lights. The time is daytime, so the light first uses a surface light to simulate the sunlight source, then turn on GI, turn on the physical skylight of VRay, and control the light intensity.


Photoshop and Mudbox are used in this part of texture making. Before casting, it is best to choose those with few highlights and shadows or trim off the highlights and shadows.

Continue to modify and adjust until you are satisfied.

Make bump highlights by color, plus the normal map baked before, and use these for basic textures. There is no difficulty in making clothes and props. The main thing is to control the highlights of different materials, and the texture will be different.


The system is mainly produced by Hairtrix. There are many ways to make hair, but I am more accustomed to using Hairtrix, and personally feel that this is pretty easy to use.

Layered rendering

Compositing & Post-production

The main thing in the post-production is to control the atmosphere. Just look at the excellent works of art, movies, magazines, photography, etc., to enrich your control of the atmosphere of the picture and the feeling of color. This also requires long-term accumulation.

Maya Tutorials: Production Process of 3D Artwork Batman(2)


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Armor modelling

When making the armor model, it needs to pay attention to some places. Adding two more lines at the edge, especially the corner, so that after smoothing, it will achieve a better final effect.

The heads of the characters are all done in ZBrush, which can sculpt out tiny details. Its delicate brush can easily shape skin details such as wrinkles, hair strands, pimples, freckles, etc., including the bump models and textures of these tiny details. ZBrush can not only easily model the shapes and textures of various creatures, but also export these complex details into Displacement and normal maps. There is a principle to follow when carving objects: from simple to complex, from whole to part.

When drawing with a brush, I use move brushes, standard brushes and clay brushes. The move brush is used to adjust the overall head shape, the standard brush is used to adjust the shape of the facial muscles, and the clay brush is used to shape large areas. I prefer to use the Layers function in ZBrush when drawing the model. It can record the details of the painting very well. When you change the details of a certain layer of skin, it will not affect the details of other layers. Strength of each layer can also be adjusted according to the final effect of the model.

Three brushes

When sculpting a character's face, you can first sculpt it in ZBRUSH, draw the texture and then perform the rendering test. If there is any problem, you can directly adjust it in ZBRUSH. Note that when making this adjustment, you can't make too many changes, otherwise the texture may change. Because this is just a personal project, there are no restrictions on the use of textures, so in order to show more details of the skin surface, I try to use 4K textures.


I usually use Unfold3D to make the UV of the model. Its UV splitting function is easy to use and the speed is fast. However, the character models of this project are all split UVS among Maya. The face of the model uses Maya's Cylindrical Mapping tool. Cylindrical Mapping is convenient for creating UVs on the faces of the characters.

Texturing and rendering

In terms of the texture of Batman's armor, I want to be more modern, so I didn't make the pictures very old, and there was almost no hand-painted texture. The main reason was to modify some realistic materials. The hair is made using Maya’s Shave plug-in. In order to make the hair fuller, I added several layers of hair, because a layer of hair is difficult to cover everything, like a hairdresser, slowly comb until you are satisfied with the effect.

The lighting is a combination of global light and three-point light source

The three-point light sources include the main light, auxiliary light, and backlight. I mostly use area light and parallel light for lighting. The basic method is that the brightness of the main light is 3 to 5 times that of the auxiliary light, and it slowly transitions from warm light to cold light.

The rendered image was completed in Photoshop. The visual effects of the snow were done with Maya particles, and the motion blur was turned on for more realism.

Final effect:

Maya Tutorials: Production Process of 3D Artwork Batman(1)


Maya render farm

CG character artist Nealxia shared his "Batman" project and explained in detail the production process of models, UVs, textures, renderings, etc.. Your TPN cloud rendering service provider, Fox Renderfarm hopes these experiences can be helpful to you.


Batman is a superhero under DC Comics, and in my heart, he has always been a shining image representative who grew up with me. The first time I knew Batman was the Batman game. I was immediately attracted by his mysterious, cold, dark temperament. I still like this role very much now, and I always look forward to the opportunity to do memorable work for my idol. Finally, I finished this work in my spare time last year, I hope you like it.


Before I started, I collected a lot of material about Batman. The styles of the picture materials are both realistic and cartoon. In the end, I decided to use Nolan’s film "Batman: The Dark Knight" as the model since I really like this movie.


After determining the appearance of Batman, we must determine a basic model. I found one from previous projects as a basic model. If it’s too time-consuming to make from scratch, the best way is to use the resources at hand to apply what is suitable, and do it yourself if it’s not a proper one. Displacement pump or normal can be used in the production process to show the details of the model.

The process of making Batman armor is done in Maya. After determining the approximate shape, the armor is added to the character model. Building these hard armor models in Maya is quite quick and convenient: first, create a plane, and then continue to extrude the edges of the plane model with the Extract Edge command, and continue to cut until you achieve the effect you want.

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