3ds Max Tutorials of “God of War 86"(1)

2020-11-13

3ds Max Tutorials

The fastest GPU & CPU cloud rendering services provider, Fox Renderfarm still share with you 3ds Max tutorials. This project is made by the 3D artist, Yuliang Zhou. He made the "God of War 86" in 3ds Max, Substance Painter, Photoshop, and others. In this tutorial, he will introduce his workflow.

Introduction

In this tutorial, I will share the production process of one of my works "God of War 86" finished within 3 weeks. To complete a mecha within 3 weeks, it is a big challenge. Thanks for the help of my friend Xiao Zuo. I will also share the whole production process and some techniques used, including modelling, texturing lookdev, and lighting.

Concept/References

When choosing a concept, it needs to make some preparations in advance. When I saw the figure of the 86 Mecha Ares, I was like making a 3D model of it. The production of this model is not difficult, but it has a lot of small parts that take time to produce. And the difficulty lies in whether the overall proportions can be the same as the original image.

I really like to add some of my own ideas when making models to enrich the work, so I will also find some reference pictures of other mechas on the Internet before starting to make them.

Blocking

Once the concept is clarified, we can start to make the model. The first step is to use the blocking of the basic shape BOX to make the appearance. In this process, we must ensure that the basic shape is the same as the appearance of the reference. It does not need to be smoothed. We can make the foundation body in all places first. When the foundation body is done, open all the parts, and then make the details for each position. Do not start with small parts in a certain part from the beginning.

I added some details to the model, such as the anti-collision bar of the head guard, pipes, wires, and some small parts to make the mecha more realistic. Hence, it is really important to find references! Next, I will briefly explain the process of a part when I make a mid-poly model. Here I have selected the main body of the head.

We can see the basic shape of the head, the part of the red frame is a cuboid with a smaller front part. The green line is where the model is recessed. It takes time to make a slightly complicated structure like this. Once we have ideas, it will be relatively simple for us to start production. After adjusting the points and adding lines, we get the following model,

Next, let’s look at the yellow circle again. It is obvious that there is a model similar to a lighting lamp stuck in the brain in the yellow circle. At first, I thought that just make a lighting lamp and insert it directly. But after I tried it, I can obviously see that there will be many connection problems in the interspersed place, and it will obviously feel fake when making the material. I will release the comparison chart below,

It can be clearly seen from the above two pictures that the method of using Boolean to create a pit in the first picture is obviously more realistic and reasonable than the direct interspersed in the second picture. In contrast, there will be a little difficulty in the card line.

Part 2 and Part 3 will be continued soon.


3ds Max Tutorials of “God of War 86''(2)

2020-11-16

3ds Max Tutorials

We can see that the heads of these mechas all have a bumper similar to the head protection. So we can consider adding this detail to the head position when making the head.

In order to consider the rationality, I added a model similar to a retainer at the end of the protective bar and added some similar protective sleeves to reduce impact in the middle. Next, we continue to analyze the references.

On these mechas, there are obviously similar wires and small pipes interspersed on the model. This is what we want because these will make the mechas more accurate. So when I make these details, I also have to consider whether I was reasonable or not.

By constantly adding details, the mecha model is made to look a little more refined, and the presence of those parts looks real and reasonable.

High Polygon

I use the traditional way of making hard surface models and the Chamfer plug-in. The higher version of 3ds Max comes with a Chamfer plug-in, which will cut corners and card lines based on the distinction of smooth groups, which is very useful for hard surfaces making. This is a screenshot according to Chamfer:

It should be noted that in the From Smoothing option, we need to check the third Unsmoothed Edges option. In the Tension option, we also need to call up our desired edge between 1 and 0 according to the effect.

One more thing to note is that before using Chamfer, the smooth groups must be distinguished. All surfaces do not need to be connected to a quadrilateral, but there will be no problems if the lines are connected to a flat surface.

It can be seen that the effect of using Chamfer is very good, saving us a lot of working time, and improving work efficiency very well!

Low Polygon

Low Polygon production is actually a very simple step. It just needs to copy a set of High Polygon models to reduce the lines on the model without affecting the appearance. Since this is personal work, there is no need to be too strict on the number of faces, and it can be relaxed appropriately.

Low Polygon

The part 3 will be continued soon.


How to Make A Tomahawk in 3ds Max

2020-11-23

3ds Max Tutorials

1 month rendered in 2 hours, the fastest GPU & CPU cloud rendering services provider, Fox Renderfarm still shares with you 3ds Max tutorials, how to make a tomahawk in 3ds Max.

Introduction

Hello everyone! What I want to share with you today is to use 3ds Max to make a tomahawk and share some skills and techniques used in the production process. This is a relatively basic tutorial, including modeling, sculpting, pbr texturing.

Concept

This tomahawk was inspired by a weapon concept image in "World of Warcraft". It looks cool and looks very beautiful. So I want to make it into a 3D version in my own way.

In the concept drawing, I first observed the outline of the front and side and modified some details. These main structures are very important for making the model. We can see the white and black side profile in the figure below. The black is obviously more three-dimensional than the white.

Modeling

Firstly, I split the model into three parts, the handle, the main body, and the axe body on both sides. Each part is modeled in the most suitable way, and then merged. This part is very easy and simple to make this type of mode in 3ds Max.

The axe body on both sides of the battle axe is very important, so its shape is very important. The thread exists for structure, so please add enough thread at the turning point, and pay attention to the thickness of the axe since it needs to have layers. Models that can be made separately, please make them separately. Use as few faces as possible, and make transitions as smooth as possible.

UVs

UV production can be divided into four parts,

  • Plane projection: put the messy uv in a box.
  • Dismantling: adjust the UV without stretching and saving space.
  • Operation: solve stretching.
  • UV placement: a. The UV of objects with a larger model can be enlarged, and the UV can be reduced if there is less texture information; b. Try to optimize the UV space, and then the seams.

Texturing

Now that the model is complete, we can start making textures. Firstly, I filled in the background color. For example, If the overall concept map is blue, fill it with blue. If the overall concept map is red, fill it with red.

We can use the concept map for reference. As the background color, don't use too dark or too bright colors.

The next step is to create a hand-painted texture. There is a concept map for reference, just follow it to draw it. When drawing, pay more attention to the light source. I want it to look like a cold light source illuminates from the upper left, so that it can have a good sense of volume. In this step, large blocks of colors and changes need to be drawn, and no details are needed.

Next is the details. It should be noted that no matter what we draw, such as bandages, decorations, and bumps on the handle, we need to pay attention to the sense of volume.

Final effert:


3ds Max Tutorials of “God of War 86”(3)

2020-11-17

3ds Max Tutorials

The following is the process of making textures.

I plan to make it look like a battlefield. Its appearance is rather worn, not so new, there will be some dust, stains and other things, showing a sense of oldness. Then, we can start making textures.

First, make the most basic texture, which is divided into three layers, inherent color, light, and dark. These three layers of texture are the most critical. Only when these three layers are superimposed can the effect of worn-out dirt be better. What still needs to be considered is what other details will be on the metal surface. It is best to look for references.

As we can see in the above references, the details on the metal surface are still rich, including dust, scratches, breakage, paint peeling, dark edges of objects, strong reflections, rough surfaces, etc. Of course, the fastest way is to directly use the material that comes with Substance Painter to test what we need. Other textures are made in the same way, including wood, plastic, and so on.

Since the color of the texture and the color of the metal are both cold, it is necessary to add some color changes to the metal when making the texture, such as adding some warm stains, so that the complementary colors will not appear as monotonous.

One more thing to note is that lighting should also be considered when making textures in Substance Painter. A good model must be equipped with good lighting to show the best results. If possible, we can perform a rendering test when making textures.

Texture map made by Substance Painter,

Rendering

We need to set up the light before Renderer. Since the color of the mecha and the metallic tone are relatively cold, the main light source must be a warmer light. For the backlight, I chose a purple light to illuminate the outer contours of the back. Since the mecha is still relatively large, many places are not illuminated by the main light source, so we still have to make some warm light to illuminate partially dark places.


How to create a spacecraft in 3ds Max(2)

2020-11-10

3ds Max Tutorials

  1. Adding edge loop

The purpose of adding edge loops is to make the edges smoother, especially on some cylindrical models and edges.

  1. Cleaning up unnecessary vertices

After adding all the support loops, many lines that we don't need are formed around the model. It is better to do some cleaning for these lines. To do this, we need to check the model and fold all the unwanted vertices, and soon a clearer geometry will appear in front of us. These unnecessary lines and points will also affect the result after smoothing.

  1. Simulating bottom wing and perforation

When we want to add some holes in the cylinder of the model, most of us will consider removing the cylinder and punching holes on it, but doing so will result in uneven edges. Note that there is an easier way: take a cylinder, make a hole, duplicate it, and apply the 360-degree bend modifier. Then we will get a perfect hole by continuously smoothing.

The perfect way to make holes.

Enrich the wings of the spacecraft with additional details

  1. Adding geometry to the intersection

If we want to create a real-looking virtual vehicle, details are important. For example, we can add additional geometric figures to add connection points in the area where two grids intersect. It is recommended to add some new connection details at the intersection.

  1. Parts modeling

When creating small details such as joints or bolts, we can copy the model instead of creating a new detailed model every time. Especially for wires, bolts, and the like, we only need to make one model, which can be copied and moved.


How to create a spacecraft in 3ds Max(1)

2020-11-06

3ds Max Tutorials

3ds Max is a powerful 3D modeling software. We can do 3D modeling and 3D animation. In this tutorial, your TPN-Accredited CPU/GPU cloud rendering services, Fox Renderfarm will show the process of creating a sci-fi spacecraft, and introduce in detail how to use the simple tools in 3ds Max to create hard surfaces.

1.Concept/References

We must first observe the spacecraft structure in the references, and divide the whole spacecraft into many pieces according to the structure. This is very helpful for modeling and can help us plan what we will do. Meanwhile, doing some research and collecting reference images will be also helpful.

Areas of different colors represent blocks of different structures.

2.Blocking

The first thing to do in the production of the model is to create all the basic structures that divide the color area. No details will be involved in the production of this step. And, the key point is whether the overall outline of all models is the same as the concept map. It is important to determine the initial scale of the model.

  1. Avoiding using triangles

When creating high-resolution models, be sure to avoid using triangular faces. Because they will produce some bad results such as bumps when smoothing. If you must use triangular faces, place them in some hidden areas. Generally speaking, quadrilateral faces are better than triangular faces.

  1. Using connections and bevels

Now some independent models can be displayed independently and some structural adjustments can be made. For example, move the vertices from one side to adjust the shape of the cylinder, and create edge lines along with all long geometric shapes, which makes it easier to select different polygons.

Cut the glass area from the cockpit frame along the window contour; add details to the antenna-like parts of the upper part of the spacecraft. This part is very simple. One thing to note is that the size of the details must be guaranteed to make the spacecraft look realistic.


Ornatrix Plugin Tutorial in 3ds Max

2020-09-25

3ds Max Tutorials

The direction of the arrow indicates the direction of hair growth. The hairstyle of a stylized character above is easier to show the volume of the hair.

  1. Sculpted hair

This hair method is very common, but the distribution of hair also requires some design. The front part like the hair is made separately from the back. The red and blue parts will slowly disappear along the green part at the place marked by the arrow, and the green part will continue to extend downward. At the same time, another branch will be separated.

  1. Cartoon style hair

Take the female character above as an example, her hair is mainly divided into two parts, the left part of the hair, the red arrow is on the outermost layer, the blue arrow can be counted as a branch, and the yellow arrow is under the blue arrow. When making hair, not only the direction of the hair, but also the layer and thickness must be considered.

The block of hair in the character above is relatively large, and the level is more intuitive. Yellow and red hair are more outside, green and blue hair are more inside, and the hierarchical relationship of the hair will make the overall hair richer.

  1. Realistic hair

The realistic hair in the picture above is the most difficult to make of all hair types, and the use time cost is higher. It takes time and brainpower to distribute all the hair reasonably, and to make the fine hair and the whole match reasonable and beautiful. Here is a hair tuft as an illustration. The red part is the bottom layer, the blue is on top of the red, and the green is on top of the blue. This layered superposition makes the hair performance extremely vivid.

Conclusion The first and second types of hair are made by models, and the third and fourth types are made using hair software. The production method is to make the whole first, and then modify the details. The look and feel of the hairstyle comes from the distinction between the trend and level of the hair. If you do not do well in the first step, it will affect your overall effect later. It is recommended that before making a hairstyle, find the necessary reference on the Internet, and then analyze the trend and level of the hair. After the hairstyle is split, it will be more reasonable to make it.

Ornatrix

The production process of using Ornatrix to make one of the hairs will be explained in detail below. First, import the character into ZBrush and use the curve brush to quickly build the basic hair. In this state, it is convenient to adjust the hairstyle

Import the model into 3ds Max, first use Ornatrix to create and edit guidelines based on the model.

First select a surface and use ox Guides from Surface to generate guidelines. Ox Strand Detail is used to edit the number of segments of the guideline. The number of segments is determined by the length of the hair and the degree of distortion. Ox Edit Guides use the numbers in the edit guidelines to comb the guidelines into the shape you want.

Hair generate

Different point diagrams are different modes of hair generation, and the distribution parameters control the number of hairs.

Width adding

Next is to adjust the width of the hair. Add clusters to control, the degree of hair aggregation, generation method: guideline and random.

Add noise

Hair will have some small fragments randomly hanging around the hair, which will make the hair look more natural. These fine hairs will be generated using Ox Strand frizz function. Finally, add an Ox Mesh from Strands to make the hair done.


3ds Max Tutorials: 3D Toilet Scene in Silent Hill(1)

2020-08-25

3ds Max Tutorials

Today your TPN-Accredited cloud rendering service, Fox Renderfarm will share with you a toilet scene made with reference to the horror and thriller game "Silent Hill". The process is from the original painting to the 3ds Max model production, then to the texturing in Substance Painter, and finally the Marmoset Toolbag for rendering.

Let’s have a look at the final effect.

Software used: 3ds Max, ZBrush, Substance Painter, Photoshop, Marmoset Toolbag How long does it take: one and a half weeks

Introduction

This is a personal project for practice, the purpose is to learn some new skills and improve workflow, and make your work better.

In this project, the production is not so difficult, but the texturing and rendering took a lot of time. A lot of tests were carried out in these two stages, and the most perfect results were obtained. And through texturing in Substance Painter production and rendering with Marmoset Toolbag, the overall thrilling atmosphere of the scene is perfectly displayed, making people feel as if they are on the scene at a glance.

The whole production process is divided into five parts: target, modeling, UV, texturing, rendering, etc.

Modeling

The scene is based on the original setting of the game scene, so the model production is not too difficult. In the early stage, I first decide the angle of the scene, and then increase or decrease the number of model faces according to the distance from the scenes.

First import the image into 3ds Max, build the entire room with simple shapes and then start adding props and details. For the smaller details, such as the breakage and cracks of the wall tiles, they are all made by Dam Standard brush, OrbFlatten_Edgeprotect, and Alpha.

Part of the details after the carving is completed:

UV

Most of the work in the UV part is relatively simple, and the most difficult part is the broken tiles and gravel falling from the ground.

  1. The small pieces are baked as much as possible in the post-production
  2. Reduce the number of faces of other models that are not part of the visual center
  3. Use the correct model resolution to make the size of the texture, etc.

"Coffin Dance" Produced by Peru Animation Studio According to Ghana’s Dancing Pallbearers(1)

2020-08-11

3ds Max Tutorials

Speaking of the most popular online clips in recent times, it must be "Ghana’s Dancing Pallbearers". This time, the powerful and affordable cloud rendering services provider, Fox Renderfarm will bring you an artwork "Coffin Dance" produced by Peru animation studio according to Ghana’s dancing pallbearers. The six Ghanaians are wearing suits and dancing magical dances at the solemn funeral. The strong contrast always makes people laugh unconsciously. After their dance was posted on the Internet, it quickly swept across social platforms such as FB and Instagram, triggering a large number of imitations by netizens.

Loopit animation, an animation studio from Peru, took the film as inspiration to create an extremely eye-catching 3D animation, which caused a topic in the animation field. The founder Marsha Pavlich was interviewed and talked about the secret behind the production of the work and mentioned the creative workflow of the studio.

Marsha Pavlich is from Peru and is 32 years old. He is a professional animator. In addition to animation, he also loves cats, cooking, and games. In 2017, he co-founded Loopit Animation, an animation studio with his partner Piero Vallebuona. The studio’s main businesses include 3D and 2D animation creation, film and television post-production and visual effects development. It is a cross-disciplinary team capable of executing various animation techniques.

Software used:3ds Max、After Effects

Could you tell us something about the Coffin Dance?

Marsha Pavlich: Our studio is a long-term partnership with another animation studio in Peru, Studio Uku. When we saw the popular "Ghana’s Dancing Pallbearers" clip on the Internet, we immediately wanted to make this clip into a 3D version. We believe that this clip not only has unique black humor, but it also conveys a message that it is important to keep your body healthy in the context of this virus pandemic.

In order to convey the message of the short film, the animation itself must be easy to produce, short and interesting in order to attract the attention of audiences on social platforms such as Instagram and TikTok. The style of the short film is inspired by Max Fleischer's work. His work is charming and easy to design in 3D. However, even if you are creating in the comfort zone, you still pay attention to some details during production. For example, when creating cyclic character dynamics, we use a rubber hose animation style as the basis to simulate actions similar to the popular clip.


How to Make High-precision Models For Motorcycle Tire Patterns And Wheels in 3ds Max and Zbrush(2)

2020-08-07

3ds Max Tutorials

In this tutorial, Fox Renderfarm, your TPN-Accredited cloud rendering service provider, will still bring a set of vehicle model making skills.

C. Wheel production

  1. The production of the wheel: firstly outline the cross-sectional structure;
  1. Add a lathe, an angle of 360, a number of segments of 60, and click on a subset to adjust the radius of the wheel;
  1. Add symmetry to bilateral symmetry \Edit poly card line\ Turbo smoothing

D. Brake pads

  1. The idea of making brake pads: use 2D graphics (star and round) and use 2D Boolean tools to adjust the graphics;

  2. Process: large-scale adjustments \ add circular hole \ circular copy \ extrusion thickness

  1. The final extrusion effect: before importing Zbrush, the model needs to be converted to poly, so that the model will not appear broken;

E. Spoke structure

  1. Use the spline to make a spoke, and replicate it according to the reference picture;
  1. Select the spline to display the solid model: add Edit poly\ and turn to poly

  2. The final effect in 3ds Max.

    Boolean operation pattern and drawing in Zbrush

  1. The whole model is imported into Zbrush in the form of obj or GoZ;

  2. Create a tire folder; select the sub tool under split \ split by group; select the difference pattern; open the preview of Boolean rendering;

  1. After the preview effect goes well, select the gear icon of the tire folder, the Boolean operation folder, and generate a new Boolean model;
  1. Dynamesh: the resolution can be set to 1024 or 1280, the higher the resolution, the finer the model;
  1. Mask: According to the characteristics, the mask will be generated according to the edge of the group, the mask will be expanded once and blurred once;
  1. Inversely select the mask and select the lower polishing command. The value should be 2-3. If you want the edge to be softer, you can polish twice.
  1. Add pattern details; select the groove brush; click x key to turn on symmetry; turn on the R ring symmetry value to 10; increase pattern details;
  1. The final effect of the first pattern;
  1. The operations of the second pattern are the same as above. Note: the Boolean operation needs to select a collection and merge the model into a whole. The next steps are to dynamesh, polish, use the groove brush to increase the pattern details;
  1. The final effect of the tire

How to Make High-precision Models For Motorcycle Tire Patterns And Wheels in 3ds Max and Zbrush(1)

2020-07-29

3ds Max Tutorials

In this tutorial, Fox Renderfarm, your TPN-Accredited cloud rendering service provider, will bring a set of vehicle model making skills. This article mainly explains how to use 3ds Max and Zbrush to make high-precision models for motorcycle tire patterns and wheels to help you improve the quality and efficiency of the vehicle model.

High Poly Effect

The overall process of the case:

This case is a series of motorcycle production tutorials. In this tutorial, only the high poly parts of the tires and wheels are included.

The outline of this tutorial is as follows:

Outline

  1. preliminary preparation in 3ds Max and mid poly manufacturing of tire
  2. Introduction and installation of the plug-in Radial Symmetry
  3. Production of tire patterns and brake pads
  4. Boolean operation tire pattern in Zbrush

    Production process

    Preparation

  1. Collect reference pictures;
  1. Create a 1:1 background board of reference picture in 3ds Max, and put the center point of the tire on the origin (0.0.0), which is convenient for model symmetry;
  1. Start to build the mid poly of the tire base. The production starts from the basic ring, adjust the inner and outer radius of the ring and the appropriate number of segments (Segments: 36, Sides16);
  1. Process decomposition:

Trous \ Edit poly \ Symmetry \ Edit poly card line \ Turbo smooth 2

  1. The final effect

3ds Max Plug-in, Radial Symmetry

  • Introduction: Radial Symmetry is a 3ds MAX modifier plug-in, which can do circular symmetry replication effect, make circular model symmetry, and the quantity adjustment is very convenient;

  • Installation instructions:

(A) Close 3ds MAX

(B) Copy the corresponding version of RadialSymmetry.dlm to the plug-in folder of 3ds Max. The default example is C:\Program Files\Autodesk**3ds** Max xxxx\plugins

(C) Open 3ds MAX, you can see Radial Symmetry in the modifier list

  • Functions:

(A) Radial Axis: XYZ rotation axis, this function is very important, most of the effects are adjusted here;

(B) Radial Count: Number of copies

(C) Smooth Seams: smooth seams

(D) Quad Seams: Four-sided seams, less used

(E) Mirror: double mirror

  • Production of tire patterns, wheels and brake pads

A. Tire 1 pattern

  1. Use the topology tool to draw the pattern model, pick the tire high poly , use the Strips tool to draw the model based on the surface; the pattern is based on the reference picture;
  1. Draw pattern graphics \ shell \ pull \ symmetry \ turbo smooth \ ring symmetry;

  2. Circular symmetry: z-axis direction, Radial count: 10 pieces.

B. Tire 2 pattern

  1. Extract two models from the tire model and edit to the shape above;

  2. Add shell\ Edit polygon, add grooves and holes \ symmetry \ Turbo smooth \ Circular symmetry (replicate 32 times)

  1. Circular symmetry: z-axis direction, Radial count: 32 pieces

Zbrush effect

Note: At this step, the model has not been finalized, and it needs to be imported into Zbrush for details adjustment. It is necessary to merge the pattern and the tire into one model, and the edges do a soft transition to make the model appear more realistic;


Big News! 3ds Max 2021 Is Now Available

2020-06-10

3ds Max Render Farm

Hey guys! Let’s check out the new features in the lately released 3ds Max 2021.1, including texture baking improvements, Arnold as Default Renderer, expanded PBR workflow capabilities, viewport, fluid and modeling tool enhancements.

The feature-rich update is targeted at modernizing and upgrading performance for artist workflows across design visualization and media and entertainment disciplines.

Bake to Texture:

  • Output now supports multi-tile UV mapping (UDIM)
  • Animated map outputs are now supported as well as multiple animated frames
  • Various usability improvements.

Model courtesy of TurboSquid and their artist, Luke_Ahearn.

Fluids:

  • The Fluid loader is now exposed so that object types such as particle systems can work with the data
  • The Velocity channel now reports correct information when not using meters as your default scene scale. This fix will enable motion blur in your renderer
  • PRT now supports a signed and unsigned integer values (via .ini change).

    Interactive Extrusion and Inset:

  • Users can now utilize a Shift+Drag (left mouse button) with the Move transform tool to extrude polygon component selections when using an Editable Poly or an Edit Poly modifier

  • Shift+Drag with the Scale transform tool now performs a polygonal inset action on selected polygon component selections when using an Editable Poly or an Edit Poly modifier
  • Clone/Copy actions are now performed with Ctrl+Shift+Drag when using the Move transform tool on the polygon component on and Editable Poly or an Edit Poly modifier.

    Viewport improvements:

  • Depth of field now affects the environment map

  • Vignetting scale is now the same value as defined in the camera
  • Matte/Shadows material now work in the viewport
  • Each view can now have its own exposure, white-balance and vignette settings.

    Arnold renderer:

  • MAXtoA 4.0.4

  • AOV token system
  • Animation support for Alembic
  • Increased shader spinner accuracy
  • Bake to Texture support for projection of normals from high to low resolution, normals spaces, and Mikkt.

    Enhancements and Changes

    Weighted Normals Modifier

Now includes support for multi-threaded processing to enhance speed and performance when performing calculations as well as other stability improvements.

Explicit Normals Preservation for Mesh

Applying an Edit Mesh modifier no longer invalidates explicit normals, nor do the following actions: Attach, Detach to Object, Detach to Element, Clone to Object, Clone to Element, Detach as Clone to Element.

PBR material

Both PBR materials now support displacement.

Shared Views

Shared Views now supports Physical material.

SketchUp model importation

There is improved handling of internal edge visibility, improving the imported mesh quality, and SketchUp 2020 models are now supported.

Slate Material Editor

The Slate Material Editor now pans and zooms smoother and faster when using a 4k monitor. In addition, the Search field has been improved to perform global search through all materials and maps in the editor. For example, if you were searching for the Advanced Wood map and typed "wood," the old search would not find it but now it will.

Render output size

HDTV resolution of 1280 x 720 is the new default output size.

UDIM display

When you work with UDIM, you are now able to view all textures in the viewport when using the Bitmap Lookup OSL shader, instead of just viewing one as when using the Multi-Tile map.

User Defined Defaults

Allows you to set your own default values for ParamBlock2 supported spinner, radial, checkbox, or input field through MAXScript calls.

Viewport

Depth of field now affects the environment map, the vignetting scale is now the same value as defined in the camera, Matte/Shadows materials now work in the viewport, and each viewport can now have their own exposure, white-balance and vignette settings.

From: ?guid=GUID-9C24A540-EDA3-4BE3-BBF6-EB5C005BE8CC


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