Blender Tutorials: The Process of Making the Guyver 3 Dark Gigantic(2)
As the best Blender cloud rendering services provider, Fox Renderfarm still brings you the blender tutorial to share how to make the Dark Gigantic from freelance Digital Artist John Liu. And this is part two.
The guyver armor belongs to alien biotechnology. The material itself should have biological visual characteristics, and at the same time, it must have a sense of future technology. John checked many materials and was not satisfied, so he could only design it himself. He wanted to create an extraterrestrial cell-strengthening material that was unique to guyver armor, which looked like futuristic technology and had real credibility. After trying many effects repeatedly, he positioned it in a mixture of beetles and technology.
To construct Shade, we must first make a basic material, and then enrich it on this basis. The Cycles material library is used for the material, and then the original material is split and re-transformed, and combined according to the material requirements for the dark gigantic.
The Surface part is obtained by the combination of multiple layers of materials, mainly simulating the texture of complex reflection details on the surface. The way of mixing is basically the idea of Substance Painter, so it uses the Pointiness in the Geometry node and the mechanism material taken to make it. With the ColorRamp node, it is easy to get kaleidoscopic effects.
Bump is obtained by at least several texture combinations, two procedural textures Voronoi and Musgrave, six-grid texture, and hand-drawn groove line texture. The six-grid texture is obtained by modeling and baking Normal in Blender. Another part is drawn using Krita's powerful tetragonal continuous function and can be combined with these mechanisms to achieve satisfactory concave-convex light and shadow effects.
The rendering output is in EXR MultiLayer format, which is Blender's film and television-level composite file format. Krita supports most layers, and Natron supports it perfectly! EXR is the format that guarantees all HDR color information and channels of the work and provides the strongest support for subsequent work.
Synthesis can be roughly divided into two stages: A. Complete the first stage of synthesis in Blender, which mainly completes the noise reduction of reflection noise and layered output Diff (with light and shadow), Glossy (with light and shadow), refraction (with light and shadow). B. Complete these output 16-bit PNGs are sent to CSP or Krita for final synthesis effect.
To sum up
The production and sharing of the Dark Gigantic are completed, and I hope to provide you with some references. In terms of sculpting ability, Blender is capable of producing high-precision characters, and his dynamic sculpting is very efficient.
Blender Tutorials: The Process of Making the Guyver 3 Dark Gigantic(1)
As the best Blender cloud rendering services provider, Fox Renderfarm brings you a blender tutorial to share how to make the Dark Gigantic from freelance Digital Artist John Liu.
John is good at expressing his art in a variety of different creative techniques. He used to like Mr.Yoshiki Takaya's manga "The Guyver: Bio-Booster Armor", and was really amazed by the superb biological armor design inside. He prefers this kind of curved design to the European and American mechanical design with straight edges and corners.
Yoshiki Takaya's manga "The Guyver: Bio-Booster Armor"
The Dark Gigantic is redesigned on the basis of Guyver's original. The entire head is like a crown, with a domineering and powerful shape! There are not too many straight lines to show his toughness, but through the overall domineering shape, an aggressive aura from the depths of the character is revealed. Therefore, as part of the process of learning Blender, John chose to use Blender to reproduce the role of the Dark Gigantic, which is rich in super curve structure.
The final effect of the Dark Gigantic,
At first, traditional polygon modeling was used. Due to the highly complex surface structure of the Dark Gigantic, the traditional polygon modeling is more difficult, so the latter part is converted to the engraving method to complete, and the topology is completed after the model is completed. The entire bust is probably composed of more than 50 parts, and the overall number of faces maybe around 30 to 40 million. Blender performs well in this respect.
Number of faces: 49954816
If the number of subdivisions is 12 million and the engraving will freeze, you can try to display only the object currently being engraved independently, and switch the viewport to a viewport display mode, which will be better.
Because Cycles has very powerful rendering capabilities, and the very small details of the engraved surface, you can get rich and small details through the mixing of mechanism maps, and you can freely control those gorgeous mechanisms.
When the model was rendered for the first time, it was found that there were no details at all. This result is far from the manga.
After some observation and thinking, John found that the dark gigantic in the manga is composed of black and white line drafts. Numerous line drafts are intertwined and drawn to produce a lot of so-called "details" in black, white, and gray. It feels that the giant armor is very layered. However, once this structure is placed in the 3D model, without the gorgeous interweaving of the line drafts, the model immediately presents a monotonous problem. Now it can only redesign the details on this basis.
The entire design process has gone through many times, each time constantly changing and adding more structures, the texture design of the head metal controller, the head horns increase the detailed structure of the fin-like marine life, the eye segmentation structure. More insect compound eye structures have been added, the mouth has been added and improved with more levels of detail, and the chest has a line segmentation structure.
Compare the effect of the model before and after
The final effect:
The structure of the chest particle cannon is a new design, which adds rich details and layers to him so that it can highlight a very powerful feeling.
From this stage, the dark gigantic is a redesigned personal version. According to my thinking about the personality of the Agito Makishima/ Guyver III, the structure of some parts has been changed, and some parts with the characteristics of the beetle structure have been added.
3D Modeling and Sculpting of Chronos in Blender(3)
Continue the 3D Modeling and Sculpting of Chronos in Blender(1) and 3D Modeling and Sculpting of Chronos in Blender(2), the faster and easier cloud rendering services provider, Fox Renderfarm still shares with you 3D Modeling and Sculpting of Chronos in Blender(3).
Firstly, I added a stronger background light to illuminate the edges of the characters. The lights are roughly divided into the main light source, auxiliary light source, backlight source, and a group of lights around the character.
Here is an introduction to the role of this group of lights to simulate a shadow of skylight for the characters. The rendering speed of such a light group is much faster than the sky shadow, and the effect is also good.
The rendering was made using the default Arnold renderer of 3ds Max, and then layered rendering was used, and then composited and adjusted in Photoshop. Firstly, each part is rendered in colors.
For post-processing in Photoshop, the advantage of layering is that it is easy to control the effect of each component and the effect of depth of field.
- Simply put the components together first, and choose a starry sky picture for the background.
- Add some glow effects to the magic circle. It is best to feather the magic circle and fill it with some fading blue to get an effect similar to the edge glow.
- Add some glow effects to the metal parts, the production steps are similar to the magic circle effect. If it is not obvious enough, we can copy a few more layers of the boost effect.
- Add some magic effects to the entire screen to enhance the overall atmosphere. Here I am using a set of Photoshop brushes. This brush is very practical and can easily draw all kinds of magic effects.
- After adding magic visual effects, we can see that the overall picture looks cooler. The details are as follows,
3D Modeling and Sculpting of Chronos in Blender(2)
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Continue the 3D Modeling and Sculpting of Chronos in Blender(1), the smarter and cheaper cloud rendering services provider, Fox Renderfarm still shares with you 3D Modeling and Sculpting of Chronos in Blender(2).
Most people are used to using ZBrush to make high poly and then topological low poly, but I think this method of making is more convenient for making monsters. For characters, I like to use high poly to make low poly through plug-ins or use the topology plug-in in 3ds Max to simply adjust the low poly.
In the production, we considered that there might be facial close-ups in the later stage, so we used a lot of faces in the production. The production of hair is also very simple, we need to plan the trend of the hair in advance. Considering that there may be a need for facial close-ups in the later stage, a lot of faces are concentrated on the head. When making hair, we need to pay attention to the trend of the hair. We can roughly divide the hair into several groups, and then make a model according to the trend of the hair.
In addition, the layering of the hair should be taken into consideration. In the picture below, I marked the grouping area of the hair with red lines.
If the number of faces allows, the obvious and large patterns can be made directly using the model. The pattern made by the model will look richer when viewed from other angles, and the effect of lighting can be better received in post-rendering.
Use UVS to allocate and optimize normals
Next, I will introduce the UV part. In fact, which is relatively simple. What needs attention is the position of the UV seams in case of some obvious seams. At the same time, avoiding obvious UV seams in some joints is important. Trying to hide the UV seams will greatly improve work efficiency.
Let me share with you a little experience of using UV allocation to optimize normal maps.
The following two pictures are the same model, both using 256-size textures. If the textures are smaller, the comparison will be more obvious. They have the same model, but the edges look different. It is obvious that the normal and angle of the left picture is better.
The UVs corresponding to the left and right images are as follows. It can be clearly seen that the splitting methods of the two UVs are completely different.
The method is to try to cut the UVs of the sides whose angles are greater than or equal to 90 degrees on the model. The example in the figure below uses basically all edges of the cube with an angle greater than or equal to 90 degrees, so basically, the UVs on all sides are cut. In fact, cutting methods are different for different models.
The advantage of this method is that each group of faces is a relatively independent UV, and the normal map of the edge chamfer can be better calculated in the normal generation. Although this will cause some trouble in texture drawing, it is still great for some mechanical models such as normal effects.
The last is the baking stage. The XNormal selected for baking feels that this software is very easy to use for some machines with low configuration, and it will not be limited by the number of high poly faces. Normal computers can bake High poly with a surface of 150-200W, but xNormal does not have the same baking effect for AO textures as AO textures baked by MR or Maya. Each software has its own advantages. It’s vital to choose the right software to make the right thing.
Let me introduce the texturing process I am used to.
- Firstly, spread the colors of each part, and draw some highlights on the metal parts.
- Overlay AO textures. Sometimes the rendered AO texture is not very obvious after one layer is superimposed. At this time, we can consider overlaying two layers of AO textures. The overlay method is generally multiplied.
- Superimpose the texture of the material and add shadows in some details, such as metal edges or overlapping objects. After adding some detailed shadows, we can feel that the three-dimensional sense of the texture has increased significantly. It can be seen that the comparison in the figure below is obvious. The final effect is as follows.
- When making a transparent channel, this step is very simple if the layers are divided well in the early stage. The places that need attention are hair and eyelashes. Also, the edges of the transparency map need to be very clear. There are some brushes in Photoshop to draw the transparent channel of hair and eyelashes very well, with very sharp edges.
3D Modeling and Sculpting of Chronos in Blender(1)
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Your TPN-Accredited CPU/GPU cloud rendering services, Fox Renderfarm still share with you Blender 3d rendering tutorials. In this tutorial, I will talk about using Blender to Modeling and Sculpting of Chronos.
"Chronos" refers to one of the first gods born in the early days of the universe. After countless years of changes, the only thing that has not changed is his young and beautiful appearance and eternal loneliness. In the long river of time, the body of time quietly watched the lives of countless people but did not know where his ultimate destiny would eventually go.
Firstly, I made a mid-poly model in 3ds Max, and then I imported it into ZBrush for sculpting. At this time, the production of the model does not require too many details, as long as the overall human body proportions are correct. There is no need to waste too much time in the early stage to adjust the details.
Secondly, we need to pay attention to some transfer processing, which can be adjusted to the final desired effect by adding lines. All that is left is to sculpt the pattern in ZBrush. This way of processing can save a lot of production.
The image below shows the processing of the collar model.
It should be noted here that the segmentation of the model should be averaged, otherwise it is easy to have insufficient local details in ZBrush. The model in the figure below is a good negative teaching material. The average problem of line distribution was not considered when making the model. As a result, there were jagged edges in many places, the effect was very bad, and the details of the normal map were also affected.
There are still some parts when making, and the details that are easy to make in 3ds Max should be done in 3ds Max as much as possible. Some details made by 3ds Max are better than those in ZBrush. For example, the place like the edge of the sock in the picture below is easier to handle in 3ds Max.
The production style of this character tends to be two-dimensional, so the edges should be rounded as much as possible. Because of the age of the character, it is enough to smooth the model.
Making of Collar Pattern
For this model, it is much easier to directly engrave the patterns on the clothing.
The production of the lower collar pattern will be specifically introduced below. Here are relatively simple tools, mainly mask tools. It is very convenient to use this tool to make patterns.
The mask drawing can be done with a Standard brush. I generally prefer to adjust the Focal shift value to -100 first. The brush at this time is very close to the hard-edged brush in PS. Then you can press SHIFT to start drawing the mask, and you can switch to the eraser tool by CTRL+ALT when drawing. In this way, a simple texture is drawn.
After drawing the mask, we make a reverse selection, hold down the CTRL cursor and click in the blank area. Then use the Inflate tool under TOOL to squeeze the pattern part.
Then use the Smooth and Pinch brushes to sculpt. First, use the Pinch brush to paint the approximate shape of the pattern, and then use the Smooth brush to simply process it. It is easy to create the effect of the pattern.
Blender 2.90 is out now!
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Blender 2.90 is out now! Building on the success of the 2.8x series, Blender 2.90 continues to polish the user experience, introducing improvements to EEVEE, Cycles, sculpt, VR, animation, modeling, UV editing and so much more.
Watch the video and tell us how you like the new features.
Blender Tutorials: Production Process of 3D Artwork Crazy Fans(1)
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This time, your TPN-Accredited cloud rendering service provider, Fox Renderfarm, still shares the 3D artwork production process from an excellent 3d artist. Shizheng is a character artist. He shared some of the problems and production experience encountered during the production of "Crazy Fans".
This work is inspired by the World Cup. I believe everyone will know at a glance. At that time, when I was preparing to make the work, the 2014 World Cup was about to begin. I thought that the World Cup was attracting attention and the attention was very high, so the theme was positioned as the World Cup-related. I put it on the fans of the subject matter because when I watched the World Cup, I found that the emotions of the fans were the most excited, even more, excited than the players, so I wanted to respond from the perspective of the fans in an exaggerated way to express this picture.
In the beginning, the idea was to show one to three fans with exaggerated behaviors. Then, I found that this was too plain, the subject and the impact were not enough. Later, I found that the tackle on the court was very interesting, and I thought of loading this action to the players on the body. I also thought of players often rushing into the field in football matches. CG works are to achieve some shots that cannot be realized and captured in real life and then strengthen it again. Therefore, it was planned to stage a scene of fans rushing into the arena and scooping the ball from the players.
In terms of composition, I want to use some basic models to put the lens in Maya for testing. The composition of this picture is difficult to locate. It is necessary to ensure the impact of the picture, the priority of the characters, the positional relationship, and some close-ups. Because it is the dynamics of the sports topic screen, vitality must be shown. I also tried dozens of compositions and kept communicating with other artists to listen to their opinions. This part was very painful.
After constant testing and pondering, the composition was finally determined. Tilting the lens gives people a sense of nervousness, and the lens is more dynamic. The football looks at the camera and feels that the fans are shoveling past the camera, making the players jump and the referee running, a series of all to make the picture more dynamic and impactful.
Emoji settings: angry face, surprised face, shocked face.
Cycles for Blender: Making Pixel Style
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Fox Renderfarm, a powerful but affordable Blender render farm. This article is compiled from 3D artist Leroy's sharing of Cycles for Blender** to create pixel style.
The focus of the pixel style performance is on the coloring, that is, to extract the required pixels from a delicate picture and make it with a pixelated style. Although in Cinema 4D, the coloring using MotionGraph can be quickly completed, but Leroy wants to achieve it in Blender.
And Blender's Cycles renderer is very powerful. Since Cycles comes with a mapping sampling node, making pixel-style things is also very simple.
The mapping sampling of the material uses the From Dupli function of the UV Map node. As for production, there are two ways to achieve: 1. Use parent copy, 2. Use particle copy; Two ways, the controllability of particles More, it can simply produce more complex and many effects of changes.
The production steps are as follows:
Create a new plane in the scene, magnify it 5 times, and enter the edit mode for the third subdivision.
Return to the object level, create a new plane (the default state is selected after new creation), hold down Shift to select the plane just now, and select Object from the menu, that is, set the large plane as the parent object of the small plane.
Select the parent object, in the object properties of the properties panel, set the copy mode to Faces, check Scale, and set the zoom value to 0.4, as shown in the following figure，
Select the parent object and keep it selected by default in edit mode, then select Unwrap on the menu. If the model is relatively simple, just use auto split UV,
The production of the model is almost complete. The texture part will be started below. Next, you need to select the sub-object, click New in the material node to create a new texture, delete the default diffuse shading, and add a self-illuminating shading.
Create a new image texture node (here you need to use the image material to be pixelated), add a UV texture node, check the From Dupli option, and connect it to the texture node, Shift + R preview rendering in 3D view, the effect is as follows,
Is it very simple?
Of course, you can also use video animation and other materials to create pixel animation. Next, let's look at the method of making particles, or use the above scene and material.
Select the child object of the scene, then add the parent object, select clear parent in the pop-up menu, and set the copy in the parent object attribute to None, select the child object, G10 will move it to the side, as shown in the figure below,
Select a large plane, in the particle properties panel properties, click New, create a new particle system, set the particle type to Hair, and set it to Object in the Render tab, select the small plane, uncheck Emitter, as the picture shows,
Turn on the advanced hair, and set the initial orientation to None in the spin tab. The preview effect is as follows,
The next step is to adjust the particles: size, distribution, number, etc. Only some important operations are demonstrated below. The default particle distribution is messy and needs to be adjusted neatly. In the emitter, cancel randomization and set the particle/face to 1, so that only one particle is generated on each face, and finally adjust the size of the particles as needed.
The plasticity of the particles is very strong. Although the pixels in the above case are all square, they can be made into various shapes such as triangles, quadrilaterals, and circles after adjustment, and they can also increase in size, rotation, and random distribution particle. In addition to using UV map nodes for texture mapping, texture coordinate nodes can also be used, and there are also options from the copy. When copying particles, in order to avoid overlapping of particles, it is best to set the number of particles emitted to the number of faces of the mesh emitter (in edit mode, you can see in the information panel).
Inspired by Animal Crossing: New Horizons, Korean artist use Blender to create exclusive cabins
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As soon as Nintendo Switch launches Animal Crossing: New Horizons, it has been loved by game fans all over the world. Due to the epidemic, many people can enjoy traveling abroad through games during quarantine, which makes the Switch a hit again. And many CG artists eager to create many fan art or amazing creations. Korean designer Seungho Jeong (Neon3D) was invited to talk about his latest work "Miniature style cute character 3d artwork" (Soondol) and talk about the toy model made for the animation of "Molang".
Seungho Jeong (Neon3D)
Seungho Jeong, from South Korea, is good at product design and 3D printing. Most of them are created in Fusion360 and Blender. He is currently designing toy models for "Molang". He also runs a YouTube channel to share the process behind the scenes.
Miniature style cute character 3d artwork (Soondol) Year of completion: 2020 Software: Blender
Tell us about the artwork.
Seungho Jeong: Recently I was playing Animal Crossing: New Horizons, and I was attracted by the cute graphic style in the game, so I proposed a series of creative projects, with my original character "Soon-dol" as the main character, and designed a series of The miniature style house in Mori.
I use Cycle render in Blender to create. It is worth mentioning that instead of using texture mapping, I changed the color of the object or made some images using Illustrator, and used Blender's Shrinkwrap modifier to place the image on the character's face. The most difficult part of this work is the lighting effect. After all, to create "emits natural light from the outside of the window" is a test of the creator's Lighting skills. At first, I put a glass on the window, but then I found that no glass looks more natural, so I had to take it away.
What is your usual job?
Seungho Jeong: Mainly making character toy models. For example, the "Molang" series is currently on sale. I designed many different sets of costumes for the character, including Halloween, New Year, Hanbok and other styles. The main creative process is the use of product design software Fusion 360. It has a free-form modeling function, similar to Blender's modeling method.
I also made an introduction video for the company's YouTube channel "Behind Molang". First, I redesigned all 2D characters into 3D. Since our company is not an animation studio but a character commodity company, most of the 3D creation process of characters is the process of making plastic models, such as Fusion 360 (some are designed directly in Blender). When creating images in 3D, as mentioned above, instead of using texture mapping, we change the color of the object or use Illustrator to create the image, which is created in accordance with the process of making dolls and doll models.
Is animation different from product design?
Seungho Jeong: Making animation is very difficult, after all, that is not my major. Although product production and animation look very similar, there are still some system differences. Therefore, I have to learn by myself and complete the animation creation, so I simplified the character movement as much as possible.
Can you share your creative tips?
Seungho Jeong: If you want to create on a hard surface, Fusion 360 is recommended, which can be modeled for the accuracy of the size, which is very convenient. In addition, the ShrinkWrap modifier is used to attach the image to Blender without any texture drawing.
Who is your Favorite artist?
Seungho Jeong: Absolutely my boss Hye-Ji Yoon, he is the character designer of "Molang". And Molang's animation is currently being played on Netflix, which is receiving the attention of the global audience! I respect my boss very much and want to be a well-known creator like him.
Seungho Jeong’s Artstion:
Blender Creations: How to Sprinkle Some Fun in Characters
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Talking with prize-winning 3D artists
- How to absorb inspiration from life and other forms of art
- How to make scattered sources of inspiration into a coherent character
- How to realize your ideas and deal with technical problems in 3D software
GraveyardAndrey Agafonov Inspired by Coco and Lancelot Brown
Exclusive Interview → A Self-Taught Creator Realized His Unique Idea in Blender
The AlchemistPeshang Ahmed Inspired by Yoda and Spirited Away
Exclusive Interview → Creating an Alien Alchemist Inspired by Yoda and Spirited Away
Street Musician ReindeerDante Resendez Delgado Inspired by street singers in Vancouver
Exclusive Interview → Street Musician Reindeer Made in Blender: Sprinkle Some Fun in Character
How to Improve Your Techniques and Creativity
In interviews with numerous outstanding 3D artists that won prizes in all sectors of 3D creations, participating in competitions is what they all mentioned when speaking of ways to improve.
Why not do it now, join FGT3D challenge themed 'Easter Egg', practice what you've learned, and win some decent prizes!
↓ SUBMIT NOW ↓
Send your artwork to FGT3D@foxrenderfarm.com with your name and/or the studio's name.
Join CG & VFX Artist Facebook group,
post your artwork in the group with tags FGT3D and FGT3DEasterEgg2020
How to Render High-quality Images in Blender
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With the development of computer technology, it has been widely used in the field of graphic design, so that ordinary people also have the opportunity to come into contact with Computer Graphics technology referred to as "CG technology". Computer Graphic Image is also computer 3D animation technology, referred to as "CGI". Whether it is "Toy Story", "The Lion King" or "1917", the success of these world-class blockbusters can not be separated from the establishment of models in 3D software, and then to visual effects, post-production software composition, Editing, and more.
Image via blendercn.org
As a new star in 3D software, blender integrates modeling, sculpting, binding, particles, animation, etc., and is a software that supports commercial creation for free forever. So how do we use blender to output high-quality images?
Blender has 2 renderers that can convert a 3D scene into a 2D image.
- Eevee is a physics-based real-time renderer.
- Cycles is a physically-based ray-tracing renderer.
Use plugins to add more third-party rendering engines. Each renderer has its own rendering settings to control rendering quality and performance. And the rendering effect is determined by the camera, lighting,and materials, which also determine the quality of the output images.
Image via blendercn.org
Here is the Cycles renderer that comes with Blender as an example. As a GPU-based rendering engine, rendering effects have become more and more mature, and its speed is much faster than the CPU renderer. So where does it affect the output image quality?
The sampling method determines how the light is calculated. The light is emitted from the camera into the scene and bounces back and forth until they find a light source, such as a light object, a glowing object, or the ambient background light. Number of light path traces for a single pixel in the final render. The more samples there are, the less noise there will be in the result and the more accurate it will be.
The rendering attribute is the amount of light emitted from the camera to each pixel. The view attribute is used for scene rendering in the view. A value of 32 means that each pixel will be tracked by 32 rays.)
Noise in the image will greatly affect the image quality because 32 beams of light per pixel are not enough to produce a high-quality image (To reduce the noise by 50%, double the number of lights, so the rendering time will also double, depending on the computer configuration to set the value, at least 1024 if you want a better effect.
The rendering properties greatly affect the rendering quality, try to adjust to the maximum value that the view can reach, and adjust the view back to 32 to maximize the quality.
Optical Path Length
It refers to the value of the number of bounces to track the path of each beam. The difference between 0 and the maximum will be very large.
Camera size: It needs a proper ratio and size, and the focal length needs to be adjusted according to the content of the image. The appropriate size can display the details of the Depth of field.
Depth of field: The choice of lens will affect the depth of field details. The depth of field determines how far away the object will be displayed clearly.
Aperture radius: determines how far the object in the radius is clear, and it will become blurred
Focus: Focus needs to be adjusted. Set important objects in the image as axes and adjust the appropriate aperture radius to show the correct object to the viewer.
If you want to improve the quality of the images, you can try some of the suggestions above. Improving the quality of images is not something that can be improved by reading an article. Continuous learning and practice is the best way.
Cycles is undoubtedly a young renderer. Blender is also constantly improving some of the features of Cycles, and it has a lot of room for development in the future. As your TPN-accredited cloud render farm, Fox Render**farm supports most mainstream 3D software, renderers, and plugins, including Blender, 3ds Max, Maya, Cinema 4D, Clarisse, and more. We always provide fast, secure and affordable cloud rendering services to reduce your rendering time. Welcome to the blender** render farm get a $ 25 free trial.
Which hardware will affect the blender to reduce rendering time?
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What hardware should I use to reduce rendering time in blender? In the production of blender, it takes a lot of time to render. While there are many factors that can affect rendering time, which hardware can speed up rendering time? Although a properly configured hardware will increase efficiency, you can choose different hardware for different production processes.
3D design and production can generally be roughly divided into several major steps: Modeling, UV Mapping, Texturing and Shaders, Rigging, Animation, Lighting, Rendering Setting, Compositing. This step is the most important step in the final product, the final rendering, and always using a render farm in this step.
Professional graphics cards are optimized for professional 3D design software, so they are more accurate on the display. Professional graphics cards can make your previews more realistic. Improve the speed of modeling and the performance of materials in 3D. Professional graphics can also greatly reduce the load on the CPU during the production process. For example, if you move a complex model, the game graphics card will be skipped and not smooth, resulting in inaccurate movement. It may move many times and still Unable to move to the exact location. However, whether the display is wrong, whether the operation is smooth or stable, will greatly affect the efficiency of production, and even affect the mood of the producer.
In the step of blender rendering, such as the Cycles renderer, you can use the CPU or GPU for rendering calculations, but its rendering speed is independent of the graphics card, only related to the processing power of the CPU or GPU, and secondly related to memory. And for the final rendering, the professional graphics card and the game graphics card are no different (if you really want to say that there is a difference, it is only the display of the picture, the color is better). The biggest impact on the rendering speed is the CPU or GPU, especially for the Blender renderer, which is very dependent on the GPU, and the excellent GPU has faster rendering images than the excellent CPU, and the graphics card can be added to the device continuously.
Many people also think that memory will affect the rendering speed. This view is not correct. When the memory is enough, the rendering speed will not have much impact. What is enough?? Generally, 3D use is to open a scene file and it will take up a lot of memory. The more polygons in the scene, the larger the memory. When the memory is not enough, there will be a serious delay, because the hard disk space is called to make virtual memory. When the memory satisfies the amount required by the scene file, the rendering requires almost no memory except for the memory calculation that requires more memory.
In summary, a high-performance machine has a great impact on the speed of production and rendering. The reasonable hardware configuration and software adjustment can bring out the best works.
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