You can find a full list of features on the Chaos Group website. It supports raytracing and global illumination based on the Monte Carlo sampling technique, and offers quite an extensive feature set, including displacement mapping, area lights, image-based lighting and IES photometric lights several custom shaders, including car paint and subsurface scattering and a physical camera that supports depth of field and 3D motion blur. V-Ray has been a 3ds Max plug-in since its inception, and is tightly integrated into its host software. Those of you who are familiar with version 1.5 may wish to skip ahead. Before we get into the new features in version 2.0, the latest release, I want to look at the software as a whole. However, in this review, we will focus solely on V-Ray for 3ds Max. A Cinema 4D edition is also available from a separate developer. The Chaos Group, V-Ray’s creator, produces versions for 3ds Max, Maya, Rhino and SketchUp. It dominates the field of architectural visualization, and has recently found its way into effects for television commercials and feature films, one of the most recent examples being the environments for Tron: Legacy, where it was used alongside mental ray and RenderMan. V-Ray has been one of the most popular third-party rendering solutions available for quite some time. Today, we are going to be looking at one particular tool used during the penultimate step in that process: rendering. However, most projects follow a standard workflow, from asset creation through to post-production. Today’s CG industry is a vast landscape of ideas, processes, and procedures, and the tools used to realise artists’ visions are almost as diverse as the artists themselves. Jason Lewis puts version 2.0 of the 3ds Max edition through its paces to assess what impact new materials, stereo tools and the V-Ray RT GPU-accelerated preview renderer will have in production Chaos Group’s plug-in renderer is already an industry standard for architectural vizualisation, and has recently made inroads into VFX.
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