Learn how V-Ray helped Digital Domain maximize the level of detail on Thanos in Avengers: Infinity War and render some of the film’s most challenging moments.

We spoke with John Crawshaw from wearelut about their recent “Turning Petrolheads” project for the Hyundai i30n. This involved creating a 60 second TV ad and two 15 second TV spots, plus a print and billboard campaign (which included lenticular images, that change with angle of view, on the sides of London buses).

CG Artist Jonas Ussing shares his tips for cinematic splashes via this animation of Tokyo's flood defense system in operation.

Before “real-time ray tracing” was sexy: CONSTRUCT is the proof that a small team of top talent can literally change the future of VFX workflows.

We talk to Method's Nate Shaw about wrangling Rocket Raccoon into Guardians of the Galaxy Vol. 2 and Avengers: Infinity War.

Senior compositor and 3D generalist, Lars Wemmje reveals how he used 3D printing and V-Ray for Maya to bring a small figure to life.

Director Ari Rubenstein invents a new way to create short films using a small team, V-Ray for Nuke, and YellowDog’s cloud rendering service. Discover how he overcame the pinch points of conventional pipelines.

Computer graphics technology reached a new milestone at SIGGRAPH 2018, with Chaos Group at the cutting edge. Here, we recap the action and recount our V-Ray Days’ highlights.

We are proud to share our 2018 VFX & Animation Showreel showcasing some incredible work by V-Ray and Phoenix FD customers from around the world.

With an impressive CG portfolio that's racked up over 350 million hits on Youtube, VFX studio Lunar Animation does it all — from cartoon cats to VR space battles.

For Black Panther's most climactic moments, ScanlineVFX turned to Flowline and V-Ray to simulate and render the perilous backdrop of Wakanda's Warrior Falls.

Find out how they made that incredible rabbit, and the role V-Ray played in making virtual apartments look real.

Vlado officially launches V-Ray Next for 3ds Max — plus speeches from IKEA, Nvidia, and Google

This May, we're putting on the greatest rendering event in the known universe. Here’s why you need to be there.

VFX duo’s kickstarted film about the quest to discover a mythical creature catches Hollywood’s attention, with a little help from V-Ray.

IAMSTATIC is a Toronto-based studio who direct, design and produce award-winning projects for film & television, commercial advertising, and immersive / digital content. They use Corona Renderer on most of their animation projects, including the title sequence for the Netflix show “Frontier” and an ad campaign for Vuse that traveled to some beautiful alien worlds.

With Stranger Things 2 fueling water cooler conversations around the world, we chat to ASC’s Steffen Reichstadt and Michael Pecchia about creating series one’s terrifying Demogorgon.

Rebuilding 18th-century Philadelphia for Starz piratical TV series.

Director Takeshi Nozue on the latest entry in the FF film series.

The latest collection of incredible work from our V-Ray and Phoenix FD customers.

Sub-zero chase realized with V-Ray 3.5 for Maya’s Adaptive Lights tech

IXOR created a beautiful animation for a TV ad, the star of the show being the robot “Dennis”. We spoke with Andronikos Bisogiannis, Founder & Creative Director at IXOR to find out how it was made.

Nuke warfare: William Bartlett helms title sequence for alt-history TV series.

VFX supervisor Timothy Hanson reinvents the reanimated in for Walking Dead spin-off.