V-Ray on the small screen: bringing life to ‘The Last of Us’
Learn how Digital Domain helped breathe life into the post-apocalyptic world of The Last of Us with the help of V-Ray for Maya—and how they did it in a matter of weeks.
V-Ray’s award-winning, production-proven rendering is coming to Blender—now available in beta.
Learn more & tryBring VFX to life. From heroes and creatures to vehicles and environments, Chaos V-Ray helps artists deliver invisible and blockbuster effects for Emmy-winning television.
Chaos Vantage elevates playblasts, previz, and real-time references to an unparalleled level of realism, enabling professionals to explore their scenes in real-time at the highest quality without the hassle of time-consuming conversions.
Learn how Digital Domain helped breathe life into the post-apocalyptic world of The Last of Us with the help of V-Ray for Maya—and how they did it in a matter of weeks.
The latest season of Netflix’s megahit includes some of its scariest scenes yet. Scanline VFX’s Justin Mitchell reveals how V-Ray rendering helped tackle them.
V-Ray for SketchUp’s fast, realistic results are crucial for TV concept artist Dwayne Burgess. Discover how it’s used for assault courses and period buildings.
Senior Motion Designer & Art Director, Carlos Gálvez, details the V-Ray for Cinema 4D tricks that helped him render a celebratory moon landing for the BBC.
Pikcells are a design-driven studio with 15 years in the industry. Recently they’ve been working on something new for them, creating TV ads for long-term client Wren Kitchens, and we caught up with Creative Director Richard Benson to hear how they used Corona to composite actors into a rendered kitchen.
Scanline's Mohsen Mousavi on how V-Ray for 3ds Max helped him adopt dragons, melt metal and build-then-destroy a city for Game of Thrones' explosive finale.
V-Ray allowed us to render some seriously dense meshes, and still gave us the control we needed to iterate quickly. V-Ray is fast and stable, and rendering is never an issue, which speaks to the strength of the software.
Kirk Shintani, Head of 3D, a52
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