Request a free promotional code to visit the Siggraph exhibition floor at


Chaos Group to Preview V-Ray 3.0 at SIGGRAPH 2013

Industry leaders will take center stage at Chaos Group’s SIGGRAPH V-Ray Day and
V-Ray User Event - Los Angeles

Mark your calendar. At SIGGRAPH 2013, Chaos Group and some of the VFX industry’s most exciting artists are joining forces. Join us at:

•  V-Ray live demos and master classes at the exhibition floor
•  V-Ray Day at Siggraph for a preview of V-Ray 3.0 and exclusive presentations by top VFX artists
•  V-Ray User Event in Los Angeles on July 26


Post Event Follow Up

Many people stopped by our V-Ray demo area, where we had presentations, demos and master classes. Visitors had a chance to learn how to create flames, smoke and explosions in Phoenix FD, learn valuable production tips in V-Ray for Maya and preview some of the new features coming in V-Ray 3.0 - faster rendering, transferrable materials, and one-click progressive rendering, are just a few of the highlights expected in the new version.

We had a V-Ray 3.0 competition running at the booth. The great prizes were won by:

• Taylor Hasting – V-Ray license
• Ross Macaluso – V-Ray Book
• Bryan C. Bemley – V-Ray Material library
• Shayla Hebert – Ballistic title

Congratulations to the winners!

Check out the videos from our demos at NVIDIA and BOXX Technologies' booths.


Presentations Overview

V-Ray 3.0 for 3ds Max Sneak Preview
by Konstantin Gaytandzhiev, Master Trainer at Chaos Group

Preview the upcoming major release of V-Ray 3.0, and see firsthand the fastest and simplest version we’ve ever set out to create. Artist-driven features and improvements such as single-click Progressive Rendering, optimized Brute Force sampling, and faster hair rendering, are just a small part of what’s in store. You’ll have to stop by the booth to find out more.

Phoenix FD for 3ds Max and Maya
by Dimitar Krastev (Jimmy), Master Trainer at Chaos Group

Learn how to create flames, smoke, and explosions in this step-by-step Phoenix FD introduction. With the help of the new re-simulation tool, we’ll explore the power of enhancing simulation details after they’ve been calculated, plus we’ll use the GPU preview to fine-tune the rendering in real time. Then, In Part 2 of our Phoenix FD intro, we’ll show how to seamlessly blend a realistic liquid simulation into an infinite ocean and then top it all off with splashes and foam.

V-Ray for Maya Workshop
by Konstantin Gaytandzhiev, Master Trainer at Chaos Group

Learn valuable production tips and tricks in V-Ray for Maya. We’ll walk through the complete workflow, starting with lighting and GI, look development with V-Ray RT, setting up proxy geometry, and ending with Render Elements and custom passes for compositing. We’re pretty sure this presentation will save you time on your next project.

We will be sharing booth 110 with our partner Trinity3D who will be hosting one-to-one V-Ray demos between the scheduled presentations.

Presentation Schedule

Day 1 (July 23, Tuesday)
10.00 - 11.00 am V-Ray 3.0 for 3ds Max Sneak Preview
1.00 - 2.00 pm Phoenix FD for 3ds Max and Maya
3.00 - 4.00 pm V-Ray for Maya Workshop

Day 2 (July 24, Wednesday)
10.00 - 11.00 am V-Ray for Maya Workshop
1.00 - 2.00 pm Phoenix FD for 3ds Max and Maya
3.00 - 4.00 pm V-Ray 3.0 for 3ds Max Sneak Preview

Day 3 (July 25, Thursday)
10.00 - 11.00 am V-Ray for Maya Workshop
11.00 - 12.00 am Phoenix FD for 3ds Max and Maya
1.00 - 2.00 pm V-Ray 3.0 for 3ds Max Sneak Preview


Presentations Overview

All-day V-Ray demos at booth 803

Stop by for a demo of the latest in interactive rendering technology running on multiple GPUs. V-Ray RT has been upgraded to run directly on CUDA which brings a boost to speed and stability. Thanks to a new approach, interactive rendering is now available directly in the Maya view port which allows for a smoother and much faster workflow. Support for render elements allows V-Ray RT to fit in a modern production pipe-line.

A New Paradigm for Photorealistic Raytraced Rendering on NVIDIA GPUs
by Vladimir Koylazov, Chaos Group Co-founder & Chief Technology Officer
July 23, Tuesday, 2.00 - 2.30 pm, NVIDIA's Visual Computing Theater at SIGGRAPH 2013

Join Chaos Software cofounder and Chief Technology Officer, Vladimir Koylazov as he provides an in-depth look at the software framework used to distribute interactive GPU rendering in V-Ray RT. Understand how Chaos Group leverages the power of GPU computing within a number of 3D applications, including Autodesk 3ds Max and Maya, and discover how the speed and interactivity of GPU raytracing is enhancing 3D artists' workflows, resulting in faster iterations and high quality output.


Presentations Overview

Scheduled V-Ray demos at booth 659

Stop by for a demo of the latest in interactive rendering technology running on multiple GPUs. V-Ray RT has been upgraded to run directly on CUDA which brings a boost to speed and stability. Thanks to a new approach, interactive rendering is now available directly in the Maya view port which allows for a smoother and much faster workflow. Support for render elements allows V-Ray RT to fit in a modern production pipe-line.

Post Event Follow Up

A big crowd joined us to see artists from studios like Pixomondo, Blur Studios, Method Studios, ScanlineVFX and ILM talk about how they use V-Ray in their pipeline. Check out the highlights of the day.

The Thrill of the Chase

According to Pixomondo’s Bjorn Mayer (VFX Supervisor) and Gavyn Thompson (CG Supervisor), those ice cave shots everyone marveled at while watching “Oblivion”’s big chase scene began with a helicopter flight. From captured footage, the team designed hundreds of different glacier models complete with crags and dirty ice textures. After rendering them in V-Ray, the resulting comp they created wowed all in attendance.

As did the Bubbleships Pixomondo designed to match the physical version the crew had been using for shots onsite. We were treated to an animated video that placed the real and 3D model side-by-side indistinguishably.

Robots, Spaceships and Supermodels

One thing we learned during Blake Sweeney’s (CG Supervisor at Method Studios) presentation was that the Kia Hotbot ad wasn’t always going to be so V-Ray-heavy. But after modeling an entire mechanical skeleton for Miss America’s robotic character, the Method team got a nice surprise. The V-Ray skin shader they used for the body was good enough for the face too. The right skin blend ended up helping Method create one of the standout ads from last year’s Super Bowl; a coup every company wants to claim.

Blake continued to work the crowd by rolling out breakdowns from “Iron Man 3” and “Cloud Atlas.” Remember when the Iron Patriot opens and Tony Stark gets in? All those intricate details and moving parts were rendered in V-Ray. Same goes for the digital environments, and set extensions found in “Cloud Atlas.” What none of us knew was how much facial replacement work went into the film after prosthetic make-up issues cropped up. Would you believe that with V-Ray they even managed to make Halle Berry unrecognizable?

The Rushing Waters of Scanline VFX

Many things were impressive about Paul Ghezzo’s presentation (CG Supervisor), but few took our breath away like that tsunami scene Scanline VFX produced for “Hereafter.” Paul replayed that scene where Cécile De France is forced through a marketplace by the raging water around her. This horrifying shot was harrowing not only for its subject matter, but also due to the fact that you couldn’t distinguish what was real and what was fake. Paul broke it down for us, and showed how V-Ray brought the realism the team needed to produce that much suspense.

As Scanline VFX is known for their highly realistic water work, the theme continued with scenes from “Battleship” and “The Avengers.” The footage from the latter featured a scene where the Helicarrier is lifted out of the sea, complete with realistic streams of CG water dripped off the turbines. The former included the city of Hong Kong getting demolished, which interestingly enough, was the dominant subject of the next presentation.

Big, Bad Robots Battle It Out

Apparently we weren’t the only ones excited for the ILM “Pacific Rim” breakdowns, as this presentation drew the biggest crowd of the day. V-Ray played a big role in the 600 large environments shots, especially the Hong Kong cityscape that became the battleground for the robot Jaegers and the alien Kaijus. With dust and incredible particle effects flying around, it’s hard to point to a recent VFX film that looks so exquisite.

Beam Us Up, Pixomondo

Recent fan favorite “Star Trek Into Darkness” was the subject of Pixomondo’s second presentation. Adam Watkins (DFX Supervisor) and Enrico Damm (CG Supervisor) walked us through several shot breakdowns, including the room attack and the Klingon landing scenes. The ability to produce detail was essential for both of these scenes as they would be viewed from nearly every angle possible – up close, far away, inside, and out.

Using V-Ray, Pixomondo also added several layers of lighting to get the fog, area lights and spotlights around the ship looking realistic and cool. Again, flexibility was key as the ship had to appear believable whether it was stopped or traveling at hundreds of miles per hour. By using V-Ray RT at the look development stage, iterations could be rendered in real-time making for faster decisions and faster finals.

Drone Warfare

V-Ray was Digital Domain’s Lighting Supervisor Christopher Nichols’ secret weapon during the creation process for the “Oblivion” drones. The CG model they used had to match the flight footage drawn from a F65 camera. Since F65s capture in 4K, with super-sharp picture quality and very little noise, the model’s noise levels had to be rendered incredibly clean to even stand a chance at being undetectable – easily accomplished with V-Ray.

[Warning: “Oblivion” Spoiler alert] He also went over the digital model of Tom Cruise that they created. When he fights himself toward the middle/end of the film, they needed to replace the other actor’s face so it was Tom-against-Tom. The digital double matched so well it was impossible to tell which Tom was real..

V-Ray for Episodic TV

Head of Pipeline at Zoic Studios, Mike Romey explained how the speed of V-Ray fits perfectly to the demanding schedule of their episodic TV productions (e.g. “Falling Skies” and “Once Upon a Time”). With extremely tight turnarounds that range from days to weeks, speed is essential. This is also true for the digital set reproductions produced for directors who would like to move the cameras and set pieces around the previz scenes. Giving them a chance to experiment before filming starts saves time, money, and energy. Plus it’s fun too.

Build-It-Yourself Catalogs

Over 7,500 3D models have been created for IKEA’s catalog via the creative direction of Martin Enthed & Anton Berg. And all of them have been rendered with V-Ray. Before V-Ray gives their artists the goods, the IKEA team will often link up with pro photographers so they can get high-quality source material. From those pictures, IKEA artists produce the models that bait millions of shoppers into forgetting that they will be responsible for putting their purchase together.


V-Ray Day at SIGGRAPH will be held at the SIGGRAPH expo center, room 203A on Wednesday, July 24. This event will be held in two sessions and will be open to all SIGGRAPH attendees.

Session 1

11.00 - 11.30 am Registration
11.30 - 12. 00 pm V-Ray 3.0 Sneak Preview - Vladimir Koylazov, Co-founder & CTO at Chaos Group
12.00 - 12.30 pm Oblivion - Bjorn Mayer, VFX Supervisor at Pixomondo and Gavyn Thompson, CG Supervisor at Pixomondo
12.30 - 1.00 pm Coffee break / Screening of Blur Studio Game Cinematics
1.00 - 1.30 pm Cloud Atlas, Iron Man 3 and Kia Hotbots - Blake Sweeney, CG Supervisor at Method Studios
1.30 - 2.00 pm Paul Ghezzo, CG Supervisor at Scanline VFX
2.00 – 2.30 pm Johan Thorngren, CG Supervisor at ILM

Session 2
3.00 – 3.30 pm Registration
3.30 - 4.00 pm V-Ray 3.0 Sneak Preview - Vladimir Koylazov, Co-founder & CTO at Chaos Group
4.00 - 4.30 pm Star Trek: Into Darkness - Adam Watkins, DFX Supervisor at Pixomondo and Enrico Damm, CG Supervisor at Pixomondo
4.30 - 5.00 pm Coffee break / Screening of Blur Studio Game Cinematics
5.00 - 5.30 pm Oblivion – Christopher Nichols, Lighting Supervisor at Digital Domain
5.30 - 6.00 pm Falling Skies and Once Upon a Time – Mike Romey, Head of Pipeline at Zoic Studios
6.00 - 6.30 pm 3D at IKEA - Martin Enthed & Anton Berg, IKEA Communications AB

Post Event Follow Up

In addition to SIGGRAPH’s all-day V-Ray event, Chaos Group also held another series of presentations at the Gnomon School of Visual Effects. Most of the presenters that we met at the V-Ray Day, were joined also by Miguel Ortega of “Green Ruby Pumpkin” and the lead character artist Mathieu Aerni from Blur Studio. Check out the highlights of the event below.

In Search of Famous Beasts

Miguel Ortega started buzzing last year when he and his partner, Tran Ma, turned his house into a set and created the mindblowing short “The Green Ruby Pumpkin.” This year, their goal is to produce “The Ningyo;” an old-fashioned adventure story about cryptozoologists searching for proof of the existence of mythological animals. At the event he announced that his Kickstarter was recently funded, and has teamed with 32 Gnomon students to produce a pilot that might one day become a series or even feature film. The dailies already look amazing, and people were thrilled.

Getting Into the Game

Blur Studios have become famous for making those cinematic trailers that whip everybody up into a frenzy before a new AAA game drops. The one they showed for “Elder Scrolls Online” was so real that they even had us questioning whether those 3D people that were fighting wolves, elves and other characters were CG. It is truly amazing what artists can design and produce with the right technology. We are just happy V-Ray was responsible for the double take.


V-Ray User Event, Los Angeles is a post-SIGGRAPH event that will be hosted at The Gnomon School of Visual Effects on Friday, July 26.

6:00 – 7:00 pm - Registration
7:00 – 9:00 pm - Presentations
9:00 pm - Drinks & Networking

Chaos Group
V-Ray 3.0 for 3ds Max Sneak Preview

Highlights from Pixomondo’s recent projects, including “Star Trek Into Darkness” and “Oblivion”


A breakdown of current game cinematics including “Batman: Arkham Origins” and “The Elder Scrolls Online”

Spy Films
Miguel Ortega, Director discussing production insight from his upcoming short, “The Ningyo”


Christopher NicholsChristopher Nichols
Lighting Supervisor, Digital Domain

A veteran VFX artist, Christopher Nichols has contributed his talents to both feature films and commercials in his 11-year visual effects career, which started at Digital Domain in 2002. There he worked as a lighter on features including “The Day After Tomorrow,” “I, Robot” and “Stealth.” Christopher started his CG Career as an architect visualization expert after having studied at Rice University School of Architecture, where he first began working with CG in 1993. He has used V-Ray since 2001, when it was still a beta product on the Delphi Forums, and has been a strong advocate ever since. Christopher produced some of the first V-Ray training materials in 2006 – a highly successful Gnomon DVD series on Global Illumination, lectured on the subject worldwide.

Bjorn MayerBjorn Mayer
VFX Supervisor, Pixomondo

After completing his degree at the Filmacademy Baden-Wuerttemberg in 2001, Bjorn worked for several European companies. He specialized in feature films and televison movies in Germany, and put his talents to work in major commercials and leading performers’ music videos before joining Pixomondo in 2006.

His most recent project was visual effects supervisor for Joseph Kosinski's latest film Oblivion. Since joining the Pixomondo team, Bjorn was VFX Supervisor for feature films such as Red Tails, The Hunger Games, The Rite, A Nightmare on Elm Street, The Last Airbender, and Percy Jackson and the Olympians: The Lightning Thief.

In addition to his work at Pixomondo, Bjorn is a lecturer at the Institute of Animation, Visual Effects and Digital Postproduction in Ludwigsburg and an external examiner at Stuttgart Media University.

Gavyn ThompsonGavyn Thompson
CG Supervisor, Pixomondo

Gavyn started his career working for an architectural visualization studio while pursuing a degree in digital animation. He then spent a year working on episodic content, gaining hands-on experience in all aspects of the production pipeline. Later he moved into feature films, working on projects such as Roland Emmerich’s 2012 and James Cameron’s Avatar.

Gavyn was recently Pixomondo's CG Supervisor for Joseph Kosinski's film Oblivion. Before Oblivion, Gavyn was involved with feature films including Sucker Punch, Red Tails, Hugo, Snow White and the Huntsman, and The Amazing Spiderman.

Adam WatkinsAdam Watkins
Digital Effects Supervisor, Pixomondo

Adam joined Pixomondo in January 2011 as part of the core supervision team for Martin Scorsese’s 3D adventure epic Hugo.

He recently served as the Digital Effects Supervisor for Pixomondo's work on Star Trek Into Darkness. Prior to that he was CG Supervisor for The Amazing Spider-Man. Adam received a VES award and a Satellite Award for his contributions to the visual effects of the Academy Award-winning Hugo.

Before joining Pixomondo, Adam was CG Supervisor for feature films such as Water for Elephants, Tim Burton’s Alice in Wonderland, Shutter Island, Public Enemies, and The Mummy 3.

Enrico DammEnrico Damm
CG Supervisor, Pixomondo

Enrico finished his degree at Babelsberg Film School and The German Film School. Since joining Pixomondo in 2006, Enrico has filled a variety roles with his wide range of abilities and leadership skills. He was recently the CG Supervisor for J.J. Abram's new feature film Star Trek Into Darkness at Pixomondo. Prior to this Enrico was the CG Lead, Lighting, Shading and TD for Snow White and the Hunstman, which had an Academy Award nomination for Visual Effects.

Enrico was the CG Lead, Lighting, Shading for Hugo, which received an Academy Award for Visual Effects. He was a Lighting/Shading artist for Red Tails, CG Generalist for Fast & Furious Five, and Previs Artist for Journey 2: The Mysterious Island.

Blake SweeneyBlake Sweeney
CG Supervisor, Method Studios

Blake Sweeney is an accomplished CG Supervisor at Method Studios in Los Angeles and has worked on VFX heavy features such as Iron Man 3, Cloud Atlas and Oz: The Great and Powerful. Most recently, he produced CGI for the action packed political drama White House Down.

Blake also enjoys the opportunity of working on high end commercials and this year helped in the production of the Kia ‘Hotbots’ ad which aired during the Super Bowl.

Blake graduated in 1998 with a Bachelors degree in Computer Science and Engineering from the University of California.

Vladimir KoylazovVladimir Koylazov
Co-Founder & Chief Technology Officer, Chaos Group

Vladimir Koylazov (Vlado) has more than 15 years of software development experience, the majority of which he spent developing and improving the world famous render engine V-Ray. Passionate about 3D graphics and programming, Vlado is the driving force behind Chaos Group’s software solutions. Vlado is an expert in rendering theory and an avid 3D community supporter and he often participates in forum discussions to help users solve rendering challenges.

Vlado holds a degree in computer science from Sofia University.

Konstantin GaytandzhievKonstantin Gaytandzhiev
Master Trainer, Chaos Group

Konstantin joined Chaos Group in 2010 and since then he is one of the main 3D artists and presenters at the company.

His past experience as a 3D artist in several production studios brought to Chaos Group talent, inspiration and deep knowledge of the production process. Konstantin demonstrates the magic of V-Ray and Phoenix FD at worldwide CG events.

Dimitar Krastev - JimmyDimitar Krastev - Jimmy
Master Trainer, Chaos Group

Jimmy joined Chaos Group half a decade ago and since then has been a leading presenter and technical support specialist for Phoenix FD, V-Ray and Pdplayer. Over the years, Jimmy has given countless presentations all over the world. He has written and recorded numerous tutorials and is one of the key technical support experts at Chaos Group.

Chaos Group’s main highlight at SIGGRAPH 2013 was the upcoming release of V-Ray 3.0. We had many presentations and demonstrations of the new features and optimizations. Expect faster rendering, transferrable materials, and one-click progressive rendering among many others. Some of the upcoming features and updates are:

•  Speed Optimizations
•  V-Ray Embree Helper
•  Max Ray Intensity Option
•  Optimized Hair Rendering
•  Progressive Rendering Mode
•  V-Ray Quick Settings
•  V-Ray Vismat Material
•  V-Ray Metaballs
•  Deep Image Rendering
•  V-Ray Shademaps
•  Render Mask
•  V-Ray Frame Buffer Updates
•  V-Ray RT Updates
•  Vertex Merging

Copyright © 2016 Chaos Software