Articles by Christopher Nichols

V-Ray Next: Denoising in Production

We explain the differences between NVIDIA's AI denoiser and V-Ray Next's own denoiser. We explain how ours allows for proper compositing and temporal denoising.

Andre Matos — Porsche AG

CG artist shares tricks of the trade for awesome automobile renders

Dean Niskota & Hrvoje Čop — Polymachine

Legendary Croatian arch viz firm Studio Niskota is no more — but something bigger and better is in the pipeline. Founders Dean and Hrvoje tell Chris what’s next.

Ondřej Karlík & Jaroslav Křivánek — Corona Renderer

The partnership between Corona and V-Ray is starting to bear photorealistic fruit. Find out how the companies are collaborating, and the exciting new features coming soon to Corona.

Dan Thron & Erick Schiele — Jaws and More

What can megabudget blockbusters learn from a 43-year-old movie about a rubber shark?

Darren Hendler & Ron Miller — Digital Domain

Digital Domain’s digital human experts discuss the incredible work which went into Avengers’ Thanos

Steve Blakey

VFX vets talks software, swimsuits — and Scott Ross

Jesse James Chisholm

After Black Panther and Ready Player One VFX supervisor tells you everything you need to know about working on set in the movies

Colin Green

The long history of how the art of Previs revolutionized the entire film industry

Sebastien Deguy — Allegorithmic

The happy accidents which have made Substance software a dream for CG artists

Rob Redman — 3D World Magazine/Vertex 2018

Making 3D Worlds: multi-talented editor talks magazine publishing, events organization — and guitar building

Josh Naylor, Brian Sharp & Agnus Mckay — Unity and Oculus Medium

Real-time engines and VR, it's not just for games anymore, it's actually for productivity. Just ask the guys at Unity and Oculus Medium

Boris Simandoff — V-Ray Cloud

The man behind V-Ray’s super simple cloud rendering tells Chris how it was done

Dan Thron — Martini Giant — Blade Runner 2049

Do androids dream of electric sheep? Chris and Dan pore over seminal sci-fi sequel of Blade Runner

Zorana Gee & Ross McKegney — Adobe Dimension

Another Dimension: How Adobe’s V-Ray powered 3D software is revolutionizing workflows, embracing machine learning, and democratizing the industry

Ludger Pfanz, Karlsruhe University of Arts and Design; Kelli Townley, Oculus Medium; Ciaran Wills & Mach Kobayashi, Tilt Brush — THU 2017

How can we make sense of virtual worlds? And which tools can we use to create them? A filmmaker-turned-lecturer and three guests from Oculus and Google offer their thoughts.

Vlado — V-Ray Next

Chris spends some time with Vlado getting the lowdown on V-Ray Next

© Ian Spriggs
V-Ray Next: The science behind the new hair shader

A deeper look at the new hair shader in V-Ray next. It describes how to understand the shader in a more physiological way, then takes you through the steps of setting one up for Look development including using V-Ray GPU in IPR rendering.

Alex McDowell — World Building Institute

World building - the storytelling process every 3D artist and designer should build into their work.

Dan Thron and Justin Goby Fields — Martini Giant — The Last Jedi Part 2

Chris, Dan, and Justin find common ground in the second part of their epic Star Wars discussion

Viki Chan — Digital Domain

Behind the scenes of Black Panther, Fast & Furious 8, and Beauty and the Beast with this on-set data integration lead

Dan Thron and Justin Goby Fields — Martini Giant — The Last Jedi

Was The Last Jedi a great Star Wars movie? A new voice offers his take

Grayson Davis, Eric Miller, Daniel Wade & Te "Ford" Hu — THU 2017

And now, a word from THU’s sponsors: Gnomon, Lenovo and ArtStation

V-Ray Next: Switching the camera from manual to automatic

The new automatic exposure and white balance settings in V-Ray next not only make the rendering process simpler and faster, but they also balance your renderings for both speed and quality.