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Nov 9, 2020
Chaos Group Brings Real-Time to V-Ray 5 for SketchUp
Full Spectrum of Visualization, from Real-Time to Photoreal Rendering, Now Available in SketchUp

Full Spectrum of Visualization, from Real-Time to Photoreal Rendering, Now Available in SketchUp

LOS ANGELES, Calif. – November 9, 2020 – Today, Chaos Group released V-Ray 5 for SketchUp, a new update that connects real-time and photorealistic rendering into a single workflow. With the introduction of V-Ray Vision, users will now be able to see a real-time representation of their current scene, helping them make faster decisions before moving on to full photorealism with V-Ray’s final renderer.

“V-Ray Vision is going to transform how designers work in SketchUp, bringing an always-on real-time view of every project,” said Phillip Miller, VP of product management at Chaos Group. “When real-time is always available, you can understand your design more fully as you craft it, add detailed entourage without burdening the system and know that all your lights and materials are ready for V-Ray photorealism when you need it. It’s a complete visualization solution from start to finish.”

Real-Time Visualization with V-Ray Vision

V-Ray Vision was designed to serve everything that comes before a final render, helping users work through new ideas and client feedback before they move on to total photorealism. Whether designers want to move their model, apply materials or set up lights and cameras, V-Ray Vision will display it all in the moment, offering a real-time view of the scene that updates as you work. Incredibly fast, V-Ray Vision can also quickly snapshot images or output animated sequences, allowing users to share their work with stakeholders.

Automatic Scene Lighting

With the new Light Gen tool, SketchUp users can rapidly explore a variety of lighting possibilities and select the best look for their scene. Light Gen will automatically generate dozens of physically based lighting variations for each project, helping it illuminate exteriors and interiors using V-Ray’s Sun & Sky system and a wealth of included HDRI images. Each preset also factors in real-world lighting conditions, so new lights blend perfectly as they are added by the user.

Beyond Rendering

The redesigned V-Ray Frame Buffer (VFB) now includes some of V-Ray 5’s most user-friendly features, making it easy to bring a personal touch to any rendering.

With Light Mix, users can interactively change the color and brightness of any light without rendering again, creating multiple lighting scenarios from a single render. Image adjustments like exposure control, color balance and color corrections can also be added, replacing the need for external image editing tools. For extra control, render layers can be combined using the Layer Compositor to create more nuanced designs, or even saved as presets for later use.

"As soon as we heard about Light Mix, we couldn't wait to get our hands on it. Now, when a client asks for a nighttime version of the shot, we change a few settings and presto, we've got it," said Dan Stone, head of operations of Archilime Visualisations. "This really boosts both the quality and quantity of work we can produce. It's pretty amazing."

Other New Features in V-Ray 5 Include:

  • New V-Ray 5 Material Library – The popular V-Ray material library has been expanded and upgraded with V-Ray 5’s new layering controls and texture randomization features. Texture resolutions have also been increased to 4K.
     
  • Coat Layer – Gain extra reflections on surfaces without using blend materials.
     
  • Sheen Layer – Easily simulate fabrics like velvet, satin and silk.
     
  • Built-In Bump Layer - A built-in parameter section will now allow users to adjust bump attributes.
     
  • Dirt and Weathering – New controls for aging materials with procedural streaks have been added to the VRayDirtMtl.
     
  • Line Renderings – Easily create line renderings of any project using simple material overrides.
     
  • New Sun and Sky – Improves accuracy when the sun is at the horizon, including the magic hours right before sunrise and after sunset. New controls have also been added to allow users to easily customize the sun position.
     
  • Texture Randomization – For more realistic textures and materials, artists can now add more variety and subtle imperfections with the new VRayUVWRandomizer map and improved VRayMultiSubTex controls.
     
  • Stochastic Texture Tiling – Automatically remove tiling artifacts with the new VRayUVWRandomizer.

For newcomers, V-Ray 5 comes with access to an extensive library of video tutorials, free technical support and collaborative forums. For a full feature tour, please visit the product page or tune into the V-Ray 5 for SketchUp webinar on November 10.

Pricing and Availability
V-Ray 5 for SketchUp is available now for Windows and Mac OS, with V-Ray Vision Mac support coming soon. A perpetual license is priced at $790, with upgrades available for $395. Term licensing is available at $350 (annually) and $60 (monthly). V-Ray 5 for SketchUp is also included in V-Ray Collection, an annual plan that gives users full access to 15 Chaos Group products and services for $699/year.

About Chaos Group
Chaos Group is a worldwide leader in computer graphics technology, helping artists and designers create photorealistic imagery and animation for architecture, design, and visual effects. Chaos Group’s award-winning physically-based rendering and simulation software is used daily by top design studios, architectural firms, advertising agencies, and visual effects companies around the globe. Today, the company's research and development in ray-traced rendering, cloud computing and real-time ray tracing is shaping the future of creative storytelling and digital design. Founded in 1997, Chaos Group is privately owned with offices in Sofia, Los Angeles, Prague, Seoul, and Tokyo. For more information, visit: chaosgroup.com.

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Press Contacts:

Chaos Group
David Tracy, david.tracy@chaosgroup.com
www.chaosgroup.com

Liaison
Colin McLaughlin, (503) 796-9822, colin@liaisonpr.com
www.liaisonpr.com

Aug 6, 2020
Chaos Group Releases V-Ray 5 for Maya
New Built-In Compositor and Light Mix Features Expand Animation/Production Toolset Beyond Traditional Renderers

New Built-In Compositor and Light Mix Features Expand Animation/Production Toolset Beyond Traditional Renderers

LOS ANGELES, Calif. – August 6, 2020 – Today, Chaos Group released V-Ray 5 for Maya, a major new version of its Academy-Award winning production renderer. For more than a decade V-Ray has been used by the world’s leading studios to render over 300 television series and feature films, including Terminator: Dark Fate, Avengers: Endgame and Game of Thrones. To meet the growing demands of high-end production, V-Ray 5 for Maya builds on its extensive rendering toolset with integrated compositing, interactive light mixing, powerful scene management and more.

“V-Ray is rock solid, no matter what you apply it to,” said Bob White, lighting department supervisor at Digital Domain. “We've used it on everything from Thanos to Terminator and we get a consistent output back every time. As we continue to push the boundaries of CG characters, we need tools that can keep up. V-Ray has been there for us every step of the way.”  

Beyond Rendering

The redesigned V-Ray Frame Buffer now plays host to two of V-Ray 5’s most anticipated features, opening up even more control to artists who want to do more in one program.

With Light Mix, artists can create dozens of lighting scenarios from a single render. Color and light intensity can now be adjusted instantly without ever having to render again. Once everything is right, artists can save their recipes, send the layers to compositing and update the lights in their scenes. 

For the first time, a new Layer Compositor will allow artists to composite their renders directly in the new V-Ray Frame Buffer. Users can now combine and grade render passes, set blending modes and adjust colors for more in-depth previews before sending the layers on to NUKE.

Light Path Expressions

With the addition of Light Path Expressions, artists can construct their own render passes, providing better control while compositing. Specific lighting contributions can now be outputted with time-saving presets, custom expressions or even combined with boolean operations to get a pass ready for comp.

Lighter Scenes, More Flexibility

V-Ray 5 introduces a brand-new VRayProxy node that is fast and easy to use. With proxies loading in the background, artists can now start working right away, using a new hierarchy view to select, hide or assign materials to different objects inside the proxies. Rules can also be created, making it easier to modify multiple objects at once.

Other New Features in V-Ray 5 Include: 

  • Native ACEScg Support – Artists can now create color-accurate workflows in the new standard for professional production. Once selected, V-Ray makes automatic colorspace adjustments for textures, dispersion, sun & sky and light temperature, bringing immediate consistency to a shot.

     

  • Coat Layer – The updated V-Ray Material can now generate reflective coatings on surfaces without the use of blend materials.

     

  • Sheen Layer – Easily simulate soft, microfiber fabrics like velvet, satin and silk inside the updated V-Ray Material.

     

  • V-Ray GPU Updates – V-Ray GPU supports every new feature in V-Ray 5, as well as 2D displacement, OSL textures and memory tracking. Initial support for out-of-core geometry has also been added to help users render scenes when they are too big for a GPU’s RAM.

     

  • Material Presets – Save time making common materials with new presets for metals, plastics, glass and more. Presets for common hair colors like blonde, brown and black have been added as well.

     

  • Texture Randomization – For more realistic textures and materials, artists can now add more variety and subtle imperfections with the new VRayUVWRandomizer map and improved VRayMultiSubTex controls.

     

  • Stochastic Texture Tiling – Automatically remove tiling artifacts with the new VRayUVWRandomizer.

     

  • Dirt and Weathering – With the improved V-Ray Dirt texture, users can add dirt to cracks and crevices, create procedural streaks or cover an entire surface.

     

  • New Sun and Sky Model – Improves accuracy when the sun is at the horizon, including the magic hours right before sunrise and after sunset. 

     

  • Blue Noise Sampling – New algorithm update can make images (and noise) look cleaner through fewer samples.

     

  • Filmic Tonemapping – HDR images can now mimic the properties of film to give images a cinematic look.

     

For a full feature tour, please visit the V-Ray 5 for Maya product page.

Pricing and Availability
V-Ray 5 for Maya is available now for Windows, Linux and Mac OSX. A perpetual license is priced at $1,180, with upgrades available for $590. Term licensing is available at $470 (annually) and $80 (monthly). V-Ray 5 for Maya is also included in V-Ray Collection, an annual plan that gives users full access to 15 Chaos Group products and services for $699/year.

About Chaos Group
Chaos Group is a worldwide leader in computer graphics technology, helping artists and designers create photorealistic imagery and animation for architecture, design, and visual effects. Chaos Group’s award-winning physically-based rendering and simulation software is used daily by top design studios, architectural firms, advertising agencies, and visual effects companies around the globe. Today, the company's research and development in ray-traced rendering, cloud computing and real-time ray tracing is shaping the future of creative storytelling and digital design. Founded in 1997, Chaos Group is privately owned with offices in Sofia, Los Angeles, Prague, Seoul, and Tokyo. For more information, visit: chaosgroup.com.

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Press Contacts:

Chaos Group
David Tracy, david.tracy@chaosgroup.com
www.chaosgroup.com

 

Liaison
Colin McLaughlin, (503) 796-9822, colin@liaisonpr.com
www.liaisonpr.com

Jun 16, 2020
Chaos Group Launches V-Ray Collection
Fifteen Chaos Group Products With One License; Easy Access to V-Ray 5, Phoenix FD and More for Visual Effects and Archviz

Fifteen Chaos Group Products With One License; Easy Access to V-Ray 5, Phoenix FD and More for Visual Effects and Archviz

LOS ANGELES, Calif. – June 16, 2020 – Today, Chaos Group launches V-Ray Collection, a new offering designed to help artists connect their entire creative pipeline through a single floating license. Users can now move freely between 3D applications, applying their own mix of photorealistic rendering, fluid simulation and real-time scene exploration to any project. 

V-Ray Collection offers instant access to 15 products and services for $699/year, including the latest versions of V-Ray, Phoenix FD, Project Lavina, and the high-res material library, VRscans, on the same machine. Users will receive free upgrades for the life of their license, as well as 20 Chaos Cloud credits every year. 

A standard in architecture, design and visual effects, V-Ray is the most widely used rendering solution in the world. Whether used to showcase products at IKEA or bring the Game of Thrones dragons to life, V-Ray has helped artists and designers visualize their best work for over 20 years, pushing the boundaries of imagery, animation and real-time. In 2017, V-Ray was honored with an Academy Award for helping to facilitate the “widespread adoption of fully ray-traced rendering [in] motion pictures.”

V-Ray Collection Includes:

Photorealistic Rendering:

  • V-Ray for 3ds Max
  • V-Ray for Maya
  • V-Ray for SketchUp
  • V-Ray for Rhino
  • V-Ray for Revit
  • V-Ray for Modo
  • V-Ray for Unreal
  • V-Ray for Houdini
  • V-Ray for Nuke
  • V-Ray for Cinema 4D
  • V-Ray for Blender

All-In-One Fluid Simulation:

  • Phoenix FD for 3ds Max
  • Phoenix FD for Maya​​​​​​​

1000+ Scanned Materials:

  • VRscans

Real-Time Scene Exploration:

  • Project Lavina

Pricing and Availability
V-Ray Collection is available now for $699/year. Licenses can be purchased directly on the product page. Unlike past licenses, V-Ray Collection will not require a separate render node for each product. Individual product licenses are still available. For students, schools and educators, the V-Ray Education Collection is also available.

About Chaos Group
Chaos Group is a worldwide leader in computer graphics technology, helping artists and designers create photorealistic imagery and animation for architecture, design, and visual effects. Chaos Group’s award-winning physically-based rendering and simulation software is used daily by top design studios, architectural firms, advertising agencies, and visual effects companies around the globe. Today, the company's research and development in ray-traced rendering, cloud computing and real-time ray tracing is shaping the future of creative storytelling and digital design. Founded in 1997, Chaos Group is privately owned with offices in Sofia, Los Angeles, Prague, Seoul, and Tokyo. For more information, visit: chaosgroup.com.

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Press Contacts:

Chaos Group
David Tracy, david.tracy@chaosgroup.com
www.chaosgroup.com

Liaison
Colin McLaughlin, (503) 796-9822, colin@liaisonpr.com
www.liaisonpr.com

Jun 16, 2020
Chaos Group Releases V-Ray 5 for 3ds Max
Photorealistic Ray Tracer Adds Post-Rendering Compositing and Lighting Tools, Expanding the Industry’s Most Complete Rendering Toolset

Photorealistic Ray Tracer Adds Post-Rendering Compositing and Lighting Tools, Expanding the Industry’s Most Complete Rendering Toolset

LOS ANGELES, Calif. – June 16, 2020 – Today, Chaos Group released V-Ray 5 for 3ds Max, connecting its award-winning renderer to more parts of the visualization process. Artists and designers can now composite renders, enhance materials and interactively relight images without leaving the program, extending V-Ray’s capabilities into new realms.

“The future is all-in-one,” said Phillip Miller, Vice President of Product Management at Chaos Group. “An artist doesn’t want to jump into extra applications – they want tools that excel at every part of the process. V-Ray 5 is a big step in that direction.” 

Beyond Rendering

Two of V-Ray 5’s most exciting additions – Layer Compositing and Light Mix – can be found in the new V-Ray Frame Buffer (VFB), which was also redesigned for efficiency and a cleaner look.

With Light Mix, artists can interactively explore different lighting scenarios without having to re-render an image. Users can now adjust the color and intensity of any light source right away, ensuring faster iterations when designing looks and moods.

The Layer Compositor offers a faster path to final images, helping users post-process shots in the new VFB without outside applications. Using this non-destructive workflow, artists can adjust different render elements and perform color corrections with ease. 

Materials Made Easy

V-Ray 5 adds seven features and improvements tailored to materials, including a new management system and over 500 readymade materials designed to cover most objects and spaces. New built-in presets can help dial-in everyday options like metal, glass and plastic, as well as common hair colors, helping artists achieve photorealism much faster.

With V-Ray 5’s new randomization tools, artists can add slight variations to their materials, increasing believability across a scene. VRayMultiSubTex colors can now be shifted by hue, saturation and gamma, while a new VRayUVWRandomizer map will adjust the offset, rotation and scale of both textures and procedural materials. For repeating texture maps, artists now have Stochastic Texture Tiling, which automatically removes tiling artifacts.

Other New Features in V-Ray 5 Include: 

  • Coat Layer – Gain extra reflections on surfaces without using blend materials.
  • Sheen Layer – Easily simulate fabrics like velvet, satin and silk.
  • Photoreal Material Previews – New view incorporates global illumination to provide an exact representation of a rendered material.
  • Dirt with Streaks – New controls for aging materials with procedural streaks have been added to the VRayDirtMtl.
  • New Car Paint Material – Provides highly realistic flakes with less memory.
  • New Sun and Sky System – Improves accuracy when the sun is at the horizon, including the magic hours right before sunrise and after sunset. 
  • Camera EV Control – Adjust the exposure value of the V-Ray Physical Camera without affecting motion blur or depth of field.
  • V-Ray GPU Updates – Initial support for out-of-core geometry allows users to break through memory constraints when necessary. Resumable progressive rendering ensures artists never have to restart from square one.
  • Blue Noise Sampling – New algorithm update can make images (and noise) look cleaner through fewer samples.
  • V-Ray Scene Updates – Export selected objects, including pivot points, for transforms in Project Lavina. 
  • ACEScg Color Workflows – Artists can now render in the emerging CG colorspace standard, accessing a wider gamut of colors.
  • Light Path Expressions – The behavior of light in a scene can now be used for custom render elements.
  • Filmic Tonemapping – HDR images can now mimic the properties of film to give images a cinematic look.

For a full feature tour, please visit the V-Ray 5 for 3ds Max product page. Chaos Group will also be hosting a webinar and live Q&A on June 23. The webinar is completely free and begins at 9 a.m. PST / 7 p.m. EEST. Register now.

Pricing and Availability
V-Ray 5 for 3ds Max is available now for Windows. A full Workstation license is priced at $1,180, with upgrades available for $590. Term licensing is available at $470 (annually) and $80 (monthly). V-Ray 5 for 3ds Max is also included in V-Ray Collection, an annual plan that gives users full access to 15 Chaos Group products and services for $699/year.

About Chaos Group
Chaos Group is a worldwide leader in computer graphics technology, helping artists and designers create photorealistic imagery and animation for architecture, design, and visual effects. Chaos Group’s award-winning physically-based rendering and simulation software is used daily by top design studios, architectural firms, advertising agencies, and visual effects companies around the globe. Today, the company's research and development in ray-traced rendering, cloud computing and real-time ray tracing is shaping the future of creative storytelling and digital design. Founded in 1997, Chaos Group is privately owned with offices in Sofia, Los Angeles, Prague, Seoul, and Tokyo. For more information, visit: chaosgroup.com.

######

Press Contacts:

Chaos Group
David Tracy, david.tracy@chaosgroup.com
www.chaosgroup.com

Liaison
Colin McLaughlin, (503) 796-9822, colin@liaisonpr.com
www.liaisonpr.com

Apr 16, 2020
Chaos Group Releases Personal Learning Edition of V-Ray for Maya
Photorealistic Renderer Now Free for Non-Commercial Use

Photorealistic Renderer Now Free for Non-Commercial Use

LOS ANGELES, Calif. – April 16, 2020 – Today, Chaos Group releases V-Ray PLE for Maya, a new personal learning edition of its production renderer. V-Ray PLE helps new and self-taught CG artists explore the benefits of photorealistic rendering at their own pace, using a free non-commercial license that can be renewed every 90 days. With access to nearly every V-Ray feature, artists can build new skills as they try out some of the same tools used to bring Game of Thrones and Avengers: Infinity War to life.

V-Ray PLE for Maya comes equipped with all the major features of V-Ray Next, including scene intelligence, GPU production rendering and improved IPR. While renders are never watermarked, V-Ray PLE output is limited to 4K. Other limitations are mainly network or development driven: no batch rendering, distributed rendering or access to AppSDK.

V-Ray PLE for Maya has been in development for several months but was fast-tracked after COVID-19 to help more artists access the software from home. With more artists indoors, Chaos Group wanted to offer an engaging way to build new skills. To help them along, Chaos Group has also added a new set of learning materials to the V-Ray for Maya documentation page.

V-Ray PLE for Maya represents the pilot project for V-Ray personal learning editions. Chaos Group will leave the option open for other products in the future.

For more information, please visit the V-Ray PLE for Maya product page.

Pricing and Availability

V-Ray PLE for Maya is available now for Windows, Linux and Mac OS X. Licenses are free for non-commercial use and can be renewed every 90 days.

About Chaos Group
Chaos Group is a worldwide leader in computer graphics technology, helping artists and designers create photorealistic imagery and animation for architecture, design, and visual effects. Chaos Group’s award-winning physically-based rendering and simulation software is used daily by top design studios, architectural firms, advertising agencies, and visual effects companies around the globe. Today, the company's research and development in ray-traced rendering, cloud computing and real-time ray tracing is shaping the future of creative storytelling and digital design. Founded in 1997, Chaos Group is privately owned with offices in Sofia, Los Angeles, Prague, Seoul, and Tokyo. For more information, visit: chaosgroup.com.

######

Press Contacts:

Chaos Group
David Tracy, david.tracy@chaosgroup.com
www.chaosgroup.com

Liaison
Colin McLaughlin, (503) 796-9822, colin@liaisonpr.com
www.liaisonpr.com

Apr 1, 2020
Chaos Group Announces the V-Ray Education Collection
Eleven V-Ray and Phoenix FD Products Now Available Through One License; More Flexibility for Projects, Classes and Coursework

Eleven V-Ray and Phoenix FD Products Now Available Through One License; More Flexibility for Projects, Classes and Coursework

LOS ANGELES, Calif. – April 1, 2020 – Today, Chaos Group launches the V-Ray Education Collection, a new offering that provides access to 11 V-Ray and Phoenix FD products through a single license. Students, schools and educators can now use Chaos Group’s industry-standard renderer and fluid simulation software for $149 a year (an 86% savings compared to purchasing individually). 

"We wanted to make it easier for students and educators to access a full suite of software, as they learn and teach visualization for architecture, design and visual effects,” said Veselina Zheleva, Chaos Group education director. “With our new collection, users can easily switch between the leading 3D applications, helping them branch out, reduce costs and expand their curriculums.”

Students
The V-Ray Education Collection offers students more flexibility as they begin to master workflows and build their portfolios. As coursework and interests develop, students can apply different versions of V-Ray to their own unique challenges. With options for architecture (Revit, SketchUp, Rhino, 3ds Max), visual effects (Maya, Houdini), real-time (Unreal) and more, students can now hone in on the areas that matter most.

Universities and Educators
With one price across products, schools and teachers no longer have to limit themselves as they design courses. They can choose the right product for the job, and then switch it if plans or industry trends start to shift. As cost is a historical barrier to departmental growth, the V-Ray Education Collection has been priced to spur new classes and expanded curriculums, so administrators won’t have to wait for new budgets whenever they have a good idea.

The V-Ray Education Collection includes full versions of 11 products and free upgrades for the length of the license. Free access to Chaos Group’s commercial support team is also included, providing on-demand support from set-up to settings.

The V-Ray Education Collection Includes:

  • V-Ray for 3ds Max
  • V-Ray for Maya
  • V-Ray for SketchUp
  • V-Ray for Rhino
  • V-Ray for Revit
  • V-Ray for Modo
  • V-Ray for Unreal
  • V-Ray for Houdini
  • V-Ray for Cinema 4D
  • Phoenix FD for 3ds Max
  • Phoenix FD for Maya

To learn more, please visit Chaos Group’s education page.

Pricing and Availability
The V-Ray Education Collection is available now for any accredited institution, educator, student or training center and priced at $149 a year. Licenses can be purchased directly or through one of Chaos Group’s education resellers.

About Chaos Group
Chaos Group is a worldwide leader in computer graphics technology, helping artists and designers create photorealistic imagery and animation for architecture, design, and visual effects. Chaos Group’s award-winning physically-based rendering and simulation software is used daily by top design studios, architectural firms, advertising agencies, and visual effects companies around the globe. Today, the company's research and development in ray-traced rendering, cloud computing and real-time ray tracing is shaping the future of creative storytelling and digital design. Founded in 1997, Chaos Group is privately owned with offices in Sofia, Los Angeles, Prague, Seoul, and Tokyo. For more information, visit: chaosgroup.com.

######

Press Contacts:

Chaos Group
David Tracy, david.tracy@chaosgroup.com
www.chaosgroup.com

Liaison
Colin McLaughlin, (503) 796-9822, colin@liaisonpr.com
www.liaisonpr.com

Dec 3, 2019
Chaos Group Releases V-Ray Next for Revit
Photorealistic Renderer Gains Over 20 New Features and Improvements, Bringing Smart Tech to the BIM World

 

Photorealistic Renderer Gains Over 20 New Features and Improvements, Bringing Smart Tech to the BIM World

LOS ANGELES, Calif. – December 3, 2019 – Today, Chaos Group launches V-Ray Next for Revit, building scene intelligence, asset management and simple workflows deep into the design process. Architects can now be more creative in their favorite tool, using dozens of new features and improvements to produce photorealistic imagery faster than ever before.  

"We’ve distilled four years of R&D into a tool that will instantly make sense to architects, so they can save more time as they move from concept to construction,” said Ana Lyubenova, product specialist for Revit at Chaos Group. “V-Ray Next is not just the next step in our evolution, it’s helping Revit do things it couldn’t do before.”

A Better Revit

  • New Asset Editor – Create, edit, save and manage V-Ray materials all in one place. Advanced materials give designers even more control when fine-tuning their designs, simplifying the process of recreating real-world materials with complex surfaces.
     
  • Appearance Manager – Basic Revit assets can now be switched to photoreal V-Ray assets at render time to keep BIM models unaffected and clean.
     
  • Better Entourage – With .vrscene linking, architects can now quickly populate visualizations with high-quality entourage from any V-Ray product, giving designs a more custom look.
     
  • Randomize Objects – Add variety to plants and trees by randomizing the scale and rotation of V-Ray Proxy and V-Ray Scene instances.
     
  • Lighting Analysis – Easily evaluate real-world lux values from daylight and fixtures to determine the true illumination levels of a design. 


Smarter, Faster

  • Speed Boosts – Rendering speeds are now up to 50 percent faster in V-Ray Next. Improvements to GPU rendering offer another 200 percent, further extended through V-Ray’s new Adaptive Dome Light, which can show improvements up to 2x.
     
  • Auto Exposure & White Balance – The V-Ray Physical Camera can now set the correct camera exposure and white balance automatically, offering picture-perfect renders every time.
     
  • Real-Time AI Denoiser – No-input denoising eliminates image noise almost instantly to give an immediate sense of lighting. 
     
  • New Lens Effects – Add an extra touch of photorealism with the fully redesigned camera lens effects. Simulate real-world bloom and glare; add lens dust and scratches; or get feedback in the Aperture Preview for more refined control.


More Efficient

  • Improved Toolbar –  Redesigned icons and features make for a more intuitive user experience.
     
  • Revit Decals – With full support for Revit Decals, users can now easily render paintings, signs, screens and more.
     
  • Settings & Work-Sharing – V-Ray settings can now be saved within a Revit project, making it easy to adopt and share the same render settings across teams and projects. 
     
  • Direct Render Saves – A streamlined workflow now allows for direct saves to a Revit project from the V-Ray Frame Buffer.
     
  • Background Image – Stunning light setups can now be combined with custom background images through a merged dialog, making it easier to separate out different elements of a lighting simulation.


“V-Ray Next for Revit elevates our design process, helping us achieve professional grade renders straight out of Revit,” said Miguel Colina, Architectural Designer at Robert A.M. Stern Architects. “Thanks to its photorealistic lighting and proxy implementation, we can save time in post-production and focus on our design intent.”

For a full list of new features, please visit: chaosgroup.com

Pricing and Availability
V-Ray Next for Revit is available now. A full Workstation license is priced at $750, with upgrades available for $395. V-Ray Next for Revit can also be rented for $350 annually or $60/month. For a free 30-day trial, click here.

About Chaos Group
Chaos Group is a worldwide leader in computer graphics technology, helping artists and designers create photorealistic imagery and animation for architecture, design, and visual effects. Chaos Group’s award-winning physically-based rendering and simulation software is used daily by top design studios, architectural firms, advertising agencies, and visual effects companies around the globe. Today, the company's research and development in ray-traced rendering, cloud computing and real-time ray tracing is shaping the future of creative storytelling and digital design. Founded in 1997, Chaos Group is privately owned with offices in Sofia, Los Angeles, Prague, Seoul, and Tokyo. For more information, visit: chaosgroup.com.

######

Press Contacts:

Chaos Group
David Tracy, david.tracy@chaosgroup.com
www.chaosgroup.com

Liaison
Colin McLaughlin, (503) 796-9822, colin@liaisonpr.com
www.liaisonpr.com

Aug 13, 2019
Chaos Group Shows Future of Real-Time Ray Tracing in New Project Lavina Video
Animation Support, NVIDIA RTX GPU Scaling, a New Noise Algorithm and More Expand World’s Most Realistic Real-Time Ray Tracer

Animation Support, NVIDIA RTX GPU Scaling, a New Noise Algorithm and More Expand World’s Most Realistic Real-Time Ray Tracer

LOS ANGELES, Calif. – August 13, 2019 – Today, Chaos Group previews major features coming to Project Lavina, its groundbreaking application for 100% ray tracing in real-time. Project Lavina can fully ray trace massive 3D scenes without workarounds or raster graphics. Artists simply drag and drop their V-Ray scenes to explore them immediately in real-time – without the complex setup of a game engine.

 

At SIGGRAPH 2019, Chaos Group demonstrated the new features through several scenes including a one-billion polygon KitBash3d city designed by Blizzard Entertainment’s Evan Butler and a fully interactive walkthrough of Kevin Margo’s CONSTRUCT construction site, including looping fight animations that were displayed at a minimum of 24 frames per second, using an RTX Studio laptop. With the ability to support multiple RTX GPUs, Chaos Group projects VR frame rates in the near future.

The latest developments include:

  • New real-time Chaos denoiser
  • Multiple GPU support
  • Animation support
  • Enhanced camera controls and transitions
  • Automatic collision and stair/ramp detection
  • Material swapping
  • Drag-and-drop IBL environments
  • LUT color profiles
  • Scene merging
  • Selection and transformation of objects
  • Hide/unhide selections
  • Interactive depth of field

“We’ve come a long way in five years,” said Lon Grohs, Global Head of Creative at Chaos Group. “When CONSTRUCT started, Kevin was visualizing characters at 24 frames a second with over $250,000 in hardware behind him. Today, he could just use Lavina, achieving full ray tracing with even higher fidelity on a $1,000 RTX card. Artists have never seen anything like this. Now that it’s within reach, it’s going to change everything.”

To express interest in the beta, sign up now. To read the original Project Lavina announcement, click here
 

About Chaos Group

Chaos Group is a worldwide leader in computer graphics technology, helping artists and designers create photorealistic imagery and animation for architecture, design, and visual effects. Chaos Group’s award-winning physically-based rendering and simulation software is used daily by top design studios, architectural firms, advertising agencies, and visual effects companies around the globe. Today, the company's research and development in ray-traced rendering, cloud computing and real-time ray tracing is shaping the future of creative storytelling and digital design. Founded in 1997, Chaos Group is privately owned with offices in Sofia, Los Angeles, Prague, Seoul, and Tokyo. For more information, visit: chaosgroup.com.

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Press Contacts:

Chaos Group
David Tracy, david.tracy@chaosgroup.com
www.chaosgroup.com


Liaison Inc.
Colin McLaughlin, (503) 796-9822, colin@liaisonpr.com
www.liaisonpr.com

Jul 29, 2019
Chaos Group Launches V-Ray for Houdini
Production Renderer Helps Ingenuity Studios Rack Up Over a Billion Views for Taylor Swift and Billie Eilish Videos

LOS ANGELES, Calif. – July 29, 2019 – Today, Chaos Group releases V-Ray for Houdini, a production-proven renderer built for high-end VFX and animation projects. Artists can now assemble their scenes in a procedural environment, using V-Ray for Houdini for even more control. Able to handle the most demanding pipelines, V-Ray for Houdini is production ready thanks to Ingenuity Studios, who have been using it since 2017 to create high-profile pieces for Billie Eilish and The Walking Dead.

“We started using the alpha build about 30 minutes after it was released,” recalls Grant Miller, owner and VFX Supervisor at Ingenuity Studios. “We wanted to move scene assembly into  Houdini, so we’d have more control over our instances and a tighter loop on VFX and look dev. If V-Ray for Houdini could take us there, we were all in.”

V-Ray for Houdini’s first test was on Taylor Swift’s “Look What You Made Me Do” video, whose CG snakes helped Swift poke fun at negative press and earn over a billion views. From there, its growth was organic, as new features and boosts continued to win over artists used to working with Maya and Mantra.

“I can't speak enough to the responsiveness of the Chaos team,” said Miller. “They turned around countless features and bug fixes in no time. Their dedication to making V-Ray for Houdini a first-class integration is a big source of confidence.”

Taylor Swift - …Ready For It? 
After the success of “Look What You Made Me Do,” Ingenuity were tapped again for Swift’s next video “...Ready for It?”, a Ghost in the Shell-inspired affair that had to pack robot faces, digital eyes, magical orbs, energy blasts, lightning and shattering glass into three and a half minutes. The ambitious video also had a set piece – a glass box – that had to correctly refract Swift and the effects around her at all times. 

Since the team was still transitioning to V-Ray for Houdini, the box setup was created in V-Ray for Nuke. The VFX work was then completed in Houdini with .vrscene files exported for later use in Nuke, allowing the team to do look dev on the lightning and clouds in Houdini with full trust that everything would match when rendered, since V-Ray was used on both applications. 

Billie Eilish (feat. Khalid) - Lovely
Having proven their prowess with glass boxes and pop stars, Ingenuity was an easy choice for Interscope Records, who also wanted a glass box around Billie Eilish and Khalid for their single, “Lovely.” This time, the glass box and visual effects would take center stage, as “Lovely” would be shot entirely in one take using green screen. As the song progresses, Ingenuity’s effects would play off the glass box metaphor, calling back to the sadness of the lyrics as creeping frost and rippling water hold our subjects in.

“Billie and Khalid needed to be integrated inside the glass box and subsequently refract through it,” said Miller. “By exporting .vrscenes from Houdini and rendering with V-Ray for Nuke, we were able to keep their keys and roto live, making adjustments as the video progressed without the need to render updated keyed footage and round-trip it back through CG or FX. Having the flexibility to easily send assets and FX from one package to another made this all possible.”

 Ingenuity used V-Ray for Houdini for look development. The interplay of glass box and VFX made Houdini a prime tool for experimentation, allowing the team to populate their environment with clouds, lightning, water, frost and splashes and see what worked best. After decisions were made, the studio rendered scenes as they saw fit, sometimes in Houdini, sometimes in V-Ray for Nuke, giving Ingenuity more flexibility with their pipeline and Eilish 303 million views and counting.

The Walking Dead - Field of the Dead 
V-Ray for Houdini helped Ingenuity yet again when it effortlessly rendered a six billion poly scene for The Walking Dead – complete with rolling volumetric fog and a digimatte sky. In this scene, Rick Grimes enters a field of 9,000 zombies, a horrific sight that goes on as far as the eye can see. After the foreground elements were keyed and tracked using blue screen, the artists used Houdini to scatter the bodies on an art-directed terrain mesh.

While each character ranged from 500,000 to 900,000 polygons, depending on outfit and hairstyle, Ingenuity was able to keep the render times low using V-Ray for Houdini’s instancing features – a key to success for a shot that ran for several hundred frames. These features also removed the need for Level of Detail (LoD) tricks, helping Ingenuity bring a cinematic look to a popular production.

2018 / 2019 TV Season
Whether The Walking Dead or another show, work can vary widely over the course of a TV season, requiring tool sets that help Ingenuity turn effects around on a dime. This season was especially busy and saw the team creating explosions for The Passage and Brooklyn Nine-Nine, a horde of rats for Counterpart, tropical birds for Superstore, and a theatre set extension for Blackish.

“V-Ray for Houdini really crossed a threshold in terms of feature support and usability this past year,” said Miller. “We’d been using it and definitely enjoying the benefits, but at this point, it’s our primary tool for scene assembly and lighting.”

With V-Ray for Houdini, Ingenuity was able to hit their two-week turnarounds, producing cinematic effects for several projects at once. “The procedural nature of Houdini allows us to easily update our assets over the lifetime of a shot, without breaking shading or simulation setups,” added Miller. “From a practical standpoint, this means that the second we have a blocked in model of an asset, we can publish it as a v1 and start rigging. V-Ray for Houdini helps us start right away so we can take on more projects at once. And that workload is only getting more intense.”

For a full feature list, please visit the V-Ray for Houdini product page.

Pricing/Availability
V-Ray for Houdini is available now for Houdini and Houdini Indie 16.5.473 and later, with support for Windows, Linux and MacOS. Licenses are available for $80 a month and $470 annually. 

About Chaos Group
Chaos Group is a worldwide leader in computer graphics technology, helping artists and designers create photorealistic imagery and animation for architecture, design, and visual effects. Chaos Group’s award-winning physically-based rendering and simulation software is used daily by top design studios, architectural firms, advertising agencies, and visual effects companies around the globe. Today, the company's research and development in ray-traced rendering, cloud computing and real-time ray tracing is shaping the future of creative storytelling and digital design. Founded in 1997, Chaos Group is privately owned with offices in Sofia, Los Angeles, Prague, Seoul, and Tokyo. For more information, visit: chaosgroup.com.

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Press Contacts:

Chaos Group
David Tracy, david.tracy@chaosgroup.com
www.chaosgroup.com

Liaison Inc.
Colin McLaughlin, (503) 796-9822, colin@liaisonpr.com
www.liaisonpr.com

Jun 27, 2019
Chaos Group Brings Total Chaos to SIGGRAPH 2019
Annual Presentation Series Returns with Exclusive Behind-the-Scenes Talks on 'Game of Thrones,' 'Captain Marvel,' 'The Orville' and More

Annual Presentation Series Returns with Exclusive Behind-the-Scenes Talks on 'Game of Thrones,' 'Captain Marvel,' 'The Orville' and More

LOS ANGELES, Calif. – June 27, 2019 – Today, Chaos Group announces the lineup for Total Chaos @ SIGGRAPH (previously V-Ray Days), featuring in-depth production talks on Captain Marvel, Game of Thrones and more. Total Chaos will also play host to “Vlado in Renderland,” covering the latest in V-Ray research and development, as well as a new “Women in Technology” panel featuring speakers from VFX production studios such as Zoic Studios and Pixomondo.

The free two-day event will be held in room 409A of the Los Angeles Convention Center, on the second-floor concourse. Presentations begin Tuesday, July 30 at 10:00 a.m. While the sessions are open to all SIGGRAPH attendees, seating may be limited. Due to the exclusive content being shown, recording is not permitted.

For the second year in a row, Digital Domain will dive deep into the Marvel Cinematic Universe, exploring recent films like Captain Marvel. Game of Thrones’ iconic credits will be discussed by Elastic Art Director and Head of 3D Kirk Shintani, who will chart a 10-year journey from season one through eight. Pixomondo will also be on hand to break down a fiery space battle recently featured on Seth MacFarlane’s The Orville.

On day two, industry players from Pixomondo, Magnopus, ARwall and Zoic Studios will lead an all-women panel focused on the best ways to carve out a niche in CG. Using insights from their careers, the speakers will explain how to identify strengths, advance skill sets and find an authentic voice in a competitive industry.

Other presentations will cover visual architectural design (KPF), real-time workflows (Method Studios) and the latest developments from Chaos Research, the new research arm of Chaos Group. Corona advances in rendering caustics and scene assembly with V-Ray for Houdini (Ingenuity Studios) will also be shown.

Total Chaos @ SIGGRAPH Presentation Schedule:

Tuesday, July 30

  • KPF “The Visual Architectural Design Process” by Cobus Bothma, Director of Applied Research, 10:00 a.m. – 11:00 a.m.
     
  • Chaos Group “Vlado in Renderland 2019” by Vladimir Koylazov, Co-Founder & Head of Software Development, 11:00 a.m. – 12:00 p.m.
     
  • Digital Domain “Creating Superheroes the V-Ray Way” by Deke Kincaid, Pipeline Supervisor, 2:00 p.m. – 3:00 p.m
     
  • Chaos Group “Making Caustics Mainstream with Corona Renderer 4” by Ondra Karlík, CTO & Main Developer of Corona Renderer, 3:00 p.m. – 4:00 p.m.
     
  • Ingenuity Studios “Agile Workflow Tips with V-Ray for Houdini” by Grant Miller, Partner & VFX Supervisor, 4:00 p.m. – 5:00 p.m.


Wednesday, July 31

  • Chaos Research “Beyond Pretty Pictures: Pushing the Boundaries of Color 3D Printed Objects” by Jaroslav Křivánek, Partner, Research & Development, 10:00 a.m. – 11:00 a.m.
     
  • Method Studios “Innovative Real-Time Solutions: Where Tech, Art and Film Converge” by Lee Carlton, CG Supervisor, 11:00 a.m.– 12:00 p.m.
     
  • Elastic “Game of Thrones Main Title Design: A 10-Year Journey” by Kirk Shintani, Art Director & Head of 3D, 2:00 p.m. – 3:00 p.m.
     
  • Women in Technology: Carve Your Niche in the Industry” panel, 3:00 p.m. – 4:00 p.m.
     
  • Pixomondo “Choreographing Chaos: The Orville’s Epic Space Battle” by Nhat Phong Tran, VFX Supervisor & Daniel Carbo, VFX Producer, 4:00 p.m. – 5:00 p.m.
     

Additional SIGGRAPH presentations:

In addition to Total Chaos @ SIGGRAPH, Chaos Group staff and developers are set to present several talks to the community, highlighting new developments in V-Ray and Corona. 

  • Path Guiding in Production,” featuring Chaos Research expert Jaroslav Křivánek along with panelists from Weta Digital and NVIDIA, July 28, 2:00 p.m. – 5:15 p.m., Room 403AB
     
  • Optimal Multiple Importance Sampling,” featuring Jaroslav Křivánek along with authors from Charles University, Saarland University and more, July 29, 10:45 a.m. – 12:35 p.m., Room 153
     
  • “V-Ray GPU & Lavina Showcase,” featuring Phil Miller, Alex Yolov and Peter Matanov, July 31, 4:00 p.m. – 5:00 p.m., NVIDIA’s Innovation Theater in Booth 1303
    ​​​​​​​

To see Chaos Group’s full schedule, please visit https://www.chaosgroup.com/siggraph2019. If you would like to schedule a meeting at the show, please contact david.tracy@chaosgroup.com.

About Chaos Group
Chaos Group is a worldwide leader in computer graphics technology, helping artists and designers create photorealistic imagery and animation for architecture, design, and visual effects. Chaos Group’s award-winning physically-based rendering and simulation software is used daily by top design studios, architectural firms, advertising agencies, and visual effects companies around the globe. Today, the company's research and development in ray-traced rendering, cloud computing and real-time ray tracing is shaping the future of creative storytelling and digital design. Founded in 1997, Chaos Group is privately owned with offices in Sofia, Los Angeles, Prague, Seoul, and Tokyo. For more information, visit: chaosgroup.com.

May 30, 2019
Chaos Group Releases V-Ray for Unreal Update 1
Unreal Material Support Brings Academy Award-Winning Ray Tracing to Full User Base; Free for Current Users

Unreal Material Support Brings Academy Award-Winning Ray Tracing to Full User Base; Free for Current Users

LOS ANGELES, Calif. – May 30, 2019 – Today, Chaos Group releases V-Ray for Unreal Update 1, bringing new capabilities to the only production rendering workflow designed for real-time. With new support for native Unreal materials, designers can now ray trace every part of their scene from their existing Unreal projects. Viewport rendering has also been added, making it easier than ever to produce photorealistic beauty shots and reference checks from within Unreal.

“As the need to create custom applications and configurators continues to grow, the design industry needs more power in one place,” said Simeon Balabanov, V-Ray for Unreal Product Manager. “With support for native Unreal materials, V-Ray for Unreal can offer 100 percent ray traced accuracy to all workflows, so V-Ray quality is always available, no matter where your project starts.”

Unreal Materials
With V-Ray for Unreal, Unreal materials are automatically converted into V-Ray equivalents at render time, allowing all projects to use V-Ray from the Unreal Editor. Now, thousands of new users can access V-Ray quality and light baking without adjusting their established workflow, blending the best of real-time and ray tracing into a single pipeline.

Viewport Rendering
Users can now render interactively as they iterate, seeing the results of changes to lights and materials directly in the Unreal viewport. As looks develop, users can activate V-Ray to produce beauty shots or cycle through options at the highest fidelity possible. Physically based lighting also allows V-Ray for Unreal to act as a reference tool, providing designers with the most realistic view of how their assets will look in a real-world situation.

A Better Bridge
With new 1:1 support for Datasmith material translations, Update 1 makes it possible for CAD designers to utilize the full power of V-Ray technology and its physically based materials, giving them a ground truth representation they can rely on.

Speed and Memory Optimizations
Numerous optimizations have been added across the board, including better memory usage around large data sets and scenes with millions of polygons. Light baking is also now up to 60 percent faster without sacrificing quality.

To see V-Ray for Unreal’s full capabilities, please visit the product page.

Pricing/Availability
V-Ray for Unreal Update 1 is free and available now to current customers. Update 1 also adds support for Unreal Engine 4.22. New seats can be purchased by a variety of methods including monthly ($80), annual ($470) and education pricing, which comes as a flat $99 fee for students, educators and universities. Interested parties can also visit the website for a free starter’s guide.

About Chaos Group
Chaos Group is a worldwide leader in computer graphics technology, helping artists and designers create photorealistic imagery and animation for architecture, design, and visual effects. Chaos Group’s award-winning physically-based rendering and simulation software is used daily by top design studios, architectural firms, advertising agencies, and visual effects companies around the globe. Today, the company's research and development in ray-traced rendering, cloud computing and real-time ray tracing is shaping the future of creative storytelling and digital design. Founded in 1997, Chaos Group is privately owned with offices in Sofia, Los Angeles, Prague, Seoul, and Tokyo. For more information, visit: chaosgroup.com.
 

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Press Contacts:

Chaos Group
David Tracy, david.tracy@chaosgroup.com
www.chaosgroup.com

Liaison Inc.
Colin McLaughlin, (503) 796-9822, colin@liaisonpr.com
www.liaisonpr.com

May 23, 2019
Elastic Re-Designs ‘Game of Thrones’ Credits with Help of V-Ray
Production Studio Rebuilds Iconic CGI Title Sequence from Scratch, Adding Interior Fly-Throughs and White Walker Updates into Final Season

LOS ANGELES, Calif. – May 23, 2019 – Every Game of Thrones fan knows, you don’t skip the credits. They are your first clue into where the story is going. But after seven seasons, the story had brought everyone to Westeros, creating a new challenge for artists used to making sense of the sprawl. With less distance, the show would be even more centered on relationships, giving Elastic a chance to re-shape their iconic credits around the worlds within.

To Elastic, this meant journeying inside some of Westeros’ most famous landmarks, fulfilling a brief that put everything on the table, as long as the visual language and clockwork shots remained intact.

“When we heard that, our brains went into overdrive,” said Kirk Shintani, Art Director and Head of 3D at Elastic. “There have been so many things we wanted to update and change since season one, but we never had the time. Once we knew we were going inside the buildings, we suddenly had no choice. We had to start from scratch and all of our old ideas came tumbling out.”

Going into the locations posed a new set of questions for the artists, who needed the audience to immediately understand where they were. Beginning and end points, unique characteristics and the way rooms flowed together were all up for discussion. Elastic’s old rules around depth of field and camera movement also had to be thrown out. What had worked on the exteriors no longer applied, leaving the team questioning how to include the right details at the right scale.

“We wanted to avoid hiding the transitions in any way and keep the moves seamless, so when you transition from a super wide into a tight interior, it would feel as claustrophobic as possible,” said Shintani. “Asset sizing played a huge role in this. If we were to make the entire Red Keep a foot tall, then the Iron Throne would be the size of a pea. So we worked backwards from our smallest interior element and set exterior scale from that.”

Behind the scenes Elastic used V-Ray for Maya to render the animations, which continued to adapt over the course of the season to reflect changes in the narrative. The new structures also gave Elastic license to do something they’d wanted to do for a long time: add more details. All of which were refined with the help of V-Ray Next’s IPR system.

“Creative is king at Elastic, so we always want to keep pushing and tweaking until we get the best result possible,” said Shintani. “Interactive rendering with V-Ray IPR is really fast, so we were able to dial things in quickly and just keep tweaking. We probably did about 3-4x more work in season eight than we did in season one, but we were able to do it in the same amount of time, with a ton more detail. V-Ray was essential in making this happen.”

White Walkers

With the White Walkers on the move, showrunners D.B. Weiss and David Benioff wanted to amp up the tension with a weekly reminder of their progress. To accomplish this, Elastic developed a concept from season one where land pieces changed as power shifted throughout the kingdom, similar to a Risk board. Adapted to the White Walkers, the path became a series of icy blue tiles that would flip each week on their way to Winterfell.

But since the Westeros map is spherical, the implementation of the tiles proved more challenging than Elastic originally thought. The new world now included dozens of layers of wood, making the process of laying out each tile much more involved. Looking for a tactile quality, the team used V-Ray for look development before deciding on glass with a white wood base. Once selected, V-Ray Proxies were applied to optimize the rendering, bringing more speed to the elaborate five-month project.

Winterfell

Unlike past iterations, Elastic had to account for both the structure and the area around Winterfell, which needed to be played up to show Walkers in the distance. The famous Godswood Tree would also be redesigned with more scale and density. In a nod to past seasons, Elastic had the camera sweep around the tree, providing a moment of familiarity before they shattered expectations and took fans inside.

Lighting The Great Hall and Crypt proved difficult at first, as the team’s old tricks didn’t work on interiors. The mission quickly became keeping the light alive, as the team learned how light interactions between the window cutouts, gaps and gears would help it move throughout the shots. Using V-Ray light fog, the artists made the environmental elements work to their advantage, ensuring that the shafts of light would naturally react to the motion of the gears and wood, even in dark spots like the Crypt.

King’s Landing

Besides being the largest asset in Westeros, King’s Landing would also undergo the most change in season eight, requiring a full redesign from the ground up. With new elements like The West Gate and Throne Room coming in, the previous design needed more detail and scope to support a flight from the outside in.

Instead of building both exterior and interior models, Elastic put everything into one asset – so as the camera flies down into the spiral staircase, there would be a perfect, unbroken transition from the exterior to the Skull Room. The team worked with the showrunners to include specific details, like a crossbow pointed at a dragon skull and the spiral staircase itself, only to find out later that these were actually Easter eggs that foreshadowed future events.

“Dan, David and Greg [Spence] gave us just enough to get it right, so just like the fans, we could have our own aha! moments down the road,” said Shintani.

When it came to the finale, Elastic got a bit more. Knowing that King’s Landing would be leveled in episode five, showrunners asked Elastic to reflect the devastation in the credits, giving them just enough concept art to get the gears turning.

“We were all a little bit hesitant to look at it, since we didn't want to spoil it for ourselves! Once we started, Dan and David kept telling us to destroy more, so we just kept breaking everything,” said Shintani. “We really wanted the idea of the mechanical underpinnings to come through, so if you look back at any of the destruction, you'll notice that the parts are still moving and clicking in place, as if something inside has broken. This way the locations don’t feel static or like a pile of parts. They are still part of a larger structure within.”

V-Ray’s speed came through for them again, handling all of the geometry and textures so they could continue to test ideas before showing them to the wider Game of Thrones team.

“We’d create something and Dan and David would say keep going,” said Shintani. “IPR and the ability to iterate quickly allowed our team to keep refining on schedule until we got it just right. By the end of production we were up to 2 million frames, with some scenes coming in at almost 100 million polygons. And V-Ray continued to come through for us, just like it always has. When we first fired it up for season one, it was part of what gave the credits their unique look. And now here we are, almost ten years later, still creating CG together. It’s been a wild ride.”

To learn more, tune into a special CG Garage episode with Kirk Shintani on the history of the Game of Thrones credits, from season one to season eight.

About Chaos Group

Chaos Group is a worldwide leader in computer graphics technology, helping artists and designers create photorealistic imagery and animation for architecture, design, and visual effects. Chaos Group’s award-winning physically-based rendering and simulation software is used daily by top design studios, architectural firms, advertising agencies, and visual effects companies around the globe. Today, the company's research and development in ray-traced rendering, cloud computing and real-time ray tracing is shaping the future of creative storytelling and digital design. Founded in 1997, Chaos Group is privately owned with offices in Sofia, Los Angeles, Prague, Seoul, and Tokyo. For more information, visit: chaosgroup.com.

About Elastic

Elastic is a group of filmmakers whose collective voice utilizes a cross-section of visual mediums. Launched in 2008 by the founders of Rock Paper Scissors and VFX studio a52, Elastic produces some of the most captivating and innovative work in entertainment and advertising.

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Press Contacts:

Chaos Group

David Tracy, david.tracy@chaosgroup.com

www.chaosgroup.com

Liaison Inc.

Colin McLaughlin, (503) 796-9822, colin@liaisonpr.com

www.liaisonpr.com

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