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Top image - San Pedro Project by Charles Nandeya Ehouman (Sharlybg)
New features in this version:
OptiX/RTX Acceleration - The CUDA backend now can utilize RTX hardware raytracing through the OptiX library. The benefit in rendering speed depends on scene complexity (the more triangles in the scene, the bigger the speedup).
Non-Uniform Camera Bokeh - Depth of field now has support for non-uniform bokeh distributions, including custom images. In addition, bokehs can now be squashed and stretched anisotropically to simulate anamorphic lenses.
New Materials
Holdout - The holdout option can be used to make the parts of the film covered by the material transparent.
Two-Sided - The Two-Sided material makes it possible to put different materials on the front- and backfaces of a mesh.
New Textures
Wireframe
Distort - The Distort texture is basically a simplified texture mapping, which only allows to translate an input texture. However, the translation offset can be textured (which isn’t possible in the regular texture mapping). So it can be used to perturb one texture with another.
Brick texure now with pseudo-random coloring per brick
Texture Bombing - The new “Bombing” texture can be used to distribute a stencil map over a background, with various randomization options.
Randomized Tiling for Imagemaps - Image textures now have support for Brent Burley’s “Histogram-preserving Blending for Randomized Texture Tiling” (paper). When enabled, the image will be tiled in a randomized fashion instead of in a grid, which can help break up repeating patterns.
Randomized 2D and 3D mapping - Texture mappings now have a randomized mode, where rotation, translation and scale can be set to vary between objects. The seed for the variation can either be the object ID (which is randomly assigned by default) or the mesh island ID.
Working in CG and archviz often means balancing creative intent with production realities. Human presence can support scale, context, and clarity, but it also adds another layer of decisions. Ready-made 3D character assets help keep visual focus where it belongs without expanding the project scope beyond its real needs
In professional visualization, buildings are more than background elements. They define context, scale, and clarity for industrial and commercial projects. Well-prepared 3D building models help viewers read a scene instantly and understand its purpose without relying on technical descriptions or supporting text
The production pipeline in CG and visualization is built on a sequence of clear decisions. Each stage depends on how information is defined, shared, and preserved. 3D models serve as digital assets that translate abstract ideas into structured visual data and consistently carry them through to the final render
In professional CG and architectural visualization, efficiency depends on structured decision-making and reliable resources. Using grouped 3D assets allows us to focus on scene logic, composition, and project consistency instead of repetitive asset preparation and library management.
3D furniture models support structured, predictable interior design workflows in professional archviz. In projects where deadlines, coordination, and visual consistency matter, ready-to-use assets reduce friction and enable teams to focus on spatial decisions rather than repetitive preparation.
Working in CG and archviz often means balancing creative intent with production realities. Human presence can support scale, context, and clarity, but it also adds another layer of decisions. Ready-made 3D character assets help keep visual focus where it belongs without expanding the project scope beyond its real needs
In this walkthrough, we guide you through the process of building a polished 3D interior scene inspired by the cover of Archmodels vol. 306 – Table Sets.
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