Blog

 

This past weekend I finally got my new computer parts together, and built my first render farm. Although it is small at the moment (only two additional nodes aside from my workstation), it certainly does make a big difference. I’ll add more nodes in the future, but I’ll probably be limited to 4 nodes in total. The reason for this max is actually the power breaker and storage limitations. Even with the low power consumption of the core i7 2600k CPUs, it still adds up to a fairly high draw on the same socket as my workstation.

Now, the reason for this post is to provide a mini walkthrough in setting up a small render farm at home. Not surprisingly, the information available out there is rather sparse and all spread out. It took me a couple of days and nights of figuring everything out, but hopefully this will help you get everything sorted out faster.

My goal for the render farm is to use it for distributed Maya and AfterEffects rendering. These are my two primary software packages for the freelance work that I do, and rendering can certainly be quite time-consuming. Aside from the specific mentalRay satellite setup, the rest of the steps to set up the render-farm will certainly apply to pretty much any other 3D setup.

STEP 1 – hardware

The first thing to consider is the computer equipment. In my case, I am familiar and comfortable putting together my own computer systems, and so I order all of the parts individually. For this, I use newegg.ca, as their prices are pretty much unbeatable. What you want from a render farm node is basically only the ability to connect to the network and render out images. You also want it to be as inexpensive as possible, use as little energy as possible and be as small as possible. In my case, since I have these computers in the same room as my office, other considerations were the quiet factor and looks. This led me to pick the following components:

CPU: Intel Core i7 2600k
Motherboard: ASUS P8H67-M LX (REV 3.0)
Power Supply: Corsair CX430
Chassis: Black Silverstone Grandia GD04B
RAM: G.SKILL Ripjaws Series 8GB (2 x 4GB) 240-Pin DDR3 SDRAM DDR3 1333 (PC3 10666)
HD: WesternDigital Caviar Blue 320GB

Some notes here: Since this CPU has an integrated video card when paired with an H67 motherboard, there was no need to buy a video card. For regular CPUs you want to look for a motherboard that comes with an integrated video chip option. There is absolutely no need for buying a separate video card.

Another consideration is the HD. In this case I simply went with the cheapest possible option at this time. There certainly is no need whatsoever for that much HD space, as all I’ll have installed on the node is the OS, RenderingSoftware (Maya, AfterEffects, etc) some small diagnostics, VNC programs, and the render queue client. This will take less than 60GB, if even 50GB. Also, a very fast HD is quite unnecessary, so it makes little sense currently to pay the extra premium for the SSD drives. The only reasons for buying an SSD drive instead is actually the weight, power draw, and heat. However, at this time they’re not really worth the premium.

There are smaller microATX cases out there, but an issue with them is cooling and noise. Smaller fans tend to be significantly louder, and the fact that I have the render farm located in the same room as my office makes proper case cooling more important, especially when I plan to overclock the CPUs by a moderate amount. Also, a larger HTPC case also offers the possibility of installing somewhat larger CPU fans for overclocking ability. They’re still small enough to stack together.

I also bought a cheap DVD drive, to be used in one of the nodes for installing the OS. Once the OS and basic software was installed on the first node, then it is just a matter of cloning the HD. This, of course, applies only when the rest of your render nodes use the exact same CPU and motherboard (the RAM could probably be different, but not 100% sure).

Lastly, a consideration to have is the network setup. In my case, since I have so few nodes, I opted to have them all connected directly to my router. Once I will be adding more nodes, I will have to get a network switch, for the extra ports. With more nodes, the network access to the main workstation also becomes an issue, and in that case having a NAS (network attached storage) set up would help things considerably.

STEP 2 – install OS and programs

Installing the OS and duplicating it to the other nodes is a pretty straight-forward step. In my case I use Windows 7, which is the same as my workstation. This ensures that I will have the least amount of headaches with the networking setup overall, and headaches are the last thing I’m looking for :) .

Additional programs that I installed are the following: CCleaner, TightVNC (for remote desktop control), Backburner (which comes with the Maya install), mentalRay Satellite (download from your latest update link), and HWiNFO32 (mainly for CPU monitoring).

An additional item to set up are the network settings. You do want to create a static local IP, and to do that you need to follow the instructions here. These will also be based on your current router settings, so you need to be familiar with that.

STEP 3 – remote desktop connection

VNC, Maya, Mental Ray and render queue manager setup is next. First of all, let’s take a look at the VNC setup. As you may know, Windows 7 Ultimate and Enterprise come with RemoteDesktop capability. However, there are a couple of important limitations to this solution. First of all, you have to buy the more expensive windows version, and secondly you will run into licensing issues with certain types of FLEXlm licenses. These licensing issues will come up because activating these licenses will not work through RemoteDesktop. This is where a free VNC program like TightVNC comes in to save the day. It actually allows you to connect to your render node and log in remotely as though you are actually connected directly to it through a keyboard, mouse and monitor. RemoteDesktop from Windows doesn’t work quite that way.

Here are a few tips for setting up TightVNC to work as smoothly as possible. At first, with your first connection, you may notice that it is very laggy. To fix this there are a number of things you will want to do.

1. First of all, open the Configuration options for the TightVNC server running on your render node. Here you will want to change the Screen polling cycle to the minimum of 30ms.

2. Open up the Control Panel\System and Security\System window, and click on Advanced system settings. Here, under Advanced->Performance, click the Settings button. You will want to check off most of the fancy Visual Effects, especially Desktop Composition. This will turn off the Aero interface, which will speed up the screen update significantly. Disabling all the fading effects will also speed up the update considerably.

3. Change the desktop bit depth to 16-bit instead of the default 32-bit.

STEP 4 – Maya and mental ray

In order to distribute rendering to the render nodes, Maya has to be installed on the render node as well as the main workstation. Fortunately, for small render farms this isn’t an issue, as Maya comes with free network license for up to 5 or 8 additional nodes. See the FLEXlm network license server instructions. This is pretty straight-forward.

The tricky part comes in with the mentalray satellite setup. The mentalray satellite system is used specifically for distributing render tiles on a single frame across multiple render nodes. This works both with the mayabatch as well as within Maya with the Render Frame and IPR functions. First of all, download and install the mentalRay Satellite on the render node. You don’t need to install anything extra on the main workstation.

The way the satellite works over the network is basically in two parts:
1. First of all, once you install the satellite, there will be a service that runs in the background on the render node machine, and that service listens for requests over the network. This will start automatically when you boot up the machine.
2. On the main workstation, Maya will look for a file called maya.rayhosts located in your C:\Users\YourAccount\Documents\maya folder. This file needs to contain the names or IPs of each of your render nodes, with a name per line like this:

RENDERNODE1-PC.local:7412
RENDERNODE2-PC.local:7412
RENDERNODE3-PC.local:7412
RENDERNODE4-PC.local:7412

The RENDERNODE1-PC is the name of the render node computer, and the 7412 is the port used by the mentalRay satellite service to listen for render requests. This port is for the current mentalRay 3.9 that comes with Maya 2012. In the past I believe this port was a different number. To find out exactly what port the satellite service uses, or to change it, simply open the services file in C:\Windows\System32\drivers\etc. You will likely find the mental ray service at the bottom of the file.

Now, once you have the maya.rayhosts file created, you need to make sure that the mentalRay satellite executable is added to your Windows firewall exception list (or whatever firewall you have). You also need to go to your router’s control panel and make sure to add that 7412 port to allow connections for each of your render nodes. Once you have all this set up, Maya will be able to distribute render tiles/buckets to all render nodes specified in the maya.rayhosts file.

One last thing to setup now is a way to enable/disable the maya.rayhosts file. Why do you need to do this? This is needed because when you use a render queue manager like Backburner to distribute animation frames across multiple render nodes, this will automatically also launch the mentalray satellite if using mentalRay as the main renderer. What you will have happen is actually using the satellite to distribute buckets from each frame to all render nodes at the same time as the render queue manager also sending individual frames to each render node. This is bad :) .

So, when you want to use the render queue manager to distribute individual frames, you want to first disable the maya.rayhosts file, so that mental Ray doesn’t see additional satellites. For this, I created two .bat files in the maya folder where the maya.rayhosts file is located. In one of them I wrote:

rename maya.rayhosts maya.rayhosts.bak

and in the other one I wrote the opposite, where I rename it back to normal. Then I made shortcuts to these two .bat files on my desktop toolbar.

Keep in mind that Maya reads the maya.rayhosts file only upon startup, so if you need to enable or disable it, you will have to do it before starting Maya.

STEP 5 – render queue manager and auto login

Backburner comes free with Maya now, and this is a decent solution for a small renderfarm. It’s very easy to install and use. However, there are other solutions out there with more options. The downside is that they’re not free. One solution that I tested and really liked is the Deadline manager from ThinkBox. This has many additional options, but also a somewhat more complicated setup.

Either way, regardless of what your manager is, there will be a couple of things that you want to set up in order have this work as smoothly as possible.

1. You need to make sure that your projects reside in a shared folder, and that you map that folder as a network drive to your render nodes. What I did was to make my whole drive shared (I use a separate drive for my projects), then map that drive to the render nodes with the same letter as I have it on my main workstation. This allows me to keep all links intact, as E:\Projects would be the same on my workstation as it would be on my render node.

2. You need to set up Windows on your render node to login automatically upon startup. This is so that your render queue manager can start up automatically when you boot up the render node, without the need for you to remotely log in to each render node first. To do this, follow these instructions, or do a search on the web for “windows 7 autologon registry”

STEP 6 – clone the drive

Finally, in order to clone the HD to the HDs for the other nodes, I use a free program called EaseUS Todo Backup. I hooked up the second HD to an enclosure and connected it to the render node through USB. The cloning process took about 40minutes. It basically creates an exact replica, including the partitions. After that all I have to do is install the cloned drive into its own render node, fire it up, and windows will start automatically with everything set up.

From there, make sure to log in remotely and change the static IP to a new one.

Best of luck, and I’d love to hear your suggestions and contributions if you have better ways of setting this up.

Tags:

View Post and Comments
 
 
 

The Gillette Blade Challenge game has made Shorty’s list for Best Social Game of 2010.

Check it out!

View Post and Comments
 
 
 

If you pick up a copy of the current issue of AppliedArts Magazine, you may notice my name in connection with three projects being showcased for the Interactive Awards this year.

First off, my good friend at Proximity Canada, Ari Elkouby, was one of the judges this year, and being a really creative guy, he decided to make his appearance truly special. Check out this website, and the AR piece on which I collaborated with Proximity and Commix. Please note that you’ll need a copy of the current issue of AppliedArts in order to see the interactive piece.

FewWereChosen.ca

I was also quoted on the AppliedArts Mag Blog regarding this project.

In addition to my work on the AR piece above, two of the projects that I worked on last year were winners in the Interactive Awards. You can see them being showcased online as well:

The first is the Facebook Gillette Blade Change Challenge game.

The second is the Pedigree Adoption Drive, for which I rendered most of the icons used on the interactive Breed Selector part of the website.

View Post and Comments
 
 
 

Check out this amazing collection of colour photographs of Russian life, from around 1909-1910.
The photographer took three black and white photos in quick sequence with a red, green, and blue filter, then composited them together as RGB channels to create the full colour photograph.

http://www.boston.com/bigpicture/2010/08/russia_in_color_a_century_ago.html

View Post and Comments
 
 
 

Until recently, my only lenses have been the Nikkor 18-105mm and the Nikkor 50mm 1.8 AIS manual. What I was really missing was a fast lens for indoor shots, where the 50mm is too long on a cropped sensor. Thus, to take in the whole room, or at least several people, I needed something much wider. Thus, I decided on the 24mm f1.8 AFD lens. As it turned out, the choice was excellent. Coupled with a flash, like the SB-600, this lens is an excellent investment for indoor group shots at holidays, parties, etc. I did consider the 35mm/1.8 as well, but I had the chance to test it once when I rented it for a photoshoot, and I didn’t think the difference was significant enough from the 50mm for the tight indoor rooms.

Now, once I got over the excitement of using the new lens over the holidays, I decided to test it out for landscape photography as well. First of all, I should mention that I shoot RAW exclusively. This means that the camera does not apply the typical adjustments on the resulting pics, the way it does to the JPEG images. The test was a shot outside my backyard, with a view of the sky, trees, and some houses. This provided a good amount of detail and contrast for the test. With the thought that a prime lens must be automatically of better quality than non pro zoom lenses, I decided to compare it against my 18-105 zoom lens. I used a tripod, manual mode and set the exact same settings for both lenses, with the aperture set to f11. Imagine then my surprise when I compared the results.

First of all, the barrel distortion on the 24 prime was definitely much better than the zoom lens, which is to be expected. In fact, the distortion was nearly insignificant, and I wouldn’t even bother trying to correct it in Photoshop or Lightroom. This was definitely a plus.

In terms of sharpness, the lens was definitely quite sharp, across most of the picture. However, to my surprise, the zoom lens was at least as sharp, if not even more so. To be honest, I thought the zoom had slightly better detail closer to the center.

The biggest surprise then came when I saw the significant Chromatic Aberration in the 24mm prime photo. Not only was it significant, but it was clearly visible without even the need to zoom into the picture. The zoom lens was definitely better in this regard. As it turns out, the CA is something that gets fixed automatically by some of these newer cameras, but only in the JPEG pics. If I shoot RAW, I need to fix it in Photoshop or Lightroom’s RAW Lens Correction control. It’s a straight-forward step, and Adobe has provided a profile for the 24mm prime which works perfectly in this regard (although Adobe does not provide a profile for my other 18-105mm lens, which is very odd, and had to use a custom one).

In terms of colour and contrast, there is a subtle difference as the 24mm prime seems to have slightly more contrast and very slightly better colours. This may be a little more obvious with under differnt situations. However, this level of difference isn’t anything that can’t be duplicated in Photoshop/Lightroom.

Here’s a link to the two RAW files for comparison.

In conclusion, it turns out that my nikon 18-105mm zoom lens is quite a capable contender. I used it to shoot most of the portraits on my site, and it’s definitely a very sharp lens when stopped down a bit. Until I can afford the pro glass, I will also stick with this zoom for landscape shots, especially as I can go lower than 24mm, which makes a big difference on the cropped sensor of the D90. I even compared it against my 50mm prime, and the zoom sharpness is definitely of excellent quality. The only downsides to this lens are the cheaper plastic construction, the slightly higher barrel distortion, and of course, the small maximum aperture which makes it useless in low light. However, none of these are serious problems for landscape tripod shooting or studio photography for most situations (assuming you’re careful with the equipment).

View Post and Comments
 
 
 

I finally decided to create a Flickr account, and set it up some of my photography. The real incentive has been the tremendous networking potential there. Getting in touch with other professionals in the area, participating in discussions, and also having my work seen by others are just some of the advantages. I was actually also very impressed with how easy it is to organize and upload photos.

Here’s the direct link to my Flickr photostream: http://www.flickr.com/photos/andreiart/.

View Post and Comments
 
 
 

I recently had the pleasure to work with Commix on a website for GayLea. It went live recently, and you can check it out here. I was in charge of the bakeshop renders, outdoor and interior, as well as the gift box render and animation, all done in 3D.

View Post and Comments
 
 
 

UPDATED:
A few weeks ago I had the pleasure of working with Miss Koston Kreme and my wife – Bombshell Hair Design, on a 60s inspired photoshoot meant for Black and White output. This turned out to be a fun and challenging task, which I plan to develp further with a variety of models. I just love the look and style of the Brigitte Bardot/Sophia Loren/Audrey Hepburn era. In fact, we have another photoshoot booked for this upcoming weekend, in an Audrey from Funny Face style.

For now, you can find some of the pictures of our past photoshoot with Koston in the Portraits section. Although the intended look was for black and white, I couldn’t resist the urge to test a colour theme as well. You can find the colour versions in the post content for each photo.

The Audrey photos are now up as well, and you can find additional images from the shoot within the post.

Tags: ,

View Post and Comments
 
 
 

At the end of May, my wife and I went on a trip to Vegas and to the north region of Arizona to visit the Grand Canyon along with the Flagstaff and Sedona region. The trip ended up being absolutely gorgeous, and we found ourselves wishing to come back there for longer. Unfortunately, we only had one full day to spend at the Grand Canyon, and although we did try to make the best of it, we didn’t have the chance to go hiking down into the canyon. That will have to wait for another day. Still, the photo collection kept me busy for a week afterwards.

The road trip from the Grand Canyon Village towards Flagstaff and down the Oak Creek Canyon into the Sedona valley was also breathtaking, but in a different way. Sedona itself left us pretty much with our mouths hanging open the whole time we were there. The view is so unique and incredible as you’re surrounded by towering red rock outcroppings everywhere you look, that it seems unreal. Overall, our trip through Arizona was such an incredible experience, that we’re planning to go there again and again as many times as we can.

Vegas was a pleasant surprise, and more fun than I expected (I really dislike casinos). We stayed at the new Aria hotel, and the Venetian, saw the O show by Cirque du Soleil (which was a great visual treat), and walked for hours up and down the strip. One of the best things about Vegas was actually the food. Although very expensive anywhere you went on the strip, it was well done and very tasty. We absolutely love good food, and all the restaurants we went to made a good impression.

To see some of the highlights from this trip, see the new section called Arizona and Vegas under the Photography – Places category.

I’ve also added more photos from our Romania trip last fall, into the Romania category.

You can now also leave general comments for me on the Contact page.

View Post and Comments
 
 

About Us

Our studio specializes in professional 3D digital illustration and photography services.

If you would like our assistance with a project, please contact us at:

info@radianceimages.com

1.613.321.8288

Recent Portfolio Posts

Blog Archives

 
Page 1 of 212