Redshift 2.0

REVIEW: The latest version of Redshift solidifies its place as one of the most highly regarded render engines.

5 Star Rating

Our Verdict

Redshift 2.0 represents a significant leap forwards for the popular render engine, and now it's accessible to more users.

For

  • GPU biased render engine
  • OpenVDB support
  • Mix dome lights
  • New Redshift material type
  • Autodesk 3ds Max support

Against

  • Nothing

Why you can trust Creative Bloq Our expert reviewers spend hours testing and comparing products and services so you can choose the best for you. Find out more about how we test.

Redshift continues on its path to be one of the most highly regarded of the new breed of GPU enabled render engines. Version two adds some new host applications and useful features.

Since its inception, Redshift has become one of the most talked about render engines. It brought the flexibility of a biased render engine such as V-Ray, combined with a high-quality finish, ease of use and, reminiscent of Arnold, the ability to handle datasets. Mix that with the speed of GPU render engines like Octane and you’ve got a renderer that leaves the artists who use it with a massive grin. However, one of the key areas where Redshift had issues previously was that not enough artists were able to use it. Thankfully, this is starting to be less of a problem. Version 2.0 brings Autodesk 3ds Max integration with an Alpha for Houdini and Cinema 4D coming soon.

Thank you for reading 5 articles this month* Join now for unlimited access

Enjoy your first month for just £1 / $1 / €1

*Read 5 free articles per month without a subscription

Join now for unlimited access

Try first month for just £1 / $1 / €1

The Verdict
10

out of 10

Redshift 2.0

Redshift 2.0 represents a significant leap forwards for the popular render engine, and now it's accessible to more users.

Mike Griggs

Mike Griggs is a veteran digital content creator and technical writer. For nearly 30 years, Mike has been creating digital artwork, animations and VR elements for multi-national companies and world-class museums. Mike has been a writer for 3D World Magazine and Creative Bloq for over 10 years, where he has shared his passion for demystifying the process of digital content creation.