The latest in V-Ray 2.0 for 3ds Max and Maya Konstantin Gaytandzhiev and Dimitar Krastev-Jimmy, Chaos Group

RT- CPU/GPU- unprecedented speed and flexibility achieved with the V-Ray interactive rendering system
Car paint material- create stunning car paint shaders complete with base, flake and coat layers
Distance texture- use procedurally generated textures to create a wide range of effects based on the distance between various objects in the scene
Multi-sub texture – assign different textures based on object ID
Light select render element – extract the contribution of each light to the scene, change their intensity in post-production and compose them back together
Stereoscopic helper- quickly set up stereoscopic images and animations
Lens analysis utility- easily match the distortion of your real world and your virtual cameras
Lens effects- add a full range of bloom and glare effects

Fluid Dynamics in 3ds max with Phoenix FD Michael McCarthy, VFX TD, Super Symmetric Studios

Get up to speed with the latest in fluid dynamics and explore the flexibility of creating and rendering fluids inside 3ds max.
Michael McCarthy will show how to create complex fire, smoke, and liquid simulations in 3ds max using Chaos Group's Phoenix FD.
Liquid simulation with foam and splashes
Rendering liquids with V-Ray implicit surfaces
Creating layered complexity in smoke, fire, and liquid simulations

V-Ray Production: Quality, Value, & Savings Paul Ghezzo, 3D Supervisor ZOIC Studios

Quality— Undeniable speed and quality in shading, rendering, and work-flow without the common render issues of transparency, motion blur and displacement issues.  No shader-writers are needed for Photo-Real look or quality.
Compression— Robust compressed EXR support / combined with a linear workflow and limited region renders allow for fast reading and processing from 3D through Comp to help speed up processing time, increase production value, and lessen needed storage space.
Integration—one of the easiest and fluid rendering integrations ever. From 3D production (Lighting and Shading) to compositing with multi-layer EXRs and a multitude of buffers to empower compositors with all desired mattes and elements.
Buffers – easy to use, mathematically correct, and well thought out buffers that allow for pre-determined and artist defined output for use in any compositing application.
Throughput! From pre-set to production ready-- in no time flat.  V-Ray allows for any artist, beginner to professional, to apply well designed and thoroughly tested surfacing presets, enable a single light and produce nearly photo-realistic renders.

V-Ray Projects at Mackevision Heiko Wenczel, President Mackevision Corporation

Heiko will show current projects created at Mackevision and how V-Ray was used. Taking a look into the motion configurator for car manufacturers and running footage.
F_BOX Picture Shooter by Mackevision
A quick introduction to the Web visualization portal and a tutorial on how to create a location shoot for a car that can be used to build a configuration system.

Digital Environment workflows with V-Ray
David Lesperance, Senior Cinematic Artist

Initial lighting set up for shot iterations
V-Ray Proxies and their usage for creating environments. Proxy Optimization.
Using V-Ray proxies instead of Displacement and the reasons why
Displacement Optimizations
How to create jungles with Forest Pack Pro

Realistic faces in V-Ray / Autograss for V-Ray
Graham Fyffe
See how V-Ray was used in the recent work at the USC Institute for Creative Technologies, titled "Comprehensive Facial Performance Capture". Presented at Eurographics 2011, this work captures detailed facial performances including reflectance maps that are used to drive the V-Ray FastSSS2 shader, enabling realistic rendering in any environment with full global illumination. Afterwards, see a quick demo of Autograss, the one-click plugin for adding photorealistic grass to your scenes in V-Ray / 3dsMax.