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Hi Grant, I do think this is the future for arch viz and arch viz walk thrus. I've looked it all over a few times and have friends in the film industry looking at it more seriously. I share your Vectorworks to Cinema workflow. For me, personally, the amount of upfront work needed for light mapping and UVing doesn't make sense for quick turnaround entertainment sketches. Redshift on a decent machine gets me super quick results and is fast enough that I can sit with a designer or art director and work on looks in real enough time. I think longer term projects with longer design development periods could make good use of this tech, but it feels like you take the time we used to wait on renders to cook (pre Gpu rendering) and move it into the time spent in preproduction getting light mapping set up. VW to C4D with Redshift or Corona feels like the sweet spot in the middle if you have the right hardware. But still, it's interesting and I want to learn it 🙂

@MikeA - I had a go at one of thang010146's YouTube designs I'm always impressed at how well C4D can handle difficult dynamics situations. I don't think I'd be able to animate those cogs with math.

Game Engines are great, but they are also very limiting to work with. Especially Lightmapping (which you kind of need in UE if you want photorealistic results, no idea how good RTX is by now) is a pain in the butt to work with and due to lack of previewing (like lower rez renders in Octane etc.) very time consuming. You are basically changing something that you are not 100% happy with, and then you wait for an hour for the light to compile. Of course there's also serious other drawbacks, such as limited polycounts (although not as much as it used to be) and that you just can't send a client an Unreal Engine project to have a look, since you need a powerful PC to run it. It just doesn't run sufficiently on Office PCs.