wolf359: My views on Vray come from my own line of work. I run a small company; a couple of employees, a couple of workstations and a 32-core render farm. Our typical job is 5000-10000 frames of character animation with a delivery time of 3-4 weeks. There's no way we'd be able to take advantage of Vray's biggest selling features (IDL, environment lighting, etc.) and still make our deadlines. I think it's one of the best engines on the market, but for my situation Vray just isn't something we'd get our money's worth from.
That's a great render by the way; I'd give more credit to your skill than what you rendered it with!

ksanderson: Trust me, I could by a dozen copies of Max and still turn a bigger profit than rendering with Lux. Mainly I just don't see the Poser community ever really embracing it. Really buggy too.

Abraham: Keep in mind that Blur is one of the biggest, most well-funded CG houses on the planet. When I said that Vray's non-architectural offerings were best suited for larger companies, that's kinda what I was getting at.
And just to clarify, I was comparing Lux and Mental Ray, not Mental Ray and Vray. I ain't touching THAT! :)

Another point I wanted to make is this:
Poser is made for character animation, right? That being said, GI/IDL are rarely used for production-level projects. Pixar, ILM, Weta-they all pretty much stick with manual lights and occlusion. It just cracks me up that there's such a high demand for these super-advanced rendering engines.
Rather than waiting 90 hours for Lux to get rid of the artifacts, I personally think people would be much better off using that time to learn some solid lighting techniques.
I'm probably on my own with that one, huh?