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Travakian posted:pushing things around If you have built a string like $thisString = ("pCube14" + ".translateX") you can use getAttr/setAttr to modify it. float $cubeTX = `getAttr $thisString`; Though it's usually not super fast to use a lot of that during runtime on loads of objects. I did a test making the "locator push down cubes" thing using distance nodes and driven keys, heres some script to create and connect all the crap, just make sure all your push-cubes are in the "moveGroup": code:You get a mess of distance nodes and animation curves this way though, so if you want to go in and change values later so it's a pretty lovely solution. (though maybe during creation you could connect the driven animCurves to some extra attributes on the locator so you would be able to keyframe the range/ty live during animation.)
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Nov 2, 2009 00:10
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PowerLlama posted:The Foundry has just purchased Katana from Sony Pictures Imageworks and are planning on rolling it into Nuke. 
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Nov 2, 2009 01:18
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Ratmann posted:I'm just wondering why you don't think this is a good idea. Katana? The Foundry? Nuke? Do you work at Sony?
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Nov 2, 2009 05:58
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It really sounds like a good move for both of them.
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Nov 2, 2009 05:59
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 This is pretty much how it is. The concept and idea for lighting and comp are kind of cool, but the execution is just not any good, it doesn't know what it is pretty much. And it's slow, god is it slow.
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Nov 2, 2009 07:55
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Ratmann posted:
Ah ok, I've worked on shows where all of the lighting was done in comp (Harry Potter III I'm looking at you), and yep, it had its drawbacks. I agree the idea is attractive though, and with an efficient implementation it could really pay for itself. I dream of director review sessions where the comment for final is "Can you bring that light down a bit?", doing it in real time and then off to the pub. 
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Nov 2, 2009 08:39
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forelle posted:Ah ok, The lighting pipeline where I work is like that. The lighting pass was more or less place lights and go for illumination and make sure you have enough bounced lights, ensure you are reading the HDRI data, make sure all the proper groups are visible then kick off a few deep raster renders which will be tweaked in composting. I'm surprised more [large] companies didn't buy the Shake source code and that modified that for their own uses using the shake foundation and UI as it's core. That was what? 8 grand? Is the source even still available to buy now?
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Nov 2, 2009 08:56
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BigKOfJustice posted:The lighting pipeline where I work is like that. The lighting pass was more or less place lights and go for illumination and make sure you have enough bounced lights, ensure you are reading the HDRI data, make sure all the proper groups are visible then kick off a few deep raster renders which will be tweaked in composting. I think it was a fair bit more than $8K when we paid for it, but we've certainly modified the crap out of it. We're more of a macho  kinda place though. Real men render, see if it looks right, tweak a slider a little bit, and then they re-render. On 1s. With everything dialed to 10. Only girly men use comp for anything but a little bit of grading. All of a sudden tens of thousands of cores doesn't seem that many. forelle fucked around with this message at 10:37 on Nov 2, 2009 |
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Nov 2, 2009 10:29
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forelle posted:Ah ok, I was talking to an ex sony guy at work yesterday and from what he said Katana wasn't just for lighting in comp. He was saying it was a node based interface for PRman and Arnold as well as a compositing system. He seemed to really like it and was pretty positive about it being rolled into Nuke. Personally I have no idea one way or the other but I loves me my nuke.
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Nov 2, 2009 15:44
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Let me just say this really quick, no it's not an image based lighting thing, that stuff isn't anywhere here. It's part lighting app, you bring in your geometry, you have materials assigned to it, Prman or Arnold or whatever the gently caress, you build, or import, your light rig, you generate your metric rear end tonne of shadow passes, split your passes and you're done. It's not some magic poo poo like it's marketed, it's clunky, has memory leaks, node UI makes me want to hurt myself. But I guess that's just me, since I haven't drank the cherry koolaid.
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Nov 2, 2009 19:34
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Ratmann posted:It's not some magic poo poo like it's marketed, it's clunky, has memory leaks, node UI makes me want to hurt myself. Is that Node based UIs in general or just Katana's ?
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Nov 2, 2009 20:54
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Ratmann posted:Let me just say this really quick, no it's not an image based lighting thing, that stuff isn't anywhere here. It's part lighting app, you bring in your geometry, you have materials assigned to it, Prman or Arnold or whatever the gently caress, you build, or import, your light rig, you generate your metric rear end tonne of shadow passes, split your passes and you're done. Ahh ok, my mistake. I guess I just saw lighting and comp and jumped to a conclusion. Cheers for clearing that up. I still like the concept but I guess I'd prefer to take it to its logical extreme as a kind of Shake-for-shots. Some of the companies in Europe (France especially) have systems like this. You build a node graph that describes the whole process of rendering a shot from raw data through scene building, simulation, lighting, rendering, compositing, grading etc. It means that anyone in the company can re-render after making a change. Having worked in places where a texture change can take four days to filter back to review, I see the benefits.
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Nov 2, 2009 22:00
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Made a lot of changes. Went to procedural bricks since each brick is so small, didn't see the point of a photo. Increased the cyclinder to be closer to the correct size it actually is. Adding sky/roads. Problem Not sure why my windows aren't reflecting the images I have set up. I have a few planes facing the buildings, textured with a panorama.  EDIT: In a different project I want to light a giant, BJs/Sams Club sort of warehouse. Any good way of doing that with only a few lights so it's all even, or do I have to put in about 80lights?
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Nov 3, 2009 21:29
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The Merkinman posted:Problem Not sure why my windows aren't reflecting the images I have set up. I have a few planes facing the buildings, textured with a panorama. Your window trimmings look very flat and uninteresting, are they actually modeled out? Same with the door trim. Typically these come out far enough that given the right light angle they'll cast strong shadows that help to define the shapes. The building has no trim where it meets the pavement or the fences. The curb is a straight extrusion and has stretched UVs. The windows seem to be in stretched - don't vary the sizes of the panes like you're doing. I'm assuming you're aware that the lightning looks terrible and the materials look very WIP since they're nearly flat colors.
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Nov 4, 2009 06:47
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The Merkinman posted:Went to procedural bricks since each brick is so small, didn't see the point of a photo. I had a massive post written out here but lost it because this stupid loving mouse has a back button right next to the left click.  Maybe it's just me, but I find procedural bricks are too random and any variation is a white noise kind of variation. Not all - but straight out of the box they are. Everyone in arch viz uses photos, have a look on https://www.cgtextures.com in modern bricks/clean for some you can take and make tiling. As far as material treatment goes and getting rid of the flat look, just get this: http://www.thegnomonworkshop.com/store/product/31/ In one watch of that you'll skip about 6 months of trial and error/feedback based learning, helped me out a hell of a lot. Buy it off ebay if you have to, just make sure that you watch it. trust me. Oh, and this is an early christmas present for everyone: http://forums.cgsociety.org/showthread.php?p=6187295#post6187295 aaaaahahahaa. "to shut him up and maybe teach his stubborn self a lesson in learning."
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Nov 4, 2009 12:26
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I'm here, I meshsmooth, get used to it
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Nov 4, 2009 14:08
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Sigma-X posted:Your window trimmings look very flat and uninteresting, are they actually modeled out? Same with the door trim. Typically these come out far enough that given the right light angle they'll cast strong shadows that help to define the shapes.
Maybe looking at the source in Google Street View would help you guys in letting me know how to fix it
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Nov 4, 2009 15:49
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That is mind boggling. I think the "I haven't done any modeling in years, but I was formally trained not to mesh smooth" is the best sentence I have ever read.
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Nov 4, 2009 15:49
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The Merkinman posted:would help you guys in letting me know how to fix it Their windows have a lot more depth - can you post a screenshot of the material you're using as glass and a wireframe of a window? I take it you've created the box behind them and shelled the pane itself? Comparing the colours directly should be a priority - lower your settings for a quick render and get every colour/shade matching. They need to be more desaturated, the road needs to be far far darker and your sky is too dark/blue - grab a photo from cgtextures' sky section similar to the one on googles st. view. The materials almost all need glossy reflection - their brick kicks up quite a bit of specular at sharp angles and the brown trim has a fair amount of highlight too. If you would like, you could upload a copy of the scene within the next couple of hours i'll take a look at the glass/a bit of material for you and get it straight back over. edit: chop to it, i've got nothing to do for an hour or so. cubicle gangster fucked around with this message at 17:11 on Nov 4, 2009 |
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Nov 4, 2009 16:45
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cubicle gangster posted:Their windows have a lot more depth - can you post a screenshot of the material you're using as glass and a wireframe of a window? cubicle gangster posted:Comparing the colours directly should be a priority - lower your settings for a quick render and get every colour/shade matching. They need to be more desaturated, the road needs to be far far darker and your sky is too dark/blue - grab a photo from cgtextures' sky section similar to the one on googles st. view. cubicle gangster posted:The materials almost all need glossy reflection - their brick kicks up quite a bit of specular at sharp angles and the brown trim has a fair amount of highlight too. cubicle gangster posted:If you would like, you could upload a copy of the scene within the next couple of hours i'll take a look at the glass/a bit of material for you and get it straight back over. Well looks like you hit edit right when I hit quote, (been doing other things) so I'll give that in a bit EDIT: Link Removed The Merkinman fucked around with this message at 16:57 on Nov 7, 2009 |
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Nov 4, 2009 17:35
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What version of max/vray do you have? I hope it's ok that i'm doing this in 2010 and vray 1.5 sp3
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Nov 4, 2009 17:55
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2009 and 1.5 sp2 Could always just try saving it for compatibility, or worst case take a bunch of screenshots of the changed settings
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Nov 4, 2009 18:44
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cubicle gangster posted:Oh, and this is an early christmas present for everyone: Ahh cgtalk you never disappoint. It really does amaze me what some people obsess over. I remember a good thread on there that was an enormous circlejerk over whether using references meant you were not a proper artist. I can't find it on there at the moment though
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Nov 4, 2009 18:52
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Theres a bunch of screenshots of some new settings in the zip file - any other bits you want info on I can do tomorrow. I moved some things round in the model on the rhs too - pushed the windows back, built a white box behind each window for a fake interior This ended up being rougher than I thought it'd be, I only did small sections and spent half an hour on it. Here's my original render:  After some ps: (psd included in zip, the techniques I use are there but this is a proper lovely job, sorry)  The file: http://rapidshare.com/files/302421865/hobokenproject2.rar.html
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Nov 4, 2009 19:09
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Got the file, won't open though I guess since using earlier versions of things. Is pushing the windows back and the white box the only modeling change you made? If so could you show me maybe via wireframe what it is you do? Do you just make a white box to go behind the windows? For the textures/lighting I can go by the screenshots you supplied. Oh did you add any other lights to the scene? Kinda glad it won't open, it'll force me to take the .max file I have and slowly go through all the changes you made, it'll be a nice learning experience. Thank you.
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Nov 4, 2009 20:28
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What do you guys do when making a portfolio or applying for places but most of your best work is tied up in currently unreleased stuff? :-/
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Nov 6, 2009 09:42
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brian encino man posted:What do you guys do when making a portfolio or applying for places but most of your best work is tied up in currently unreleased stuff? :-/ Put it on the resume. That should be enough to attract attention. Places understand if you can't show material due to NDA. Depending on the studio they may call your previous place of employment and drop a line to them that you are leaking unreleased material. On the other hand if your old job is out of business than that's another story. I had a TD friend who didn't have a demo reel for 4 years, he worked at Alias, and worked at Disney, Weta, Disney again, A few UK places and back to a major LA studio again before he actually had material for his reel. Depends on the position though. After a few years, you get enough material where it becomes a moot point. I think my next reel I'll cut it down to 1 to 1.5 minutes.. it's way too long now [3-4min]. If you are thinking of putting... high profile unreleased material on your reel. Don't do it. You'll get rear end hosed 5 ways from nowhere especially if you did work on a major job. I know a few people in VFX who did that and got caught, one got arrested and eventually deported [was on a work visa] and another guy had lawyers sent after them signing paperwork to turn over all footage and computer he had of unreleased material, including asking for his demo reels back from places he applied for. It's not your employer that you have to worry about, it's their client [major studio or publisher]. It'll vary from a case by case standpoint. I know people who have worked on stuff that will never be released, but they only keep it for an interview reel and they never leave that material with anyone else. On another hand, we had a vendor show up with this new software product we were thinking of buying. The guy was clueless technically about the actual inner workings of the process of how the software worked and really couldn't answer our questions... then he pulled out this stunt: "Check out the work that [studio x] did on [upcoming major film release y] using our software..!" Yeah, so we got to look at full CG high profile creature on a film 1 year before its release, and at that point decided we can't trust these guys at all. After all, what's stopping them from showing our work to a competitor who may be bidding against us in the near future. Big K of Justice fucked around with this message at 16:19 on Nov 6, 2009 |
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Nov 6, 2009 16:07
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Here's something I started doing these weeks and how's it looking so far. Going slow, using mostly Max and Photoshop:
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Nov 6, 2009 16:11
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BigKOfJustice posted:Put it on the resume. That should be enough to attract attention. Places understand if you can't show material due to NDA. Depending on the studio they may call your previous place of employment and drop a line to them that you are leaking unreleased material. Thanks for the awesome advice. I guess on the C.V. it would go as something like "Unannounced project for _publisher_"?
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Nov 6, 2009 17:26
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I've always followed the DVD rule for putting stuff on my reel. Which means that it is usually 6 months to a year behind what I am actually doing. It hasn't been an issue so far because most of the places I have been working with have had plenty of people I have worked with before there. That said it is becoming pretty rare to actually get reel footage from production. They seem to be dragging their feet over it more than they usually do. And when they do it has a big rear end ugly watermark on it or is postage stamp sized. For the last couple of shows I have been ripping the blu ray and cutting my stuff out of that.
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Nov 6, 2009 19:26
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^^^ Interesting... I suppose when the footage is out in the public there isn't any legal issues regarding NDA etc. Do they ever have issues RE copyright? Seeing as you are reproducing their image.
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Nov 6, 2009 19:35
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Heintje posted:^^^ Interesting... I suppose when the footage is out in the public there isn't any legal issues regarding NDA etc. Do they ever have issues RE copyright? Seeing as you are reproducing their image. I've heard that even when it is published you still need permission to show things on your reel.
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Nov 6, 2009 21:23
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Yeeaaah reproduction requires permission etc etc I guess.
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Nov 6, 2009 22:32
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Maybe this belongs in SAmart but I'm not really "selling" it per se. I've got this still shrinkwrapped http://www.thegnomonworkshop.com/store/product/275/ Intro to Corel Painter, not really 3D but yeah, if anyone wants it either for the cost of shipping or wants to swap it for something else (non-Gnomon dvd training or good CG books)
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Nov 7, 2009 00:19
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BigKOfJustice posted:On another hand, we had a vendor show up with this new software product we were thinking of buying. The guy was clueless technically about the actual inner workings of the process of how the software worked and really couldn't answer our questions... then he pulled out this stunt: Is there any chance you could let me know which vendor this was? A PM would be cool. It's always good to know who you can trust and who you can't.
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Nov 7, 2009 01:06
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brian encino man posted:I've heard that even when it is published you still need permission to show things on your reel. You probably legally need permission. But I have never heard of anyone having trouble having shots on a reel after it has hit DVD. The circulation of a demo reel is pretty small even on the web. I don't upload my reel to youtube or anything like that. Just my own website. If I was ever asked to remove something I guess I would. But as I said I have never heard of anyone getting into trouble over demo reel footage that is out on DVD so it doesn't really worry me.
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Nov 7, 2009 18:01
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brian encino man posted:I've heard that even when it is published you still need permission to show things on your reel. IMO if it's in public release it's fair game. Down to the nitty gritty,yes you technically do need permission. At a studio level, where you are using a company demo reel to get work, thats one thing and the vendor/client relationship will address the use of imagery for promotion or for something like a magazine article or siggraph. Jane animator? No one cares. Back to the DVD-rule, that's the case now with many studios, they won't supply footage for artists until it's out on home video. At that point you might as well get the footage from there. mashed_penguin posted:The circulation of a demo reel is pretty small even on the web. I don't upload my reel to youtube or anything like that. Just my own website. Same here, but I've stopped putting a reel online entirely. It's all film clips and a few breakdown shots before studios demanded vendors that demo reel materials should only contain final shots  .Big K of Justice fucked around with this message at 05:33 on Nov 8, 2009 |
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Nov 8, 2009 05:30
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Do you think this is why tests have become to prevalent?
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Nov 8, 2009 10:34
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brian encino man posted:Do you think this is why tests have become to prevalent? Depends on the position, if it's a technical position [rigging, fx, shaders, plug in programing, pipeline development], they can weed out people by asking detailed questions. You either know the subject or you don't. You'll get trick questions, maybe something like, how to do matrix math in one case, or how to rotate a primitive without using rotation transforms. Or explain why you set something up a certain way, etc. Test's can work well for certain things, like having td's perform an animation test or modeling test, which has been around for years. I haven't heard of any tests outside of those two positions. Even back when everything was 2d animation you'd usually have to submit some sort of test and portfolio. You'd be given a model sheet and to perform a layout and some key poses. Back in 1995 I remember a test you had to perform to get considered for a job with Origin games. You had to create a 3d creature, and a 3d environment that was basically the job application. Weeds the morons* and slackers out usually. But I think in the students case, you have a number of reels out there which are group projects with no idea who actually did what. From my experience, it's usually one person of the group [usually not the leader] who got things done well, and the rest are riding his or her coat tails. On the professional level, you'll have a number of people who may.. misrepresent what they actually did on a shot. This is why many studios ask for detailed shot sheets, I usually list 4-5 td's I worked with on a shot, that usually gives a big basket of names to check with, and with the industry being so small, it can be easy to verify who did what in some cases. * - No, claming that leading your guild in World of Warcraft does not qualify as leadership experience. 
Big K of Justice fucked around with this message at 17:08 on Nov 8, 2009 |
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Nov 8, 2009 17:05
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Man I am happy I work in commercials. Don't have to deal with a lot of the waiting since stuff hits the air a few weeks after we finish it. I've seen stuff go up the day after we ship it.
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Nov 8, 2009 20:33
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