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cubicle gangster posted:The first half of the work we did for ritz just went public. Forbes just put out an article that features all of the still images & talks about the project - https://www.forbes.com/sites/petertaylor/2017/02/21/trump-the-russians-and-the-future-of-ultra-luxury-real-estate/ Hahahah, good luck with that  Nice work though.
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Feb 28, 2017 00:23
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The Gasmask posted:I remember when you posted about that! It's awesome to see it done, and I really like where you went stylistically. Thanks! Yeah, I'm pretty happy with it even though the animation is a little uneven. But the client is happy and I learned stuff, so that's what matters. quote:The first half of the work we did for ritz just went public. Forbes just put out an article that features all of the still images & talks about the project - https://www.forbes.com/sites/petertaylor/2017/02/21/trump-the-russians-and-the-future-of-ultra-luxury-real-estate/ Beautiful images. As much as I think speculative investors are garbage people, I'd love to own one of those places if I had the net worth. Ccs fucked around with this message at 01:44 on Feb 28, 2017 |
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Feb 28, 2017 01:40
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cubicle gangster posted:The first half of the work we did for ritz just went public. Forbes just put out an article that features all of the still images & talks about the project - https://www.forbes.com/sites/petertaylor/2017/02/21/trump-the-russians-and-the-future-of-ultra-luxury-real-estate/ Gorgeous work as always. ...But all I can think is that that building is going to be in the water in 10 years. Maybe less. There's no way they're making their money back lol
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Feb 28, 2017 01:51
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Digging into photogrammetry lately as part of larger projects. Here's a construction site dirt from next door to my house that I took months ago.
https://instagram.com/mutatedjellyfish/
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Feb 28, 2017 09:25
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mutata posted:Digging into photogrammetry lately as part of larger projects. Here's a construction site dirt from next door to my house that I took months ago. This is neat. I tried photogrammetry and it seemed finnicky but I can see the application for it. I couldn't get the hang of it but then again I only spent an evening on it, with images I didn't take. I was introduced to Substance Painter recently and the impact of materials is just loving fantastic. I think about the materials in your artstation from time to time and I guess I never appreciated what they meant. I'm still blocking out this foot linkage setup. The couple I've tried can't support the range of motion in the foot. They either pop out way too far or bunch up against the leg. I'm kind of stuck on making it look like a working linkage. Maybe a cross pattern that bind down near the ankle rather than up the leg. http://i.imgur.com/QozJVMd.gifv http://i.imgur.com/DXp8c86.gifv
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Feb 28, 2017 13:06
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Elsa posted:I was introduced to Substance Painter recently and the impact of materials is just loving fantastic. I think about the materials in your artstation from time to time and I guess I never appreciated what they meant. Substance Painter/Designer are skills in pretty high demand right now, and understanding the process of creating the procedural materials in Designer then bringing them into Painter is genuinely fun and useful. But keep in mind if you're looking at VFX as a career, MARI seems to be the go-to painting program. My studio uses Substance exclusively for VFX and has been pushing really hard to help Allegorithmic make it better for that workflow, but there's still some features that are missing/underdeveloped that VFX houses rely on. People were surprised to hear we used it for High Castle, especially considering the scale of the shots, and tbh there were a lot of little tricks I had to do to break up repetition while keeping the resolution we required. Let's just say there were a lot of variations and some crazy Blender node structures to blend those variations across large-scale props/arrayed objects (that was one of my prouder moments, figuring out how to spread materials across an array so we wouldn't have to collapse just to have non-repeating textures for each copy). In games though, Substance reigns supreme (afaik). Also, Substance and Blender still don't have proper integration, but who knows, that may change in the near-ish future. Maybe. People have been bugging Allegorithmic about that for a long time, and it's safe to assume they're listening, even if they're reticent to take that leap.
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Feb 28, 2017 16:14
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Ccs posted:Beautiful images. As much as I think speculative investors are garbage people, I'd love to own one of those places if I had the net worth. The south most unit is the clear winner - this building is most southern in sunny isles before haulover park, which is 2.5km of protected park before the next building. It may get a little more watery someday, but you'll never loose your view. One on the 19th floor is going for $5.2m, with $3800 a month in HOA... I did some post production gifs for the chaos group forum, may as well post them here too:  
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Feb 28, 2017 17:44
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Elsa posted:This is neat. I tried photogrammetry and it seemed finnicky but I can see the application for it. I couldn't get the hang of it but then again I only spent an evening on it, with images I didn't take. Thanks, man! Texturing and surfacing can be a real rabbit hole. I know people who do that almost exclusively for a career. Without materials, lighting wouldn't work and nothing would look like anything! Your rig that you're building there is pretty beyond me, so I haven't commented. It's pretty impressive. The Gasmask posted:Substance Painter/Designer are skills in pretty high demand right now, and understanding the process of creating the procedural materials in Designer then bringing them into Painter is genuinely fun and useful. Substance combined with photoscanning have very much taken over the AAA game pipeline. At the end of the workflow, you can at least have Designer and Painter spit out texture files same as any authoring program. Integration is where the real power is, though. Non-repeating procedurals are something I hope someone somewhere is pushing towards. It's exciting to see procedural textures coming into their own, but it's short lived when I drag my procedural into Unreal or Unity and it still just repeats what it generated in the 0,1 UV square. Maybe it exists and I'm just dumb, though, that's very possible!
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Feb 28, 2017 19:04
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The Gasmask posted:Substance Painter/Designer are skills in pretty high demand right now, and understanding the process of creating the procedural materials in Designer then bringing them into Painter is genuinely fun and useful. I ran into a situation recently where I wanted to texture grime across several stone blocks about three meters wide each. It was the interior of a cathedral. My plan was to texture the stone in a clean state and then project grime across them in Maya. Looking at photos of stone walls I noticed the grime tends to form as one contiguous pattern and trying to match the individual textures would be cumbersome. It would also limit their re-use to bake grime into them. I've heard Mari can handle very large dimension textures so I suppose that's another solution to the contiguous grime problem. cubicle gangster posted:The south most unit is the clear winner - this building is most southern in sunny isles before haulover park, which is 2.5km of protected park before the next building. It may get a little more watery someday, but you'll never loose your view.
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Feb 28, 2017 21:26
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mutata posted:Thanks, man! Texturing and surfacing can be a real rabbit hole. I know people who do that almost exclusively for a career. Without materials, lighting wouldn't work and nothing would look like anything! Your rig that you're building there is pretty beyond me, so I haven't commented. It's pretty impressive. Hey thanks I'm trying to make this mech come to life and probably use the finished product for a short. When I started rigging my motivation was knowing it was a way to control verts and make things have life. But after messing with materials and video finishing it's become apparent that more than verts it's about controlling the light. Materials changed the way I looked at modeling. For the most part it's just a goal of making surfaces to place good textures.
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Feb 28, 2017 21:31
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Elsa posted:I really like these. And seeing the process. AfterEffects was like, Photoshop squared. Using depth information to grade saturation and contrast is so clutch. Compared to trying to imagine it manually in a flat raster. Thanks! You should get yourself a normal pass next time too - you can isolate left / right, top / bottom and angle from camera using it. coupled with a z depth and multimattes for most objects and you can do really precise lighting touchups. Very useful outside of re-lighting too - we used it extensively on those images to aid in shaping objects which rendered a little flat. super useful stuff.
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Feb 28, 2017 22:03
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RizieN posted:Well I have a Form 2 printer which is crazy high resolution, I'd run a test print or two for you if you wanted This would be super rad! I'd be honored. If you have any specific pieces you like and want to try printing, I'd be game for sure. Speaking of, does anybody have any good resources they like that I can check out for single camera photogrammetry? I have a Canon EOS t3i that I figure would be better than my busted up iphone. I have some sessions coming up with a few *~big name~* music artists that I want to scan, but I wont have enough time for trial and error and multiple tries and stuff
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Feb 28, 2017 23:25
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cubicle gangster posted:Thanks! I was going to ask about that. Especially in environments with heavy atmosphere like underwater, vertical information is just as useful. I've always disliked the look of naked renders and I'm really stoked to find out it wasn't just me, and there's a lot of post processing that can be done.
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Feb 28, 2017 23:25
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SVU Fan posted:This would be super rad! I'd be honored. If you have any specific pieces you like and want to try printing, I'd be game for sure. You have an artstation or image gallery somewhere I can look at all of them? Also, Autodesk Recap has your Photogrammetry solutions! Just make sure they hold still af and the background is masked out or one solid color.
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Feb 28, 2017 23:59
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RizieN posted:You have an artstation or image gallery somewhere I can look at all of them? Yep that's what I used. Student accounts are unlimited free use 
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Mar 1, 2017 00:08
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There are others in the thread who are waaaaay more well versed in photoscan than I, but the most important elements you'll be looking for is the ability to shoot with as fast a shutter speed as possible with as low an ISO as possible with a manual focus. Depending on what your end-purpose is, you'll want nice, bright lighting as well. I'm using an 11 year old Canon Rebel for mine and the results are ok, but I REALLY have to brighten the lighting to make up for the old, weak sensor. That said, I'm sure you could get some hobbyist quality photoscans from an iPhone camera.
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Mar 1, 2017 00:59
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We tried to do some photogrammetry for the band members for the vid we're wrapping up, but unfortunately it wasn't meant to be - the DP used a Red Dragon at 120fps on a track to circle around each band member because that's what they had on set, but when we got the footage I discovered the track wasn't level, it was out of focus at points+the band members were moving, and there was massive lens flare from a light that made about 1/4 of each set unusable. We tried picking out the best images and doing what we could with them, but to no avail. Just wasn't in the budget to manually clean up the mess that resulted. So yeah, don't leave it up to someone else who doesn't know the process to take the photos, watch out for lens flare, keep things in focus, and definitely take some extra shots to avoid discovering you don't have enough data.
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Mar 1, 2017 02:03
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cubicle gangster posted:Thanks! Gave me a pretty big "duh" moment right here. That's some clever poo poo.
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Mar 1, 2017 02:10
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   Lots of work left to do, but the basics look pretty nice atleast! (placeholder stuff notwithstanding)
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Mar 1, 2017 22:44
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Some serious Megaman Legends vibes goin on there.
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Mar 1, 2017 22:48
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I'm pretty big on that game's aesthetic, but i'm also trying to channel a bit of PSO in this too. also, I forgot to mention the roads have a super cool effect I managed to get working with very little fuss. 
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Mar 1, 2017 23:13
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That lighting's all on the textures isnt it? 
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Mar 1, 2017 23:20
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Diabetes Forecast posted:I'm pretty big on that game's aesthetic, but i'm also trying to channel a bit of PSO in this too. I asked about this before but you might have missed it, how did you make the textures in these images? I was trying to do something similar but didn't have much luck, and I'd like to know your process. Sailor Dave fucked around with this message at 23:28 on Mar 1, 2017 |
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Mar 1, 2017 23:22
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Synthbuttrange posted:That lighting's all on the textures isnt it? Yes. It's just an overlay layer in the PSD, but it's really effective. I'll probably add that to the pillars too since they just feel a little bare compared to the road (they were also the first asset I made so there you go) Sailor Dave posted:I asked about this before but you might have missed it, how did you make the textures in these images? Did you draw them or is it some photoshop trickery? I was trying to do something similar but didn't have much luck, and I'd like to know your process. Raw handpainting in Paint Tool SAI with some little bits of stretch, scale, and mirroring to get things to loop and play nice. I'm probably taking at it like a hammer and chisel but it's still pretty fast work in general. Overall I'm enjoying this a ton more than my work on OutQuest. after i finalize the main hub and hangar area, I'll be starting on the big hangout/shop area on the straight path of the crossroads. I forget what the plan for the left path is though... Diabetes Forecast fucked around with this message at 23:31 on Mar 1, 2017 |
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Mar 1, 2017 23:29
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Hey guys, Blender noob back for more help if you're willing. So I'm trying to make an old-school Nokia 3310. I started with a cube mesh that I scaled into a flat-ish rectangle, then started adding edge loops and pulling at the edges along the side until I had the basic candybar shape -- mirroring along the X axis to get the bilateral symmetry. Now next, I know that I need a bevel -- and probably a couple of bevels because this thing has really soft rounded edges. Before I add the bevel, I join up all of the faces (with the F hotkey) along the front and back of the phone that were created while I was making the loop cuts, leaving the edges along the side of the phone that create the curve. (Was I right to do this?) When I add the bevel along the front of the phone, everything is cool. I add a couple of additional bevels (all with ctrl-B) to get the roundness that I want.  Then I flip to the bottom view... and adding the bevel is creating this weird distortion on one random vertex. What the heck is this? Am I going about this incorrectly?  
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Mar 2, 2017 00:13
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SVU Fan posted:This would be super rad! I'd be honored. If you have any specific pieces you like and want to try printing, I'd be game for sure. Howdy, I built Rockstar's facial scanning rig, along with five or six other photogrammetry rigs at this point. Scanning people with a single camera is challenging, but doable. Feel free to hit me up in PM's; I'm more than happy help get you prepared for this. Edit: At the very least, follow this advice. He knows his stuff: mutata posted:... the most important elements you'll be looking for is the ability to shoot with as fast a shutter speed as possible with as low an ISO as possible with a manual focus. Depending on what your end-purpose is, you'll want nice, bright lighting as well. I'm using an 11 year old Canon Rebel for mine and the results are ok, but I REALLY have to brighten the lighting to make up for the old, weak sensor. Gearman fucked around with this message at 00:26 on Mar 2, 2017 |
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Mar 2, 2017 00:20
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That corner's construction is hosed up somewhere. Try pulling apart the polygons in that area til you find one that's improperly joined/has extra vertexes/etc.
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Mar 2, 2017 00:21
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Mandatory Assembly posted:So I'm trying to make an old-school Nokia 3310 But your main problem is that that's not a good way to construct a mesh for an object like that. You're trying to create a rough outline but you're adding way too many edges which means you're going to have difficulty modifying the shape later while keeping it a smooth and rounded as it needs to be. Start with a much more basic shape, add a subsurf modifier to it, then use edge loops and their spacing to control the tightness of the bevel. This will allow you to make modifications to the shape by only moving a few vertices or edge loops and it'll retain the smoothness that it needs without a lot of tedious vertex pushing.   A few useful keys: alt-right-click - selects edge loop ctrl-r - create new edge loop press g twice - slide edge loop x -> delete edge loop As a rule of thumb, avoid adding bevels to your mesh unless it's a near-final step to finish something off, they're hard to modify and even harder to remove and they'll make it more difficult to change the overall form of your mesh.
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Mar 2, 2017 01:33
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Another Blender tip: when using the Subsurf modifier, if you want harder edges without adding extra geometry in the form of edge loops, you can select an existing edge loop using alt+select in edge edit mode, then press shift+e and either drag or type in a number between -1 and 1. This will "harden" the loop up to the original, pre-subdivided shape, and can allow you to have finer control over areas that might normally be beveled. And since each edge can have it's own crease value, you can use it to do something like have the corners as sharp points, but the edges inbetween as much softer, rounder lines. Pixar used this pretty heavily during Monsters University to drastically cut down on the geometry needed for props, and I'm sure has used it for everything since.
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Mar 2, 2017 02:19
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Ugh loving network rendering. What the hell am I doing wrong. I'm using 3ds max 2016, Backburner Manager/Server and Scanline Renderer. This is how my render looks like when it's done locally on both computers and how it is supposed to look And here is how it looks like what happens when the job is received over the network. I don't get what the hell is happening. 
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Mar 2, 2017 15:48
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Fragrag posted:Ugh loving network rendering. What the hell am I doing wrong. I'm using 3ds max 2016, Backburner Manager/Server and Scanline Renderer. This is how my render looks like when it's done locally on both computers and how it is supposed to look Bird's eye view: It looks like a light is missing. Or maybe there's a skylight/image based light that is referencing a texture that's not being seen over the network? My initial knee jerk to all network rendering problems is usually "a file is not being seen somewhere"
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Mar 2, 2017 17:37
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That's kind of the stinker. There is no lighting, The scene is literally just the static mesh, the camera and its orbit. I did find out that the lighting changes dramatically depending on viewport settings, as in scene illumination with one or two lights. Why the hell that influences the scanline renderer is beyond me. I can't find the setting for that at all. I rendered it once already last November and this is how it came out which is how I want it.  EDIT: I think I got it. It's taking the viewport lighting of the current selected frame. Which is why it's so inconsistent. If I have frame 3000 displayed, it'll use that viewport lighting when it renders frame 0. Likewise, if I have frame 500 selected, it'll use that viewport lighting at frame 0, giving a completely different result. I guess the solution will be to put in a light somewhere and set it up so it's diffuse as gently caress. A grey HDRI maybe? EDIT2: A skylight set up with a neutral gray sky colour did the trick. Thanks for being my rubber ducky thread Fragrag fucked around with this message at 18:19 on Mar 2, 2017 |
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Mar 2, 2017 17:49
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yeah, a grey (or white) HDRI might do the trick.
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Mar 2, 2017 18:21
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Diabetes Forecast posted:I'm pretty big on that game's aesthetic, but i'm also trying to channel a bit of PSO in this too. How did you animate only part of the road here? It looks like an animated offset UV, but I'm not sure how that would be done for only part of the texture. Edit: Actually, rather than making a bunch of posts about this in the thread, is there a discord or irc I can PM you in? Sailor Dave fucked around with this message at 01:53 on Mar 3, 2017 |
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Mar 3, 2017 01:50
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Yo don't hand out the discord. This isn't the crowd
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Mar 3, 2017 02:02
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Looks like just a separate material applied to the scrolling bits?
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Mar 3, 2017 02:17
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Is there a discord for this thread? Man that would be useful sometimes
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Mar 3, 2017 02:18
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There's a discord that was made for this thread, and the discord I'm on with Roboboobs is a different community of artists and we do artist things.
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Mar 3, 2017 02:28
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Sailor Dave posted:How did you animate only part of the road here? It looks like an animated offset UV, but I'm not sure how that would be done for only part of the texture. it's a separate material with a rather tiny texture. I think uhhh... 32x256 or something? it's been awhile since i actually looked at that file in particular. The road/sidewalk are both on a single 1024x1024 though. most of the textures I've made aren't as big. the walls in the environment are 1024x256, and a bunch of other things are oddball sizes like that to save memory. If you wanna talk you catch me as Gebloner in the SA discord though. (I think there should be a link somewhere on the forum for that? if not I'll post it here.) next asset for the environment is a set of blast doors. only just started toying with the texture a bit today. They'll be used only a few places so them being a little ornate might make them stand out. (also setting them up for texture animations too) 
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Mar 3, 2017 03:58
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Diabetes Forecast posted:Raw handpainting in Paint Tool SAI with some little bits of stretch, scale, and mirroring to get things to loop and play nice. I'm probably taking at it like a hammer and chisel but it's still pretty fast work in general. Have you heard of Krita? I used Paint tool Sai for regular digital drawing and switched to Krita when it supported graphic tablets but it has some features that might help you. For example, its wrap-around mode tiles the drawing so you can see if the texture is seamless on the fly. It's free and open too.
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Mar 3, 2017 04:10
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