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Argue posted:I was trying to figure out the solution to patches of the body clipping through clothes that I'm running a cloth simulation on, and I couldn't find a lot of solutions because most of what I've seen seems to involve deforming the clothes with the body and adding folds yourself. I saw a post that suggested just making the parts of the body that clip through the clothes invisible, but it was an old post, and it didn't explain how to do this either. Is this the right answer? I did a fair number of Digi doubles/replacement work on a few movies back in the day and ... how do I word this.... You do a collision pass on the surfaces you don't see, but you don't render them. No one really does that, it just complicates the work and drives up simulation time for no benefit. Good simulation software will allow you to filter what is colliding with what. So taking the simulation out of the picture for a moment, you would only render the clothing layers you see, any surfaces you don't see you "delete" or hide. There's different terminology for this for different software, but you want to create groups/sets of things to hide, usually, on skin, you may have skin that's occluded by clothes and have that in some form of hide layer that doesn't get rendered or drawn in the viewport. There may be a bit of special treatment you may need to do with collars and other clothing holes but those can be solved with a bit of modeling. When it comes to the simulation, you may be running collisions on an entirely different subset of geometry, say a skin layer that is never ever rendered and is only used for calculating the collision pass. It may not even be geometry it could be a volume object like with some Houdini solvers. Depending on the scene / objective, there are exceptions, ropes/capes/dresses are often exceptions of getting away with simulation minimalism. It'll l depend on a case-by-case basis. As for accuracy.... cloth sims can be a crap shoot. I know at ILM they made a ton of hay 10 years ago about the skin/cloth simulations when I was there, but they had 2-3 really good 3d sculpt guys who would go in frame by frame fix the muscle sims/cloth stuff on various movies because that was way cheaper to final a shot then run some dudes cape in another 20 hour sim pass again. A good example is spending a ton of setup time for a sim only to wind up with something that 98% works but there's a small part that pops/sizzles deforms wierd, so you fix that post-sim via comp or some form of post-sim modeling pass. I guess to sum up you can do this: - Run the cloth sim on a specialized/optimized set of collision geometry. Eg. A torso only, or parts that you need. -Render the cloth geometry with the hero final character minus the stuff that is occluded by the cloth.
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Feb 21, 2023 07:07
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| # ¿ May 16, 2024 21:25 |
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EoinCannon posted:I've done a fair bit of fluid sculpting in zbrush This is great stuff. I would know a few guys / places that would burn a ton of time trying to get simulated results like this instead of just sculpting it 
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Feb 21, 2023 07:08
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Alterian posted:If you want to get a job in games, train to be a tech artist. I can say this as someone who went from Film VFX to Games working in VFX and Tech Artist stuff, the largest in demand / paying / hard to find spots is VFX, Tech Art, and environment artist in the AAA space. Easy to find juniors but people with experience? Woof. My biggest regret in my life was not jumping to games earlier in my career. I could have went to Blizzard a long time ago. Ah well. Making up for lost time now.
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Jun 26, 2023 06:48
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Slothful Bong posted:Like, what does some 21 year old do when they have some college portfolio pieces that are decent but not outstanding, and no industry contacts? Fire demo reels at places and hope to catch someone's eye or go to a class/program where your peers and friends get jobs and refer you. It was always hard to get a foot in the door. Re: MPC, I don't think they're going to end up saving that much money in the end. They'll have to go nuts and hire more talent. I've seen first hand with R+H trying to make India work for a decade and it wasn't smooth. The good and great Indian artists move up fast on the pay scale, provided they don't go to North America or Europe. I know back in 09 or so when I last dealt with R+H outsourcing, the wage range for Indian artists was about $2,000/year to $80,000/year. There weren't enough of the $80k/year guys and too many of the $2k/year guys that did work that had to be redone. These days I deal with a small bit of game outsourcing for assets and trailers and even on the high-end big budget stuff with the best vendors, it's time-consuming to hold hands to get the vision / execution right with a huge budget, never mind trying to do it to cut costs. It's amazing to watch vendor tests where their task is to match a style and just recreate a few props/assets and they completely fail at it. I'm guessing MPC is just being hopeful internally, figuring worst case, they just hire everyone back wherever in the future. Given the non-existent operating income for film visual effects companies, I'm surprised mass layoffs are taking this long to occur. It's depressing the amount of work and talent that is needed to execute VFX work skillfully and how little stability there is for it. Not to mention low pay. One big reason I bounced over to games. Big K of Justice fucked around with this message at 08:07 on Oct 18, 2023 |
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Oct 18, 2023 08:03
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Strikes over tentatively.... And on that note, DNEG Vancouver is unionizing with IATSE, this was way overdue. quote:
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Nov 10, 2023 12:02
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Nah, India isn't taking all the jobs, I've been hearing that boogeyman for 20-odd years. Heck, I was at Rhythm and Hues which was 1000% pushing for that and couldn't make it work despite having 2 large Indian studios and the studio in Malaysia. The Malaysia thing was hilarious because the government was funding it, but it had to be all citizens, and R+H had to resort to hiring randos off the street, and throw them at training and hope some would stick. The attrition rate was 80-90% if I recall and the whole thing wasn't feasible. Plus Malaysia got a bit spicy towards the end of times there by demanding an editorial review of content of whatever R+H KL was working on.. as a vendor so you can imagine how that would have been impossible (Which was an insane demand since the work was for the US market). India couldn't compete with Canadian Tax credits, overhead costs the same in India as LA, your only savings was labor [$2,000-80,000 a year was the payband 10+ years ago] but not time from my experience [the cheaper guys took way longer and communication sucked]. I remember John Hughes lamenting about not getting on board with Vancouver early enough, it was too late for R+H when they opened up the Vancouver office. The really skilled Indian artists are logically going to go for the most competitive offers and often that means getting a visa and going abroad. ILM may be expanding there but it's not going to be easy for them. I knew Dreamworks animation gave up on their division there when Glendale artists ended up having to redo everything most of the time anyways.
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Dec 18, 2023 02:57
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| # ¿ May 16, 2024 21:25 |
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Slothful Bong posted:As to the “why” of it all, my in-the-dark assumption is it’s due to outside investors. When you get tech investment firms dumping millions into VFX companies specifically for AI, they’ll never get the gains they want, and then the company is on the hook for showing “profitability” in the short term. Woof. One reason I ran screaming from film VFX was that no one makes money on it. Investing in VFX is a quick way to turn a million dollars into a hundred dollars. I still laugh when Sony tried to sell Imageworks for something like 600-800M back in the late 00's and no one was having it... the tech stack/pipeline wasn't worth that, and it was cheaper just to hire away the talent and roll up a new studio. It's a gold rush, so it may be better invest in shovel companies or sell the equipment to gold miners... so in this case the safe investment is to just buy Nvidia stock 
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Apr 11, 2024 08:35
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