Show Posts

This section allows you to view all posts made by this member. Note that you can only see posts made in areas you currently have access to.

Messages - Njen

Pages: [1] 2 3 ... 37
Gallery / Re: Cyan Eyed Offiical Poster
« on: 2021-06-10, 00:09:14 »
Ha, I used an image link from Twitter, instead off my own website, and it looks like it is displaying properly now, go figure...

Gallery / Re: Cyan Eyed Offiical Poster
« on: 2021-06-09, 23:57:48 »
Hmm :/ not sure why the bigger image in the body isn't showing up...

Gallery / Cyan Eyed Offiical Poster
« on: 2021-06-09, 22:06:23 »
Hey everyone, today I released the official poster for my upcoming animated short film, Cyan Eyed!

And for those that might have missed the trailer to the film, here it is:


Haha, really really soon now!

And today, I released the official poster for the film, I hope you all like it!

Actually, technically, this poster itself is a finished piece of work, which I may repost in the gallery.

The release of the steampunk themed adventure, Cyan Eyed is just around the corner! I can't wait to show off my new animated short film!

To stay up to date, make sure to Like/Follow:


General CG Discussion / Re: using corona passes in nuke
« on: 2021-02-07, 22:41:10 »
You are using the Zdefocus node incorrectly. The 'filter' input is the shape that the defocus areas convolve to, not the input of the depth pass. You need to channel in the ZDepth pass into the 'depth' channel. It is also a good idea to dilate the aliased zdepth pass by 1 to 2 pixels to avoid edge artefacts.

Oh, maaan! When? =)

Very soon! The only tasks left to do are comps and a couple of FX tasks.

And here is another sneak peak at some of the promotional art coming out soon.

Not long to go until the release of the action packed, steampunk themed animated short film, Cyan Eyed! Here is a sneak peak at some of the promotional art coming out soon.

I work at a a major VFX facility (700+ employees). For shows that deliver at 4k+, what we now do is that all departments that create images all work at half res (2k). Then once we have gotten a creative approval from the client for a shot, a set of 4k renders are then triggered at the end. Though, not all passes are selected for a 4k re-render, for example a dust pass may still be good enough at 2k. The new 4k comp is then delivered to the client as a 'tech' update. We found the trade off of re-rendering 4k versions of existing renders to be ore efficient that every department working at 4k from the beginning.

Btw, 4k is not actually a standard for films with an aim to release theatrically, a great deal of them are still native 2k. Ironically, most of the shows we work on at 4k res are mainly for the streamers, where people are watching from their phones most of the time, which seems a bit overkill.

I have a NAS that stores everything. Then on my workstation and render nodes I set up a system that localises from the NAS, files with specific extensions only (.cgeo, .tif, .pc2, etc.) that ones once a day.

The reasoning behind this that I offset a lot of my network traffic to happen at times other than when all my render nodes start working on a job. So that by the time they are ready to render a scene, 95% of the assets are already localised, and the nodes are not all hammering away at the same files on the network.

Honestly you'd be far better getting a small used rack mount server like a Dell poweredge or something similar

Agreed. Or for a small number of users (which you have mentioned it's the three of you), you could even go for a dedicated NAS box from QNap or similar. I use a NAS that runs on Linux (32tb) and have no problems saving huge Max files over my network (1 workstation + 3 render nodes).

You can generally get away with a higher noise level limit when rendering animation. For the short film I am making (trailer below), I have settled on 8% with the default level of denoising. In motion you can hardly tell the difference if the noise level limit was 8% or 3%. Plus if you still have some fireflies left over, some post denoising in your comp program always works too.

As for files, I use 16it exr's, with all AOV's set as individual files, NOT multi-channel exr's. As sometimes I use the AOV's, but sometimes I don't, so I have the option of having my comp render faster by simply using the beauty pass.

My film is about 10,500 frames, averaging 3 - 4 render layers per shot, which average around 25 AOV's per render layer = lot's of data. When I finish it later this year, I will be able to provide a deep dive on all of the metrics.

CYAN EYED - Official Trailer
The time is finally here! In preparation for a release later this year, watch this trailer to get you excited for steampunk themed action and adventure! All non-environment render elements are all rendered with Corona!

This labour of love from over 100 people needs your help, so if everyone who reads this can give this a share, we would appreciate it very much! Enjoy!

This is about to start in a few minutes!

@Fluss: I do want to release a making of soon after the release of the film later this year.
@artofcharly: Woohoo! Not long to go now.

The world premiere of the trailer for Cyan Eyed will be announced in 6 hours (7pm Vancouver time) during an Autodesk hosted webinar titled "How to manage a globally-dispersed virtual team":

I will be talking a lot about Cyan Eyed, and mentioning the use of Corona and a little on how I used it during this discussion. So if you want to be one of the first to see the trailer for Cyan Eyed with a lot of Corona rendered CG eye candy, be sure to click on that link to see it and hear me talk live!

Pages: [1] 2 3 ... 37