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Messages - Njen

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541
I get where you are coming from, believe me.

But to look at this another way: I can rattle off in 10 seconds a number of different software solutions to add lens effects to an image, but I can't see a single physical skin shader that can be used with Corona.

What I'm trying to say is that I think resources should be diverted to areas that are unique to Corona first, then once all of the holes have been filled, go ahead and implement features that are many other software packages already do. Do we really need yet another method to add bloom to an image right now, or can we get support for far more necessary features that we currently do not have support for like skin, dispersion, reflection/refraction includes/excludes.

[Edit:] Oh, and thanks for the kind words about Cyan Eyed ;)

542
To put my comment into a more practical perspective (which also gives me a chance to shamelessly self promote my current project), I'm currently making an 8 minute steampunk themed, action based, animated short film all rendered in Corona (www.cyan-eyed.com), and I have zero interest in post effects. As even on this, being my own personal project, I want the greatest level of control in comp, and the last thing I would want to deal with is element merging or colour correction on images that have glare and bloom already rendered in them. I don't see myself using any of the post effects at all.

543
Just to throw in my perspective here, as someone who has worked in the CG industry for over 20 years that I'd rather a renderer focus on rendering and all post happen in software designed specifically for post. In my humble opinion, any renderer that tries to do post effects will not be able to provide the quality or level of control as other software that has been explicitly designed to do those tasks well. Granted, other people are seeking an 'all-in-one" solution, but features like post effects in a renderer is almost useless on mid to large studios that already have tried and true methods to get better results.

From what I've read there has been someone hired to specifically work on the post effects, but I'd have rather seen those resources go into development of more renderer orientated features like skin, fur, volumes, etc. No post effect development time is more important that a decent skin shader, for example.

But again, I realise that different people have different needs.

544
Fantastic, thanks again!

545
Thanks for those values.

With the new GGX fix for glossiness in the upcoming 1.5 release, how will that effect material set ups? I guess at the minimum the 'GGX Fix' curve on the glossiness map can be removed, right? Would there be anything else that can be simplified?

546
Great :)

Also, are you assuming that all non-metal surfaces come under the plastic workflow? For example: wood, stone, organics, etc? What about glass?

547
Thanks for this guide, dubcat!

Do you use the IOR map from Substance Painter at all?

549
With the recent release of Substance Painter 2.1, I was wondering how relevant all of the previous information on how to use Substance Painter with Corona still is?

For example, is the information in the Polygon forum post still valid even though this was written for Corona 1.2 in July of last year:
http://polycount.com/discussion/155524/pbr-basecolor-metallic-to-vray-3-2-corona-redshift-arnold-converter

Should we still be converting all roughness maps to glossiness maps using a process such as this:
https://forum.corona-renderer.com/index.php/topic,9489.0.html

Or does the Corona export feature in Substance Painter take care of these now?

Do certain textures output from Substance still need to have their gamma overridden?

Substance Painter outputs a height and a normal map, are both of these needed?

Is there any other information that users can share?

Thanks!

550
Actually, I can share two images recently rendered with Corona. These two robots are two of the main characters of the film. There is only a default grey shader applied to all geo except for a few select surfaces that have simple glass and light material shaders (proper look dev is coming).

Enjoy!

551
I'm working on an animated short film that is aiming for a photoreal look. 'Cyan Eyed' is a steampunk themed action adventure with a few hero characters (some with clothing and hair) and lot's of detail. There is currently not too much to show in the way of renders, but you can check out some of the concept art that has gone in to it and extrapolate from there how much work will be needed to complete it:
http://www.cyan-eyed.com/

To follow the development of this short, make sure to 'Like' the Facebook page:
https://www.facebook.com/Nezui/

Thanks!

552
Thanks very much! I can't wait to share the results.

553
I guess I should expand a little on who may be right for this role, as it ends up there wasn't much traffic as I thought there would be.

A look development artist is someone who creates and fine tunes materials and surface parameters. You generally will not be creating textures (some Photoshopping of masks may be needed), but you may be adjusting procedural noises. Basically, if you like to make surfaces and materials look realistic with most of the textures already supplied, then you may be right for the part.

I am also interested in hearing from people of all skill levels. Even if you have never done it before professionally, but you have some good looking Corona renders that show off some realistic surfaces, I'd be interested in hearing from you.

Even if you are a little bit curious, but have a bunch of good looking renders, please contact me!

554
Jobs / Corona look dev artist needed for short film [paid]
« on: 2015-07-02, 03:10:08 »
Hello everyone,

I'm looking for a Corona based look development artist to work on a photorealistic, fully animated short film. Cyan Eyed is a high flying steampunk adventure short which will focus on stunning imagery and awesome action. We have a great team already working on the film which is currently in the asset build stage with a previs completed. Check out some of the great concept art currently on the website (http://www.cyan-eyed.com/) to get a feel for the film.

Requirements:

* As a look development artist, you will be responsible for the 'look' of all of the materials in the film, working with the asset builders, texturers and lighters to produce photoreal surfaces.

* Have an in depth knowledge of Corona and 3DS Max

* Optimise and efficiently create materials that render as fast as possible.

* This job can be done from any remote location, so a high amount of self motivation to stay to the schedule as much as possible is required.

* You will stay in regular contact and maintain communication during the length of your tasks.

* You will regularly post work-in-progress updates to the film's Shotgun server (asset management and tracking system).

* You will maintain a friendly and professional attitude and act as a supportive member of the crew with everyone else.

About me (Ryan Grobins): I am a lead lighter with 19 years experience in the VFX and animation industry working on films such as The Wolverine, The Hunger Games and Happy Feet. Of particular note, I lead the lighting of the Quicksilver Pentagon kitchen sequence in the recent X-Men: Days of Future Past. I have also made two shot films previously: Sneeze Me Away (2010) screened in over 30 festivals and won a number of awards, and The Rose of Turaida (2013) screened in over 70 festivals including at Siggraph's Electronic Theatre and won a number of awards also.

This film is fully self funded, and while I won't be able to pay industry rates, the work will be paid, with prices being negotiable. The time frame for this position is to begin very soon, and go through till roughly December. This is not full time work, you would be free to manage the tasks that can roughly follow the project timeline as long as it is agreed upon by myself and the producer

I look forward to hearing from you all, and please feel free to pm me or post replies here if you have any questions.
Thanks!

555
Because the albedo value of an object bounces light back in to the scene, falling on objects around it, it maybe impossible to set up something you are requesting.

If you have a red ball on a grey surface, the reflected rays off of the red ball will bounce red on the grey surface. But if the ball was blue, then it will bounce blue. So even if you are able to have multiple albedo renders and a hue-less render to multiply it against, you will lose the colour bleed information that comes from having the proper albedo values on the objects in the first place..

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