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 ... 35 36 [37] 38
Fantastic, thanks again!

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?

Great :)

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

Thanks for this guide, dubcat!

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

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:

Should we still be converting all roughness maps to glossiness maps using a process such as this:,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?


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).


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:

To follow the development of this short, make sure to 'Like' the Facebook page:


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

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!

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 ( to get a feel for the film.


* 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.

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..

[Max] General Discussion / Re: OpenSubdiv and Corona...
« on: 2015-03-24, 14:59:07 »
Thanks for the advice!

[Max] General Discussion / Re: OpenSubdiv and Corona...
« on: 2015-03-24, 05:27:52 »
Sorry, some more questions regarding OpenSubdiv...does Corona natively tessellate  OSD surfaces based on the view (breakdown the surface into micropolygons)? Or is the number of iterations set on the object basically dictate how many polys the object has, no matter how close to the camera it is?

I guess what I am trying to get at is what would be a "better" approach at producing good looking tight rounded corners on hard surface objects:
* The rounded corner functionality in Corona, which I am guessing is a shader/normal trick.
* OSD and if native rendertime tessellation works in Corona.
* The traditional edge loops/meshsmooth old school method.

I realise there are pros and cons between them all, but I was just wondering if you had any thoughts on this?

[Max] General Discussion / Re: OpenSubdiv and Corona...
« on: 2015-03-23, 13:17:39 »
Ok, thanks very much!

Pages: 1 ... 35 36 [37] 38