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Messages - agentdark45

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1
[Max] I need help! / Re: Large Carpet
« on: 2021-06-28, 15:31:56 »
Update - based on Carpet preset from Corona Material Library. Used custom displacement map. Quite happy with this look and feel.

That looks really great! Can you share the displacement map, or the steps you took to modify it/where you got it from?

2
But does it work with any arbitrary image, or just with Fstorm's native noise? I saw this feature praised many times, but it seems i can't get an answer to my question.

Yep, one of our use cases was mixing many 8K dirt maps, along with super stretched versions of the maps for beer can renders.

3
FStorm. Specifically in the bump mapping/parallax bump department. Natural anisotropy can be achieved simply with micro fine bump mapping - and it doesn't change depending on the level of zoom/render resolution.

Filtering in general is always tack-sharp in FStorm: sharp, but without CGI'd jaggies on edges. Material bitmaps for some reason just seem more natural and less grainy - and I'm not talking about render noise, there's a kind of fine pixel noise in Corona that shows up that's hard to describe (which goes away with down sampling). I've mostly noticed it on wood materials - I did some side by side comparisons a while ago where it was very obvious (don't have them to hand).

Adding DOF also doesn't cause a massive performance hit/excessive noise (despite tweaked sampling balances in Corona). Being able to render out interior vignettes in 5 minutes vs 1 hour+ for a noise free DOF shot is nothing to sniff at.

I've transitioned all of my high-end product vis and 50% of interior work to FStorm, despite Corona being more feature rich and easy to use in places. Being able to render on 3x3090's is blazing fast, in comparison to my 3970x (no a 3990x wouldn't touch the speeds I can achieve in Fstorm on a single machine).

I'll always settle on whatever render engine suits my needs and use cases, so this isn't necessarily a knock on Corona as a rendering engine. If the above issues were sorted I would transition back in a heartbeat (while the FStorm dev is a coding wizard, I don't like his attitude at all).

4
I'd like to bring this up again to be considered for the list of new features/poll. Thanks.

This is one of the reasons I've been slowly transitioning away from Corona. Filtering/texture sharpness/resolution dependent bump mapping/DOF noise just isn't on point and I can't keep waiting for it to be fixed. I've been speaking about it for years.

5
This is a simple untruth. No basis to this at all, we remain an independent team as always. As for resources the challenges remain the same - finding programmers who are actually good.... who are in Prague. The dev team all has to be in Prague, in one place. So there's no "Chaos sets the agenda for the team size / available resources" - what sets that are the number of good programmers who are in Prague (not in Sofia). The C++ Dev job post has been on our website constantly, because we are still always looking https://corona-renderer.com/about/jobs

Oof. Far be it from me to tell someone how to run their company, surely you must know that this is a severely limiting requirement (to both the pool of skilled dev's, and final product output?) With the world the way it is now, could some dev work not be done remotely?

6
[Max] I need help! / Re: Color correction techniques
« on: 2021-06-09, 15:02:34 »
I know those massive maxtree materials all too well. Ideally what would be needed here is a script to automatically add a colour correction node to the diffuse, translucency e.t.c maps, either linked or unlinked by a bezier float.

And while we're wishing for useful scripts: a feature to auto rename junk maps (i.e. 13456328734928372) to something more useful like "Diffuse ID1, Gloss ID1, Bump ID1" - and then auto remove copied maps, and instead link maps that should be instanced.

7
Jobs / 5HT is hiring talented 3D artists
« on: 2021-03-08, 18:44:51 »
5HT is looking for a talented mid-level 3D visualiser to join its team remotely in the UK.

The role will focus on creating photorealistic interior visuals for luxury hospitality interior design clients working alongside our 3D director. In addition to bespoke interior visuals, we also have opportunities to work on exterior architecture, product visuals and 3D animations.

Please visit our website for examples of the images you would be producing.

This will be a remote working position. You must be able to meet monthly in central London.

We will offer training and guidance so our workflows are aligned.

Salary: competitive (negotiable based on skill level)

Candidates must be eligible to work in the UK. Your portfolio must include photorealistic interior visuals and a selection of furniture items that you have personally modelled.

Please send a CV and a selection of work.

Skillset requirements:

- in-depth knowledge of 3D Studio Max, Corona / FStorm rendering engines and Photoshop
- the ability to create complex 3D scenes with precision
- highly skilled in detailed 3D furniture modeling, from reference imagery or concept sketches
- the ability to create complex lighting setups
- the ability to create photorealistic high-detail materials from reference imagery
- a keen eye for aesthetic composition
- the ability to liaise with clients in a professional manner
- excellent time management skills, and confident in your ability to work independently under pressure to ensure deadlines are always met
- fluent in English

We look forward to hearing from you.

www.5ht.design
careers@5ht.design

8
[Max] Bug Reporting / Re: big scene handling
« on: 2021-02-16, 13:06:30 »
I've noticed a similar thing, although I mostly deal with highly detailed interiors with high res materials. Once scenes start becoming more complex and detailed the interactive viewpoint slows to the point of becoming unusable.

9
Chipping in with my 2 cents: I've recently changed over my main monitor to an LG CX OLED. Such an amazing upgrade over my previous IPS monitor (I'm never going back to IPS). I use DisplayCal with a Spyder 5 for system wide calibration, and am around 1 Delta E.

The difference really is night and day, something was always "off" with the many IPS panels I've used before - constantly second guessing whether what you are seeing is correct/too contrasty/too saturated (even with calibration).

I believe LG are set to release a new G1 OLED this year which supposedly is meant to get brighter than the current CX, but it will cost a fair bit more.

10
Absolutely not, not for such price.

Ryzen 5950X trashes it all around completely. The 2990WX is sadly worth less than 700-750 Euros thus, at best and even that, for the platform (8 memory slots).

This. Not to mention the 2990wx will most likely melt his motherboards VRM's/suffer from extreme throttling.

That pro board looks very interesting btw Juraj, I wonder if there will be a new socket for the 5000 series Threadrippers, or whether existing TRX40 motherboards will be compatible - although I do find the silence on any new Threadrippers from AMD weird.

11
Would it not be easier to just create a dedicated "IOR map" that the source bitmap feeds into, that automatically inverts, and internally changes the high value according to whatever the main material IOR is? This implementation shouldn't need a material rewrite or break any pre-existing material setups (kind of like how a bitmap feeds into a "normal map" before going into the bump slot).

12
metalness should be really used only for materials made of metal - so concrete, marble, silk are non-metal. Darkened bronze would be probably done with metalness map (metal bronze vs. non-metal "dirt"). Car paint is very complex and specific material, neither metal nor non-metal will represent it 100% physically, so I guess it would be possible to fake it with both

Great, thanks for clearing that up.

13
As a quick workaround (whilst you procrastinate and put off learning UV unwrapping because it doesn't seem that important yet...) I sometimes do the following:

1. Make sure your object is an editable poly, or apply an edit poly modifier
2. Select the sub-object element for the part you want to edit
3. Rotate around the axis relevant to the wood grain you need to change
4. Leave sub-object mode and rotate at object level back to the original position

This will effectively alter the objects UVW coordinates, I use this process a lot when I have a triplanar wood material instanced across multiple objects, I find it quicker than unwrapping everything.

Hold up, does the Triplanar map read local axis/UVW direction of sub-objects? This would be a lifesaver!

14
Am I correct to say that you guys implemented oren-nayar diffuse model ? This looks really really promissing !

Would like to know more about this for sure. The Arnold examples posted a while ago really benefited from the diffuse model.

Also, is there a guide for how to use legacy reflection and glossyness maps with the new PBR material?

Also, under what circumstances would you use the metalness/non-metal workflow? For example; semi-polished concrete, dark antique/tarnished bronze, polished marble, silk rugs, car paint e.t.c. I'm a bit confused as to where the cut off point is where materials have a reflective but also strong diffuse component. Or am I misunderstanding metalness?

15
[Max] General Discussion / Re: Tonemapping - Plz Halp
« on: 2020-12-04, 18:43:06 »
Just curious, what are your main reasons for pursuing this pipeline? Is it to keep up with industry movement or are you finding much benefit from it in your CG pipeline?
I think over the past 5/6 years ive read similar threads and its been interesting seeing how the discussion changes and seeing how much better its understood each time but i think alot of people, myself included, would love to know how following colour managed workflow in this way actually helps you day-to-day.

Ultimately for me it's to get better and more photographic renders "out of the box". Less fiddling with VFB sliders and cursing over blowouts, black crush, murky greys, wonky contrast/saturation, scrolling through LUTs e.t.c.

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