J’ai fait le décor en matte painting d’un cirque lugubre VR pour ces vidéos pour UNLTD, client: les cosmétiques NYX (filiale du groupe Loréal).
I did the Creepy Circus set matte painting in VR for those NYX cosmetic vidéos (part of Loréal Group) (for UNLTD)
Here are some Squashes and Pumpkins that I grabbed myself from the field with my little family, scanned them with love, retopologized and cleaned UVs in zbrush and uploaded them for sale on Turbosquid.
Click each image to buy them on Turbosquid if you want to use them in your projects or just study them..
If you are a CG maniac and have a few hours of sparetime (yeah sounds like a perfect antithesis) there are more and more podcast to listen to everyday, here are some:
Published today with Justin Goby (zbrush artist):
https://itunes.apple.com/…/…/the-zbrush-podcast/id1146947233
Yesterday with Grant Warwick (3ds max and V-Ray artist turned teacher/mentor):
http://www.thecollectivepodcast.com/
The Allan Mckay podcast (3ds max artist and mentor):
https://www.allanmckay.com/itunes/
https://itunes.apple.com/…/the-allan-mckay-podc…/id935478122
There is also the FXguide podcast (published september 12):
https://www.fxguide.com/fxpodcasts/fxpodcast-312-take-care-of-your-eyes/
Another one by Blendernation (from sept 22).
https://cloud.blender.org/blog/blender-institute-podcast-040-blendercoders
All very interesting podcasts but since I have trouble working while listening I hope I can stop time to listen to them all!
I am comparing start up times for max 2016 -17, Houdini and Blender.
Why those 4 apps? Because I am a 3ds Max user since more than 20 years and now I am seriously learning Houdini and Blender. And I was so impressed by Blender Startup time that I had to make this video.
3ds Max is surely an app I will still be using all my life cause there’s always a trick or two that the old cowboy has in his hat that allows him to act faster or easier (but not its startup time for sure).
But frankly Houdini really feels like a more modern app, I would even say like the most top-notch cutting edge 3D app you can ever imagine.
Blender on its side (apart the fact it is loading so fast and has many technology max doesn’t even has!) is most of all the result of the most innovative way of developing a 3D app: free and open source. We can share it, change it, use it, break it, fix it,Trash it, change it, mail – upgrade it… like the Daft Punk song: https://www.youtube.com/watch?v=YtdWHFwmd2o
Some SSS render tests just fresh out from my render farm! Comparing all the SSS methods we now have in V-Ray.
N.B: The effect is exagerated just to show how the SSS behaves and not mean to be photoreal. I also didn’t spent too much time trying to match each shader cause the other ones are just too long to adjust and I think it’s just obvious that the best (at least for skin) is the Alshader. The translucency in the regular V-Ray material is so much faster that it could be useful too.
The Alsurface shader (originally developped for Arnold by Anders Langlands) that Vlado just ported for V-Ray is available on Github:
https://github.com/ChaosGroup/vray_al_surface
This shader is not too long to render, the effect of the light passing through is the most realistic and the colors of each part is easy to control, you can adjust one color without screwing up the other colors.
V-Rays SSS2 was so difficult to control when you wanted to add some more red in the ears, the rest of the skin started to get some green (or the complimentary color).
The Alsurface render time is approximatively equal to that of SSS2.
The skin material was faster to render but also difficult to control the color and not so realistic.
The scatter volume is maybe the most realistic but I rendred it with the samping at zero cause it was just too slow to render, probably more than a hour to get clean result. Also I the transparency is too direct on that one, I could never get it to blur like the refraction glossiness. Maybe there’s a way but it’s so long to render to have didn’t have time to test this shader more than this.
The translucency in the regular v-ray material is another method to get sss and it is very fast to render. That’s the one that I used the most in my jobs cause it works great for food like cereal and such. But on a human’s skin it doesn’t look realistic unless you use it in a very subtle way.
But now with the alsurface, you can be sure I won’t use any other shader in V-Ray for SSS (except maybe the translucency when I need to render very fast).
For more on this shader, also see those links:
http://anderslanglands.com/alshaders/alSurface.html
http://forums.chaosgroup.com/showthread.php?87304-skin-shader-a-la-Alsurface-pleaseeee
Music: Erik Satie: Gymnopedie No 2 by Kevin MacLeod: creativecommons.org/licenses/by/3.0/
A test with the new V-Ray Alsurface shader just implemented by Vlado. I just pout it on my WIP anatomy model (I call him Monsieur Groleau) I am creating in Zbrush and did a turntable to see how it’s going. Far better than the vray sss2 shader!
Vlado just ported Alsurface shader to V-Ray (partially). Here I tested Alshader for V-Ray versus V-Ray SSS2. Alsurface is the clear winner!
Now V-Ray has nothing to envy to Arnold!
Available on github: https://github.com/ChaosGroup/vray_al_surface
I did the bubbles and Aero bars product shot for this Nestlé commercial. I modeled the bar in Zbrush. Rendered with V-Ray.
J’ai fait les bulles et le “product shot” des barres Aéro sur cette pub de Chocolat Aéro pour Nestlé. Modélisé dans Zrbush, rendu dans V-Ray.
A sand castle collapsing with Houdini. Just testing Houdini grain sim and mantra BPR rendering. I used 2 animated spheres to wake up the particles. Render was only between 2 to 5 minutes a frame with mantra BPR for 5.2 million particles. It took around 3 minutes a frame for simulation (5 hours total).
A grain sim in Houdini meshed with VDB and loaded in 3ds Max to render with V-Ray. I used an attribute vop after the grainsource to assign a noise to the parm_threshhold point attribute (yes threshhold with 2 “h”…) (which control the break treshold) and also to the attraction weight point attribute (which controls the clumping).