Re: Glasswoks Lycra
awesome On 4 October 2014 16:18, Jason S jasonsta...@gmail.com wrote: By 1 you mean 100%? well that would hardly be surprising, together they sort of make like a rocket boosted rocket! And I don't know for others, but for me, apart from highlighting awesomeness, it's (partly) to not talk about the day before yesterdays thread. To which I commented on the article and then pressed save instead of send, to reduce the probability of the thread eventually involving DarthVader (taking over) which could similarly be approaching 1. On 10/04/14 5:48, Andreas Bystrom wrote: as an xsilist thread grows longer, the probability of it involving redshift approaches 1 On Sat, Oct 4, 2014 at 1:24 PM, Jason S jasonsta...@gmail.com wrote: Redshift is a noise cruncher :] (and soft is a production cruncher :] ) On 10/03/14 20:11, Jason S wrote: Once I tried the classroom, but with literally everything everywhere displaced at a level of less than a pixel.. a blurry reflection scene material , many many area lights and with a wild camera move, to make motion blurred very dense displaced geo all over the frame (with 1st bouce brute force GI) , to make the most nightmareish sampling task as possible, and rendered a 1080p frame in 14 min (to get where noise was at an acceptable amount) (.. and I was floored! :] (non-tweaked to death settings took 2h) Would have taken several -hours- if not days with anything else! Made like a full screen of (mostly noise free) fine-fine trail lines (under little redshift logos :] ) On 10/03/14 18:44, ola.mad...@digitalcontext.se wrote: Yes, it's a really sweet setup. And it still only requires one license per machine even if you run separate tasks on each card. We're using a mixtures of Titans, 780ti and tesla cards and I can only second what everyone else is saying. It's ridiculous fast. O 3 okt 2014 kl. 23:57 skrev Mirko Jankovic mirkoj.anima...@gmail.com: yes that is exactly what I'm doing. 4 titans using all together when tweaking everything pulling speed from them, and then in most of cases sending to Deadline with 4 of them each rendering 1 frame or 2 by 2. Really good support in Deadline for that . On Fri, Oct 3, 2014 at 11:50 PM, ola.mad...@digitalcontext.se ola.mad...@digitalcontext.se wrote: Yes, there seems to be a decline at 3 cards. But another great thing about redshift is that you can render multiple tasks simultaneously so card 1 2 render frame 1 and card 3 4 render frame 2, etc. this is fully supported with Deadline (don't know about royal render, but I think someone said it was supported as well). Cheers Ola 3 okt 2014 kl. 21:54 skrev Ed Manning etmth...@gmail.com: On Fri, Oct 3, 2014 at 3:49 PM, Simon van de Lagemaat si...@theembassyvfx.com wrote: But still distributing one frame across two cards right? yes. IIR, the docs say up to 8 cards per host. though there is a decline in returns, so I think most people don't go over 3. -- Chris Marshall Mint Motion Limited 029 20 37 27 57 07730 533 115 www.mintmotion.co.uk
Re: Glasswoks Lycra
Very cool, well done. On Wed, Oct 1, 2014 at 5:41 AM, Alastair Hearsum hear...@glassworks.co.uk wrote: Thanks for the compliment. Yes Softimage and Redshift Great result from the team here at Glassworks and such a good director work with. Alastair Hearsum Head of 3d [image: GLASSWORKS] http://www.glassworks.co.uk[image: Facebook] http://www.facebook.com/pages/Glassworks/150976168270682 [image: Twitter] https://twitter.com/GlassworksVFX [image: Vimeo] https://vimeo.com/glassworksamsterdam [image: Instagram] http://instagram.com/glassworksvfx/ See our latest work *here*. http://www.glassworks.co.uk/ 33/34 Great Pulteney Street London W1F 9NP T +44 (0)20 7434 1182 glassworks.co.uk http://www.glassworks.co.uk Glassworks Terms and Conditions of Sale can be found at glassworks.co.uk (Company registered in England with number 04759979. Registered office 25 Harley Street, London, W1G 9BR. VAT registration number: 86729) Please consider the environment before you print this email. DISCLAIMER: This e-mail and attachments are strictly privileged, private and confidential and are intended solely for the stated recipient(s). Any views or opinions presented are solely those of the author and do not necessarily represent those of the Company. If you are not the intended recipient, be advised that you have received this e-mail in error and that any use, dissemination, forwarding, printing, or copying of this e-mail is strictly prohibited. If this transmission is received in error please kindly return it to the sender and delete this message from your system. On 30/09/2014 18:55, olivier jeannel wrote: http://www.glassworks.co.uk/video/lycra-moves-yousearch-type=allterm=all Beautifull film, out of curiousity are we still speaking softimage here ?
Re: Glasswoks Lycra
By 1 you mean 100%? well that would hardly be surprising, together they sort of make like a rocket boosted rocket! And I don't know for others, but for me, apart from highlighting awesomeness, it's (partly) to not talk about the day before yesterdays thread. To which I commented on the article and then pressed save instead of send, to reduce the probability of the thread eventually involving DarthVader (taking over) which could similarly be approaching 1. On 10/04/14 5:48, Andreas Bystrom wrote: as an xsilist thread grows longer, the probability of it involving redshift approaches 1 On Sat, Oct 4, 2014 at 1:24 PM, Jason S jasonsta...@gmail.com wrote: Redshift is a noise cruncher :] (and soft is a production cruncher :] ) On 10/03/14 20:11, Jason S wrote: Once I tried the classroom, but with literally everything everywhere displaced at a level of less than a pixel.. a blurry reflection scene material , many many area lights and with a wild camera move, to make motion blurred very dense displaced geo all over the frame (with 1st bouce brute force GI) , to make the most nightmareish sampling task as possible, and rendered a 1080p frame in 14 min (to get where noise was at an acceptable amount) (.. and I was floored! :] (non-tweaked to death settings took 2h) Would have taken several -hours- if not days with anything else! Made like a full screen of (mostly noise free) fine-fine trail lines (under little redshift logos :] ) On 10/03/14 18:44, ola.mad...@digitalcontext.se wrote: Yes, it's a really sweet setup. And it still only requires one license per machine even if you run separate tasks on each card. We're using a mixtures of Titans, 780ti and tesla cards and I can only second what everyone else is saying. It's ridiculous fast. O 3 okt 2014 kl. 23:57 skrev Mirko Jankovic mirkoj.anima...@gmail.com: yes that is exactly what I'm doing. 4 titans using all together when tweaking everything pulling speed from them, and then in most of cases sending to Deadline with 4 of them each rendering 1 frame or 2 by 2. Really good support in Deadline for that . On Fri, Oct 3, 2014 at 11:50 PM, ola.mad...@digitalcontext.se ola.mad...@digitalcontext.se wrote: Yes, there seems to be a decline at 3 cards. But another great thing about redshift is that you can render multiple tasks simultaneously so card 1 2 render frame 1 and card 3 4 render frame 2, etc. this is fully supported with Deadline (don't know about royal render, but I think someone said it was supported as well). Cheers Ola
Re: Glasswoks Lycra
Thanks very much guys, we're glad you like the job! Some have been scratching their heads about how we've achieved the extrusion effect and creation of UVs, and Manny, you've cracked it already! After a lot of RD and smoking heads we've 'settled' with the most simple technique, which seemed to work best to achieve the effect the Director was after, and it also turned out to be robust and fast. For the majority of cloth elements we've used the following workflow: After having accurately tracked characters and the camera we've: - drawn spline curves on a static copy of the character's mesh to define the areas the cloth should be 'emitted' from. - we then sampled points on these curves, reinterpreted the locations on the animated characters, and - for every frame of a shot added strand positions, effectively creating strand trail point clouds for the whole length of a shot, for every piece of garment - the strands were then converted into splines and - lofted. So for a lot of shots we already head the UVs for free. For quite a few shots, because of the nature of the dancers' movements we needed to re-do the UVs though. So we ended up with an extruded mesh (one edge loop per frame, or subdivided if more detail was needed) which represented the dancer's movement in 3D space over time. Using ICE we've triggered vertices at the right time to start simulating (using a Verlet setup) and hid/deleted all polygons 'in front' of a dancer. For some shots to help joining characters and garment, additional pieces were simulated using nCloth or Marvelous Designer. That's it, nothing too fancy. :) cheers, Florian On Thu, Oct 2, 2014 at 10:09 PM, Jason S jasonsta...@gmail.com wrote: Don't know how it was extruded, but the integration with actors' very dynamic movements is excellent! don't know exactly where real cloth starts or ends! :] On 10/02/14 16:56, Steven Caron wrote: if they are generating the data from strands then they know the start and end, as long as they know the vertical start and end it wouldn't be very hard to generate the the UVs along with the mesh. On Thu, Oct 2, 2014 at 1:53 PM, Manny Papamanos manny.papama...@autodesk.com wrote: The long extruded element may already be generated as a whole piece, and then is 'masked' off. Would definitely be easier if it were patch/nurbs based. Manny Papamanos Product Support Specialist Americas Frontline Technical Support Customer Service and Support From: softimage-boun...@listproc.autodesk.com [mailto: softimage-boun...@listproc.autodesk.com] On Behalf Of adrian wyer Sent: Thursday, October 02, 2014 6:46 AM To: softimage@listproc.autodesk.com Subject: RE: Glasswoks Lycra any idea how the UVs were created? a
Re: Glasswoks Lycra
oh and I forgot to mention: without Redshift we'd be still rendering! On Fri, Oct 3, 2014 at 11:32 AM, Florian Juri florian.j...@googlemail.com wrote: Thanks very much guys, we're glad you like the job! Some have been scratching their heads about how we've achieved the extrusion effect and creation of UVs, and Manny, you've cracked it already! After a lot of RD and smoking heads we've 'settled' with the most simple technique, which seemed to work best to achieve the effect the Director was after, and it also turned out to be robust and fast. For the majority of cloth elements we've used the following workflow: After having accurately tracked characters and the camera we've: - drawn spline curves on a static copy of the character's mesh to define the areas the cloth should be 'emitted' from. - we then sampled points on these curves, reinterpreted the locations on the animated characters, and - for every frame of a shot added strand positions, effectively creating strand trail point clouds for the whole length of a shot, for every piece of garment - the strands were then converted into splines and - lofted. So for a lot of shots we already head the UVs for free. For quite a few shots, because of the nature of the dancers' movements we needed to re-do the UVs though. So we ended up with an extruded mesh (one edge loop per frame, or subdivided if more detail was needed) which represented the dancer's movement in 3D space over time. Using ICE we've triggered vertices at the right time to start simulating (using a Verlet setup) and hid/deleted all polygons 'in front' of a dancer. For some shots to help joining characters and garment, additional pieces were simulated using nCloth or Marvelous Designer. That's it, nothing too fancy. :) cheers, Florian On Thu, Oct 2, 2014 at 10:09 PM, Jason S jasonsta...@gmail.com wrote: Don't know how it was extruded, but the integration with actors' very dynamic movements is excellent! don't know exactly where real cloth starts or ends! :] On 10/02/14 16:56, Steven Caron wrote: if they are generating the data from strands then they know the start and end, as long as they know the vertical start and end it wouldn't be very hard to generate the the UVs along with the mesh. On Thu, Oct 2, 2014 at 1:53 PM, Manny Papamanos manny.papama...@autodesk.com wrote: The long extruded element may already be generated as a whole piece, and then is 'masked' off. Would definitely be easier if it were patch/nurbs based. Manny Papamanos Product Support Specialist Americas Frontline Technical Support Customer Service and Support From: softimage-boun...@listproc.autodesk.com [mailto: softimage-boun...@listproc.autodesk.com] On Behalf Of adrian wyer Sent: Thursday, October 02, 2014 6:46 AM To: softimage@listproc.autodesk.com Subject: RE: Glasswoks Lycra any idea how the UVs were created? a
Re: Glasswoks Lycra
A wee making of would be nice :) On 3 October 2014 11:34, Florian Juri florian.j...@googlemail.com wrote: oh and I forgot to mention: without Redshift we'd be still rendering! On Fri, Oct 3, 2014 at 11:32 AM, Florian Juri florian.j...@googlemail.com wrote: Thanks very much guys, we're glad you like the job! Some have been scratching their heads about how we've achieved the extrusion effect and creation of UVs, and Manny, you've cracked it already! After a lot of RD and smoking heads we've 'settled' with the most simple technique, which seemed to work best to achieve the effect the Director was after, and it also turned out to be robust and fast. For the majority of cloth elements we've used the following workflow: After having accurately tracked characters and the camera we've: - drawn spline curves on a static copy of the character's mesh to define the areas the cloth should be 'emitted' from. - we then sampled points on these curves, reinterpreted the locations on the animated characters, and - for every frame of a shot added strand positions, effectively creating strand trail point clouds for the whole length of a shot, for every piece of garment - the strands were then converted into splines and - lofted. So for a lot of shots we already head the UVs for free. For quite a few shots, because of the nature of the dancers' movements we needed to re-do the UVs though. So we ended up with an extruded mesh (one edge loop per frame, or subdivided if more detail was needed) which represented the dancer's movement in 3D space over time. Using ICE we've triggered vertices at the right time to start simulating (using a Verlet setup) and hid/deleted all polygons 'in front' of a dancer. For some shots to help joining characters and garment, additional pieces were simulated using nCloth or Marvelous Designer. That's it, nothing too fancy. :) cheers, Florian On Thu, Oct 2, 2014 at 10:09 PM, Jason S jasonsta...@gmail.com wrote: Don't know how it was extruded, but the integration with actors' very dynamic movements is excellent! don't know exactly where real cloth starts or ends! :] On 10/02/14 16:56, Steven Caron wrote: if they are generating the data from strands then they know the start and end, as long as they know the vertical start and end it wouldn't be very hard to generate the the UVs along with the mesh. On Thu, Oct 2, 2014 at 1:53 PM, Manny Papamanos manny.papama...@autodesk.com wrote: The long extruded element may already be generated as a whole piece, and then is 'masked' off. Would definitely be easier if it were patch/nurbs based. Manny Papamanos Product Support Specialist Americas Frontline Technical Support Customer Service and Support From: softimage-boun...@listproc.autodesk.com [mailto: softimage-boun...@listproc.autodesk.com] On Behalf Of adrian wyer Sent: Thursday, October 02, 2014 6:46 AM To: softimage@listproc.autodesk.com Subject: RE: Glasswoks Lycra any idea how the UVs were created? a
Re: Glasswoks Lycra
...@listproc.autodesk.com [mailto:softimage-boun...@listproc.autodesk.com mailto:softimage-boun...@listproc.autodesk.com] On Behalf Of adrian wyer Sent: Thursday, October 02, 2014 6:46 AM To: softimage@listproc.autodesk.com mailto:softimage@listproc.autodesk.com Subject: RE: Glasswoks Lycra any idea how the UVs were created? a
Re: Glasswoks Lycra
i'm sure, i meant even a viewport capture, just to see the verious bits in the viewport, and yes of course i understand you guys gota make tracks ;) On 3 October 2014 18:13, Alastair Hearsum hear...@glassworks.co.uk wrote: We're going to try and get one out. You know how it is when you are straight on to the next thing though. Alastair Hearsum Head of 3d [image: GLASSWORKS] http://www.glassworks.co.uk[image: Facebook] http://www.facebook.com/pages/Glassworks/150976168270682 [image: Twitter] https://twitter.com/GlassworksVFX [image: Vimeo] https://vimeo.com/glassworksamsterdam [image: Instagram] http://instagram.com/glassworksvfx/ See our latest work *here*. http://www.glassworks.co.uk/ 33/34 Great Pulteney Street London W1F 9NP T +44 (0)20 7434 1182 glassworks.co.uk http://www.glassworks.co.uk Glassworks Terms and Conditions of Sale can be found at glassworks.co.uk (Company registered in England with number 04759979. Registered office 25 Harley Street, London, W1G 9BR. VAT registration number: 86729) Please consider the environment before you print this email. DISCLAIMER: This e-mail and attachments are strictly privileged, private and confidential and are intended solely for the stated recipient(s). Any views or opinions presented are solely those of the author and do not necessarily represent those of the Company. If you are not the intended recipient, be advised that you have received this e-mail in error and that any use, dissemination, forwarding, printing, or copying of this e-mail is strictly prohibited. If this transmission is received in error please kindly return it to the sender and delete this message from your system. On 03/10/2014 14:45, Sebastien Sterling wrote: A wee making of would be nice :) On 3 October 2014 11:34, Florian Juri florian.j...@googlemail.com wrote: oh and I forgot to mention: without Redshift we'd be still rendering! On Fri, Oct 3, 2014 at 11:32 AM, Florian Juri florian.j...@googlemail.com wrote: Thanks very much guys, we're glad you like the job! Some have been scratching their heads about how we've achieved the extrusion effect and creation of UVs, and Manny, you've cracked it already! After a lot of RD and smoking heads we've 'settled' with the most simple technique, which seemed to work best to achieve the effect the Director was after, and it also turned out to be robust and fast. For the majority of cloth elements we've used the following workflow: After having accurately tracked characters and the camera we've: - drawn spline curves on a static copy of the character's mesh to define the areas the cloth should be 'emitted' from. - we then sampled points on these curves, reinterpreted the locations on the animated characters, and - for every frame of a shot added strand positions, effectively creating strand trail point clouds for the whole length of a shot, for every piece of garment - the strands were then converted into splines and - lofted. So for a lot of shots we already head the UVs for free. For quite a few shots, because of the nature of the dancers' movements we needed to re-do the UVs though. So we ended up with an extruded mesh (one edge loop per frame, or subdivided if more detail was needed) which represented the dancer's movement in 3D space over time. Using ICE we've triggered vertices at the right time to start simulating (using a Verlet setup) and hid/deleted all polygons 'in front' of a dancer. For some shots to help joining characters and garment, additional pieces were simulated using nCloth or Marvelous Designer. That's it, nothing too fancy. :) cheers, Florian On Thu, Oct 2, 2014 at 10:09 PM, Jason S jasonsta...@gmail.com wrote: Don't know how it was extruded, but the integration with actors' very dynamic movements is excellent! don't know exactly where real cloth starts or ends! :] On 10/02/14 16:56, Steven Caron wrote: if they are generating the data from strands then they know the start and end, as long as they know the vertical start and end it wouldn't be very hard to generate the the UVs along with the mesh. On Thu, Oct 2, 2014 at 1:53 PM, Manny Papamanos manny.papama...@autodesk.com wrote: The long extruded element may already be generated as a whole piece, and then is 'masked' off. Would definitely be easier if it were patch/nurbs based. Manny Papamanos Product Support Specialist Americas Frontline Technical Support Customer Service and Support From: softimage-boun...@listproc.autodesk.com [mailto: softimage-boun...@listproc.autodesk.com] On Behalf Of adrian wyer Sent: Thursday, October 02, 2014 6:46 AM To: softimage@listproc.autodesk.com Subject: RE: Glasswoks Lycra any idea how the UVs were created? a
Re: Glasswoks Lycra
Why is that? I didn't see anything in that spot any renderer couldn't handle without issue. Was there some specific reason redshift excelled beyond some extra gpu power? On Fri, Oct 3, 2014 at 3:34 AM, Florian Juri florian.j...@googlemail.com wrote: oh and I forgot to mention: without Redshift we'd be still rendering!
Re: Glasswoks Lycra
sheer power and speed of Redshift is something you need to see first hand really :) they will oproably explain better but... Redshift for a lot of people was game changer On Fri, Oct 3, 2014 at 7:53 PM, Simon van de Lagemaat si...@theembassyvfx.com wrote: Why is that? I didn't see anything in that spot any renderer couldn't handle without issue. Was there some specific reason redshift excelled beyond some extra gpu power? On Fri, Oct 3, 2014 at 3:34 AM, Florian Juri florian.j...@googlemail.com wrote: oh and I forgot to mention: without Redshift we'd be still rendering!
Re: Glasswoks Lycra
that extra GPU power is a dramatic increase in speed though. On Fri, Oct 3, 2014 at 10:53 AM, Simon van de Lagemaat si...@theembassyvfx.com wrote: Why is that? I didn't see anything in that spot any renderer couldn't handle without issue. Was there some specific reason redshift excelled beyond some extra gpu power? On Fri, Oct 3, 2014 at 3:34 AM, Florian Juri florian.j...@googlemail.com wrote: oh and I forgot to mention: without Redshift we'd be still rendering!
Re: Glasswoks Lycra
I will add quality and clean renders to the speed and power. No fireflies, unexpected noise, etc. Besides for me it is not only about the rendering. Maybe if you have a super render farm, you can just send the job and forget about unitl it is done. But when working in texturing, shading, and lighting, Redshift is a joy to work with, and a hell of a time saver. --- Emilio Hernández VFX 3D animation.
Re: Glasswoks Lycra
hey emilio which rendering engines do you use? On Fri, Oct 3, 2014 at 11:09 AM, Emilio Hernandez emi...@e-roja.com wrote: I will add quality and clean renders to the speed and power. No fireflies, unexpected noise, etc. Besides for me it is not only about the rendering. Maybe if you have a super render farm, you can just send the job and forget about unitl it is done. But when working in texturing, shading, and lighting, Redshift is a joy to work with, and a hell of a time saver.
Re: Glasswoks Lycra
It really is. Even on very complex scenes. -Tim On 10/3/2014 1:06 PM, Steven Caron wrote: that extra GPU power is a dramatic increase in speed though. On Fri, Oct 3, 2014 at 10:53 AM, Simon van de Lagemaat si...@theembassyvfx.com mailto:si...@theembassyvfx.com wrote: Why is that? I didn't see anything in that spot any renderer couldn't handle without issue. Was there some specific reason redshift excelled beyond some extra gpu power? On Fri, Oct 3, 2014 at 3:34 AM, Florian Juri florian.j...@googlemail.com mailto:florian.j...@googlemail.com wrote: oh and I forgot to mention: without Redshift we'd be still rendering! -- Signature
Re: Glasswoks Lycra
Not having to kick ass or rewind a frame for evey render region preview is a huge time saver on its own.. On 3 Oct 2014 19:12, Steven Caron car...@gmail.com wrote: hey emilio which rendering engines do you use? On Fri, Oct 3, 2014 at 11:09 AM, Emilio Hernandez emi...@e-roja.com wrote: I will add quality and clean renders to the speed and power. No fireflies, unexpected noise, etc. Besides for me it is not only about the rendering. Maybe if you have a super render farm, you can just send the job and forget about unitl it is done. But when working in texturing, shading, and lighting, Redshift is a joy to work with, and a hell of a time saver.
Re: Glasswoks Lycra
At the cost of a smaller fast memory pool? From what I understand Redshift slows down significantly when it starts using off board RAM? I know this is one of the main reasons many other renderers haven't gone to the GPU yet since cards with decent amounts of memory are still priced far too high. How is Redshift with overall memory usage? i.e. what is the memory footprint per polygon etc. Also it's biased correct? I become nauseous when someone mentions that word, is their approach better than other IC approaches? Similar pitfalls? I may try it this weekend on my 780gtx (only 3GB onboard) at home since it's been getting good PR here. With the type of memory heavy rendering we do for film and the efficient platform agnostic pipeline friendly workflow we have with Arnold I don't see it being useful outside some smaller commercial jobs but I'd like to get a taste of the speed and interactivity. I suppose if we were a 5 person shop again something like RS would be a godsend. On Fri, Oct 3, 2014 at 11:06 AM, Steven Caron car...@gmail.com wrote: that extra GPU power is a dramatic increase in speed though.
Re: Glasswoks Lycra
Since Redshift appeared, mostly I used Mental Ray since Softimage 3D 3.5 I used Maxwell, Arnold, 3Delight, Fury and I was in the beta testers of V-ray. But when finally Redshift came out in its Alpha stage, and I was able to participate in the group. I knew this was the render engine I was expecting for Softimage. I was working in a 5 seconds lenght product shot for Kellogg's that with my hardware resources, it would have been impossible to deliver on time with the quality the client was expecting. So, straight after download and installed Redshift, I gave it a try. Straight from the beggining, I felt at home with Redshift, setup the scene in a breeze, made a couple of tests and hit render. The final render came out without any problem and incredibly fast without any flickering, fireflies, noise, etc. Since then, I am using Redshift 99% Except for particle volumes. Cheers! --- Emilio Hernández VFX 3D animation. 2014-10-03 13:11 GMT-05:00 Steven Caron car...@gmail.com: hey emilio which rendering engines do you use? On Fri, Oct 3, 2014 at 11:09 AM, Emilio Hernandez emi...@e-roja.com wrote: I will add quality and clean renders to the speed and power. No fireflies, unexpected noise, etc. Besides for me it is not only about the rendering. Maybe if you have a super render farm, you can just send the job and forget about unitl it is done. But when working in texturing, shading, and lighting, Redshift is a joy to work with, and a hell of a time saver.
Re: Glasswoks Lycra
Ditto. total gamechanger. Redshift is literally the only thing that kept me from closing up shop. I had priced out new multicore render nodes, and licenses for VRay and Arnold, as well as testing Arion, Octane and more obscure options, and the numbers just didn't make sense. I was going to just not be able to continue doing the type of remote work my clients expect on the schedules they need, and make enough money for it to be worth doing. For example, I'm just putting 2 new render machines online - they're refurb Dell workstations that cost $450 each, with an additional 16GB RAM, ($190 each), an auxiliary drive bay power supply ($25!) and 2 GTX 780s ($850/pair). So each render node's hardware was about $1500, the Redshift license is $500, and I get much better performance from each node than I see from brand-new $10K 20-core CPU render boxes.
Re: Glasswoks Lycra
Forgot to mention the amazing Redshift support. Those guys really rock! --- Emilio Hernández VFX 3D animation. 2014-10-03 13:43 GMT-05:00 Ed Manning etmth...@gmail.com: Ditto. total gamechanger. Redshift is literally the only thing that kept me from closing up shop. I had priced out new multicore render nodes, and licenses for VRay and Arnold, as well as testing Arion, Octane and more obscure options, and the numbers just didn't make sense. I was going to just not be able to continue doing the type of remote work my clients expect on the schedules they need, and make enough money for it to be worth doing. For example, I'm just putting 2 new render machines online - they're refurb Dell workstations that cost $450 each, with an additional 16GB RAM, ($190 each), an auxiliary drive bay power supply ($25!) and 2 GTX 780s ($850/pair). So each render node's hardware was about $1500, the Redshift license is $500, and I get much better performance from each node than I see from brand-new $10K 20-core CPU render boxes.
Re: Glasswoks Lycra
Octane is an un-biased GPU renderer, i wonder how it stacks they way i understand bias and unbies is it, that unbias, computer goes through the whole gamut of possible calculations to find the right result per ray traced. Bias, you get to clamp the calculations to a more probable outcome, so the ray calculation won't bother with everything just the specific bracket you want to work in, which speeds up things, but sacrifices certainty in accuracy? is that right ? or is that brute force ? On 3 October 2014 19:34, Simon van de Lagemaat si...@theembassyvfx.com wrote: At the cost of a smaller fast memory pool? From what I understand Redshift slows down significantly when it starts using off board RAM? I know this is one of the main reasons many other renderers haven't gone to the GPU yet since cards with decent amounts of memory are still priced far too high. How is Redshift with overall memory usage? i.e. what is the memory footprint per polygon etc. Also it's biased correct? I become nauseous when someone mentions that word, is their approach better than other IC approaches? Similar pitfalls? I may try it this weekend on my 780gtx (only 3GB onboard) at home since it's been getting good PR here. With the type of memory heavy rendering we do for film and the efficient platform agnostic pipeline friendly workflow we have with Arnold I don't see it being useful outside some smaller commercial jobs but I'd like to get a taste of the speed and interactivity. I suppose if we were a 5 person shop again something like RS would be a godsend. On Fri, Oct 3, 2014 at 11:06 AM, Steven Caron car...@gmail.com wrote: that extra GPU power is a dramatic increase in speed though.
Re: Glasswoks Lycra
So SLI seems to be the most cost efficient method i.e. double the power per physical box... nice thing is you can probably upgrade those GPU's across a few generations without upgrading the rest of the system since the PCI specs don't change much and power draw tends to decrease with newer cards. I mean, it's not cheap but I'll assume the dollar per flops ratio is way higher. On Fri, Oct 3, 2014 at 11:43 AM, Ed Manning etmth...@gmail.com wrote: Ditto. total gamechanger. Redshift is literally the only thing that kept me from closing up shop. I had priced out new multicore render nodes, and licenses for VRay and Arnold, as well as testing Arion, Octane and more obscure options, and the numbers just didn't make sense. I was going to just not be able to continue doing the type of remote work my clients expect on the schedules they need, and make enough money for it to be worth doing. For example, I'm just putting 2 new render machines online - they're refurb Dell workstations that cost $450 each, with an additional 16GB RAM, ($190 each), an auxiliary drive bay power supply ($25!) and 2 GTX 780s ($850/pair). So each render node's hardware was about $1500, the Redshift license is $500, and I get much better performance from each node than I see from brand-new $10K 20-core CPU render boxes.
Re: Glasswoks Lycra
1) it slows down the most when sending geometry out of core, and frankly even that ain't all that bad. 'Significantly' is relative here when it's already that fast. 2) There is currently a hard-coded 4GB cap on on-board geo cache, to try and balance performance in these early stages. So even if your card has 6+, it will send geo out of core if hits 4GB. The devs have talked about upping this though, especially with bigger cards coming along. 3) I can't recall the exact numbers, but they're able to fit roughly 110-120M unique triangles in 4GB, that geo being simple geo with a single UV mesh. 4) Biased man I'm not gonna split hairs on this. If that's a big deal for you it's a big deal for you. Seems like the sort of thing Archviz people would care about more than VFX or Animation folks. Redshift does have a hearty Monte-Carlo-only mode that I am partial too though 5) I lit and rendered all 75 of my shots on Yellowday http://www.timcrowson.com/yellowday/ in about 30 days on 12 multi-GPU boxes. The toughest shots' frame times averaged 45min/f, with most in the 5-15m range, and several far faster than that. The densest shots here used about 8-9GB total, IIRC. 6) As always, everything is relative to your business and what the needs of your production are. No news there. -Tim On 10/3/2014 1:34 PM, Simon van de Lagemaat wrote: At the cost of a smaller fast memory pool? From what I understand Redshift slows down significantly when it starts using off board RAM? I know this is one of the main reasons many other renderers haven't gone to the GPU yet since cards with decent amounts of memory are still priced far too high. How is Redshift with overall memory usage? i.e. what is the memory footprint per polygon etc. Also it's biased correct? I become nauseous when someone mentions that word, is their approach better than other IC approaches? Similar pitfalls? I may try it this weekend on my 780gtx (only 3GB onboard) at home since it's been getting good PR here. With the type of memory heavy rendering we do for film and the efficient platform agnostic pipeline friendly workflow we have with Arnold I don't see it being useful outside some smaller commercial jobs but I'd like to get a taste of the speed and interactivity. I suppose if we were a 5 person shop again something like RS would be a godsend. On Fri, Oct 3, 2014 at 11:06 AM, Steven Caron car...@gmail.com mailto:car...@gmail.com wrote: that extra GPU power is a dramatic increase in speed though. -- Signature
Re: Glasswoks Lycra
What's really awesome is that these cards are not only getting better, but cheaper too. The 900 series was just released and packs a punch for not a whole lot of money. Redshift excells with these so-called 'gaming' cards. -Tim On 10/3/2014 1:52 PM, Simon van de Lagemaat wrote: So SLI seems to be the most cost efficient method i.e. double the power per physical box... nice thing is you can probably upgrade those GPU's across a few generations without upgrading the rest of the system since the PCI specs don't change much and power draw tends to decrease with newer cards. I mean, it's not cheap but I'll assume the dollar per flops ratio is way higher. On Fri, Oct 3, 2014 at 11:43 AM, Ed Manning etmth...@gmail.com mailto:etmth...@gmail.com wrote: Ditto. total gamechanger. Redshift is literally the only thing that kept me from closing up shop. I had priced out new multicore render nodes, and licenses for VRay and Arnold, as well as testing Arion, Octane and more obscure options, and the numbers just didn't make sense. I was going to just not be able to continue doing the type of remote work my clients expect on the schedules they need, and make enough money for it to be worth doing. For example, I'm just putting 2 new render machines online - they're refurb Dell workstations that cost $450 each, with an additional 16GB RAM, ($190 each), an auxiliary drive bay power supply ($25!) and 2 GTX 780s ($850/pair). So each render node's hardware was about $1500, the Redshift license is $500, and I get much better performance from each node than I see from brand-new $10K 20-core CPU render boxes. -- Signature
Re: Glasswoks Lycra
let's not get 'pokey' here, apples and oranges. unless you have 'progressive' on in redshift, it is re exporting the data each time. in sitoa you just turn scene rebuild mode to 'always' and it is the same thing. my findings were i couldn't use 'progressive' similar to how sitoa does... so, apples and oranges. back to how awesome redshift is and how much talent glassworks' has... On Fri, Oct 3, 2014 at 11:34 AM, Rob Chapman tekano@gmail.com wrote: Not having to kick ass or rewind a frame for evey render region preview is a huge time saver on its own.. On 3 Oct 2014 19:12, Steven Caron car...@gmail.com wrote: hey emilio which rendering engines do you use?
Re: Glasswoks Lycra
i meant... which rendering engines do you use in redshift :P On Fri, Oct 3, 2014 at 11:42 AM, Emilio Hernandez emi...@e-roja.com wrote: Since Redshift appeared, mostly I used Mental Ray since Softimage 3D 3.5 I used Maxwell, Arnold, 3Delight, Fury and I was in the beta testers of V-ray. But when finally Redshift came out in its Alpha stage, and I was able to participate in the group. I knew this was the render engine I was expecting for Softimage.
Re: Glasswoks Lycra
I know you asked Emilio, but I'll answer for my part: BF+BF or BF+IPC. -Tim On 10/3/2014 2:08 PM, Steven Caron wrote: i meant... which rendering engines do you use in redshift :P On Fri, Oct 3, 2014 at 11:42 AM, Emilio Hernandez emi...@e-roja.com mailto:emi...@e-roja.com wrote: Since Redshift appeared, mostly I used Mental Ray since Softimage 3D 3.5 I used Maxwell, Arnold, 3Delight, Fury and I was in the beta testers of V-ray. But when finally Redshift came out in its Alpha stage, and I was able to participate in the group. I knew this was the render engine I was expecting for Softimage. -- Signature
Re: Glasswoks Lycra
their memory footprint is very similar to arnold. ie. cost per triangle and the attributes associated to it redshift guys have done a great job with their 'out of core' performance. redshift has brute force modes, you can get it to behave like arnold just like you can get vray to behave like arnold. On Fri, Oct 3, 2014 at 11:34 AM, Simon van de Lagemaat si...@theembassyvfx.com wrote: At the cost of a smaller fast memory pool? From what I understand Redshift slows down significantly when it starts using off board RAM? I know this is one of the main reasons many other renderers haven't gone to the GPU yet since cards with decent amounts of memory are still priced far too high. How is Redshift with overall memory usage? i.e. what is the memory footprint per polygon etc. Also it's biased correct? I become nauseous when someone mentions that word, is their approach better than other IC approaches? Similar pitfalls? I may try it this weekend on my 780gtx (only 3GB onboard) at home since it's been getting good PR here. With the type of memory heavy rendering we do for film and the efficient platform agnostic pipeline friendly workflow we have with Arnold I don't see it being useful outside some smaller commercial jobs but I'd like to get a taste of the speed and interactivity. I suppose if we were a 5 person shop again something like RS would be a godsend. On Fri, Oct 3, 2014 at 11:06 AM, Steven Caron car...@gmail.com wrote: that extra GPU power is a dramatic increase in speed though.
Re: Glasswoks Lycra
Haha. Regularly I use as the Primary Brute Force, and for the secondary IPC. Cheers! --- Emilio Hernández VFX 3D animation. 2014-10-03 14:08 GMT-05:00 Steven Caron car...@gmail.com: i meant... which rendering engines do you use in redshift :P On Fri, Oct 3, 2014 at 11:42 AM, Emilio Hernandez emi...@e-roja.com wrote: Since Redshift appeared, mostly I used Mental Ray since Softimage 3D 3.5 I used Maxwell, Arnold, 3Delight, Fury and I was in the beta testers of V-ray. But when finally Redshift came out in its Alpha stage, and I was able to participate in the group. I knew this was the render engine I was expecting for Softimage.
Re: Glasswoks Lycra
I suppose there's also no density processing tax that Intel likes to levy on the xeon silicone along with the shitty extra dollars for ecc ram and server class motherboards. They really aren't growing any positive karma with that. On Fri, Oct 3, 2014 at 12:07 PM, Tim Crowson tim.crow...@magneticdreams.com wrote: What's really awesome is that these cards are not only getting better, but cheaper too. The 900 series was just released and packs a punch for not a whole lot of money. Redshift excells with these so-called 'gaming' cards. -Tim
Re: Glasswoks Lycra
Ya sorry I totally derailed this thread... the work was amazing!!! On Fri, Oct 3, 2014 at 12:07 PM, Steven Caron car...@gmail.com wrote: back to how awesome redshift is and how much talent glassworks' has...
Re: Glasswoks Lycra
haha, thanks. that is what i figured.. most people using vray do something similar with their brute force + light cache On Fri, Oct 3, 2014 at 12:13 PM, Emilio Hernandez emi...@e-roja.com wrote: Haha. Regularly I use as the Primary Brute Force, and for the secondary IPC. Cheers!
Re: Glasswoks Lycra
With Modo we almost always ended up using brute force because the IC methods were just far to skittish no matter how much you dialed things up. I think since then they've implemented some hybrid approach as well. I still think the future is bidirectional with beastly hardware dealing with any noise but for now I'm curious to try out RS. Seems like the raw speed is over riding any other concerns especially on smaller jobs. On Fri, Oct 3, 2014 at 12:20 PM, Steven Caron car...@gmail.com wrote: haha, thanks. that is what i figured.. most people using vray do something similar with their brute force + light cache
Re: Glasswoks Lycra
On Fri, Oct 3, 2014 at 2:52 PM, Simon van de Lagemaat si...@theembassyvfx.com wrote: So SLI seems to be the most cost efficient method i.e. double the power per physical box... nice thing is you can probably upgrade those GPU's across a few generations without upgrading the rest of the system since the PCI specs don't change much and power draw tends to decrease with newer cards. I mean, it's not cheap but I'll assume the dollar per flops ratio is way higher. Actually, SLI doesn't enter into it -- Redshift doesn't use it, and if your cards are wired up with an SLI bridge, you need to disable it in the nVidia settings.
Re: Glasswoks Lycra
ah I see and no I do not use progressive mode as am just wanting a preview whilst tweaking stuff so yes to see any changes made one will have to resubmit the scene. honestly did not know about the auto update in Arnold will switch it on next time I'm contrasting and comparing, thanks for the tip. On 3 October 2014 20:07, Steven Caron car...@gmail.com wrote: let's not get 'pokey' here, apples and oranges. unless you have 'progressive' on in redshift, it is re exporting the data each time. in sitoa you just turn scene rebuild mode to 'always' and it is the same thing. my findings were i couldn't use 'progressive' similar to how sitoa does... so, apples and oranges. back to how awesome redshift is and how much talent glassworks' has... On Fri, Oct 3, 2014 at 11:34 AM, Rob Chapman tekano@gmail.com wrote:
Re: Glasswoks Lycra
On Fri, Oct 3, 2014 at 3:49 PM, Simon van de Lagemaat si...@theembassyvfx.com wrote: But still distributing one frame across two cards right? yes. IIR, the docs say up to 8 cards per host. though there is a decline in returns, so I think most people don't go over 3.
Re: Glasswoks Lycra
Yes, there seems to be a decline at 3 cards. But another great thing about redshift is that you can render multiple tasks simultaneously so card 1 2 render frame 1 and card 3 4 render frame 2, etc. this is fully supported with Deadline (don't know about royal render, but I think someone said it was supported as well). Cheers Ola 3 okt 2014 kl. 21:54 skrev Ed Manning etmth...@gmail.com: On Fri, Oct 3, 2014 at 3:49 PM, Simon van de Lagemaat si...@theembassyvfx.com wrote: But still distributing one frame across two cards right? yes. IIR, the docs say up to 8 cards per host. though there is a decline in returns, so I think most people don't go over 3.
Re: Glasswoks Lycra
yes that is exactly what I'm doing. 4 titans using all together when tweaking everything pulling speed from them, and then in most of cases sending to Deadline with 4 of them each rendering 1 frame or 2 by 2. Really good support in Deadline for that . On Fri, Oct 3, 2014 at 11:50 PM, ola.mad...@digitalcontext.se ola.mad...@digitalcontext.se wrote: Yes, there seems to be a decline at 3 cards. But another great thing about redshift is that you can render multiple tasks simultaneously so card 1 2 render frame 1 and card 3 4 render frame 2, etc. this is fully supported with Deadline (don't know about royal render, but I think someone said it was supported as well). Cheers Ola 3 okt 2014 kl. 21:54 skrev Ed Manning etmth...@gmail.com: On Fri, Oct 3, 2014 at 3:49 PM, Simon van de Lagemaat si...@theembassyvfx.com wrote: But still distributing one frame across two cards right? yes. IIR, the docs say up to 8 cards per host. though there is a decline in returns, so I think most people don't go over 3.
Re: Glasswoks Lycra
Yes, it's a really sweet setup. And it still only requires one license per machine even if you run separate tasks on each card. We're using a mixtures of Titans, 780ti and tesla cards and I can only second what everyone else is saying. It's ridiculous fast. O 3 okt 2014 kl. 23:57 skrev Mirko Jankovic mirkoj.anima...@gmail.com: yes that is exactly what I'm doing. 4 titans using all together when tweaking everything pulling speed from them, and then in most of cases sending to Deadline with 4 of them each rendering 1 frame or 2 by 2. Really good support in Deadline for that . On Fri, Oct 3, 2014 at 11:50 PM, ola.mad...@digitalcontext.se ola.mad...@digitalcontext.se wrote: Yes, there seems to be a decline at 3 cards. But another great thing about redshift is that you can render multiple tasks simultaneously so card 1 2 render frame 1 and card 3 4 render frame 2, etc. this is fully supported with Deadline (don't know about royal render, but I think someone said it was supported as well). Cheers Ola 3 okt 2014 kl. 21:54 skrev Ed Manning etmth...@gmail.com: On Fri, Oct 3, 2014 at 3:49 PM, Simon van de Lagemaat si...@theembassyvfx.com wrote: But still distributing one frame across two cards right? yes. IIR, the docs say up to 8 cards per host. though there is a decline in returns, so I think most people don't go over 3.
Re: Glasswoks Lycra
Once I tried the classroom, but with literally everything everywhere displaced at a level of less than a pixel.. a blurry reflection scene material , many many area lights and with a wild camera move, to make motion blurred very dense displaced geo all over the frame (with 1st bouce brute force GI) , to make the most nightmareish sampling task as possible, and rendered a 1080p frame in 14 min (to get where noise was at an acceptable amount) (.. and I was floored! :] (non-tweaked to death settings took 2h) Would have taken several -hours- if not days with anything else! Made like a full screen of (mostly noise free) fine-fine trail lines (under little redshift logos :] ) On 10/03/14 18:44, ola.mad...@digitalcontext.se wrote: Yes, it's a really sweet setup. And it still only requires one license per machine even if you run separate tasks on each card. We're using a mixtures of Titans, 780ti and tesla cards and I can only second what everyone else is saying. It's ridiculous fast. O 3 okt 2014 kl. 23:57 skrev Mirko Jankovic mirkoj.anima...@gmail.com: yes that is exactly what I'm doing. 4 titans using all together when tweaking everything pulling speed from them, and then in most of cases sending to Deadline with 4 of them each rendering 1 frame or 2 by 2. Really good support in Deadline for that . On Fri, Oct 3, 2014 at 11:50 PM, ola.mad...@digitalcontext.se ola.mad...@digitalcontext.se wrote: Yes, there seems to be a decline at 3 cards. But another great thing about redshift is that you can render multiple tasks simultaneously so card 1 2 render frame 1 and card 3 4 render frame 2, etc. this is fully supported with Deadline (don't know about royal render, but I think someone said it was supported as well). Cheers Ola 3 okt 2014 kl. 21:54 skrev Ed Manning etmth...@gmail.com: On Fri, Oct 3, 2014 at 3:49 PM, Simon van de Lagemaat si...@theembassyvfx.com wrote: But still distributing one frame across two cards right? yes. IIR, the docs say up to 8 cards per host. though there is a decline in returns, so I think most people don't go over 3.
Re: Glasswoks Lycra
Redshift is a noise cruncher :] (and soft is a production cruncher :] ) On 10/03/14 20:11, Jason S wrote: Once I tried the classroom, but with literally everything everywhere displaced at a level of less than a pixel.. a blurry reflection scene material , many many area lights and with a wild camera move, to make motion blurred very dense displaced geo all over the frame (with 1st bouce brute force GI) , to make the most nightmareish sampling task as possible, and rendered a 1080p frame in 14 min (to get where noise was at an acceptable amount) (.. and I was floored! :] (non-tweaked to death settings took 2h) Would have taken several -hours- if not days with anything else! Made like a full screen of (mostly noise free) fine-fine trail lines (under little redshift logos :] ) On 10/03/14 18:44, ola.mad...@digitalcontext.se wrote: Yes, it's a really sweet setup. And it still only requires one license per machine even if you run separate tasks on each card. We're using a mixtures of Titans, 780ti and tesla cards and I can only second what everyone else is saying. It's ridiculous fast. O 3 okt 2014 kl. 23:57 skrev Mirko Jankovic mirkoj.anima...@gmail.com: yes that is exactly what I'm doing. 4 titans using all together when tweaking everything pulling speed from them, and then in most of cases sending to Deadline with 4 of them each rendering 1 frame or 2 by 2. Really good support in Deadline for that . On Fri, Oct 3, 2014 at 11:50 PM, ola.mad...@digitalcontext.se ola.mad...@digitalcontext.se wrote: Yes, there seems to be a decline at 3 cards. But another great thing about redshift is that you can render multiple tasks simultaneously so card 1 2 render frame 1 and card 3 4 render frame 2, etc. this is fully supported with Deadline (don't know about royal render, but I think someone said it was supported as well). Cheers Ola 3 okt 2014 kl. 21:54 skrev Ed Manning etmth...@gmail.com: On Fri, Oct 3, 2014 at 3:49 PM, Simon van de Lagemaat si...@theembassyvfx.com wrote: But still distributing one frame across two cards right? yes. IIR, the docs say up to 8 cards per host. though there is a decline in returns, so I think most people don't go over 3.
RE: Glasswoks Lycra
Alastair (or anyone else) any insight into how you extruded the geometry to have UV for the fabric patterns? been baking my noodle thinking about this a _ From: softimage-boun...@listproc.autodesk.com [mailto:softimage-boun...@listproc.autodesk.com] On Behalf Of Sebastien Sterling Sent: 02 October 2014 02:57 To: softimage@listproc.autodesk.com Subject: Re: Glasswoks Lycra Looks like a bloody intense pitch meeting ;). On 2 October 2014 01:50, David Barosin dbaro...@gmail.com wrote: Wow. Cool idea and great execution! On Wed, Oct 1, 2014 at 11:39 AM, Byron Nash byronn...@gmail.com wrote: Very nice spot. On Wed, Oct 1, 2014 at 5:41 AM, Alastair Hearsum hear...@glassworks.co.uk wrote: Thanks for the compliment. Yes Softimage and Redshift Great result from the team here at Glassworks and such a good director work with. Alastair Hearsum Head of 3d http://www.glassworks.co.uk GLASSWORKS http://www.facebook.com/pages/Glassworks/150976168270682 Facebook https://twitter.com/GlassworksVFX Twitter https://vimeo.com/glassworksamsterdam Vimeo http://instagram.com/glassworksvfx/ Instagram See our latest work here. http://www.glassworks.co.uk/ 33/34 Great Pulteney Street London W1F 9NP T +44 (0)20 7434 1182 tel:%2B44%20%280%2920%207434%201182 glassworks.co.uk http://www.glassworks.co.uk Glassworks Terms and Conditions of Sale can be found at glassworks.co.uk (Company registered in England with number 04759979. Registered office 25 Harley Street, London, W1G 9BR. VAT registration number: 86729) Please consider the environment before you print this email. DISCLAIMER: This e-mail and attachments are strictly privileged, private and confidential and are intended solely for the stated recipient(s). Any views or opinions presented are solely those of the author and do not necessarily represent those of the Company. If you are not the intended recipient, be advised that you have received this e-mail in error and that any use, dissemination, forwarding, printing, or copying of this e-mail is strictly prohibited. If this transmission is received in error please kindly return it to the sender and delete this message from your system. On 30/09/2014 18:55, olivier jeannel wrote: http://www.glassworks.co.uk/video/lycra-moves-you http://www.glassworks.co.uk/video/lycra-moves-yousearch-type=allterm=all search-type=allterm=all Beautifull film, out of curiousity are we still speaking softimage here ?
Re: Glasswoks Lycra
Watching beautiful stuff made with SI makes me feel less dead ! Le 01/10/2014 11:41, Alastair Hearsum a écrit : Thanks for the compliment. Yes Softimage and Redshift Great result from the team here at Glassworks and such a good director work with. Alastair Hearsum Head of 3d GLASSWORKS http://www.glassworks.co.ukFacebook http://www.facebook.com/pages/Glassworks/150976168270682 Twitter https://twitter.com/GlassworksVFX Vimeo https://vimeo.com/glassworksamsterdam Instagram http://instagram.com/glassworksvfx/ See our latest work _here_. http://www.glassworks.co.uk/ 33/34 Great Pulteney Street London W1F 9NP T +44 (0)20 7434 1182 glassworks.co.uk http://www.glassworks.co.uk Glassworks Terms and Conditions of Sale can be found at glassworks.co.uk (Company registered in England with number 04759979. Registered office 25 Harley Street, London, W1G 9BR. VAT registration number: 86729) Please consider the environment before you print this email. DISCLAIMER: This e-mail and attachments are strictly privileged, private and confidential and are intended solely for the stated recipient(s). Any views or opinions presented are solely those of the author and do not necessarily represent those of the Company. If you are not the intended recipient, be advised that you have received this e-mail in error and that any use, dissemination, forwarding, printing, or copying of this e-mail is strictly prohibited. If this transmission is received in error please kindly return it to the sender and delete this message from your system. On 30/09/2014 18:55, olivier jeannel wrote: http://www.glassworks.co.uk/video/lycra-moves-yousearch-type=allterm=all Beautifull film, out of curiousity are we still speaking softimage here ?
Re: Glasswoks Lycra
speaking to JJ about this the other day (am on a short gig at Glassworks so sat next to him) he said that it was verlet dynamic strands that were then meshed - most of the hard work was in the matchmove / roto integration and yes Softimage still very much alive and kicking here :D On 2 October 2014 10:08, adrian wyer adrian.w...@fluid-pictures.com wrote: Alastair (or anyone else) any insight into how you extruded the geometry to have UV for the fabric patterns? been baking my noodle thinking about this a -- *From:* softimage-boun...@listproc.autodesk.com [mailto: softimage-boun...@listproc.autodesk.com] *On Behalf Of *Sebastien Sterling *Sent:* 02 October 2014 02:57 *To:* softimage@listproc.autodesk.com *Subject:* Re: Glasswoks Lycra Looks like a bloody intense pitch meeting ;). On 2 October 2014 01:50, David Barosin dbaro...@gmail.com wrote: Wow. Cool idea and great execution! On Wed, Oct 1, 2014 at 11:39 AM, Byron Nash byronn...@gmail.com wrote: Very nice spot. On Wed, Oct 1, 2014 at 5:41 AM, Alastair Hearsum hear...@glassworks.co.uk wrote: Thanks for the compliment. Yes Softimage and Redshift Great result from the team here at Glassworks and such a good director work with. Alastair Hearsum Head of 3d [image: GLASSWORKS] http://www.glassworks.co.uk[image: Facebook] http://www.facebook.com/pages/Glassworks/150976168270682[image: Twitter] https://twitter.com/GlassworksVFX[image: Vimeo] https://vimeo.com/glassworksamsterdam[image: Instagram] http://instagram.com/glassworksvfx/ *See our latest work here. http://www.glassworks.co.uk/* 33/34 Great Pulteney Street London W1F 9NP T +44 (0)20 7434 1182 glassworks.co.uk http://www.glassworks.co.uk Glassworks Terms and Conditions of Sale can be found at glassworks.co.uk (Company registered in England with number 04759979. Registered office 25 Harley Street, London, W1G 9BR. VAT registration number: 86729) Please consider the environment before you print this email. DISCLAIMER: This e-mail and attachments are strictly privileged, private and confidential and are intended solely for the stated recipient(s). Any views or opinions presented are solely those of the author and do not necessarily represent those of the Company. If you are not the intended recipient, be advised that you have received this e-mail in error and that any use, dissemination, forwarding, printing, or copying of this e-mail is strictly prohibited. If this transmission is received in error please kindly return it to the sender and delete this message from your system. On 30/09/2014 18:55, olivier jeannel wrote: http://www.glassworks.co.uk/video/lycra-moves-yousearch-type=allterm=all Beautifull film, out of curiousity are we still speaking softimage here ?
RE: Glasswoks Lycra
any idea how the UVs were created? a _ From: softimage-boun...@listproc.autodesk.com [mailto:softimage-boun...@listproc.autodesk.com] On Behalf Of Rob Chapman Sent: 02 October 2014 10:37 To: softimage@listproc.autodesk.com Subject: Re: Glasswoks Lycra speaking to JJ about this the other day (am on a short gig at Glassworks so sat next to him) he said that it was verlet dynamic strands that were then meshed - most of the hard work was in the matchmove / roto integration and yes Softimage still very much alive and kicking here :D On 2 October 2014 10:08, adrian wyer adrian.w...@fluid-pictures.com wrote: Alastair (or anyone else) any insight into how you extruded the geometry to have UV for the fabric patterns? been baking my noodle thinking about this a _ From: softimage-boun...@listproc.autodesk.com [mailto:softimage-boun...@listproc.autodesk.com] On Behalf Of Sebastien Sterling Sent: 02 October 2014 02:57 To: softimage@listproc.autodesk.com Subject: Re: Glasswoks Lycra Looks like a bloody intense pitch meeting ;). On 2 October 2014 01:50, David Barosin dbaro...@gmail.com wrote: Wow. Cool idea and great execution! On Wed, Oct 1, 2014 at 11:39 AM, Byron Nash byronn...@gmail.com wrote: Very nice spot. On Wed, Oct 1, 2014 at 5:41 AM, Alastair Hearsum hear...@glassworks.co.uk wrote: Thanks for the compliment. Yes Softimage and Redshift Great result from the team here at Glassworks and such a good director work with. Alastair Hearsum Head of 3d http://www.glassworks.co.uk GLASSWORKS http://www.facebook.com/pages/Glassworks/150976168270682 Facebook https://twitter.com/GlassworksVFX Twitter https://vimeo.com/glassworksamsterdam Vimeo http://instagram.com/glassworksvfx/ Instagram See our latest work here. http://www.glassworks.co.uk/ 33/34 Great Pulteney Street London W1F 9NP T +44 (0)20 7434 1182 tel:%2B44%20%280%2920%207434%201182 glassworks.co.uk http://www.glassworks.co.uk Glassworks Terms and Conditions of Sale can be found at glassworks.co.uk (Company registered in England with number 04759979. Registered office 25 Harley Street, London, W1G 9BR. VAT registration number: 86729) Please consider the environment before you print this email. DISCLAIMER: This e-mail and attachments are strictly privileged, private and confidential and are intended solely for the stated recipient(s). Any views or opinions presented are solely those of the author and do not necessarily represent those of the Company. If you are not the intended recipient, be advised that you have received this e-mail in error and that any use, dissemination, forwarding, printing, or copying of this e-mail is strictly prohibited. If this transmission is received in error please kindly return it to the sender and delete this message from your system. On 30/09/2014 18:55, olivier jeannel wrote: http://www.glassworks.co.uk/video/lycra-moves-you http://www.glassworks.co.uk/video/lycra-moves-yousearch-type=allterm=all search-type=allterm=all Beautifull film, out of curiousity are we still speaking softimage here ?
RE: Glasswoks Lycra
The long extruded element may already be generated as a whole piece, and then is 'masked' off. Would definitely be easier if it were patch/nurbs based. Manny Papamanos Product Support Specialist Americas Frontline Technical Support Customer Service and Support From: softimage-boun...@listproc.autodesk.com [mailto:softimage-boun...@listproc.autodesk.com] On Behalf Of adrian wyer Sent: Thursday, October 02, 2014 6:46 AM To: softimage@listproc.autodesk.com Subject: RE: Glasswoks Lycra any idea how the UVs were created? a From: softimage-boun...@listproc.autodesk.commailto:softimage-boun...@listproc.autodesk.com [mailto:softimage-boun...@listproc.autodesk.com] On Behalf Of Rob Chapman Sent: 02 October 2014 10:37 To: softimage@listproc.autodesk.commailto:softimage@listproc.autodesk.com Subject: Re: Glasswoks Lycra speaking to JJ about this the other day (am on a short gig at Glassworks so sat next to him) he said that it was verlet dynamic strands that were then meshed - most of the hard work was in the matchmove / roto integration and yes Softimage still very much alive and kicking here :D On 2 October 2014 10:08, adrian wyer adrian.w...@fluid-pictures.commailto:adrian.w...@fluid-pictures.com wrote: Alastair (or anyone else) any insight into how you extruded the geometry to have UV for the fabric patterns? been baking my noodle thinking about this a From: softimage-boun...@listproc.autodesk.commailto:softimage-boun...@listproc.autodesk.com [mailto:softimage-boun...@listproc.autodesk.commailto:softimage-boun...@listproc.autodesk.com] On Behalf Of Sebastien Sterling Sent: 02 October 2014 02:57 To: softimage@listproc.autodesk.commailto:softimage@listproc.autodesk.com Subject: Re: Glasswoks Lycra Looks like a bloody intense pitch meeting ;). On 2 October 2014 01:50, David Barosin dbaro...@gmail.commailto:dbaro...@gmail.com wrote: Wow. Cool idea and great execution! On Wed, Oct 1, 2014 at 11:39 AM, Byron Nash byronn...@gmail.commailto:byronn...@gmail.com wrote: Very nice spot. On Wed, Oct 1, 2014 at 5:41 AM, Alastair Hearsum hear...@glassworks.co.ukmailto:hear...@glassworks.co.uk wrote: Thanks for the compliment. Yes Softimage and Redshift Great result from the team here at Glassworks and such a good director work with. Alastair Hearsum Head of 3d [GLASSWORKS] http://www.glassworks.co.uk[Facebook]http://www.facebook.com/pages/Glassworks/150976168270682[Twitter]https://twitter.com/GlassworksVFX[Vimeo]https://vimeo.com/glassworksamsterdam[Instagram]http://instagram.com/glassworksvfx/ See our latest work here.http://www.glassworks.co.uk/ 33/34 Great Pulteney Street London W1F 9NP T +44 (0)20 7434 1182tel:%2B44%20%280%2920%207434%201182 glassworks.co.ukhttp://www.glassworks.co.uk Glassworks Terms and Conditions of Sale can be found at glassworks.co.ukhttp://glassworks.co.uk (Company registered in England with number 04759979. Registered office 25 Harley Street, London, W1G 9BR. VAT registration number: 86729) Please consider the environment before you print this email. DISCLAIMER: This e-mail and attachments are strictly privileged, private and confidential and are intended solely for the stated recipient(s). Any views or opinions presented are solely those of the author and do not necessarily represent those of the Company. If you are not the intended recipient, be advised that you have received this e-mail in error and that any use, dissemination, forwarding, printing, or copying of this e-mail is strictly prohibited. If this transmission is received in error please kindly return it to the sender and delete this message from your system. On 30/09/2014 18:55, olivier jeannel wrote: http://www.glassworks.co.uk/video/lycra-moves-yousearch-type=allterm=all Beautifull film, out of curiousity are we still speaking softimage here ? attachment: winmail.dat
Re: Glasswoks Lycra
if they are generating the data from strands then they know the start and end, as long as they know the vertical start and end it wouldn't be very hard to generate the the UVs along with the mesh. On Thu, Oct 2, 2014 at 1:53 PM, Manny Papamanos manny.papama...@autodesk.com wrote: The long extruded element may already be generated as a whole piece, and then is 'masked' off. Would definitely be easier if it were patch/nurbs based. Manny Papamanos Product Support Specialist Americas Frontline Technical Support Customer Service and Support From: softimage-boun...@listproc.autodesk.com [mailto: softimage-boun...@listproc.autodesk.com] On Behalf Of adrian wyer Sent: Thursday, October 02, 2014 6:46 AM To: softimage@listproc.autodesk.com Subject: RE: Glasswoks Lycra any idea how the UVs were created? a
RE: Glasswoks Lycra
Yes, and it can be achieved very easily using the native toolset. Just tag point(s) on the surfaces to be extruded, then Animate Plot Curve to generate the curves over the sequence. Finally, loft the generated curves to form the surface. The Texture UVs come for free. Matt From: softimage-boun...@listproc.autodesk.com [mailto:softimage-boun...@listproc.autodesk.com] On Behalf Of Manny Papamanos Sent: Thursday, October 02, 2014 1:53 PM To: softimage@listproc.autodesk.com Subject: RE: Glasswoks Lycra The long extruded element may already be generated as a whole piece, and then is 'masked' off. Would definitely be easier if it were patch/nurbs based. Manny Papamanos Product Support Specialist Americas Frontline Technical Support Customer Service and Support From: softimage-boun...@listproc.autodesk.commailto:softimage-boun...@listproc.autodesk.com [mailto:softimage-boun...@listproc.autodesk.com] On Behalf Of adrian wyer Sent: Thursday, October 02, 2014 6:46 AM To: softimage@listproc.autodesk.commailto:softimage@listproc.autodesk.com Subject: RE: Glasswoks Lycra any idea how the UVs were created? a From: softimage-boun...@listproc.autodesk.commailto:softimage-boun...@listproc.autodesk.com [mailto:softimage-boun...@listproc.autodesk.com] On Behalf Of Rob Chapman Sent: 02 October 2014 10:37 To: softimage@listproc.autodesk.commailto:softimage@listproc.autodesk.com Subject: Re: Glasswoks Lycra speaking to JJ about this the other day (am on a short gig at Glassworks so sat next to him) he said that it was verlet dynamic strands that were then meshed - most of the hard work was in the matchmove / roto integration and yes Softimage still very much alive and kicking here :D On 2 October 2014 10:08, adrian wyer adrian.w...@fluid-pictures.commailto:adrian.w...@fluid-pictures.com wrote: Alastair (or anyone else) any insight into how you extruded the geometry to have UV for the fabric patterns? been baking my noodle thinking about this a From: softimage-boun...@listproc.autodesk.commailto:softimage-boun...@listproc.autodesk.com [mailto:softimage-boun...@listproc.autodesk.commailto:softimage-boun...@listproc.autodesk.com] On Behalf Of Sebastien Sterling Sent: 02 October 2014 02:57 To: softimage@listproc.autodesk.commailto:softimage@listproc.autodesk.com Subject: Re: Glasswoks Lycra Looks like a bloody intense pitch meeting ;). On 2 October 2014 01:50, David Barosin dbaro...@gmail.commailto:dbaro...@gmail.com wrote: Wow. Cool idea and great execution! On Wed, Oct 1, 2014 at 11:39 AM, Byron Nash byronn...@gmail.commailto:byronn...@gmail.com wrote: Very nice spot. On Wed, Oct 1, 2014 at 5:41 AM, Alastair Hearsum hear...@glassworks.co.ukmailto:hear...@glassworks.co.uk wrote: Thanks for the compliment. Yes Softimage and Redshift Great result from the team here at Glassworks and such a good director work with. Alastair Hearsum Head of 3d [http://old.glassworks.co.uk/images/Logo_UK.png] http://www.glassworks.co.uk[http://old.glassworks.co.uk/images/Fbook.jpg]http://www.facebook.com/pages/Glassworks/150976168270682[http://old.glassworks.co.uk/images/Tweet.jpg]https://twitter.com/GlassworksVFX[http://old.glassworks.co.uk/images/vimeo.png]https://vimeo.com/glassworksamsterdam[http://old.glassworks.co.uk/images/instagram.png]http://instagram.com/glassworksvfx/ See our latest work here.http://www.glassworks.co.uk/ 33/34 Great Pulteney Street London W1F 9NP T +44 (0)20 7434 1182tel:%2B44%20%280%2920%207434%201182 glassworks.co.ukhttp://www.glassworks.co.uk Glassworks Terms and Conditions of Sale can be found at glassworks.co.ukhttp://glassworks.co.uk (Company registered in England with number 04759979. Registered office 25 Harley Street, London, W1G 9BR. VAT registration number: 86729) Please consider the environment before you print this email. DISCLAIMER: This e-mail and attachments are strictly privileged, private and confidential and are intended solely for the stated recipient(s). Any views or opinions presented are solely those of the author and do not necessarily represent those of the Company. If you are not the intended recipient, be advised that you have received this e-mail in error and that any use, dissemination, forwarding, printing, or copying of this e-mail is strictly prohibited. If this transmission is received in error please kindly return it to the sender and delete this message from your system. On 30/09/2014 18:55, olivier jeannel wrote: http://www.glassworks.co.uk/video/lycra-moves-yousearch-type=allterm=all Beautifull film, out of curiousity are we still speaking softimage here ?
Re: Glasswoks Lycra
Don't know how it was extruded, but the integration with actors' very dynamic movements is excellent! don't know exactly where real cloth starts or ends! :] On 10/02/14 16:56, Steven Caron wrote: if they are generating the data from strands then they know the start and end, as long as they know the vertical start and end it wouldn't be very hard to generate the the UVs along with the mesh. On Thu, Oct 2, 2014 at 1:53 PM, Manny Papamanos manny.papama...@autodesk.com wrote: The long extruded element may already be generated as a whole piece, and then is 'masked' off. Would definitely be easier if it were patch/nurbs based. Manny Papamanos Product Support Specialist Americas Frontline Technical Support Customer Service and Support From: softimage-boun...@listproc.autodesk.com [mailto:softimage-boun...@listproc.autodesk.com] On Behalf Of adrian wyer Sent: Thursday, October 02, 2014 6:46 AM To: softimage@listproc.autodesk.com Subject: RE: Glasswoks Lycra any idea how the UVs were created? a
RE: Glasswoks Lycra
very nice piece, extruded texturing especially clever a -Original Message- From: softimage-boun...@listproc.autodesk.com [mailto:softimage-boun...@listproc.autodesk.com] On Behalf Of Jordi Bares Sent: 30 September 2014 20:56 To: softimage@listproc.autodesk.com Subject: Re: Glasswoks Lycra Beautiful piece. really happy to see Softimage kicking!!! Jordi Bares jordiba...@gmail.com On 30 Sep 2014, at 18:55, olivier jeannel olivier.jean...@noos.fr wrote: http://www.glassworks.co.uk/video/lycra-moves-yousearch-type=allterm=all Beautifull film, out of curiousity are we still speaking softimage here ?
Re: Glasswoks Lycra
Thanks for the compliment. Yes Softimage and Redshift Great result from the team here at Glassworks and such a good director work with. Alastair Hearsum Head of 3d GLASSWORKS http://www.glassworks.co.ukFacebook http://www.facebook.com/pages/Glassworks/150976168270682 Twitter https://twitter.com/GlassworksVFX Vimeo https://vimeo.com/glassworksamsterdam Instagram http://instagram.com/glassworksvfx/ See our latest work _here_. http://www.glassworks.co.uk/ 33/34 Great Pulteney Street London W1F 9NP T +44 (0)20 7434 1182 glassworks.co.uk http://www.glassworks.co.uk Glassworks Terms and Conditions of Sale can be found at glassworks.co.uk (Company registered in England with number 04759979. Registered office 25 Harley Street, London, W1G 9BR. VAT registration number: 86729) Please consider the environment before you print this email. DISCLAIMER: This e-mail and attachments are strictly privileged, private and confidential and are intended solely for the stated recipient(s). Any views or opinions presented are solely those of the author and do not necessarily represent those of the Company. If you are not the intended recipient, be advised that you have received this e-mail in error and that any use, dissemination, forwarding, printing, or copying of this e-mail is strictly prohibited. If this transmission is received in error please kindly return it to the sender and delete this message from your system. On 30/09/2014 18:55, olivier jeannel wrote: http://www.glassworks.co.uk/video/lycra-moves-yousearch-type=allterm=all Beautifull film, out of curiousity are we still speaking softimage here ?
Re: Glasswoks Lycra
Very nice spot. On Wed, Oct 1, 2014 at 5:41 AM, Alastair Hearsum hear...@glassworks.co.uk wrote: Thanks for the compliment. Yes Softimage and Redshift Great result from the team here at Glassworks and such a good director work with. Alastair Hearsum Head of 3d [image: GLASSWORKS] http://www.glassworks.co.uk[image: Facebook] http://www.facebook.com/pages/Glassworks/150976168270682 [image: Twitter] https://twitter.com/GlassworksVFX [image: Vimeo] https://vimeo.com/glassworksamsterdam [image: Instagram] http://instagram.com/glassworksvfx/ See our latest work *here*. http://www.glassworks.co.uk/ 33/34 Great Pulteney Street London W1F 9NP T +44 (0)20 7434 1182 glassworks.co.uk http://www.glassworks.co.uk Glassworks Terms and Conditions of Sale can be found at glassworks.co.uk (Company registered in England with number 04759979. Registered office 25 Harley Street, London, W1G 9BR. VAT registration number: 86729) Please consider the environment before you print this email. DISCLAIMER: This e-mail and attachments are strictly privileged, private and confidential and are intended solely for the stated recipient(s). Any views or opinions presented are solely those of the author and do not necessarily represent those of the Company. If you are not the intended recipient, be advised that you have received this e-mail in error and that any use, dissemination, forwarding, printing, or copying of this e-mail is strictly prohibited. If this transmission is received in error please kindly return it to the sender and delete this message from your system. On 30/09/2014 18:55, olivier jeannel wrote: http://www.glassworks.co.uk/video/lycra-moves-yousearch-type=allterm=all Beautifull film, out of curiousity are we still speaking softimage here ?
Re: Glasswoks Lycra
Wow. Cool idea and great execution! On Wed, Oct 1, 2014 at 11:39 AM, Byron Nash byronn...@gmail.com wrote: Very nice spot. On Wed, Oct 1, 2014 at 5:41 AM, Alastair Hearsum hear...@glassworks.co.uk wrote: Thanks for the compliment. Yes Softimage and Redshift Great result from the team here at Glassworks and such a good director work with. Alastair Hearsum Head of 3d [image: GLASSWORKS] http://www.glassworks.co.uk[image: Facebook] http://www.facebook.com/pages/Glassworks/150976168270682 [image: Twitter] https://twitter.com/GlassworksVFX [image: Vimeo] https://vimeo.com/glassworksamsterdam [image: Instagram] http://instagram.com/glassworksvfx/ See our latest work *here*. http://www.glassworks.co.uk/ 33/34 Great Pulteney Street London W1F 9NP T +44 (0)20 7434 1182 glassworks.co.uk http://www.glassworks.co.uk Glassworks Terms and Conditions of Sale can be found at glassworks.co.uk (Company registered in England with number 04759979. Registered office 25 Harley Street, London, W1G 9BR. VAT registration number: 86729) Please consider the environment before you print this email. DISCLAIMER: This e-mail and attachments are strictly privileged, private and confidential and are intended solely for the stated recipient(s). Any views or opinions presented are solely those of the author and do not necessarily represent those of the Company. If you are not the intended recipient, be advised that you have received this e-mail in error and that any use, dissemination, forwarding, printing, or copying of this e-mail is strictly prohibited. If this transmission is received in error please kindly return it to the sender and delete this message from your system. On 30/09/2014 18:55, olivier jeannel wrote: http://www.glassworks.co.uk/video/lycra-moves-yousearch-type=allterm=all Beautifull film, out of curiousity are we still speaking softimage here ?
Re: Glasswoks Lycra
Looks like a bloody intense pitch meeting ;). On 2 October 2014 01:50, David Barosin dbaro...@gmail.com wrote: Wow. Cool idea and great execution! On Wed, Oct 1, 2014 at 11:39 AM, Byron Nash byronn...@gmail.com wrote: Very nice spot. On Wed, Oct 1, 2014 at 5:41 AM, Alastair Hearsum hear...@glassworks.co.uk wrote: Thanks for the compliment. Yes Softimage and Redshift Great result from the team here at Glassworks and such a good director work with. Alastair Hearsum Head of 3d [image: GLASSWORKS] http://www.glassworks.co.uk[image: Facebook] http://www.facebook.com/pages/Glassworks/150976168270682 [image: Twitter] https://twitter.com/GlassworksVFX [image: Vimeo] https://vimeo.com/glassworksamsterdam [image: Instagram] http://instagram.com/glassworksvfx/ See our latest work *here*. http://www.glassworks.co.uk/ 33/34 Great Pulteney Street London W1F 9NP T +44 (0)20 7434 1182 glassworks.co.uk http://www.glassworks.co.uk Glassworks Terms and Conditions of Sale can be found at glassworks.co.uk (Company registered in England with number 04759979. Registered office 25 Harley Street, London, W1G 9BR. VAT registration number: 86729) Please consider the environment before you print this email. DISCLAIMER: This e-mail and attachments are strictly privileged, private and confidential and are intended solely for the stated recipient(s). Any views or opinions presented are solely those of the author and do not necessarily represent those of the Company. If you are not the intended recipient, be advised that you have received this e-mail in error and that any use, dissemination, forwarding, printing, or copying of this e-mail is strictly prohibited. If this transmission is received in error please kindly return it to the sender and delete this message from your system. On 30/09/2014 18:55, olivier jeannel wrote: http://www.glassworks.co.uk/video/lycra-moves-yousearch-type=allterm=all Beautifull film, out of curiousity are we still speaking softimage here ?
Re: Glasswoks Lycra
Soft and Redshift. Killer combo! On 30 September 2014 18:55, olivier jeannel olivier.jean...@noos.fr wrote: http://www.glassworks.co.uk/video/lycra-moves-yousearch-type=allterm=all Beautifull film, out of curiousity are we still speaking softimage here ? -- www.matinai.com
Re: Glasswoks Lycra
Amazing work as always. Indeed Softimage and Redshift are prooving themselves of their capabilities in such fine hands as Glassworks' Cheers and congrats! --- Emilio Hernández VFX 3D animation. 2014-09-30 13:00 GMT-05:00 Matt Morris matt...@gmail.com: Soft and Redshift. Killer combo! On 30 September 2014 18:55, olivier jeannel olivier.jean...@noos.fr wrote: http://www.glassworks.co.uk/video/lycra-moves-yousearch- type=allterm=all Beautifull film, out of curiousity are we still speaking softimage here ? -- www.matinai.com
Re: Glasswoks Lycra
Superbe work, Glassworks.
Re: Glasswoks Lycra
Simply beautiful =) On Tue, Sep 30, 2014 at 2:29 PM, Eric Mootz e...@mootzoid.com wrote: Superbe work, Glassworks. -- -=T=-
Re: Glasswoks Lycra
=O =O =O -Draise PH: +57 313 811 6821 From: olivier jeannel Sent: Tuesday, September 30, 2014 12:55:53 To: softimage@listproc.autodesk.com http://www.glassworks.co.uk/video/lycra-moves-yousearch-type=allterm=all Beautifull film, out of curiousity are we still speaking softimage here ?
Re: Glasswoks Lycra
Eat that new AD idents :P have already shared it 3 times. Thanks Glassworks, making consumerism, worth being a whore for ;) On 30 September 2014 20:38, Eric Turman i.anima...@gmail.com wrote: Simply beautiful =) On Tue, Sep 30, 2014 at 2:29 PM, Eric Mootz e...@mootzoid.com wrote: Superbe work, Glassworks. -- -=T=-
Re: Glasswoks Lycra
Beautiful piece… really happy to see Softimage kicking!!! Jordi Bares jordiba...@gmail.com On 30 Sep 2014, at 18:55, olivier jeannel olivier.jean...@noos.fr wrote: http://www.glassworks.co.uk/video/lycra-moves-yousearch-type=allterm=all Beautifull film, out of curiousity are we still speaking softimage here ?
