Hi! I am a freelance CG/VFX Artist and Trainer based in Ludwigsburg, Germany. My work ranges from visual effects for feature films to creation of commercials / packshots and CG shorts. In this channel you will find Tutorials, new Animations and VFX-Shots I have done.
Silverwing teacher, thank you very much for your tutorial. I have really learned a lot. Recently, I used OC's light analysis and I feel that it is not very useful because Redshift's light propagation function is too easy to use. I don't know what method can achieve a similar effect in OC. Thank you Silverwing teacher for your answer.
Ah, the grand world of color spaces! It's a bit like the difference between choosing a Rolls-Royce or a private jet-both will get you to where you're going, but how you travel depends on the experience you want. Let’s talk about ACEScg, ACEScc, and ACES2065-1 in a VFX workflow. Think of these as different modes of transport, each suited for a specific part of your creative journey. ACEScg: The sports car of the color spaces. Designed for compositing and 3D rendering, this is your sleek, high-performance machine. Why? Because ACEScg operates in a linear color space-which is perfect when you’re dealing with light. In VFX, you’re mimicking reality, and light doesn’t behave in the same way we perceive it-it behaves like it’s in a luxury simulator. In practical terms, this means light blends, reflects, and interacts as naturally as in the real world, which is crucial when you’re rendering something like, say, a photorealistic dragon soaring through the skies (because everyone loves a good CGI dragon). So, for rendering and compositing, ACEScg is what you want. It’s your trusty Ferrari-fast, accurate, and specifically built for this kind of task. Why blend colors with clumsy tools when you can do it with the precision of a surgeon? ACEScc: The handcrafted leather interior. Now, when it comes to color grading, you're entering a different world. Grading is like taking that sports car and giving it a custom paint job. You don’t want the raw power of ACEScg here-you need finesse, a soft touch. That’s where ACEScc comes in. It's a logarithmic color space, which means it’s great for pushing and pulling colors without getting banding or blowing out highlights. Think of it like working with traditional film stock-you have this gentle, artistic control over your color palette. It's the difference between hammering a nail and painting a masterpiece. So, once your compositing work is done, you hop over into ACEScc to handle the final look development. It’s like swapping out your sports car for a finely tuned Bentley-more subtle, more elegant. ACES2065-1: The vault. This is where you store everything at the highest quality possible. ACES2065-1 is like a bank vault for your footage. It’s where you keep the master files in the most pristine condition, unaltered by the biases of a working space like ACEScg or ACEScc. This color space doesn’t degrade or clip information-it's where you put things when you want to come back in 50 years and still have all the data intact. But you wouldn’t take a vault on a road trip, would you? This is purely for archiving. It’s not for active work-it’s for preserving the work. To sum it up: ACEScg is the sports car of color spaces, best for VFX work where precision in light and detail is critical. ACEScc is your luxury interior-ideal for color grading when subtle control over the image is needed. ACES2065-1 is the vault, there for archiving-not for driving around, but essential for keeping everything in perfect condition for the long haul. In essence, when you're doing VFX, you'll start with ACEScg for all the complex compositing and rendering, then hop into ACEScc for color grading, and finally store it all in ACES2065-1 to keep it pristine for eternity. It's not just a journey-it's a lifestyle.
Hm, very strange. I have always found it in all my Rizom UV Versions 😅 Sorry I can't help you here. It's probably best if you contact support for this ✨
Thank you very much for your comment and your great feedback. Super happy hearing that! I have changed my workflow a bit in fusion over the time. Maybe I will make an update video. I note it down on my list of possible tuts 🙌✨
hello, i tried follow your tuto to make this amazing foam material, but i working in octane for blender, usialy its not that big difference, so most of materials i can replicate in blender from C4D. But this time i am struggling, cant find the way to make Mesh to volume in blender, its quite more complicated i gess. Can enybody guide me how to mimicking this sheder in Octane for blender? thank in advance
Thank you very much for your comment and your question! The way you would do this in Blender is not via Octane but via Geometry Nodes. There is a Mesh To Volume Preset. I have made a Blender Octane version too. It's available on my patreon. Though you should be able to get there without having that scene. Small heads up. The noises in the volume and the Shader don´t align there. So you have to turn the volume shader noise +90° on the X axis to line up for some reason.
@@dmytrosurin1384 Blender Geometry Nodes. Has nothing to do with Octane. You just need a way to convert a polygon volume into a VDB. IN C4D Octane can do this. In Blender Geometry Nodes can do that. You can access that as a Blender Modifier! Hope this helps 🙌
@@SilverwingVFX I am so sorry I don't understand, I using octane render in blender, not cycles, that's why I looking tutorial for octane in C4D , usually it works, but can't get volume same way like in C4D.
@@dmytrosurin1384 I think I understand you. That does not change my answer. Let me try to explain this: For the tutorial to work you need a volume with the same shape as the mesh that creates the bubbles. It does not matter where the volume is coming from. Whether it's created by Octane or Blender. Octane Blender does not have a "Mesh to Volume" so we need to use Blenders function for it. A Volume is nothing Octane specific. Think of it as an asset, just like a mesh. You can generate it and then use whatever render engine to render it. In your case this is Octane. When you have the volume you can then use Octane Shaders to bring it into the renderer. And if you can't get there, as I said, I have a blender Octane scene for the foam shader on my Patreon 😇
Hi i wanna ask, if i do similar to the tutorial n dont get the same result.. so where's the wrong path? how can i make a superior jewel like you? thankyou
Hey Rizky, thank you very much for your comment. I am honestly not sure where the issue lies. In the description however you can download the diamond I created. You could download it and see whether it gives you the right results.
@@RizkyArfan-ec9nc What you could also check is if the normals of your diamond-polygons facing the right direction. Dependent on what C4D verions you have, those could be reversed with certain modeling operations. You can go into polygon mode and select all polys and then see if they all look orange. If some of them look blue, then they are reversed. Then you can right click and then align and / or reverse them.
Words cannot describe how much your videos have helped me. The way you teach is super easy to understand. If you ever start a podcast related to CG or a similar field, I would totally be down to listen while working on my projects lol. Seriously, thanks a ton for all the effort you put into making these awesome videos! Oh btw do you have a discord server?
Oh man, thanks so much. I really appreciate your kind words. It's always so nice to hear back from people like you. So thank you very much for warming my heart ❤️ About the the ideas. Not bad at all. I probably would have to learn to speak for podcast. I record my tuts in takes and I always need many of them 😅 Right now I think my time budget unfortunately is used up with client work Patreon and RU-vid. But lets keep our fingers crossed and look what the future brings!
Erm - correct me if I'm wrong here, but at 7:00 you say that a 16-bit EXR is floating-point. It's not; 16-bit is just 65536 tonal levels (256x256) - did you mean FP16 half precision?
Hey there and thanks for your comment. I am trying to explain, no matter how many values, the 16bit EXR has the capability to float the point. In contrast to integer values that were used in the 16bit Tiff before. Of course in science terms that would be half float, you are totally right here. I am just saying that the point has the possibility to switch position within the value range and therefore floats.
Great tutorial as always! It will be much appreciated if you could share some knowledge/tool on how to create the vector displacement maps other than sculpting softwares, cheers!
Thanks so much. From time to time I stumble across topics and I go: "Wait... I have not made a tut about that basic feature yet?" So I am thankful that you seem to like it 🙌
Im really surprised to see octane doesnt have adaptive displacement. Its enabled by default in vray which saves a ton of memory and scene prep time. You can even adjust the amount of triangles per pixel.
Yeah. It's a really standard thing a lot of renderers have. Arnold, Redshift, Vray etc. Octane for the longest time only had Texture displacement. Then they packed in Vertex-D. It's funny. Redshift users really want Texture Displacement and can't wait to get the feature in while Octane users really want Adaptive Subdivisions 😇
Thank you very much for your comment and your input. I really appreciate it. It's worth thinking about! Though it can be translated to Blender with some guessing in between 😇
Lovely as always @silverwing! I don't use scene nodes at all really, but the 'geometry axis' object will allow you to orient your axis without fiddling with numbers or manually placing your null like you have at 12:45
Hey Thomas, thank you very much for your comment and your input. That Capsule sounds really nice and very worth checking out 🙌 I have to dive more into those capsules. Seems like there is some hidden gold there 🪙 Cheers and a fantastic early week to you!
Hola Master, excelente video como siempre...... una pregunta: he probado Octane 2024 y es mas lento que 2023, sabes si van a mejorar eso?......no se si hiciste pruebas, sería bueno un video al respecto..... Gracias
Hola y gracias por tu comentario! Varias personas ya me han dicho que Octane 2024 está funcionando más lento para ellos. Hasta ahora solo he probado esto en un sitio y funcionó un 30% más rápido. Pero haré más pruebas y llegaré al fondo de las desaceleraciones.
Hey hey, for some reason my comment disappeared, I linked a workaround for the vertex map situation using the instance range, but it seems like RU-vid doesn't like wetransfer, The setup is simple and maybe you can improve it or 🧵 it to your next video as a bonus if it is that useful here's the outline: The idea is to break the sweep into different objects with a fracture object and an effector so octane can see the instances, quite simple and somewhat fast Super dope simulation and a cherry on top shading that brings it all together, excited for part 2 Wish you a great week ahead, cheers! 🌟
Hey hey and thank you once more for your time and effort. That's super neat. I will have a look into it and add it into the pipeline and mention it in the next video if It's fits my pipeline well. Glad you liked this weeks video 🙌✨🧵✨🙌 As always thank you very much for your support and your enthusiasm!
Awesome as always! It's great that you show which versions of Cinema and Octane you're using. Could you also let me know which Nvidia driver version you're using? dariiiusz
That's actually a very good addition that I also though about in the past. I am currently using Nvidia Studio 552.22. The newer drivers have a bug and do not run well with Octane right now.
Most people say Houdini is the most difficult app to learn, and while I generally agree, I couldn't help but think how much more weird and difficult it is to scatter some hair in C4D... Love this collab, and hope to see more of this.
Thanks a lot for your comment. Ha ha ha. Yeah, true. I agree! I am not sure if I am doing it the most efficient way possible. At least when it comes to setup time. At least if gives nice results in the end 😇
@@SilverwingVFX Nothing else counts! 🙌 And maybe I am just feeling that way because the Houdini hair workflow has sunk in with me... Probably wouldn't have said this a year ago, haha. Cheers from Hamburg!
