Making super clean renders of modern kitchens and living rooms may not be the best way to enter the VFX world. Here's why. Daniel Krafft / @danielkrafft
This is a mantra I've been saying since forever. Something I started to think about as early as when I was a kid and preferred my sketches over my "perfect" inked drawings. The brain clearly needs imperfections. Not only in 3d but in almost everything. My favourite example of this is Mike Oldfields classic album Tubular Bells. It's full of imperfections but I LOVE it! In 2003 he rerecorded the album to sound perfect and it's not even close to be as interesting as the original. Anyway, great video! An important one.❤
i liked the Maya joke. :O) but regardless, imperfections in life & imperfections in art, that is why it is important to appreciate and embrace imperfections.
AOC Pass - loved it :D For work most of the stuff I do are office spaces, which means ceiling tiles very frequently used. I have a 600x600mm (just scale it to 610x610 for US ceiling grids) with the tile in the middle surrounded by the grid. I place it according to received plans, and array it until it fits the ceiling. Apply the array and adjust for uneven tile styles mixed in (i.e. 878mm HVAC tiles or whatever). Material have several tile styles, HVAC elements, grid and tube light representations, and now I can just go in and assign the required material to what the space dictates. When it comes to replacing representation tiles with real geometry (not always needed), I just extrude the ceiling tile up so I have the face still available for snapping when placing stuff (speakers, fire detectors and sprinklers, HVAC ducts and diffusers, various light types). In the material, I generate a random color per tile, separate XYZ, combine XY and 1, then feed it into a normal map node. Now every tile has some kind of tiny tilt to it. This won't be observable in fabric tiles, but very visible in reflections (like from bright monitors) off metallic shiny ones. I do similar for floors, both wooden and ceramic tiles. The random color can be used to offset UV lookup and is useful for all kinds of randomization. Using this technique for tiled stuff, texture repeats is a thing of the past.
Well, yesterday you told me that you have no idea how you could use geo nodes? Here you go! You could do all your tiles with geo nodes, add a random rotation to them, setup the entire ceiling. Go to blender.org and download the procedural building file. As for the random colors, I also made a clip about that too :-)
@@BlenderBob I've seen what others can do with them, and its impressive. While improved lately, I'm forced to keep geo at absolute minimums as I'm constantly previewing stuff and can't wait for BVH rebuilds. Back when I tried, geo nodes was very unfinished and I couldn't make heads or tails of them. Now I'm only using it to offset floorboards and ceiling trims for better shadows, while editing them with geo snaps. Compared to just painting in the tile work as per ceiling plan by assigning different materials to them, I think the process would take far too long. It's something on my list to learn and find applications for, but I don't think ceilings will ever be one of them.
One thing cycles really lacks is micro bump. You can clearly, well if you look for it, notice that the roughness on the wall changes in terms of the angle. This same effect can be seen on floors in sport halls. Perhaps can be done using a fresnel on the roughness. I don't know cycles Welle bough yet. My old engine, Thea render, had micro bump which would mimic this effect of angle of roughness. Super nice effects and really adds to realism
Hahha, it had to be said!! Thank you for another great vid, Bob! 4:14 - Oh sh00t! ahhaha. This is the IT, man! 9:23 - Cough! you came with that one yourself? :D
That lilyscrapper addon has a stunning node group preset. With it it can project any hdri and flatten the floor. It looks like the floor of the hdri is in the scene. Not all hdris loo good, but it does do an okay job on a lot them.
Fantastic videos you make! Learning a lot from you. As a vfx compositor ( learning blender ) I actually preferred the beauty without the AO :) Coming to think of it, what if you would mask the AO pass with the general (maybe blurred?) brightness of the image? Using more of the AO only in the shadows.
Lily surface scraper intrigues me. I am terrible 3d texture painter and often use procedural textured for their ease, but straight noise has a bit of a computery look. Getting good wear painting in 3d takes so called grunge maps. It's a bit of an art form to get a good high res one.
Will try eventually. Am ridiculously poor. I did learn an old trick that helps with procedural noise. If you have 2 low contrast noise textures, and use a crisp high contrast noise as a mask, it can look like a surface with two types of color/roughness that's peeling away in chunks. Using the mask as a bump effect makes the peeling effect more pronounced.
Great video! Quick question: What was your approach to the chipped pain on the edges of the door jams? Typically I'd run to Substance Painter for this, but I see you did it all in Blender. Did you use texture painting by chance?
Hey! Blender Bob love your videos and i have just saw TWO of them right now, and i'd love to find work doing something like this type of VFX project. Is there any resources on finding companies for something like this? I have been using blender since 2011 learning it since then.
Hi! Thanks for the comments. You can look at BCON 2020 on youtube. You will see a bunch of companies using Blender. Also check here: blenderartists.org/c/jobs/14
Hi Ted. The floor had more polys because it’s actually displaced, not just bumped and I had to adjust it for interpénétration with props touching the ground. Objects are not all combined together. What are you referring to?
@@BlenderBob my mistake, at 3:00 i didn't see it's "object mode" in the top left corner and the wireframe overlay made it look like everything is in edit mode.
How would you change the color of the walls in the reflection? I under stand how cryptomattes help in changing the color but they don't affect the indirect lighting. Anyone Please help.
Blender Bob. Do big VFX companies ala ILM or Weta still do asset creating? So much bread and butter vfx like roto or keying is like done now in little botiques in India or Singapore. I am curious if VFX is diverging where asset creating like modeling and texturing is done more now with third party effects houses. Companies like ILM are so expensive, I thought now top VFX studios are now proprietary render/physics sim companies, where a big studio uses them when they need secret non commercial rendering or simulation technology that doesn't even have a siggraph paper published yet to handle specific effects problems, but they use cheaper models made by smaller companies.
Hi Michael. All the big shops I worked for created their own assets. Roto and tracking is often send to India but modelling, lighting and lookdev is done internally. There are some shops that are specialized in specific fields, like water sim. There's a company in L.A. (Lola) that is specialized in making actors look younger and for a while they were kind of a secret company because actors didn't want anybody to know that they were getting a digital facelift. We do it too at Real by Fake.
@@BlenderBob thanks. Asking because unreal and some other companies especially with games have really huge high quality asset libraries and model texture capabilities, I guess a lot and wondered if movie studios in future would use these asset libraries and the tip effects houses would lean towards secret sauce render code. Partly interested in this over my peeve that blender and pretty much everything only does refraction in 2d on polygon surfaces. When the movie Interstellar came out, a company had one of a kind software that could raytrace gravitational lensing. I thought that the big houses come up with something like that they have a monopoly on and can charge big bucks cause studios want wormholes space portals and force fields in their films. Waiting for blender volume refract.
@@michaelcooney9368 Usually game assets are not hires enough for VFX (I'm not talking megascans). In gaming, they try to optimize everything to the pixel. In VFX, we don't care because we don't need to do 30 fps in real time. We have enormous processing power. Just to give you an example, I rarely use GPU in Blender for rendering because even with a 2080ti 16 gig it's not enough so I go CPU instead. The big house do have tons of proprietary stuff but it's rare that you need to use them again. Just to give you an example, at Method we did to shows on the moon back to back. Completely different workflow for the moon surface.
@@BlenderBob forgot to mention, RU-vid channel called Two Minute Papers. Do studios watch something like that. Sometimes I imagine movie studios literally funding a film not on a good screenplay anymore, but on a revolutionary siggraph paper, before it's published and funding a rendering breakthrough so they'd build a film around some super cool gag nobody has seen before. If The Matrix was made today, a studio wouldn't do it around a cool story, they'd find out about a tech like bullet time, and fashion a film around it.
@@michaelcooney9368 I replied yesterday but my own answer disappeared... So here we go again. Game assets are kind of useless in the VFX world. They are usually too low res (I'm excluding mega scans). In gaming, you have to optimize your asset as much as possible, use as few textures as possible. In the VFX world, we don't care because we have render farms and we don't need to output at 30fps. Sometimes it can take 4, 6 or even 24 hours PER FRAME to render. But things are changing with the arrival of virtual studios. The industry is evolving.
"It's not a porn" "Alexandria Ocasio-Cortez" (hahahaha celle là je ne l'avais pas vu arriver) "the maya user thinks is really really happy" :))))))))))) Un jour cet homme retrouvera sa santé mentale, le plus tard possible, espérons le. Merci Bob pour toutes les infos que tu donnes et pour me faire autant marrer comme quoi il est possible d'apprendre en s'amusant, y a t-il d'ailleurs une meilleure méthode ?
It’s been working for a while. Two things you need to know. You need to upgrade cryptomatte to the latest version in Nuke and you need to render exr full, not half.
@@BlenderBob Im at about 512 samples with adaptive sampling and Im using the Super Image Denoiser add-on.. I render long animations so need to keep the render time per frame manageable! (great vids btw)
Certes faire des cuisines et salons pour des sites d'ameublement n'est pas la même approche que pour du cinéma. Tu as oublié le lien dans la description... ru-vid.com
@@BlenderBob I also understood... Eat Donuts. Blender Bob Can you maybe me give me some donut FEED back on this? ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-2GCwfOZgP4k.html
Hm....kinda feel like you overdid it with the AO, looks like how some game devs crank up the AO in post to make it look "good" but ends up making it look generic and fake.
To be fair though, AOC passes are fake/artistic. Real corners don't get darker. If anything they get brighter, but it's usually just the angle between the camera and light that causes walls/ceilings/corners to change in perceived brightness. Go ahead, take some photos of a real diffuse wall, bring it into an image editor, and look at the values. There will be either uniformity or the corners will have higher values. But the final look is more important than reality, so go wild. Plus people are accustomed to fake AO due to video games...
AOC will look bad if not probably used. 99% of the people multiply them on the beauty pass. That’s why it looks bad. It needs to be multiples with the diffuse color before adding the direct and indirect diffuse and before the glossiness pass.
