[Hervé]

pretty cool..; actuallythey have something similar for Modo... where at the end you can even bake the studio setup to a hdri...


http://www.luxology.com/store/SLIK/

looks pretty neat to me...

h/

[Polyxo]

Yep, very elaborate too - but the "physical" equipment of Slik, real-life-adjustments of Tripods
and all it's accompanying Polycount seem not really required to me.

What I am wondering about - is that really some kind of Environment-Sphere encompassing the Scene
the Person in the Video orients (=maps) the images onto... Quasi as the 3D-equivalent to the HDR-Studio implementation?
Or are the Manipulators used in conventional fashion here - like one would also orient "normal" CG-Lights?

[Half Life]

The problem with moving polygon planes (or any other geometry) around in Fire is it slows everything down for re-voxelization, which in a "heavy" scene could be a substantial amount each time... By working with HDR images for the lighting you avoid those slowdowns in the setup process completely.

Best,
Jason.

[Polyxo]

The problem with moving polygon planes (or any other geometry) around in Fire is it slows everything down for re-voxelization, which in a "heavy" scene could be a substantial amount each time... By working with HDR images for the lighting you avoid those slowdowns in the setup process completely.

Best,
Jason.

But doesn't the HDR-Studio Demo from Maxwell-Studio need time to resample too?
I at least don't see instant updates in the Fire-Window...

[Half Life]

It updates instantly for me -- no different than changing your time in the Physical Sky.

BTW, check to make sure you have all the IBL channels set to use HDR Light Studio before clicking the button.

Best,
Jason.

[Polyxo]

It updates instantly for me -- no different than changing your time in the Physical Sky.

BTW, check to make sure you have all the IBL channels set to use HDR Light Studio before clicking the button.

Best,
Jason.

Hmm - here it isn't as interactive as Emitters. I see some kind of revoxeling each time when I change a Light-Position with HDR-LS
(not only no change while moving - but also a short pause after moving).

Not so with Emitters (at least not in Studio). Here the Emitter is the only Light-source. Sorry-I did this on my slow Laptop - but I guess it gets my point accross.

[Bubbaloo]

I don't see voxelization happening there.

[Half Life]

I think you would see the difference pretty clearly in a scene with heavy geometry... re-voxelization will only take a split second in light scenes -- that would be especially true in scenes with displacement materials.

Best,
Jason.

[Polyxo]

I think you would see the difference pretty clearly in a scene with heavy geometry... re-voxelization will only take a split second in light scenes -- that would be especially true in scenes with displacement materials.

Best,
Jason.

Please excuse if I'm missing something - what I see here on my gif with the torch is an Emitter-Material mapped to a mesh (=could also be an image mapped
to a plane, no?) I move it around and see at see some effect at any point in time.
When I move a Light in the HDR Editor I do not see a change for as long I move - nor immediately after releasing.

[Half Life]

Yes, you will not see Fire updating while you are moving in HDR LS, but as soon as you let go of the HDR LS object it should update Fire -- re-voxelization is not the same thing as a preview update... Fire needs a preview update when any change is made regardless, but re-voxelization will only occur upon a geometry change in the scene... the more geometry the longer it will take to calculate, sometimes several minutes on heavy scenes (and displacement textures).

Set up a ball with a strong displacement texture and then try to move your plane with Fire active and you'll see what I mean... now try it with HDR LS. Because no geometry is changing we don't need to go through the re-voxelization -- which translates to major time savings in setup of heavy scenes or scenes with displacement.

Best,
Jason.

[Polyxo]

Yes, you will not see Fire updating while you are moving in HDR LS, but as soon as you let go of the HDR LS object it should update Fire -- re-voxelization is not the same thing as a preview update... Fire needs a preview update when any change is made regardless, but re-voxelization will only occur upon a geometry change in the scene... the more geometry the longer it will take to calculate, sometimes several minutes on heavy scenes (and displacement textures).

Set up a ball with a strong displacement texture and then try to move your plane with Fire active and you'll see what I mean... now try it with HDR LS. Because no geometry is changing we don't need to go through the re-voxelization -- which translates to major time savings in setup of heavy scenes or scenes with displacement.

Best,
Jason.

I will do a Displacement-Test but it will not have a practical relevance for how I use Maxwell presently.
Displacement imo is simply too slow.
In my experience it makes more sense to use high polycounts from Sculpting-Apps+ a Normalmap for the last 10% of effect.
Renders up to ten times as fast as Displacement.

Thanks you!

[Half Life]

High polycount is going to have a similar effect -- you will still have to voxelize and re-voxelize the scene and that takes time... the more polys the longer it takes.

I only suggested using a displacement because it is a fast way to see what I'm talking about.

Best,
Jason.

[Polyxo]

High polycount is going to have a similar effect -- you will still have to voxelize and re-voxelize the scene and that takes time... the more polys the longer it takes.

I was afraid you would say that...
Going to check it out.

[Maximus3D]

Tripods and such fluff can be disabled when you work with SLIK, it's just there while you work on your setup and if you want them visible in your reflective surfaces on the model you are rendering. They are not there all the time but they do help during the setup because as in real life you get a better sense of scale and proportion in your scene with them.

/ Magnus

[Polyxo]

High polycount is going to have a similar effect -- you will still have to voxelize and re-voxelize the scene and that takes time... the more polys the longer it takes.
I only suggested using a displacement because it is a fast way to see what I'm talking about.

Hmm -I made quite an interesting discovery: Probably clear to you but I couldn't have told by heart before:
Emitters seem to get treated greatly different by Fire depending on whether the Camera gets translated around them (the Emitter-Bulb of my Flashlight) or
whether the Emitter itself gets translated in Space.

Just to test what you said Jason, I've exported the outer shell of that torch to Zbrush as an .obj, subdivided several times and re-imported back.
The exact same Scene has now more than 800k. Then I redid the test with the Emitter as only Lightsource (like in the gif) I already posted.
Initial Voxelization took long on the Laptop but there's when actually moving the Camera there's no noticeable difference at all.
However as soon as the Emitter itself gets moved Voxelization takes place each time (and needs long each time).