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sconlogue

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  1. Hey Corey, Ha ha, that is exactly what Carlos just told me to try. I hadn't even thought of that! Though by this time I had done a hand match with tilt and shift values that work pretty well. Now getting accurate existing condition measurements is a whole other issue. Thanks for the tip though! I'll try that route first next time! P.S. I wonder if an overscan script could crafted that would allow padding and realigning the horizon in Max? Hmm..
  2. Hi, I typically use Syntheyes to cam match shots, but for this project I am being provided images/video shot on a Canon 5D mark II with a tilt-shift lens instead of a standard lens. I have confirmed with Russ Anderson (Developer of Syntheyes) that the software will not work with this lens. So basically the issue is the verticals are corrected to remain vertical even though the camera is pitching up a good 20 or 30 degrees which would normal cause them all to lean inward toward the center. Like what you can do with the Max physical camera or Vray Physical camera. Anyone have some best practices to share when cam matching footage shot this way in Max? Thanks in advance!
  3. Hi There, I need to create reverse channel lighting to go behind a raised wall treatment. It's basically a laser cut piece of stainless with lettering and logo the negative space. I need a soft "Halo" like reverse channel light look but am having trouble getting there. I have tried both Vray mesh light as well as using a VrayLight material with direct light ticked on, but both produce blotchy results even at hi GI settings. I suppose I could fake it with a distance texture on the wall to control the blend between wall paint and illumination. If anyone has create reverse channel lighting please chime in! Thanks!
  4. Nice ones Jeff! As a fellow Mental Ray user I think Jeff makes an excellent point about considering setup/config/optimization time when making comparisons. If you start paying attention to the time spent there it really makes unbiased render times not such a big deal. I have been a Maxwell user since the original beta and from day 1 realized you spend much less time testing, tweaking etc. things just work. I imagine iRay to be much the same way. The fact it allows most MR shaders etc. means those of us familiar with Mental Ray don't have to re-learn a thing and can switch over to biased, optimize & tweak mode as needed without reconfiguring our scene. That's pretty sweet. On another note: Jeff, have you noticed a significant different in the reflectance of glossy reflections when switching from MR to iRay. I have found iRay reflections tend to be shinier and more reflective. Or perhaps it due to being more sensitive / accurate regarding IOR? Edit:Just noticed your edit. Right, agreed.
  5. I rarely see lightwave interior renders this nice, impressive! Great job!
  6. Great modeling on the chair and props as well! Looks great! The only things I would adjust are increase the relief on the brick, reflectivity on the floor as Tron mentioned, and move the camera slightly plus adjust the color or brightness of the mirrors reflection to make it more clear that there is a mirror there. Those are all small things though.
  7. Great work! The entourage looks mostly really good, but I agree on the point about the pigeons. I don't think I would want to walk through this plaza in my new suit at the moment.
  8. @Tron, yep a bit long. Though SL 15.5 was a bit more than I needed. Most likely I could have stopped it an hour or two before that without a noticeable difference. Maxwell and iRay renders are more like, "how long can afford to render?" and try to optimize of that. I just let it run for a while and stopped it there cause it looked good. At some point I would like to animate this scene so I may go in and really try to optimize the materials & emitters better figure out what SL that gets just the right amount of noise. Also I made the paper roll more of a thin SSS Mylar which takes longer to clean up. Though considering that there was no compromise in DOF, texture size, glossy reflections, SSS, displacement, or faking anything really I'm pretty happy with a few hours to render at that resolution. Throw it at a real beefy workstation with dual socket xeons and you could cut the time in half or better. I get spoiled sometimes with quick Mental Ray renders, though I have to cut corners and cheat a lot to get those down.
  9. @Think, thanks! @Tron, thanks. Glad you liked the reel & the breakdown. Regarding render times, the 3 final shots were rendered to SL 15.5 with Multi-light using 5 or 6 emitters along with object and mat ID passes. Render times were around 4-5 hours each @ 2200x1238. The table lamp did slow things as it is being physically lensed, no ies data used. Meaning much of the emitted light bounces around in the reflective white cone before dispersing into the scene. This adds noise. With Multi-light you could see the other emitters were cean long before the lamp. As I often end up adding grain to my mental ray renders I was very comfortable leaving what noise there was alone, so no noise or grain reduction used. Slight Diffraction aside from the AE glare. The machine I rendered on was a Core i7 920 o.c.'d to 3.2 at the time. These are relatively long render times but this type of interior shot with physically lensed fixtures and exterior light passing through SSS (frost) slows Maxwell about as much as you can. In contrast those smaller WIP images were mostly rendered in about 5-10 minutes using only an HDRI for light source. Exterior images render much faster in general. I would be curious see how iray would do, though this would not have passes and the poly count would make gpu though to use.
  10. Amazing work as always Bertrand!!! I particularly like the after dusk shots. The blue exterior light contrasted with the warm interior is as natural as it gets! Great foliage work as well! It looks like you're using Depth fog in some of those?
  11. @ Wrender - Thanks! @ notamondayfan - Thanks, and agreed on the irregular details. With the amount of time I had available for this competition I knew I had to either detail the room or focus on the balsa models "built" look. I decided on the room & tools since they occupy a large amount of the shots. Also Here are some of the WIPs which better show what details I did get into the house.
  12. Studio/Institution: Infusion Studios, Inc. Client: Competition @ ronenbekerman.com Genre: Residential Exterior Software: 3D Studio Max 2011, Maxwell Render 2.5, After Effects CS5, Photoshop CS5 Website: http://www.infusionstudios3d.com Description: Three rendering I created for the NGA House Maxwell Render Challenge that was held over at cgarchitect.com last month. Brief: The task for this challenge was to take the provided 3D model of the NGA House designed by D.O.C. Unlimited and create a visualization of the home's exterior using Maxwell Render and the 3D package of your choice. My Entry: Initially I had intended to create a dusk waterfront scene but just wasn't feeling it. During my modeling phase I started using a balsa look for fun and found this a much more interesting path for me to go. I ended up building out a full CG balsa model as well as an interior scene for my "exterior visualization". Everything is modeled and textured by me aside from the leaves in the trees which are part of a stock model. Hope you like it! Here's some additional views. [ATTACH=CONFIG]42785[/ATTACH][ATTACH=CONFIG]42786[/ATTACH] Also a brief breakdown of my light passes and post work in AE.
  13. Thanks Charris, Yep. Some normals on the fillet are flipped and backface culling is making a nice long hole in the legs. Not sure how that happened, fixed now. Thanks! I know we've all gotten used to Vray dominating the Arch viz industry but seriously MR works great, it's much easier to work with then it used to be since the addition of A&D materials, also the multi-Pass linear 32-bit work flow is reliable. GI&FG do a decent job and now there's Iray if you have a beefy GPU. I figure MR deserves a little love now and then. I'll document my workflow as soon as I can, but realy most of what I know I learned for Jeff Patton, Master Zap and Ramy Hanna. Those guys have been a huge help to MR users.
  14. @saturn, thanks! Glad you like them. I am planning some Mental Ray tutorials for my blog, perhaps this scene will be the one to use. I am working on fishing up an animation of this scene as well so it would make most sense to cover that as well. Regarding settings. The scene is using only the MR Sun & Sky (With MR exposure control) plus a self illuminated plane (no GI) about 1500' away from the windows for the BG image. I cache the GI (10' radius 200,000 photons per light), Then cache the FG with draft settings. There is also an AO, Zdepth, MatID, Reflect, specular and Refract pass for added control and tweaking. All rendered in 32 bit OpenEXR for better color correction/exposure control in After Effects and or Autodesk Composite. That's the basics anyway. On my Core i7 3.2 Ghz workstation a 1800 pix wide render takes about 5 to 9 Minutes depending on what passes are turned on. So it's pretty optimized and performs well at large resolutions as long as there's plenty of RAM for all the passes and the 32bit Float work-flow.
  15. Love the detail! The rugs are wonderful and the wallpaper comes off very well. Nice one!
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