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Corey Beaulieu

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Corey Beaulieu last won the day on April 13 2022

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  1. Use an override material. Pipe your floor material into the base/default material slot and then pipe a basic 50% gray material into the GI slot. This will work for both Vray and Corona.
  2. Windows aren't as transparent as they seem. Try an 80% transparent glass material: 204 in the refraction color for VRay. Blinn BRDF type (my personal opinion for glass) and separate your IOR for Reflection and Refraction so that you can decide on the value of IOR Reflection you like without overly distorting what you see through the glass.
  3. Thanks for your answer. I work in on of the studios that has gone or is ever growing into a pseudo ad agency direction so I feel more insulated in that diversity, but COVID hasn't been easy on us either. We still very much live in a world of architecture and development. The growing technologies in VR and other immersive products are helping to pull us back to our roots as a viz firm, but that too is just more diversity. My thoughts always live in this curious zone of owner/operators being so close in age to the top end employee. So close in functional production experience once you account for their needs to be more business focused and the artists they employ becoming the new realm of quality and speed at the production level. In a true ad agency the smaller companies may stay idol in their growth with owners staying Creative Directors and not widen by generating more opportunities in the CD and AD roles, but their are so many more companies for the lower employees to bounce between. In our industry motion means uprooting your family and heading to new places. A much more lofty thing to consider. It's an interesting business, ours. Secretly blue color in a way. We head to the office, wear a business casual, but it's still labor through to the end it seems. Can't all be handshakes and golf games I guess ;D Perhaps that's most industries if we really thought about it.
  4. I have a question for the group.... Do we yet know what retirement looks like in this industry? I am 20-25 years out by American standards so this is less of a question of personal planning and more of a curiosity. Where does this lead? Do we stay artists for a lifetime mired in production cycles? Perhaps we grow to manage a team or the more brazen of us begin our own companies and launch a career in "business." But do we see this industry widening so much that we can sustain all of us rising up as we also make way for and mentor new talent? We are no doubt fighting against the capacity of technology to take our jobs. The artists within us will no doubt bob and weave in that fight and use our talent to stay relevant and ahead of the game, but are we meant to grind it out? Is there a longer target to aim for? I'm in the game and doing the work in front of me. I'm not the guy who is going to start a company and I'm not worried in the immediate of where I am headed, but age is a part of life and at a decade in this industry I've never known anyone to retire. Those at work who are above me are in the business longer as you might expect, but they aren't that much older than me. I don't see see an end yet and haven't been privy to example, but I do wonder. So I am asking, what are others seeing/thinking about their own retirements? Their own futures?
  5. Move the light closer to the object and change the intensity to match your brightness. Light falls off more rapidly nearest the source. When your light is far away, the change across the area of light your object is in is less apparent so foreground and background have very similar intensities.
  6. I realize that this post took a turn towards drones, but in the interest of Farm Local v. Farm Outsource I have to say this: I am lucky enough to work for a company that has over 100 nodes overnight. We have 80-ish during business hours too. It's as dreamy as you would imagine. We are a fully rendering studio though and we complete over 50 animations a year as well as many, many different VRs and Stills. What I have to offer to the conversation is that Rome wasn't built in a day. We started years before me and small and have added over time. We upgrade workstations (which are not as buff as they could be to save on cost) every few years and add to our farm every few years. Local doesn't need to be so crazy when you can check in the farm. When very large projects come in we buy more machines, maybe 5 or 10. When very, very large projects come in, ones that would take down any farm, we budget new machines in the contract to better the schedule. This is rare, but fits for some clients when you say you can have it on 2-3 months v. 6-8 over their render requirement (4k films are a beast!). I know I am a lucky artist and I know that my situation is rare, but building a farm a little bit here or there is a great way to go. Get good stuff at first and upgrade memory over time. CPU's can last a while if you start high. The one cost that you MUST have if you are building a farm though, is an IT Manager. Ours is invaluable on many levels, but when it comes to our large farm, I could not imagine having to wrangle that as well. You cannot forget the cost of managing, Cooling, Housing, and Electrifying a farm when looking at the cost of it. I would imagine that I could make a few more dollars annually were it not for this, but I don't know that I would make that trade having it.
  7. Do you want to share the passes? At least I could better understand what you are dealing with though it seems you know what you are doing.
  8. I wonder if Nuke is looking for some sort of PreComp of the Multiplications of Filter and Raw passes before they get Added? My Nuke skills are far less than my Photoshop, but I know often times it's a technical "switch" that can make the difference.
  9. It is possible it is just excessive. I'm not going to download your links (sorry) and it is clear you have read this: https://docs.chaosgroup.com/display/VRAY3MAX/Beauty+%7C+RGB_Color but yeah, purhaps it is the refractions stuff. In the material settings for your refractive materials, usually glass, there is a setting "Affect Channels" that you should use the dropdown to select Color+Alpha.
  10. You don't need the raw... you could MAYBE make use of them in small ways, but for every raw you need a filter and it becomes a lot to manage. If you want to composite the passes you need the following: Global Illumination Lighting Reflection Refraction Specular Self Illumination Atmosphere Background None of those are to be the RAW version and the last 3 are not necessary if you are not using those things in the render. Then, in Photoshop, Using 32-Bit you composite: GI pass = Normal Lighting = Linear Dodge Reflection = Linear Dodge Refraction = Linear Dodge Specular = Linear Dodge Self Illumination = Linear Dodge Atmosphere = Linear Dodge Background = Linear Dodge Only notes on that is that for all Refractive objects you will want to use the material setting of Color+Alpha instead of All Channels otherwise your refractions will be over-bright and that you cannot use a Burn Value other than 1.0. You can adjust the burn, but that will not be baked into passes and the 32-bit comp will be as if you had no burn value so no need to bother in the first place. **PS just realizing that you are using Nuke in which case all hold true though you will Merge A over B using Plus blending mode instead of Linear Dodge.
  11. It has been a long time since I rendered with Irradiance Map, but if memory serves you need to up your samples.... You have 50/20. I think I used to use a rule of thumb that the low had to be half the high, like 90/50 or something. The noise is definitely Irradiance splotchiness so you either need more samples or more lights and I think the lighting looks fine as is.
  12. Model It. (Proxy a portion of it if you are going to chamfer edges)
  13. Just use a region. In the drop down under "Area to Render" is an option for Region and it gives you visual feedback in the viewport to adjust the area being rendered. Alternately you should be able to smooth out your current aspect ratio to a 2:1 and just half the the Width and double the lens. Unless you are using vertical shift in your camera. Render 1200px by 600px with a 24mm lens. Then render 600px by 600px with a 48mm lens. They should be exactly the same only one see more in the width. Again, unless you are shifting your camera in the perspective controls.
  14. To get this effect you need to use the "Affect All Channels" option in the refractive materials such as glass. If you rebuild the RGB though, the Refraction pass will not be necessary as it will be baked into the Relection pass and others. It will become over-bright otherwise.
  15. I wouldn't say that all websites have 3D models of their furniture, but it is getting to be more common. Some of these companies guard their models and others place it right out in the open. Usually you will see a link next to where they are showing the Spec's for either 2D or 3D or CAD Libraries such as: https://www.subzero-wolf.com/sub-zero/full-size-refrigeration/refrigeration/pro-48 My experience has been that the more geared for development the product is the more likely they are offering the model or block to designers. If you are looking for things that an ordinary person can purchase at a store, it isn't very likely. These things are being offered to builders and architects not home owners.
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