Nitin Singh - Senior CG Generalist
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Appearance Exchange Format (Axf) Is the First File Format Exclusively Designed for System-Independent Storage of Measured Digital Appearance
The Digital Twin of a Physical Material Appearance eXchange The inability to capture and manage complex material appearance data in a single, editable, portable file format has been an obstacle to improving the virtualization of products. In practice, Format (AxF) many complex design and production workflows rely on a variety of different software packages, and different file formats must be used in parallel. This poses serious issues when consistency in color and appearance needs to be achieved. X-Rite’s Appearance eXchange Format (AxF) is the first file format exclusively designed for system-independent storage of measured digital appearance. AxF is a binary digital file format that delivers a standardized format for storing and communicating complex materials appearance data. It is used within X-Rite’s Total Appearance Capture (TAC) Ecosystem, and it can be ingested into a variety of CAD, PLM, 3D rendering and plug-in solutions used in product design, development, manufacturing, sales and marketing. One file format to use in any solution where material images are utilized. It is an industry first that is helping brands reduce cycle times, control costs and ensure consistency in color and appearance. • AxF is not restricted to a single representation of surface reflectance. From a single spectrum up to full BSSRDF, it supports continuous appearance representations, including parametric BRDF models as well as BTF measurements. • AxF is scalable, extensible and portable, ensuring efficient access for large data volumes of gigabytes or more. Extensions can be defined without harming existing support in third-party applications. SDKs are available for Windows and Linux operating systems with support for Mac under development. -
Full CUDA Implementation of GPGPU Recursive Ray-Tracing Andrew D
Purdue University Purdue e-Pubs College of Technology Masters Theses College of Technology Theses and Projects 4-30-2010 Full CUDA Implementation Of GPGPU Recursive Ray-Tracing Andrew D. Britton Purdue University - Main Campus, [email protected] Follow this and additional works at: http://docs.lib.purdue.edu/techmasters Britton, Andrew D., "Full CUDA Implementation Of GPGPU Recursive Ray-Tracing" (2010). College of Technology Masters Theses. Paper 24. http://docs.lib.purdue.edu/techmasters/24 This document has been made available through Purdue e-Pubs, a service of the Purdue University Libraries. Please contact [email protected] for additional information. Graduate School ETD Form 9 (Revised 12/07) PURDUE UNIVERSITY GRADUATE SCHOOL Thesis/Dissertation Acceptance This is to certify that the thesis/dissertation prepared Andrew Duncan Britton By Entitled FULL CUDA IMPLEMENTATION OF GPGPU RECURSIVE RAY-TRACING For the degree of Master of Science Is approved by the final examining committee: Dr. Bedrich Benes Chair Dr. James Mohler Eliot Mack To the best of my knowledge and as understood by the student in the Research Integrity and Copyright Disclaimer (Graduate School Form 20), this thesis/dissertation adheres to the provisions of Purdue University’s “Policy on Integrity in Research” and the use of copyrighted material. Dr. Bedrich Benes Approved by Major Professor(s): ____________________________________ ____________________________________ Approved by: Dr. James Mohler April 21, 2010 Head of the Graduate Program Date Graduate School -
Brian Paint Breakdown 1.Qxd
Digital Matte Painting Reel Breakdown Brian LaFrance Run Time: 2 Minutes 949-302-2085 [email protected] Big Hero 6: Baymax and Hiro Flying Sequence Description: Lead Set Extension Artist. helped develop sky pano from source HDR's, which fed lighting dept. 360 degree seaming of ocean/sky horizon, land, atmosphere blending. Painted East Bay city. Made 3d fog volumes in houdini, rendered with scene lighting for reference, which informed the painting of multiple fog lay- ers, which were blended into the scene using zdepth "slices" for holdouts, integrating the fog into the landscape. Software Used: Photoshop, Maya, Nuke, Houdini, Terragen, Hyperion(Disney Prop. Rendering software) Big Hero 6: Bridge Description: Painted sky, ground fog slices and lights, projected in nuke. Software Used: Photoshop, Maya, Nuke, Terragen, Hyperion Big Hero 6: City Description: Painted sky, moving ground fog clouds. Clouds integrated into digital set using zdepth "slices" for holdouts, integrating fog into the landscape. Software Used: Photoshop, Maya, Nuke R.I.P.D.: City Shots Description: Blocked out city compositions with simple geometry, projected texture onto that geometry. Software Used: Photoshop, Rampage (Rhythm and Hues Prop. Projection software) The Seventh Son: Multiple Shots Description: Modeled simple geom, sculpted in zbrush for balcony shot, textured/lit/rendered in mental ray, painted over in photoshop, projected onto modeled or simplified geometry in rampage. Software Used: Photoshop, Maya, Mental Ray, Zbrush, Rampage Elysium: Earth Description: Provided a Terragen "Planet Rig" to Image Engine for them to render views of earth, as well as a large render of whole earth to be used as source for matte painting(s). -
Science Fiction Artist In-Depth Interviews
DigitalArtLIVE.com DigitalArtLIVE.com SCIENCE FICTION ARTIST IN-DEPTH INTERVIEWS THE FUTURE OCEANS ISSUE ARTUR ROSA SAMUEL DE CRUZ TWENTY-EIGHT MATT NAVA APRIL 2018 VUE ● TERRAGEN ● POSER ● DAZ STUDIO ● REAL-TIME 3D ● 2D DIGITAL PAINTING ● 2D/3D COMBINATIONS We visit Portugal, to talk with a master of the Vue software, Artur Rosa. Artur talks with Digital Art Live about his love of the ocean, his philosophy of beauty, and the techniques he uses to make his pictures. Picture: “The Sentinels” 12 ARTUR ROSA PORTUGAL VUE | PHOTOSHOP | POSER | ZBRUSH WEB DAL: Artur, welcome back to Digital Art Live magazine. We last interviewed you in our special #50 issue of the old 3D Art Direct magazine. That was back in early 2015, when we mainly focussed on your architectural series “White- Orange World” and your forest pictures. In this ‘Future Oceans’ themed issue of Digital Art Live we’d like to focus on some of your many ocean colony pictures and your recent sea view and sea -cave pictures. Which are superb, by the way! Some of the very best Vue work I’ve seen. Your recent work of the last six months is outstanding, even more so that the work you made in the early and mid 2010s. You must be very pleased at the level of achievement that you can now reach by using Vue and Photoshop? AR: Thank you for having me again, and thank you for the compliment and feedback. I’m humbled and honoured that my work may be of interest for your readers. To be honest, I’m never quite sure if my work is getting better or worse. -
Signed Distance Fields
Further Graphics Ray Marching and Signed Distance Fields Alex Benton, University of Cambridge – [email protected] 1 Supported in part by Google UK, Ltd GPU Ray-tracing Ray tracing 101: “Choose the color of the pixel by firing a ray through and seeing what it hits.” Ray tracing 102: “Let the pixel make up its own mind.” 2 GPU Ray-tracing 1. Use a minimal vertex shader (no transforms) - all work happens in the fragment shader 2. Set up OpenGL with minimal geometry, a single quad 3. Bind coordinates to each vertex, let the GPU interpolate coordinates to every pixel 4. Implement raytracing in GLSL: a. For each pixel, compute the ray from the eye through the pixel, using the interpolated coordinates to identify the pixel b. Run the ray tracing algorithm for every ray 3 GPU Ray-tracing // Window dimensions vec3 getRayDir( uniform vec2 iResolution; vec3 camDir, vec3 camUp, // Camera position vec2 texCoord) { uniform vec3 iRayOrigin; vec3 camSide = normalize( cross(camDir, camUp)); // Camera facing direction vec2 p = 2.0 * texCoord - 1.0; uniform vec3 iRayDir; p.x *= iResolution.x / iResolution.y; // Camera up direction return normalize( uniform vec3 iRayUp; p.x * camSide + p.y * camUp // Distance to viewing plane + iPlaneDist * camDir); uniform float iPlaneDist; } // ‘Texture’ coordinate of each // vertex, interpolated across camUp // fragments (0,0) → (1,1) camDir in vec2 texCoord; camSide 4 GPU Ray-tracing: Sphere Hit traceSphere(vec3 rayorig, vec3 raydir, vec3 pos, float radius) { float OdotD = dot(rayorig - pos, raydir); float OdotO = dot(rayorig -
PELC253 Digital Sculpting with Zbrush 2020-21.Docx
Glasgow School of Art Course Specification Course Title: Digital Sculpting with ZBrush Course Specifications for 2020/21 have not been altered in response to the COVID-19 pandemic. Please refer to the 2020/21 Programme Specification, the relevant Canvas pages and handbook for the most up-to-date information regarding any changes to a course. Course Code: HECOS Code: Academic Session: PELC253 2020-21 1. Course Title: Digital Sculpting with ZBrush 2. Date of Approval: 3. Lead School: 4. Other Schools: PACAAG April 2020 School of Simulation and This course is available to Visualisation students on PGT programmes which include a Stage 2 elective. 5. Credits: 6. SCQF Level: 7. Course Leader: 20 11 Dr. Sandy Louchart 8. Associated Programmes: This course is available to students on PGT programmes which include a Stage 2 elective. 9. When Taught: Semester 2 10. Course Aims: The overarching aims of the cross-school electives are to: • Encourage interdisciplinary, critical reflexivity from within an open set of choices; • Foster deep investigative approaches to new or unfamiliar areas of practice and theory; • Cultivate self-directed leadership and initiative-taking in both applied and abstract modes of • practice/ study not necessarily associated with a student’s particular creative specialism; • Enable flexible, ethical exploration and connection of diverse knowledge and understanding • within a specialist programme of study. The practice-based and skill focussed course provides a thorough and intensive introduction to digital 3D sculpting, allowing students to obtain a high-level of proficiency in this technically challenge discipline. Students will work with a range of techniques and practices through which a digital painting can be produced and distributed. -
Makerbot in the Classroom
COMPILED BY MAKERBOT EDUCATION Copyright © 2015 by MakerBot® www.makerbot.com All rights reserved. No part of this publication may be reproduced, distributed, or transmitted in any form or by any means, including photocopying, recording, or other electronic or mechanical methods, without the prior written permission of the publisher, except in the case of brief quotations embodied in critical reviews and certain other noncommercial uses permitted by copyright law. The information in this document concerning non-MakerBot products or services was obtained from the suppliers of those products or services or from their published announcements. Specific questions on the capabilities of non-MakerBot products and services should be addressed to the suppliers of those products and services. ISBN: 978-1-4951-6175-9 Printed in the United States of America First Edition 10 9 8 7 6 5 4 3 2 1 Compiled by MakerBot Education MakerBot Publishing • Brooklyn, NY TABLE OF CONTENTS 06 INTRODUCTION TO 3D PRINTING IN THE CLASSROOM 08 LESSON 1: INTRODUCTION TO 3D PRINTING 11 MakerBot Stories: Education 12 MakerBot Stories: Medical 13 MakerBot Stories: Business 14 MakerBot Stories: Post-Processing 15 MakerBot Stories: Design 16 LESSON 2: USING A 3D PRINTER 24 LESSON 3: PREPARING FILES FOR PRINTING 35 THREE WAYS TO MAKE 36 WAYS TO DOWNLOAD 40 WAYS TO SCAN 46 WAYS TO DESIGN 51 PROJECTS AND DESIGN SOFTWARE 52 PROJECT: PRIMITIVE MODELING WITH TINKERCAD 53 Make Your Own Country 55 Explore: Modeling with Tinkercad 59 Investigate: Geography and Climates 60 Create: -
Maaston Mallintaminen Visualisointikäyttöön
MAASTON MALLINTAMINEN VISUALISOINTIKÄYTTÖÖN LAHDEN AMMATTIKORKEAKOULU Tekniikan ala Mediatekniikan koulutusohjelma Teknisen Visualisoinnin suuntautumisvaihtoehto Opinnäytetyö Kevät 2012 Ilona Moilanen Lahden ammattikorkeakoulu Mediatekniikan koulutusohjelma MOILANEN, ILONA: Maaston mallintaminen visualisointikäyttöön Teknisen Visualisoinnin suuntautumisvaihtoehdon opinnäytetyö, 29 sivua Kevät 2012 TIIVISTELMÄ Maastomallit ovat yleisesti käytössä peli- ja elokuvateollisuudessa sekä arkkitehtuurisissa visualisoinneissa. Mallinnettujen 3D-maastojen käyttö on lisääntynyt sitä mukaa, kun tietokoneista on tullut tehokkaampia. Opinnäytetyössä käydään läpi, millaisia maastonmallintamisen ohjelmia on saatavilla ja osa ohjelmista otetaan tarkempaan käsittelyyn. Opinnäytetyössä käydään myös läpi valittujen ohjelmien hyvät ja huonot puolet. Tarkempaan käsittelyyn otettavat ohjelmat ovat Terragen- sekä 3ds Max - ohjelmat. 3ds Max-ohjelmassa käydään läpi maaston luonti korkeuskartan ja Displace modifier -toiminnon avulla, sekä se miten maaston tuominen onnistuu Google Earth-ohjelmasta Autodeskin tuotteisiin kuten 3ds Max:iin käyttäen apuna Google Sketchup -ohjelmaa. Lopuksi vielä käydään läpi ohjelmien hyvät ja huonot puolet. Casessa mallinnetaan maasto Terragen-ohjelmassa sekä 3ds Max- ohjelmassa korkeuskartan avulla ja verrataan kummalla mallintaminen onnistuu paremmin. Maasto mallinnettiin valituilla ohjelmilla ja käytiin läpi saatavilla olevia maaston mallinnusohjelmia. Lopputuloksena päädyttiin, että valokuvamaisen lopputuloksen saamiseksi Terragen -
Simulated Imagery Rendering Workflow for UAS-Based
remote sensing Article Simulated Imagery Rendering Workflow for UAS-Based Photogrammetric 3D Reconstruction Accuracy Assessments Richard K. Slocum * and Christopher E. Parrish School of Civil and Construction Engineering, Oregon State University, 101 Kearney Hall, 1491 SW Campus Way, Corvallis, OR 97331, USA; [email protected] * Correspondence: [email protected]; Tel.: +1-703-973-1983 Academic Editors: Gonzalo Pajares Martinsanz, Xiaofeng Li and Prasad S. Thenkabail Received: 13 March 2017; Accepted: 19 April 2017; Published: 22 April 2017 Abstract: Structure from motion (SfM) and MultiView Stereo (MVS) algorithms are increasingly being applied to imagery from unmanned aircraft systems (UAS) to generate point cloud data for various surveying and mapping applications. To date, the options for assessing the spatial accuracy of the SfM-MVS point clouds have primarily been limited to empirical accuracy assessments, which involve comparisons against reference data sets, which are both independent and of higher accuracy than the data they are being used to test. The acquisition of these reference data sets can be expensive, time consuming, and logistically challenging. Furthermore, these experiments are also almost always unable to be perfectly replicated and can contain numerous confounding variables, such as sun angle, cloud cover, wind, movement of objects in the scene, and camera thermal noise, to name a few. The combination of these factors leads to a situation in which robust, repeatable experiments are cost prohibitive, and the experiment results are frequently site-specific and condition-specific. Here, we present a workflow to render computer generated imagery using a virtual environment which can mimic the independent variables that would be experienced in a real-world UAS imagery acquisition scenario. -
Configuring 3Ds Max/Design to Use Men- Tal Ray and Setting Mental Ray As a Default for All New Scenes
Chapter 1 mental ray Essentials mental ray by mental images is an advanced, Academy Award–winning rendering engine included with Autodesk’s 3ds Max and 3ds Max Design applications. This industry-standard renderer is used in a multitude of productions ranging from the latest sci-fi and action movies to visually rich game cinematics to stunning renderings of vehicles, architecture, and products yet only imagined. mental ray is integrated in 3D applications from a variety of developers, most notably by Autodesk, and is the leading rendering application in the world. In this chapter, I introduce you to a number of important topics for both Autodesk’s 3ds Max/ Design product and the mental ray rendering engine. This chapter ensures that you have a num- ber of critical skills and all the valuable information that you will need as you move forward. In this chapter, you will learn to •u Set up mental ray •u Configure 3ds Max/Design •u Configure gamma settings •u Configure essential quality settings •u Adjust Final Gather presets mental ray Overview mental ray provides a number of high-end render features: Bucket rendering mental ray renders scenes in square areas of your image called buckets or tiles; each processor core in your machine takes a bucket and processes that portion of the rendering before moving on to process the next available bucket. Brackets appear around each bucket as it is processing, and when the bucket completes, mental ray jumps to the next easiest bucket to manage. Figure 1.1 shows completed buckets and four buckets that are in process on a COPYRIGHTEDquad-core machine. -
Deadline User Manual Release 7.1.2.1
Deadline User Manual Release 7.1.2.1 Thinkbox Software June 11, 2015 CONTENTS 1 Introduction 1 1.1 Overview.................................................1 1.2 Feature Set................................................5 1.3 Supported Software...........................................8 1.4 Render Farm Considerations....................................... 28 1.5 FAQ.................................................... 34 2 Installation 45 2.1 System Requirements.......................................... 45 2.2 Licensing................................................. 48 2.3 Database and Repository Installation.................................. 49 2.4 Client Installation............................................ 75 2.5 Submitter Installation.......................................... 91 2.6 Upgrading or Downgrading Deadline.................................. 95 2.7 Relocating the Database or Repository................................. 97 2.8 Importing Repository Settings...................................... 98 3 Getting Started 101 3.1 Application Configuration........................................ 101 3.2 Submitting Jobs............................................. 105 3.3 Monitoring Jobs............................................. 112 3.4 Controlling Jobs............................................. 121 3.5 Archiving Jobs.............................................. 152 3.6 Monitor and User Settings........................................ 156 3.7 Local Slave Controls........................................... 164 4 Client Applications -
View Reel Breakdown
Deadpool 2 ● Created lighting template to accommodate entire title sequence Title Sequence ● Body pile and villain texturing. ● Method Studios Deadpool character, body pile, and villian look dev. ● Lighting on katana, body pile, bullet hole, and close-up shots. Blocked lighting on quad Deadpool shot. ● Compositing R+D on bullet hole transition MODEL RIG TRACK ANIMATE UV TEXTURE SHADE LIGHT COMP UV Layout Mari V-Ray V-Ray Nuke Nike ● Engine and various environment texturing Hover ● Engine various environment look dev ● CHRLX Lit and composited engine shots MODEL RIG TRACK ANIMATE UV TEXTURE SHADE LIGHT COMP UV Layout Photoshop Arnold Arnold Nuke ZBrush Comcast ● Track texturing XFINITY 360° NASCAR VR ● Track look dev CHRLX MODEL RIG TRACK ANIMATE UV TEXTURE SHADE LIGHT COMP UV Layout Photoshop Arnold Mari Cheerios ● All textures Rapel ● All look dev ● CHRLX Lit and composited full :15 second spot MODEL RIG TRACK ANIMATE UV TEXTURE SHADE LIGHT COMP UV Layout Photoshop Arnold Arnold Nuke ZBrush Deadpool 2 ● Created lighting template to accommodate entire title sequence Title Sequence ● Parachute texturing. ● Method Studios Deadpool character and parachute look dev. ● Lighting on all shots featured except the exploding bear. ● Pre-comp MODEL RIG TRACK ANIMATE UV TEXTURE SHADE LIGHT COMP UV Layout Mari V-Ray V-Ray Nuke Turbotax ● Created lighting template for entire spot to maintain consistency Cafe ● HDRI stitching / clean-up ● Method Studios Robot look dev ● Key light rigs. Lit master shot of each sequence. ● Pre-comp MODEL RIG TRACK ANIMATE UV TEXTURE SHADE LIGHT COMP Mari / Maya V-Ray V-Ray Nuke procedural Planters ● Created lighting template for entire spot to maintain consistency "Mr.