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Hash, Inc. - Animation:Master

robcat2075

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Posts posted by robcat2075

    CPU Render Benchmark

    in Benchmarks

    Posted

    On 5/9/2022 at 6:52 PM, robcat2075 said:

    53 seconds!

    Steve @Shelton has gifted me with a fabulous new computer to further my A:M computing. Thank you, Steve!

    At the very top of this thread, in 2009, that benchmark scene was taking 19 minutes and 59 seconds to render.

    Now it's less than 1 minute!

     

    image.png

     

    I forgot the specs...

    version: v19.5 (beta)

    render time: 0:53

    CPU Brand and model: Intel i7-12700K

    Actual CPU speed in GHz: about 4.8GHz in this render

    how many cores A:M is using: probably just one although CPU has 12

    RAM: 32 GB!

    OS: Windows 10

    Computer also has a 500 GB NVMe SSD for the  C : drive

    Anyone Using AM w/Windows 11?

    in New Users

    Posted

    1 hour ago, Madfox said:

    Although I import the avi in the image file and it is seen as movie file, the choreography just loads the first frame and then freezes.

    What codec is the AVI in?

    Since you are importing this movie into A:M, making it an image sequence instead of an AVI would be far better.

    Cut Glass (caustics)

    in Animation:Master

    Posted

    The artifacts are always about the same size in pixels no matter what res is rendered...

    CutGlass40_1234x.jpg+

     

    Here is a comparison of rendering at 1x versus 2x, 3x and 4x, then re-shrunk down...

    CutGlass40_4 inset at VGA.jpg

     

    2x or 3 x might be good enough for many animation purposes but you have to go to 4x to really iron them out.

     

    Blasts from the past: vintage CG

    in Off Topic

    Posted

    I wonder if the 1974 reel got them much work. Even though it's cutting edge for CG at the time it still falls way short of what traditional methods could have done for advertising eye-candy .

    The '80 and '84 reels look more competitive.

    I spotted Chris Wedge's name in the credits. He would later go on to found Blue Sky studios. I went to a talk he gave where he spoke of working on "Tron" and how all the modeling and animation was done by typing in code on punch cards. There was no GUI to it as we have today or even as we would have in the later 80s on our AMIGAs

    And Ken Perlin... of "Perlin" textures fame. They seem to be demonstrating one at 2:11 in the '84 reel.

     

    CPU Render Benchmark

    in Benchmarks

    Posted

    53 seconds!

    Steve @Shelton has gifted me with a fabulous new computer to further my A:M computing. Thank you, Steve!

    At the very top of this thread, in 2009, that benchmark scene was taking 19 minutes and 59 seconds to render.

    Now it's less than 1 minute!

     

    image.png

    Shadow darkness shouldn't pass specular

    in Animation:Master

    Posted

    Quote

    I seem to remember Yves writing that radiosity only works in small enclosed spaces.

    Radiosity is for mostly enclosed interiors but scale should not be the problem

    Here is an image from Yves' radiosity tutorial page...

    Cathedral-Small.jpg

     

    The lightness/darkness/contrast result is all adjustable.

    The strategy for success is not requiring that what works for exterior lighting is what has to be used for interiors and vice-versa.

     

     

    On 4/30/2022 at 7:47 PM, R Reynolds said:

    What I'm going for is a universal lighting setup so the camera can show a character sitting inside the car looking out as the train pulls into the station. Then, in a continuous move, the camera can follow that character as he gets off and walks along the platform with all intensities being believable.

    A universal light set up that satisfies that need probably isn't possible to do unless the huge difference between "outside" and "inside" is what is wanted. They don't do it in live-action Hollywood movies and they don't do it in animation studios.

    I can't think of a Hollywood live-action film that does such a shot without substantial trickery. When you see the outside from the inside in a movie it is rarely real. It is usually either rear-projected or green-screened or a model or a painting that has been placed outside the window of the in-studio "set".

    When they can't shoot in a studio and real daylight outdoors has to be seen through a real window they typically have giant sheets of grey film they put outside the window to darken the outside view to mate with interior lighting they do inside.

    In studio animation they design lighting for each shot individually and only after it has been finaled on the animation. Back in the 20 'oughts one of our forum members was working at DNA studios on "Ant Bully" and he gave me a tour of the studio. Everything the animators had to work with was in gray. No lighting or texturing was done until the shot was finished.

    If I had to do a shot such as you describe I might render one pass lit for the outside with AO, with the train interior all-black...

    TrainCarShotExt.jpg

     

    Another pass lit for the interior lit with radiosity or bright AO, with the outside all black...

    TrainCarShotInt.jpg

     

    And composite the two together...

    TrainCarShotInt+Ext.jpg

     

    There would be other ways to do it and get a good result without needing the radiosity.

     

     

     

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