256 praha

2011-07-21T05:10:00.001-07:00

saxana

2011-05-30T01:39:00.001-07:00

mentalray userdata: one material, different textures

2011-04-13T01:56:00.000-07:00

At least i was success with this simple task- one materials with different textures on different object in mentalray.
So for now we need maya 2012.

Create userdata.mi(see bottom of the page) and put it to C:\Program Files\Autodesk\Maya2012\mentalray\include
Edit mentalraycustomnodeclass.mel (see bottom of the page)

If you install srevice pack 1- you dont need to create userdata.mi and correct customNodeClass.mel

Now in miscellaneous section of MR in hypershade we have userdata shaders(mib_data_bool, mib_data_get_bool etc).

On every object(transform node) create attribute "miData":
addAttr -ln miData -at message OBJ_TRANSFORM_NAME;
Also, miData can be multi: addAttr -ln miData -at message -multi OBJ_TRNSF_NAME;
For this example i`ve create pPlane1, add miData attribute to it and dublicate plane 2 times, so we get 3 poly plane with miData on extra attributes of transform nodes.

Create MR shader, for example mia_material_X_passes and assighn it to all objects(pPlanes).
Create one mib_data_get_shader_color and plug it to diffuse color of mia.
Create 2 mib_data_shader nodes.

mib_data_get_shader_color will "catch" data from mib_data_shader and output it to diffuse color of mia.
Create 3 solid color ramps. Connect output of ramp1 to default attribute of mib_data_get_shader_color1 through multiplyDevide node(in input1, input 2 set to 1).
Connect ramp2 and ramp3 to mib_data_shader1 and mib_data_shader2 also through multiplyDevide nodes.
Set "Name" attribute of mib_data_shader and mib_data_get_shader_color nodes to something descriptive, for example "Color".
Connect message of mib_data_shader1 to miData of pPlane2, message of mib_data_shader2 to miData of 3. Thats all.

Code for userdata.mi:
#-------------------------------------------- Maps
declare shader
scalar "mib_map_get_scalar" (
string "field_name"
)
version 1
apply texture
end declare

declare shader
integer "mib_map_get_integer" (
string "field_name"
)
version 1
apply texture
end declare

declare shader
vector "mib_map_get_vector" (
string "field_name"
)
version 1
apply texture
end declare

declare shader
color "mib_map_get_color" (
string "field_name"
)
version 1
apply texture
end declare

declare shader
transform "mib_map_get_transform" (
string "field_name"
)
version 1
apply texture
end declare

declare shader
color "mib_map_get_scalar_array" (
string "field_name"
)
version 1
apply texture
end declare

declare shader
color "mib_map_get_integer_array" (
string "field_name"
)
version 1
apply texture
end declare

mentalraycustomnodeclass.mel edit:
// Data Conversion

if ($nodeType == "mib_data_bool" ||
$nodeType == "mib_data_bool_array" ||
$nodeType == "mib_data_color" ||
$nodeType == "mib_data_color_array" ||
$nodeType == "mib_data_get_bool" ||
$nodeType == "mib_data_get_color" ||
$nodeType == "mib_data_get_int" ||
$nodeType == "mib_data_get_scalar" ||
$nodeType == "mib_data_get_shader" ||
$nodeType == "mib_data_get_shader_bool" ||
$nodeType == "mib_data_get_shader_color" ||
$nodeType == "mib_data_get_shader_int" ||
$nodeType == "mib_data_get_shader_scalar" ||
$nodeType == "mib_data_get_shader_vector" ||
$nodeType == "mib_data_get_string" ||
$nodeType == "mib_data_get_texture" ||
$nodeType == "mib_data_get_vector" ||
$nodeType == "mib_data_int" ||
$nodeType == "mib_data_int_array" ||
$nodeType == "mib_data_scalar" ||
$nodeType == "mib_data_scalar_array" ||
$nodeType == "mib_data_shader" ||
$nodeType == "mib_data_shader_array" ||
$nodeType == "mib_data_string" ||
$nodeType == "mib_data_string_array" ||
$nodeType == "mib_data_texture" ||
$nodeType == "mib_data_texture_array" ||
$nodeType == "mib_data_vector" ||
$nodeType == "mib_data_vector_array" )

return "rendernode/mentalray/conversion:swatch/mentalRaySwatchGen";

Scene
Userdata and CustomnodeClass

Peru

2011-03-09T04:53:00.000-08:00

Istambul

2011-03-04T01:54:00.000-08:00

Bolivia

2011-03-01T09:23:00.000-08:00

Salar de Uyuni.

Rurrennobaque

Italia Perdiga

La Paz

Venesuella

2011-02-16T02:19:00.001-08:00

Mental Ray bake sequence

2010-09-21T07:37:00.001-07:00

1. Create shading network with mib_lightmap_write node.
Plug data that you need to bake into INPUT of mib_lightmap_write node.
IMPORTANT: do not create mentalrayTexture via hypershade create bar,
push checker button in texture field of mib_lightmap_write node!!!

2. In render globals common tab enter PRe render Frame MEL script:

string $myFrame = "c:\\Temp\\lightmap" + `currentTime -q` + ".tif";setAttr -type "string" mentalrayTexture1.fileTextureName $myFrame;

3.In render globals set the render mode to "lightmap only" on the features tab.

Render framerange that you need.

Moving from Mentalray to VRay

2010-09-02T02:11:00.001-07:00

LINEAR WORKFLOW SETUP

1) check "convert image to sRGB for renderview " in VRay common render settings
2) setup LWF in VRay render settings:

PASSES (VRay render element)

lighting- diffuse*color
GI- indirect
diffuse-color
materialID- material MASKS (add VRay materialID attribute to Shading Group)
multiMatte-object MASKS (add VRay objectID attribute to transform, shape or group node)

mother

2010-07-07T03:50:00.001-07:00

India peoples

2010-06-14T03:08:00.001-07:00

Mental ray rendering fur with passes

2010-06-10T06:49:00.000-07:00

Whatewer you use- maya fur, or shave and haircut - rules and workflow will be the same.

RULES

1) NEVER USE RAYTRACE WITH FUR!
Any rule you can violate, if you understand them clearly.
This is not exclusion-if you need to render fury sphere with 10 000 hairs- no problem:
turn on FG, soft raytrace shadows, use occlusion and nothing terrible happend.
But when you will have deal with real fury character, grass or any other scene with a lot of fur-
raytrace can cause more headache then bennefit. So one more time:
NEVER, NEVER USE RAYTRACE WITH FUR!

2) Render fur as hair primitives.
At first test you may deside that volume fur looks better and render faster. Belive me,
when you switch from tests to real project volume fur cause a lot of unpredictable results.

3) Render with RASTERIZER.

4) Render with puppet shaders pack.
Download and install.

I will not explain how to archieve desired appearence of fur. Just how you can render it.
I`ve create simple scene with 2 spheres. Spere "A" has shave and haircut grass fur preset,
sphere "B"- maya fur grass preset. I`ll explain workflow for both, choose what you need.

Now set render type of your fur to hair primitives.
Shave> shave shave globals
Fur>fur render settings

In render globals Set primary render to Rasterizer and turn off raytracing.
Since we would use p_MegaTK_pass for splitting image into passes you shoud set Flter type
to gauss to avoid artifacts. Render.

Now shading of fur defined by shave an fur inside engines.
With p_HairTK we can replace that shading parameters with native material to have grater
controll over fur shading and much better performance. Create p_HairTK material.

For maya fur:
Create p_shader_replacer geometry shader.
Enter the name of p_HairTK SHADING GROUP in material(Shading group) section.
Rename TRANSFORM node of fur feedback to someting started from "p",
for example "p_FurFeedback". It`s seems strange, but its very important step:)
Enter the name TRANSFORM node of fur feedback in Object(0) section.

create polyCube, check "enable geometry shader" in mental ray section of TRANSFORM node.
Drag an drop p_shader_replacer to geometry shader slot.
One more hint: FurFeedback group MUST BE ON TOP of this cube in outliner.

For Shave and haircut:
Select shavedisplay node, assign p_HairTK. Turn off "override geo shsder" in
material properties section of shaveHairShape. Thats all:)

Adjust p_HairTK as you need (i just made its color blue). Render.

Now its time to setup lights. On account of we use no raytrace and accordingly raytrace shadows,
lighs would be Spots with details shadows. One or cople key lights with strong shadows, and a lot
of fill lights with soft shadows (4, 5, 10 ... deppending on situation) to fake GI and FG.
With such setup easy to achieve perfect look an render would be quite fast.
Remember, that puppet shaders pack require usage puppet lights with maya spots.

Create spot light, p_SpotTK (mentalray light shader), p_HairTK_shadow (shadow shader).
Plug p_SpotTK to light shader slot, p_HairTK_shadow to shadow shader of p_HairTK SG.
p_HairTK_shadow give grater control over shadow look.
Use such settings for keylights: resolution= 1024 and more, softnes= 0.001-0.002,
samples 16 and more, detail- samples 4 and more, acuracy -0.001, do not touch bias.
For fill lights use smaller maps and biger softnes.

With one key light:

Fill light added:

Last step is to get our image divided into passes.
Create one more polyCube and p_MegaTK_pass (geometry shader).
Check "enable geometry shader" in mental ray section of TRANSFORM node.
Drag an drop p_MegaTK_pass to geometry shader slot.
Setup p_MegaTK_pass parameters as you wish. Render.
I give short description of output node parametes in article about Deex shader,
wich based on puppet shaders pack and p_MegaTK_pass comlete the same.
Read mental ray production workflow if you need more information about it.

If you want to get occlusion- turn on raytracing in render globals and plug mib_amb_occlusion
to custom occlusion slot of p_HairTK shader.
I create another p_HairTK shader with its own mask chennal, make it red and
plug ocllusion in it. Btw render time after i use occlusion rise from 20 sec to 15 min.
That`s why NEVER USE RAYTRACE WITH FUR!

Scene

Possible reasons of fur flickering in animation:
1) mesh smooth node on maya fur geometry with smooth UV= ON, if so- turn it off.
2) flickering shadows- rize shadow map samples.
3) overal flichering - be sure in p_HairTK all variations (saturation, color, gain)= 0.
____________________________________________________________

Here is real example of workflow, which was used for fury creatures in feature film.

There was about 8 characters, some of them almost bald, but couple were really hairy.

More than 200 shots with fur we had totally.

Generally, each character for each shot was rendered in 2 different scenes:

A) Master scenes.

Character itself -beauty, passes, IDs, shadows and a huge list of other stuff.

B) Fur scenes.

Character fur and all what related to it. Black surface shader was apply to character geometry.
Puppet shaders assigned to fur. Puppet lights apply to lights.

The master scenes was illuminated with bunch of lights, no GI or FG was used.

This made light setup for fur more easy, we just need to adapt existing lights:
switch raytrace shadows to depth map shadows with proper softens,
connect puppet shader to each light and copy some attributes(power, angle, decay rate etc) from original light
to puppet light .
At the beginning this took too much time and such dumb job was not to exsiting, so mel script was created,
wich did all this job automaticaly with one click.
Involving of human brain were necessary only for optimizing lights by deleting light sources,
which impact on image was not crucial.

The task was to deliver fur with such data: Beauty + passes, Ambient Occlusion, Shadows from hairs to character.

Separate render layer were used for each task:

1) Beauty + passes(color, diffuse, specular, IDs for each fur description).

This allow compositor to tweak overall look of fur after render to make it more pretty and to fit it to shooting plate more easy.

Also supervisor wish to have light contributions- diffuse pass for each light separately to have grater control over lighting,
but i didn`t find the way to do it during render main passes, so finally we refuse this idea.

The obvious way- to render fur with each light separately on separate render layer was unacceptable because of huge render time.
Mental core seems will have this awesome feature

One more problem which wasn`t solve- motion vectors. Bunch of shaders and ways were tested, but none of them give proper result.
Post MB without vectors was applied in Nuke.

So, puppets shaders did all job of creating passes perfectly. Only one annoing bug were present-
sometimes, some frames has NaN pixels in specular pass. But re rendering bad frames solves this issue.

Still dont know the reason why it happened.

Technically its very easy to get AO on hairs, just plug mib_ambient_occlusion to custom occlusion slot of p_HairTK.

But... the render time rise unbelievable. After some tests i discover that calculating occlusion on character geometry from fur was reasonable fast.

So i decide to calculate honest raytraced AO from fur on character during beauty render layer, and create fake AO on fur itself in another render layer.

To turn off calculation of AO on fur itself use miLabel

Since black surface shader was on character geo its impossible to get AO on geo directly, cos puppet buffer system dont support maya shaders.

So i just put result of raytraced AO to alfa chennal. This gives not proper alfa for hairs, but pure alfa of hairs i get from IDs (masks).

(beauty alfa) minus (ID 1+ ID 2 + ... + ID n) = AO from hairs to geo.

2) Ambient occlusion.

The main idea how to fake AO come from early approaches how to get good outdoor lighting without raytracing at all.

Light dome from 12 lights with depth maps shadows in combination of pure white hair shader gave pretty good result.

For each character light dome was connected to geometry with rivet plugin so it inherit position of character in scene.

Render time was fast, and also it can be additionally tweak by changing shadow resolution and samples of each light in dome.

Nobody say to compositors that AO was faked, and nobody of them discover this.

3) Shadows from hairs to character. Was used only for long hairs, like beard. For other cases AO from fur to geo was enough.

Obvious and easy. Use_background shader for geometry, turn off primary visibility for fur, low down hair resolution, aply simple shader without takin to account light information.

Leave only key lights and disconnect puppet shaders from lights(use_background wont work with them).

Cople of additional remarks.

The mail goal, as usual, was to balance descent quality and reasonable render time.

Since Rasterizer has separate managing of shading and geometry quality its obvious to use low shading quality, like 1 and play only with visibility samples.

Values like 20 gives very nice result, but for heaver guys it was lower down. This values is up to you, they should rely on rendering power you has.

One more parameter witch affect render time is bucket size. It depends on image resolution and amount of fur in frame. But generally for 2K frame 30 is proper value.

The biggest bucket size is- the fastest render you get, but more RAM used. The values to play with is 15, 30, 60.

The good way to setup this parameter (and overall ability of your computer to handle desirable amount of fur) is to hide all lights and render without them.

If your image will be render- this mean that it could be render with lights and shadows. If not- you have to lower hair count.

PS: Never folow the comments, so if you have questions use cgtalk forum for that, or send me mail.

Also you can read David Johnson article about rendering fur with shaders_P

Mental Ray production workflow

2010-06-10T00:43:00.000-07:00

Why we need so much headache with things like linear workflow and rendering passes?

If your renders looks perfect and finished, everybody satisfyed-
you don`t need to break your brain with all this stuff- just render!
Problems begin when you wish to dramatically change your renders
and do this in most effective way. This we can call "production workflow".
Indeed, people use this techniques to make life easier, and when everything works,
as you expected- its really makes life easier.
But nothing never works in CG as you expected:)

Speaking about production workflow in rendering we have to deal with 2 major things-
gamma and passes.
When we struggle with gamma issues we would like to setup linear workflow.
Its involve not only 3D application, but any stage of creating CG- texture painting, rendering,
composing and even viewing images. Linear worklow is when you create CG correctly.
Nobody explain linear workflow with maya better than David Johnson in his article
Maya Linear Workflow In Two Steps.

We need passes to enlarge control over our renders without re-rendering images.
For example, you can add motion blur and depth of field effects after render;
you can color correct image, or any part of image, or any component of image
(specular highlight or shadow etc). This is composing-tweaking image after render.
When you able to paint fur specular from white to red on one of character
and make nails of another character metal without re render-
be sure- your workflow is production:)

Now we would not speak WICH passes we need to get pefect renders,
we explore HOW to get passes with mentalray in Maya 2009-2011.

A lot of ways to do this, but my choise for now- is Deex shaders pack.
Its similiar with Pavel Ledin shaders_pack. Deex based on mia_material, Pavel create its own
shaders in many aspects more powerfull than mia_material
(for example p_HairTK with fur is miracle), but any way i prefer mai_material for its beauty.

How this stuff works:
Mia_material_x_passes (and all other shaders with "x_passes " in their name) has build in
ability to break information about shading on peaces- like color, diffuse, specular, reflection and
so on. This peases of shading information called "passes".

What passes build in mia or deex shaders?
Its clearly described in Maya documentation. See Architectural Material gude.
Other x_passes (like mi_car_paint_phen_x_passes or misss_fast_shader_x_passes)
may have slitly different passes than mia_material, but logic the same.

Whan you render image with mia_material you see the result of compositing
(compositing inside maya) of different passes.
The goal to get this passes as separated images when render,
than compose them manualy (in composing aplication like Photoshop, Nuke etc)
to have grater control over image tweaking.
Besides obvious passes, like color of material and its reflective ability, you may need special passes,
which can be used to get different effects on composing stage(in post).

After render, to create depth of field effect you need "Depth pass"; to put texture on object you
need "UV pass", to get motion blur- "motion vector pass" and so on.

When you clearly understand what information you need to get desired result u can build scene,
lights and shaders. One way, you could build passes is render layers.
One layer for the beauty pass, another for occlusion, one more for SSS, cople of layers for masks
and so on. If you wish to break beauty on passes (color difuse specular etc) its posible to use
build in maya system for this layer only.
Main disadvantages of such workflow- you render scene not once, but same times,
as quantity of render layers we have. And such setup wery instabile when scene changes,
especially with references. With Deex shader you render once and get all you need.

At least EXECTLY WHAT SHOUD YOU DO to get passes with Deex shaders:

Setup light and shading in you scene. Use only deex materials.
When satisfied with results, create polygonal cube and deeX_Buffers_pass
(its in geometry shaders section).
In mentalray section of TRANSFORM node of polyCube check enable geometry shader.
Plug deeX_Buffers_pass in geometry shader slot.
Do not hide or template the cube- it would not be visible in render.

Adjust deex buffer pass as you need. Render. Thats all. Yes, simple.

Just cople of words about deeX_Buffers_pass parameters and main aspects:

Everything here is quite obvious:
1) set name and directory to render files, choose file format (in EXR you get all data in one file,
very useful), compretion and image depth.
2) In mentalray standart chennals section set RGBA format "from render settings".
When batch render maya save one file based on render globals(it will be beauty with alfa)
and another- based on deeX_Buffers_pass settings (actualy your passes).
3) Check Z, normal, motion etc if you need. If you set EXR for them- this passes will be addet to
the same EXR.
4) Than, depending on shaders that you use and passes that you need, check corresponndet
boxes in Output passes section. In control push "check same output pass ..." button to enable
all this passes in your materials(by default in materials all passes turns of and u wil get no info
from them in bufer writer).

And what if we need another passes, which do not build in deex materials or we need
material masks? For this reason in deex shaders exist magic "extra buffer" section.
In any deex material u can plug in this buffers all aditional data that you need and output it
with deeX_Buffers_pass. For example if you need UV info of all objects- create UV shader
and plug its output to extra buferr_01 of all shaders.
Check to output extraBuferr_01 in deeX_Buffers_pass. Easy.

incredible again

2010-03-10T04:25:00.001-08:00

pinhole

2009-10-14T04:47:00.000-07:00

handmade

2009-09-29T04:28:00.001-07:00

benders-girl

2009-09-29T04:26:00.001-07:00

Analog Set

2009-08-03T03:05:00.000-07:00

wip section

2009-01-20T11:33:00.000-08:00

Handeffects domoreel

2009-01-10T16:57:00.000-08:00

china in volume

2009-01-10T14:17:00.000-08:00

Bender get render WIPs

2008-12-27T07:45:00.000-08:00

Roof of the world

2008-10-18T14:04:00.001-07:00

Nature.

Peoples

Artifacts

3D retrospective

2008-07-28T11:29:00.000-07:00

First steps in mental ray.
Image size- 10K.
Render time- 2 weeks :)

Image height 10K. Render time 2 days.
All surfaces are NURBS.
Made for print 1.8m height. Extreemly detailed model.

Ater compose.

Studio render tests. MR. GI+FG.

Gagarin. Character for internet service provider. Prints.
Early renders for skinning test. Project was frozen.

Paris

2008-07-23T05:35:00.000-07:00

Egypt

2008-03-10T06:57:00.001-07:00

Египет очень-очень охуительное место.
Попасть туда просто и дешево. Поэтому туда валят толпы наших туристов.
Поэтому там толпы НЕ местных жлобов и может показаться, что в Египте нехуй делать.
Но стоит только съебнуть из отеля и поехать самому, например, в Каир, как все становится
на свои места. Вы начинаете понимать, что Египет- это все-таки родина фараонов и пирамид,
а не пластмассовых кошечек и уебищных папирусов, что та атмосфера,
которую мы с детства себе вообразили по книгам и фильмам там действительно
существует, что неповторимая природа и колорит быта вызывают желание познакомится ближе.

Правда все символы давно обжиты

и обнесены замусоренными городами

Нил... тоже оброс

Люди колоритные

веселые

чумазые

и необычные

Ancients

2008-02-15T08:16:00.001-08:00

3D abstract

2008-01-31T00:13:00.000-08:00

Mental Ray

SIZE- number of shaded vertexes, taking to account
DEPTH- how deep renderer extrapolate them

Lower SIZE - faster render but more memory it use.
Higher SIZE- more peaces of information it takes at once- and LESS amount of MEMORY it use
Bigger DEPTH- faster render and more memory it use
Start numbers- 10;40
If (see in output window) averege leave size much biger than in render globals than u need to INCREASE DEPTH.
Usualy depth 30-small scenes, depth 40-medium scenes, depth 50-large scenes.

Imf_copy –r –p filename.sgi filename.map

_____________________________________________________________

Rendermen

ReadArchive "ribbox\plant.$F4.rib"

Alfa hole: RibBox with text> matte 1

ANIMATING ATTRIBUTE IN SLIM
Create attribute in maya and write TCL expression:
[mattr "locatorShape1.atributename" $f]

imageName.###.tif > imageName.$F3.tif

One material, different textures on different objects.
Add string attribute on shape nodes of objects.
In extra atributes of objects write imagefile name.extention.
In SLIM, in file fild of image file node write expression.

[txmake textures/[mel "getAttr $OBJPATH.attrName" ] -smode black -tmode black -resize round-]

Rendering Passes in renderman

install meCombineAOV slim template.

1) Go to rendermen globals> display> channel.
Create any namber of variables that you need to use.

For example if you have to output Color, Diffuse and Specular:
create 3 variables, and give them descriptive names in the "channel" field.
such as [color myColor],[color myDiffuse],[color mySpecular].
Check "Quantize", set all to zero.
Prefix "color" before names- is data type. If u need to output for ex. geometry normals,
u have to set prefix "normal" because geometry normal has data type= normal.
(normal myNormals)

2) Go to rendermen globals> display> secondary
In the "name" field write the filename of passes, for ex. myPasses, set "type" to openexr,
in the "channels" add your 3 new variables
(color myColor, color myDiffuse, color mySpecular)

3) Run slim. Create meCombineAOV shader and add your 3 variables inside it.
Connect any shaders to variables (specular shadingmodel to mySpecular variable etc).
Beware of datatype- u can not connect normal to color etc.

4) Render.

Render RIBS in alfred:

Start> Run>

paste the code:

"C:\Program Files\Pixar\RenderMan-Studio-1.0.1-Maya2008\bin\alfred.exe" \\Nas\McFoxy\rib\Shot_01HD.*.rib

_____________________________________________________________

Real Flow

Simulation deprnd on scale. Circle scale 0.2 it needs 2000 of resolution to get behavior
of 1.4 scale with 9 of resolution.
Large scale take much longer to calculate. But give more realistic and detailed behavior.

There are many ways to speed up the RF work flow.
The biggest things are the resolution of emitters, number of sub steps, and geometry in the
scene. Increasing any of these will slow down the simulation, and reducing any will speed the
simulation up.
The most overlooked is probably the sub steps, the default maximum of 333 sub steps per frame
is rarely needed. Start from 15. Command line simulations are about 30% faster
than running simulations in the GUI mode of RF.

meshbuild

C:
CD "c:\program files\next limit\realflow4\"

realflownode -threads 2 -mesh -range 1 120 "D:\projects\water\Scenes\water.flw"

Simulation

CD "c:\program files\next limit\realflow4\"

realflownode "D:\projects\water\Scenes\water.flw"

Экспоненциальная функция имеет значение 1 в кадре 0 и снижается до нуля.
Чтобы получить ослабевающую экспоненциальную функцию мы используем отрицательное
значение. Чтобы она имела на старте значение X, впишите формулу "X*exp(-t)".
Чтобы увеличить скорость понижения, увеличьте значение времени 5*exp(-Y*t).
Если вы имеете функцию exp(-5*t) и хотите сдвинуть время так,
чтобы она начиналась на 2 секунды позже, все, что вам нужно - это заменить t на (t-2).

if (f<80,50,30)
Формулировка “if” означает: до 80-го кадра значение составляет 50, в другом случае - 30.

Scripting.

Переменные
myStringVariable= "jdject_A"
myIntVar = 5

BATCH SCRIPTS
myVase=scene.addVase(20,8,2.5)
scene.message("I create a vase vith custom parameters")
myVase.setParameter("Scale",Vector.new(1,2,1) )
myVase.freezeTransformations()
scene.message("I modify its scale and freeze transform")
myVase.setName("maSelfmadevase")
scene.message("Its renamed to "+myVase.getName())

Для повторения кода Х раз используеися for in loop:

for i in range (1,10):
scene.message("%d" %i)
Повторить 9 раз
(перед коммандой ставится таб!!!) напечатать значение И.

Создать колонну из 10 кубиков один над другим:
for i in range (0,10):
brick = scene.addCube()
brick.freezeTransformations()
brick.setParameter("Position", Vector.new(0.0, i ,0.0))

Создать стенку из 10 колонн и рядов:
for j in range (0,10):
for i in range (0,10):
brick = scene.addCube()
brick.freezeTransformations()
brick.setParameter("Position", Vector.new(0.0, i , j)

Для проверки утверждения используется if statement
if 3>2:
scene.message("Yes its true")
else:
scene.message("Its not true")

if i%2==0:
если четный

GUI
form = GUIFormDialog.new ()
form.addIntField( "column",6 )
form.addIntField( "rows",6 )
form.addBoolField( "offset",True )

form.show()

GUI стена
form = GUIFormDialog.new ()
form.addIntField( "column",6 )
form.addIntField( "rows",6 )
form.addBoolField( "offset",True )
if (form.show()== GUI_DIALOG_ACCEPTED):
for j in range (1, form.getFieldValue("column")):
for i in range (1,form.getFieldValue("rows")):
brick = scene.addCube()
brick.setParameter("scale",Vector.new(1.0,1.0,2))
brick.freezeTransformations()
if (i%2==0) and form.getFieldValue("offset"):
brick.setParameter("Position", Vector.new(0.0, i ,j*2))
else:
brick.setParameter("Position", Vector.new(0.0, i ,j*2+1))

EVENT SCRIPTS

Emitt particles when objects collide:
#--------------------------------------------------
# Function: onSimulationStep
#--------------------------------------------------

def onSimulationStep():
import random #Get python function to work in script
obj1 = scene.getObject("cube1")
obj2 = scene.getObject("cube2")
pointList = obj1.getCollisionPoints( obj2 )
emitter = scene.getEmitter("Circle01")
for point in pointList:
emitter.addParticle(point, Vector.new(0,0,0))
pass

Преобразование флоатового типа данных в стринговое
scene.message ( "%f" % 2.56 )

_____________________________________________________________

HDRI

MANUAL EXPOSURE, FOCUS, WHITE BALANCE
-choose shooting position based on Sun location (Sun NOT should be at the age of mirror sphere )
-use higher aperture (f/22)
-focus on center of sphere
Exposures: 1/4000 1/2000 … (devide by 2 ) … 1/4 (11 images)
To remove fotographer from HDR – rotate you position to 90 degrees to one side and shoot again.

PANORAMIC SHOOTING
SET TO MANUAL MODE IN CAMERA: EXPOSURE, FOCUS, WHITE BALANCE !

Film Back (in maya camera attributes) for 35 mm format is
Aperture 1,5 , 1,0
Film aspect ratio 1,5
Lens squeeze ratio 1,0
Focal Length (in maya camera attributes) = Focal Length of real camera lens * 1,6
(for crop matrix)

_____________________________________________________________

MEL

isolate selected HOTKEY
запусти этот скрипт и ищи в hotkey editore в категории "isolate" свой isolate select

runTimeCommand
-annotation "view isolate selected"
-category "isolate"
-command ("{string $panel = `getPanel -wf`;if(`gmatch $panel \"modelPanel*\"`)
{if(`isolateSelect -q -state $panel`) isolateSelect -state 0 $panel;
else {isolateSelect -state 1 $panel; isolateSelect -addSelected $panel;}}}")
IsolateSelect_rtc;
nameCommand
-annotation "IsolateSelect_rtcNameCommand"
-command ("IsolateSelect_rtc")
IsolateSelect_rtcNameCommand;

ParentShape
parent -add -s;

//set attr for selected obj

string $sel[]= `ls -sl`;
string $item;
for($item in $sel)
{
setAttr($item + ".scaleY")(rand(0,5));
}

//build sinus curve

curve -p 0 0 0 -n "curve1";
int $i;
for ($i=0; $i<500; i="$i+1)" t="$i;" x="$t;" y="sin($t);">($x)($y) 0 curve1;
}

// WHILE LOOP-repeatly execute the code inside the loop until the condition satisfied.
while (condition)statement;

int $x = 0;
while ( $x <20)>//increment of looping
$x= $x+1;
//action to do
print ($x) ;
}

//FOR IN LOOP- allow to repeat chunk of code for each member in array.
for (each element in array) statement;

string $eachElementInArray;
string $selectedElements[] = `ls -sl`;
for ( $eachElementInArray in $selectedElements )
{
print (“the current element is” + $eachElementInArray) ;
}

//FOR LOOP – handy when u want something done a certain amount of time.
for (start value; end value; increment) statement; ($x=$x+1)=($x++)

for ($i=0;$i<20;$i++)
{
float $sine = sin($i);
float $cos=cos($i);
polySphere -name ("sphereName" + $i);
move -r $cos $i $sine;
}

P R O C E D U R E S
Is a group of MEL commands.
global proc procedureName (arguments) {commands;}

global proc creationOfSphere (float $rad, float $divX, float $divY)
{
polySphere -radius $rad -sx $divX -sy $divY;
}
creationOfSphere 10 12 12;

Rename selected jdjects. Run script, run command {renamer newName}.

global proc renamer (string $newName)
{
string $sel[] = `ls -sl`;
for ($each in $sel)
{
rename $each ($newName + "_#");
}
}

Create spiral curve MEL
global proc string spiral( float $ht, float $radius, float $numRounds )

{
string $cylinder[] = `cylinder -ch off -ax 0 1 0 -p 0 0 0 -r 1.0 -hr 1.0`;
scale $radius $ht $radius $cylinder[0];
string $cos = `curveOnSurface -d 1 -uv 0.0 0.0 -uv 1.0 ($numRounds*8.0) $cylinder[0]`;
string $duplicatedCrv[] = `duplicateCurve -ch off $cos`;

delete $cos;
delete $cylinder[0];

return $duplicatedCrv[0];
}
_____________________________________________________________

India

2008-01-25T08:09:00.001-08:00

ТМ, это понятно.
На самом деле, понятно только когда перед рассветом
проходишь через главные ворота. Отрыв башни.
Маст си.

Гималайские дети. Сопливые и не закомплексованные,
как и все остальные дети, впрочем.

Варанаси.
Живописный крематорий под открытым небом.
Жгут индусов с утра до ночи. Потом сбрасывают, что
осталось в Ганг. Индусы жгут!

Варанаси.

Варанаси.
Ритуальные омовения. Нам бы такую зиму.

Варанаси.
Насобирали по мешку мусора и довольны.

Дедушка на вокзале.

Этот дедуля катал нас по реке, постоянно что-то
рассказывая. Нихуя не понял.

Гималайские мусорки. Построение.

Индус.

Дарджилинг. Вид на гору Канчанджанга .
Когда перееду жить в Индию- куплю там дом.

Гангток, столица штата.
Недалеко от Дарджилинга, глубже в Гималаи. Холодно.

Такие они, города Индии.

Традиционно. Еле отыскал барельеф с еблей среди
сценок бытовой жизни. Пи ар, бля.

Пионеры в школе.

И на улице.

Индуским мужчинам всегда есть чем заняться.

Пока их телки работают.

Не стесняйся, сынок, дядя никому фото не покажет!

Милый какой. А тоже денег просил.

Cuba

2008-01-25T02:51:00.000-08:00

Хорошо. Особенно когда так можно сидеть с утра
до ночи. А ночью бухать Гавана клаб со всем селом.

Такие твари на пальмах гнездяца. Бегают по дому
как тараканы у нас.

Музыка

и бухло на кубе в почете. Кокос и гаш тоже. Сами видите.

Карибы и кокосы.

Рассвет (ну вдруг кто подумает, что закат).

Resume

2008-01-25T02:36:00.000-08:00

Kyrylo Krysko
3D genaralist
male
may 1977
Ukraine, Kiev, kiryha@gmail.com

SKILLS:
Able to deliver a fine result from scratch in short terms with a help of:
- more than 10 years of working experience,
- good skills in handling 3D and compositing software (now i basically work with Maya and Nuke),
- clear understanding of creative components of production- art, directing, editing, animation etc.

WORK EXPERIENCE:
1997-2002 start working in different small company`s as designer and 3D artist. Majority of tasks were connected with print, architectural visualization and outdoor advertising. Early years of CG in Ukraine- very low requirements to quality.

2002-2005 motion designer, STB TV channel.

2005- 2008 freelance artist. TV advertising, clips, industrial visualizations, 3D for print.

2008- 2011 senior 3D artist, Wizard post production company. TV advertising basically.

PORTFOLIO

imdb
latest finished works
work in progress section