Thank you very muchfor such a brilliant content. I've been doing jewelry models for manufacturing more than 5 years and I did a lot of mistakes trying to visualize my projects. And with your channel thing placed in position in my head and I clearly understand what I did wrong and what I didn't at all in my workflow.
Thank you very much for your comment and your positive feedback. It´s wonderful to hear that this series has helped you and you decided to share your story with me 🙌 Cheers and a great start into the weekend to you!
Hey hey, thank you. To be honest for the animation I put the noise threshold for the adaptive sampling rather high so frame times were not that long... Just wanted to clean up the bokeh nicely.
Amazing Tutorial as always. Biggest thing I learned is using Nulls to rotate lights around what i want to light. Dont know why I never thought of doing that.
Ha super nice. Yeah sometimes its the simple things that take us the furthest. I still can remember when I learned that. Quite useful in a lot of scenarios!
Thanks so much. Yeah the problem is that it´s almost exponential how much work goes into longer videos. I needed 3 Recording sessions and at least 3 full Days to make this 😇😇
I haven't gone through this series yet, but damn the results look incredible. Bookmarked. I'm more of a Redshift guy but I'll have to open up Octane for this.
A lot of it is not renderer specific. So I am sure you can do something very similar in RS. P.s. I don´t go in depth in every aspect of it. Its more a technical guide. And the examples being examples what you can do. Cheers and hope you have fun watching when you have the tim!
Happy to help. I usually share all my scenes on my Patreon. This tutorial is from before the time I started sharing. Right now I am rather busy. But I might be able to share it there. I think other Patreons would enjoy it as well. I will notify you if I post it there! Cheers, Raphael
This was epic as usual and look fwd to some universal camera goodies. The black camera card was a nice touch. Reminded me of messing with fake lenses and prisms in geometry to add right in front on the camera, and it produces fun chroma like real glass. Forget your passes tho as the scene is distorted and blocked by the geo. Fun tho. Makes me wanna look through that diamond. Octane Jesus screensaver time :)
Hey hey and thank you very much. Yeah I have messed with lenses in front of the camera too. As you said, what bothered me most there is that many of the passes would not work because of the geometry right in front of the cam. "Octane Jesus screensaver time" ha ha ha. Cheers and happy experimenting with diamonds 🙂🙌
Hey there and thank you very much for your comment: Sure. Not a problem: The Workstation Specs are: Windows 11 Pro 64bit Motherboard: ASUS WS X299 SAGE 10G Processor: i7 10980XE, 18 Cores - 36 Threads, 3.0 GHz Ram: 128 GB DDR4 3200 MHz CL18 GPUs Internal RTX 4090, RTX 3090 GPUs External through Thunderbolt: 2 x RTX 3090 Also I have two more machines with my older GPUs. 1 x RTX 3080 Ti 1 x RTX 2080 Ti 4 x GTX 1080 Ti
@@iquick9858 Yeah it´s great to have so much render power. The downside lately are the rising costs of electricity 😇 But I should rather not complain. I know I am in a very privileged position! P.s. many Years ago I started with a single slow GPU. I just built those systems slowly over time!
Hi, is there a reason why for example your diffuse depths has only even numbers? I noticed you set your max samples from 1024 -> 2048 -> 4096.... is there any benefit on doing so?
Hey there and thank you for your question. In older render engines one would usually set things by the power of two 2, 4, 8, 16, 32, 64 etc. This usually is not the case anymore and is an old habit of mine. What is useful about it is that those values always double. So as an example with sampling there would not be a lot of benefit setting the samples from 2048 to 2060. You half the nose by doubling the samples. So I usually then go for 4096 from 2048. If I need a value in between I would go for 3,072. Diffuse / Specular etc. (Ray-) depths on the other hand could be set however you want. I just paint with broad strokes there (maybe because I am a bit spoiled) So to answer your question. Half old habits, half still useful.
@@SilverwingVFX ah interesting. It reminds me a bit of the bucket size from Arnold. Thank you for your quick answer. I really appreciate your videos. They helped me alot for my bachelor project.
Hey there. You need to subscribe to Maxons Red Giant VFX suite, it's part of that. As an alternative you can also buy Deep Glow, this does the same thing but is from a different developer.
Thanks for taking the time to make this very insightful video, I tried to post a link to the OTOY forum but it seems UA-cam does not allow that. I came across this script from Calus & Milanm (not mine) But this allows you to hide the reflection of your absorber in metal, whilst preserving refraction using the OSL texture material in opacity. Which is quite useful in many cases, tested it and works well. Thought I would share. shader raytype_contribution( float cam = 1 [[string label = "Camera", float min=0, float max=1]], float shad = 1 [[string label = "Shadow", float min=0, float max=1]], float AO = 1 [[string label = "Ambient occlusion", float min=0, float max=1]], float diff = 1 [[string label = "Diffuse", float min=0, float max=1]], float refl = 1 [[string label = "Reflection", float min=0, float max=1]], float refr = 1 [[string label = "Refraction", float min=0, float max=1]], output color c = 0 ) { c = cam*raytype("camera") + shad*raytype("shadow") + AO*raytype("AO") + diff*raytype("diffuse") + refl*raytype("reflection") + refr*raytype("refraction"); }
This is a master's master class.... Incredible knowledge you are sharing here good man!
Oh, thank you so much. That's super cool to hear ❤️🔥
You are the most amazing teacher!
I am flattered to hear that. Apprciate that you enjoyed the lesson! 🙏🙌
no one does it like you, man. Your overall approach across projects and care for the details is so inspiring.
Hey, thanks so much. Appreciate your kind words. Thank you very much for your comment!
Thank you sir. This is the most sophisticated Diamond présentation I have seen.
Ha thanks. That´s a great compliment to get 🥰
This work flow is insane...
Thank you. I hope you mean that in a good way 😇
Thank you very muchfor such a brilliant content. I've been doing jewelry models for manufacturing more than 5 years and I did a lot of mistakes trying to visualize my projects. And with your channel thing placed in position in my head and I clearly understand what I did wrong and what I didn't at all in my workflow.
Thank you very much for your comment and your positive feedback. It´s wonderful to hear that this series has helped you and you decided to share your story with me 🙌
Cheers and a great start into the weekend to you!
hey silver thanks for the tutorial and the massive tips can't wait to try this ,you are that guy
Hey hey, thanks a lot. Highly appreciate it!
I can't thank you enough for the effort.
And when you say that you used 32768 samples, I literally stood up from my chair. 😯
Hey hey, thank you.
To be honest for the animation I put the noise threshold for the adaptive sampling rather high so frame times were not that long... Just wanted to clean up the bokeh nicely.
@@SilverwingVFX ah gotcha! Can't wait to see the universal camera tut.
Brilliant man! Thanks for this valuable piece!
Thank you so much Omar. Much appreciated!
Thanks as always for the wonderful knowledge. You're the man!
Thanks so much. Appreciate your kind words!
Epic content again! Thanks for taking the time to put this series together.
Thank you very much for your kind words again. Highly appreciated!
beautiful tutorial
Thank you very much. Great to hear that you like it!
You are amazing.
Thank you very much. Glad that you like the video!
EPIC!
Thank you so much. Great to hear you liked it 🙏
This is beautiful! Thank you so much for this series!
Thank you Leonardo. Glad you like this series!
Thanks!
You are very welcome!
Amazing video thank you
Thank you very much. Great to hear you like it!
Amazing Tutorial as always. Biggest thing I learned is using Nulls to rotate lights around what i want to light. Dont know why I never thought of doing that.
Ha super nice. Yeah sometimes its the simple things that take us the furthest. I still can remember when I learned that. Quite useful in a lot of scenarios!
Amazing as always, personally i enjoyed the longer video.
Thanks so much.
Yeah the problem is that it´s almost exponential how much work goes into longer videos. I needed 3 Recording sessions and at least 3 full Days to make this 😇😇
I haven't gone through this series yet, but damn the results look incredible. Bookmarked. I'm more of a Redshift guy but I'll have to open up Octane for this.
A lot of it is not renderer specific. So I am sure you can do something very similar in RS.
P.s. I don´t go in depth in every aspect of it. Its more a technical guide. And the examples being examples what you can do.
Cheers and hope you have fun watching when you have the tim!
Happy to help me enjoy the true meaning. TOO GREAT. Can the projects in this video be provided?, Sir. HAVE A NICE DAY
Happy to help.
I usually share all my scenes on my Patreon. This tutorial is from before the time I started sharing.
Right now I am rather busy. But I might be able to share it there. I think other Patreons would enjoy it as well.
I will notify you if I post it there!
Cheers,
Raphael
Thank you, what you did was amazing. Anytime, I just need to ask a simple question, don't be too concerned. I hope you have a good day🥰
Hello, But can you share this "3_point_refl_02.hdr" file?
Thank you. I uploaded the HDRI to google drive. You find the link in the video description.
Have fun and happy rendering!
This was epic as usual and look fwd to some universal camera goodies. The black camera card was a nice touch. Reminded me of messing with fake lenses and prisms in geometry to add right in front on the camera, and it produces fun chroma like real glass. Forget your passes tho as the scene is distorted and blocked by the geo. Fun tho. Makes me wanna look through that diamond. Octane Jesus screensaver time :)
Hey hey and thank you very much.
Yeah I have messed with lenses in front of the camera too. As you said, what bothered me most there is that many of the passes would not work because of the geometry right in front of the cam. "Octane Jesus screensaver time" ha ha ha.
Cheers and happy experimenting with diamonds 🙂🙌
lol 32,000 samples, those are rookie numbers, we gotta pump those number up!!...I just did a 1,000,000 sample volumetric light render.
Ha ha ha ha. Glad you beat my sample count. I felt a bit lonely up there 😁
as for Optical Glow, I use the plugin Deep Glow
Hey there and thank you very much for your comment!
Yeah forgot about Deep Glow, that´s a really good alternative!
Thank you for very helpful and informative tutorial. Would you please share your rendering workstation configuration including graphics card?
Hey there and thank you very much for your comment:
Sure. Not a problem:
The Workstation Specs are:
Windows 11 Pro 64bit
Motherboard: ASUS WS X299 SAGE 10G
Processor: i7 10980XE, 18 Cores - 36 Threads, 3.0 GHz
Ram: 128 GB DDR4 3200 MHz CL18
GPUs Internal RTX 4090, RTX 3090
GPUs External through Thunderbolt: 2 x RTX 3090
Also I have two more machines with my older GPUs.
1 x RTX 3080 Ti
1 x RTX 2080 Ti
4 x GTX 1080 Ti
@@SilverwingVFX Wow I could just imagine myself working on that machine! Out of my league
@@iquick9858 Yeah it´s great to have so much render power. The downside lately are the rising costs of electricity 😇
But I should rather not complain. I know I am in a very privileged position!
P.s. many Years ago I started with a single slow GPU. I just built those systems slowly over time!
Hi, is there a reason why for example your diffuse depths has only even numbers? I noticed you set your max samples from 1024 -> 2048 -> 4096.... is there any benefit on doing so?
Hey there and thank you for your question.
In older render engines one would usually set things by the power of two 2, 4, 8, 16, 32, 64 etc. This usually is not the case anymore and is an old habit of mine.
What is useful about it is that those values always double. So as an example with sampling there would not be a lot of benefit setting the samples from 2048 to 2060. You half the nose by doubling the samples. So I usually then go for 4096 from 2048. If I need a value in between I would go for 3,072.
Diffuse / Specular etc. (Ray-) depths on the other hand could be set however you want. I just paint with broad strokes there (maybe because I am a bit spoiled)
So to answer your question. Half old habits, half still useful.
@@SilverwingVFX ah interesting. It reminds me a bit of the bucket size from Arnold. Thank you for your quick answer. I really appreciate your videos. They helped me alot for my bachelor project.
@@TheLegoMaxter Thank you very much. Very nice hearing that. All the best for your future and an awesome Day to you!
Hello Sir,
How to i Get Optical Glow Plugin foe Adobe AE
?
please Sir Reply me.
Hey there. You need to subscribe to Maxons Red Giant VFX suite, it's part of that. As an alternative you can also buy Deep Glow, this does the same thing but is from a different developer.
Thank You sir
Thank You for Valuable Answer.😊😊😊
Is the automatic translation function turned off
I just uploaded it. I think it needs a couple of minutes to generate those subtitles 😇
@@SilverwingVFX Okay, thank you for your answer
Thanks for taking the time to make this very insightful video, I tried to post a link to the OTOY forum but it seems UA-cam does not allow that. I came across this script from Calus & Milanm (not mine) But this allows you to hide the reflection of your absorber in metal, whilst preserving refraction using the OSL texture material in opacity. Which is quite useful in many cases, tested it and works well. Thought I would share.
shader raytype_contribution(
float cam = 1 [[string label = "Camera", float min=0, float max=1]],
float shad = 1 [[string label = "Shadow", float min=0, float max=1]],
float AO = 1 [[string label = "Ambient occlusion", float min=0, float max=1]],
float diff = 1 [[string label = "Diffuse", float min=0, float max=1]],
float refl = 1 [[string label = "Reflection", float min=0, float max=1]],
float refr = 1 [[string label = "Refraction", float min=0, float max=1]],
output color c = 0
)
{
c = cam*raytype("camera") + shad*raytype("shadow") + AO*raytype("AO")
+ diff*raytype("diffuse") + refl*raytype("reflection") + refr*raytype("refraction");
}