Great lesson, thanks. Could you explain how you set up the masks and generator in substance painter? It’s especially interesting how the top of the statue’s head is made white and the bottom black.
Thanks! I don't have it in front of me right now, however, in the generator/mask builder there's a position section that allows a gradient/falloff in object or world space.
hi! thanks for this work of yours. its really helped alot. can you also share the mask of STATUE because i dnt use substaince painter at all. it will be a great help
This is so awesome Jeremy, thanks for sharing! I’m ready to get my moss game on! Lol By the way, to help performance while working interactively, I believe you could temporarily turn off color management and to save time on recreating the Mash visibility nodes; besides copying the node, you could also create a preset.
@@jeremyheintz1835 of course and def enjoyed! If you’re interested in more tutorial topics, I would love to see the workflow for using ACES in Maya to Nuke from a CG artist perspective. :D
@@shaundunn3dartist Check this vid out about using ACES in RenderMan: vimeo.com/470507417. It covers how to set up OCIO in Nuke, handle file conversions, and use Color Management in Maya. Might be just what you’re after, let me know if you want to chat about specifics.
Thanks for the videos and sharing your Python script, but UA-cam is translating it into my own language for some reason, while it's ok for the rest of the video description (I would still prefer it didn't) it completely breaks the code... Could someone provide a pastebin or some such? Thx !
Hi Antoine, yes the process would be similar. Arnold's surface shaders will have different connections, so use your best judgement on which maps to use from megascans.
I appreciate the suggestion! This is a great idea, when I can get back around to creating content. Indoor lighting is tricky to do optimally and is something I have to work with a lot at Pixar. Essentially, minimizing indirect illumination where possible can really increase efficiency and reduce noise.
@@jeremyheintz1835 thank you Jeremy and one more thing I saw a blog post or something you did on the renderman art challenge and how you did the volumetrics, I was wondering if you could explain a little bit more on how to go about setting the density so its thicker near the bottom and thinner at the top?
There are a few ways that I've done this. A comp approach - render the fog pass as you would normally and output the integrator AOV __Pworld. The green channel of this AOV is a world-space ramp where you can then use as a mask in comp. To do this in-render, use a PxrProjector manifold plugged into a PxrRamp to project a black-to-white gradient in world space. This can then be remapped and used to drive density on your PxrVolume shader. If I can get a minute I can record a quick video about the setup.
@@jeremyheintz1835 sure, I am working on an archviz project. And one of the surface maps I downloaded is of bathroom/kitchen tiles. I have mapped it out as per your previous tutorials, but there is an additional map called “mask” i assume it has something to do with variations in the texture, since the map has different hues of greens and blues in it, with redlines indicating grouting. Have to say it has stumped me a bit. Thanks for your help, the ambient music is pretty awesome.
@@lgenic Without seeing it to be sure, I would guess it’s to be used for variation in the surface lobes (diffuse, bump, roughness, etc). The PxrColorCorrect node has a mask input where you can plug in the red, green, or blue channel from the mask texture to apply color corrections only to those specific areas. DM me if this doesn’t make sense in your case and I can help take a closer look, jeremyrheintz@gmail.com.
At around 3m26s, when you plug in the albedo/opacity into the diffuse color, the shader shows up instantly in your viewport. When I do it, it changes to what looks like a darker lambert. How do I get it to show up in the viewport? I can only see it when I render.
Make sure your default shader toggle is off in your viewport settings. You can also visualize the opacity using a lambert shader and a file (texture) node just the same.
I have never used maya but I found this super helpful recreated moss in cinema 4d
You can use MASH world node in map based mode instead of visibility. It gives you more control and scatters where you need it.
Clean and on point tutorial 👍🏻👍🏻👍🏻
Thank you for sharing the tutorial, it helped me complete the work faster than expected, thank youuuuuuuuu !
Amazing there will definitely lot more audience should watch this :D
Thank you
wowww! this tutorial opened my mind. Thanks!
Thx for sharing your workflow
Great lesson, thanks. Could you explain how you set up the masks and generator in substance painter? It’s especially interesting how the top of the statue’s head is made white and the bottom black.
Thanks! I don't have it in front of me right now, however, in the generator/mask builder there's a position section that allows a gradient/falloff in object or world space.
you are make so cool Renderman tutorials !!!!! Thank you.. I wis you have to make more::))))
hi! thanks for this work of yours. its really helped alot. can you also share the mask of STATUE because i dnt use substaince painter at all. it will be a great help
great tutorial!
amazing as always
Your videos are always amazing and helpful, buddy! Will watch it
Hi Jeremy! Thanks for a new tutorial. The final result is just beautiful :)
Thanks for the kind words! =)
This is so awesome Jeremy, thanks for sharing! I’m ready to get my moss game on! Lol By the way, to help performance while working interactively, I believe you could temporarily turn off color management and to save time on recreating the Mash visibility nodes; besides copying the node, you could also create a preset.
Thanks for the tips! I’m glad you enjoyed :)
@@jeremyheintz1835 of course and def enjoyed! If you’re interested in more tutorial topics, I would love to see the workflow for using ACES in Maya to Nuke from a CG artist perspective. :D
@@shaundunn3dartist Check this vid out about using ACES in RenderMan: vimeo.com/470507417. It covers how to set up OCIO in Nuke, handle file conversions, and use Color Management in Maya. Might be just what you’re after, let me know if you want to chat about specifics.
...and thank you for the suggestion! Always looking for useful topics :)
Thanks for the videos and sharing your Python script, but UA-cam is translating it into my own language for some reason, while it's ok for the rest of the video description (I would still prefer it didn't) it completely breaks the code...
Could someone provide a pastebin or some such? Thx !
Here's a pastebin for you, cheers! pastebin.com/cw17UTmD
Hi, is the process similar if I am using Arnold instead of RenderMan for the textures in the hypershade?
Hi Antoine, yes the process would be similar. Arnold's surface shaders will have different connections, so use your best judgement on which maps to use from megascans.
is it possible we can get a tutorial on how you handle indoor lighting?
I appreciate the suggestion! This is a great idea, when I can get back around to creating content. Indoor lighting is tricky to do optimally and is something I have to work with a lot at Pixar. Essentially, minimizing indirect illumination where possible can really increase efficiency and reduce noise.
@@jeremyheintz1835 thank you Jeremy and one more thing I saw a blog post or something you did on the renderman art challenge and how you did the volumetrics, I was wondering if you could explain a little bit more on how to go about setting the density so its thicker near the bottom and thinner at the top?
There are a few ways that I've done this. A comp approach - render the fog pass as you would normally and output the integrator AOV __Pworld. The green channel of this AOV is a world-space ramp where you can then use as a mask in comp. To do this in-render, use a PxrProjector manifold plugged into a PxrRamp to project a black-to-white gradient in world space. This can then be remapped and used to drive density on your PxrVolume shader. If I can get a minute I can record a quick video about the setup.
@@jeremyheintz1835 that would be awesome if you did that, and thank you for the help!
Okay can we talk about tiles and masks? Great tuts!
Heya! Can you elaborate what you mean by tiles and masks? Glad you enjoyed the tutorial!
@@jeremyheintz1835 sure, I am working on an archviz project. And one of the surface maps I downloaded is of bathroom/kitchen tiles. I have mapped it out as per your previous tutorials, but there is an additional map called “mask” i assume it has something to do with variations in the texture, since the map has different hues of greens and blues in it, with redlines indicating grouting.
Have to say it has stumped me a bit.
Thanks for your help, the ambient music is pretty awesome.
@@lgenic Without seeing it to be sure, I would guess it’s to be used for variation in the surface lobes (diffuse, bump, roughness, etc). The PxrColorCorrect node has a mask input where you can plug in the red, green, or blue channel from the mask texture to apply color corrections only to those specific areas. DM me if this doesn’t make sense in your case and I can help take a closer look, jeremyrheintz@gmail.com.
At around 3m26s, when you plug in the albedo/opacity into the diffuse color, the shader shows up instantly in your viewport. When I do it, it changes to what looks like a darker lambert. How do I get it to show up in the viewport? I can only see it when I render.
Make sure your default shader toggle is off in your viewport settings. You can also visualize the opacity using a lambert shader and a file (texture) node just the same.
RenderMan doesn’t support GPU rendering, though. Is it still worth using?
RenderMan XPU is in development, which is their CPU+GPU hybrid renderer.
How long has GPU rendering been around?