This one was huge, thanks Raphael for the great work and quality of your tutorials! It will be interesting to send u scenes and make live analysis of them! In architectural visualisation there are poor informations on the web, and this kind of problem solvings are perfect! Keep It up! I Will join the patreon soon 🔥
Hey hey and thank you so much for your feedback. Great to hear that you liked the video! I am not too deeply into architecture. I just find my self using it for projects because it can cause to many problems that it's always a good benchmark it something is really working ha ha. Cheers and a great start into this week to you 🙌✨
Great to hear you liked the video! I think you referring to this part of the video? 21:45 Intel Denoiser is not a setting in the Denoiser Tab. It's accessible through the Render AOVs compositing context. You can see here: ua-cam.com/video/ULrxD_7fJKs/v-deo.html
I’m literally taking notes while watching the video! So good and useful. Thanks for this series Raphael. Are there any more chapters planned? PS: I was typing the comment while the video was ending. Here is my emoticon: 🙏🏼
Thank you very much for your nice comment. Super great to hear that the series was useful to you! Right now I have not planned any new chapters, but I am totally open to extend the series if you have good ideas for it. So absolutely feel free to chime in with ideas where we could continue the series to 😊 Thank you very much for your emoticon ✨🙏✨
Thank you very much for your comment. I don't have a unified library, this is correct. But if you are becoming a patreon, you can download all the scenes and scrape some really nice materials from there. Some of them use vertex maps to work correctly (Convex and Concave maps) so keep that in mind ✨️
🗿I didn't know I about the community. Process is the main point for me. But I don't mind if there would be more nice scenes :) Maybe you could run a community project or contest for the scene :)
Hey there and thank you for your nice comment. Glad to see you know about the community now ha ha. And yeah. Some community event might be a good idea. I am quite busy at the moment, that would have to wait for a bit. But maybe if I have some more time at hand! Cheers and a great rest of the weekend to you!
I wish there was a way in Octane of having a light cast the light I want and visibly be that color on the light. If I turn on a real RGB spotlight in real life and stare at the light it is never white. Is there a way to do this? I tend trick it by hiding the area lights creating the mood and then use materials for the visible lights, but even this can cause issues sometimes.
Thank you very much for your comment. A word of caution here. Since we can't reproduce the lights real brightness through a screen, the bleed out into white is wanted and needed. Lights that keep their color in 3D usually look awfully artificial and unrealistic. At least if you are going for Photorealism. Because our brain tells us that the light is much dimmer then it would be. Usually our brain reconstructs the light color in a photo from the colored glow around the light source. Look at images of traffic lights at night for example. If they are burned out in the middle, you can still tell the lights color by the outer glow around the burned out area. Even our eyes in most cases let light burn our to white... Or at least to a less saturated version of the light. Of course there are ways you can achieve the result you are after: The first is the cheapest one by just cheating. You can use a "Ray Switch" plug in the intended light color (e.g. with anRGB spectrum) to all the slots of the ray switch but the "Camera Ray". Use a much darker RGB spectrum of the same color there. Then you light source will be not burned out. Another thing you can try is to use the ACES sRGB tonemapping. This can bring highlights in and therefore does not make the lights burned out state too. Though if your light gets too bright, the ACES sRGB tonemapping will also desaturate your light and will eventually clip to white. Though much later then the usual sRGB workflow would have. I personally always let my lights turn into white (I use ACES sRGB or AgX for tonemapping) and add some glow to the scene. Therefore I get the realistic behavior that you can see in Cinema, Photographs and most imaging devices. Hope especially the Ray Switch trick helped you to pursue your intend further 🙌
@@SilverwingVFX thanks for spending the time to write such a detailed response! I knew about the Rayswitch node in other renderers but forgot it was Octane now! I did think maybe if I physically reconstructed the light fixture to be exactly how it is in real life it would look correct but would take years to render. One situation I tried this was I had home office built in Octane and wanted it to be dark in the room with a lot of RGB coloured lighting being the only sources. I create the Phillips HUE play bar which I have in my own office. I just could not get the light casted to be the same as mine in real life…It gives off such a graduated light but the product is still not fully white in a dark room..I can get the light intensity looking how I want but not the product or visa versa. Tried IES lights etc, only thing that got me the effect is doing hidden IES lights but to me this isn’t really accurate..I will definitely have a play around with ray switch node again though! Edit: I think the point I’m trying to make is I do wish lights behaved a little different in render engines, as they know we arnt going to be building full geo for every single light..so it makes no sense if the physically accurate lights are useless in most situations
@@Oldyellowbrick Also thank you for your great, detailed response! I agree with you that sometimes it's rather tricky to get close to the real world results. I guess the trick with the Rayswitch might at least help optically. I did the same thing with screens in the past, as I wanted the screens to light the scene but the image on screen not to look blown out. Also if you are using any kind of ACES tonemappping, the contrast of the ACES sRGB tonemapper is to strong for me in interior scenes as it can crush the shadows quite a bit. So I usually use either the Aces rec.709 tonemapper or AgX. AgX has no real contrast curve and therefore makes the dark parts of the scene seem more bight. (So it looks like standard sRGb with the added benefit of making your lights look nicer. I guess there are a couple of moving parts that makes your situation hard to nail down.
@@SilverwingVFXAhh yes the screen thing is probably a better example than the one I gave, screens can also be annoying, I remember doing a laptop project for a client where I wanted the screen to be visible of course, but wanted to screen to cast onto the keyboard..I just couldn’t get the balance right. Also yeah I primarily use ACES even if I’m not using an aces workflow due to time I’ll still use the ACES tone mapping. Havnt tried AGX yet, can’t keep up with these colour spaces haha!
Thank you for putting this series together, a noise free tutorial, no fluff and full of detail 🏆
Thank you so much for your great comment.
Love your word play and appreciate that you see it this way!
Thanks a lot for the ✨🏆✨
This one was huge, thanks Raphael for the great work and quality of your tutorials! It will be interesting to send u scenes and make live analysis of them! In architectural visualisation there are poor informations on the web, and this kind of problem solvings are perfect! Keep It up! I Will join the patreon soon 🔥
Hey hey and thank you so much for your feedback. Great to hear that you liked the video!
I am not too deeply into architecture. I just find my self using it for projects because it can cause to many problems that it's always a good benchmark it something is really working ha ha.
Cheers and a great start into this week to you 🙌✨
Good job, Raphael! Also like the summary at the end.
Thank you very much. Great to hear that you like it 🙌
Thank you Sensei for sharing your knowledge with us🙇🏻♂️
And thank you very much for your nice comment 🙏✨
It's always very nice to feel appreciated 😊
Thanks again, Raphael!
Awesome content!
Hey hey super nice seeing your comment. I really appreciate your kind words 🙏✨
Thank you. Love this series. 🖼
Thank you very much. Appreciate that you like it ✨️
thanks my brother
You are very welcome 🙌
Ha ha haa, thank you very much. Love the emoticon you chose ✨🐐✨
king
Ohhhh, thank you very much Murathan.
Also thank you very much for your Support 🙏🙌
👑
🥇 Ohhhh, you are first. And very nice choice 🙌 I like it!
Love it!
Brilliant as always.
I can't seem to get the popup working you mention, about the intel denoiser. Can I find that somewhere?
Great to hear you liked the video!
I think you referring to this part of the video? 21:45
Intel Denoiser is not a setting in the Denoiser Tab. It's accessible through the Render AOVs compositing context. You can see here: ua-cam.com/video/ULrxD_7fJKs/v-deo.html
@@SilverwingVFX Thanks! Ahh yes I've seen this, thanks for the link!
I’m literally taking notes while watching the video! So good and useful. Thanks for this series Raphael. Are there any more chapters planned?
PS: I was typing the comment while the video was ending. Here is my emoticon: 🙏🏼
Thank you very much for your nice comment. Super great to hear that the series was useful to you! Right now I have not planned any new chapters, but I am totally open to extend the series if you have good ideas for it. So absolutely feel free to chime in with ideas where we could continue the series to 😊
Thank you very much for your emoticon ✨🙏✨
you have amazing a big library of materials for octane! any chance to get some pack for patrons or for sale?
Thank you very much for your comment.
I don't have a unified library, this is correct. But if you are becoming a patreon, you can download all the scenes and scrape some really nice materials from there. Some of them use vertex maps to work correctly (Convex and Concave maps) so keep that in mind ✨️
🗿I didn't know I about the community.
Process is the main point for me. But I don't mind if there would be more nice scenes :) Maybe you could run a community project or contest for the scene :)
Hey there and thank you for your nice comment.
Glad to see you know about the community now ha ha.
And yeah. Some community event might be a good idea. I am quite busy at the moment, that would have to wait for a bit. But maybe if I have some more time at hand!
Cheers and a great rest of the weekend to you!
So if we are using the denoiser, for animation lets say it's best to use the "static noise" ticked option right? @silverwing
Yes this is correct. It makes the splotches more coherent. The more samples you render, the less of a difference it will make though!
@@SilverwingVFX thank you! keep up the incredible work, helped me so much! I appreciate you
😍😍😍
Thank you again 🙏🙏🙏
I wish there was a way in Octane of having a light cast the light I want and visibly be that color on the light. If I turn on a real RGB spotlight in real life and stare at the light it is never white. Is there a way to do this? I tend trick it by hiding the area lights creating the mood and then use materials for the visible lights, but even this can cause issues sometimes.
Thank you very much for your comment.
A word of caution here. Since we can't reproduce the lights real brightness through a screen, the bleed out into white is wanted and needed. Lights that keep their color in 3D usually look awfully artificial and unrealistic. At least if you are going for Photorealism. Because our brain tells us that the light is much dimmer then it would be. Usually our brain reconstructs the light color in a photo from the colored glow around the light source. Look at images of traffic lights at night for example. If they are burned out in the middle, you can still tell the lights color by the outer glow around the burned out area.
Even our eyes in most cases let light burn our to white... Or at least to a less saturated version of the light.
Of course there are ways you can achieve the result you are after:
The first is the cheapest one by just cheating. You can use a "Ray Switch" plug in the intended light color (e.g. with anRGB spectrum) to all the slots of the ray switch but the "Camera Ray". Use a much darker RGB spectrum of the same color there. Then you light source will be not burned out.
Another thing you can try is to use the ACES sRGB tonemapping.
This can bring highlights in and therefore does not make the lights burned out state too.
Though if your light gets too bright, the ACES sRGB tonemapping will also desaturate your light and will eventually clip to white. Though much later then the usual sRGB workflow would have.
I personally always let my lights turn into white (I use ACES sRGB or AgX for tonemapping) and add some glow to the scene. Therefore I get the realistic behavior that you can see in Cinema, Photographs and most imaging devices.
Hope especially the Ray Switch trick helped you to pursue your intend further 🙌
@@SilverwingVFX thanks for spending the time to write such a detailed response! I knew about the Rayswitch node in other renderers but forgot it was Octane now! I did think maybe if I physically reconstructed the light fixture to be exactly how it is in real life it would look correct but would take years to render.
One situation I tried this was I had home office built in Octane and wanted it to be dark in the room with a lot of RGB coloured lighting being the only sources. I create the Phillips HUE play bar which I have in my own office. I just could not get the light casted to be the same as mine in real life…It gives off such a graduated light but the product is still not fully white in a dark room..I can get the light intensity looking how I want but not the product or visa versa. Tried IES lights etc, only thing that got me the effect is doing hidden IES lights but to me this isn’t really accurate..I will definitely have a play around with ray switch node again though!
Edit: I think the point I’m trying to make is I do wish lights behaved a little different in render engines, as they know we arnt going to be building full geo for every single light..so it makes no sense if the physically accurate lights are useless in most situations
@@Oldyellowbrick Also thank you for your great, detailed response!
I agree with you that sometimes it's rather tricky to get close to the real world results.
I guess the trick with the Rayswitch might at least help optically. I did the same thing with screens in the past, as I wanted the screens to light the scene but the image on screen not to look blown out.
Also if you are using any kind of ACES tonemappping, the contrast of the ACES sRGB tonemapper is to strong for me in interior scenes as it can crush the shadows quite a bit. So I usually use either the Aces rec.709 tonemapper or AgX.
AgX has no real contrast curve and therefore makes the dark parts of the scene seem more bight. (So it looks like standard sRGb with the added benefit of making your lights look nicer.
I guess there are a couple of moving parts that makes your situation hard to nail down.
@@SilverwingVFXAhh yes the screen thing is probably a better example than the one I gave, screens can also be annoying, I remember doing a laptop project for a client where I wanted the screen to be visible of course, but wanted to screen to cast onto the keyboard..I just couldn’t get the balance right. Also yeah I primarily use ACES even if I’m not using an aces workflow due to time I’ll still use the ACES tone mapping. Havnt tried AGX yet, can’t keep up with these colour spaces haha!
👑
Awww, you are a gem. Thank you so much ✨👑✨
Thanks Raphael! always a pleasure to have the morning coffee like that!
Ha, super nice hearing that.
I love that it's became a routine for people having coffee, watching my videos 🙌
Always a good time! Well done and thorough 👏
Ohhh thank you so much. Awesome to hear that 🙏✨😊