The full name of IBL is “image-based lighint” and is a method of disguising global lighting. Using this method gives better visuals and achieves real-time rendering. One way to achieve this is to first take a picture of the environment. This image can be taken by a real-world camera (HDR is recommended for better results). It can also be rendered in real time by the in-game camera.
AOVs
A space on the lighting so we can break down the beauty, render into multiple lighting render. And beyond that, for each lighting render, we can break it down into food based on the shading component( diffuse component specular components and subsurface ghetto component).
with the help of this I.D. pass, we can easily separate the characters in com and apply different settings on them. And also the position pass so we can use the position. We can use the position past to draw a map, draw a map based on where the ground is so that we can discard the other Paxos in other areas.
Select Transform > SphericalTransform to insert a SphericalTransform node after the HDR image. You use this node to convert the HDR image to a spherically mapped image. In the controls of the node, select the input type and output type (in this case sphere).
Select 3D>Lighting>Environment and insert an Environment node into your script. Connect the SphericalTransform node to the mapping input of the environment node and connect the environment node to the scene node.
This week will be all about volumes and smoke, fire or explosions. In volumes we will learn to create and control combustion style simulations in a sparse thermal solver and then take it a step further by running a bunch of wedge SIM cards with PDG so we can work more efficiently. Custom simulation and post-simulation techniques, along with custom shader and lighting strategies, will allow us to create production quality work in a way that out-of-the-box tools cannot. After some compositing, we’ll end up with a big bang – but more importantly, the knowledge and confidence to hack solvers and shaders to create all sorts of effects.
Smoke is the display state of fog. For example, the fog volume in an ISO offset is directly a visual vector field; ISO is a number of small squares that always face the camera, e.g. the SDF volume in ISO offset; Pauli is the normal model display, e.g. ISO surface and quad mesh in ISO offset; Volume is a vector field. By default it is displayed in smoke mode, but by default this node has no value and therefore cannot be seen’ In ISO displays it is also stored as a voxel from which distances, directions and other data can be retrieved; VDB is an open VDB, which is an updated general volume data type. It is possible to export the VDB format as a generic material containing various density and other volume data; Convert VDB converts the relationship between VDB and VDB; Volume visualisation can be used to visualise the display colours of the fog;
node – Atmosphere_volume > shader to out_environment > atmosphere
Adding Volume Rasterize Attributes and Selecting Density Attributes.
Group – A group of points in the input for coarsening. Attributes – The mode specifies which attributes are used to create the corresponding VDB. Note – only floating and vector attributes can be razed.
The basic building blocks of a smoke simulation are the object, solver and procurement. The smoke object (sparse) node creates a dynamic object containing the required fields, and then the solver evolves the object as the simulation progresses. The simplest smoke simulation requires the following data.
density the area containing the smoke; temperature the scale field used for buoyancy calculations; vel the vector field that captures the instantaneous motion of the smoke. The solver is responsible for ensuring that these fields change in a way that is consistent with the smoke, but sourcing is responsible for injecting these quantities during the simulation. For example, you may need to continuously add or cause hot areas to rise in the smoke source.
Fire
Pyrosolver_sparse – this node is an extension of the smoke dissolver (sparse). It takes into account an additional simulation field (capturing the presence of flames) and adds some additional shaping parameters to allow more control over the emergency appearance.
Add disturbance, add gas swirl and confinement scale 0.5, gas swirl limiting – gas swirl limiting DOP applies swirl limiting to the velocity field. This is a force that amplifies existing vortices with the aim of eliminating diffusion that occurs during the diffusion phase of a fluid solvent, confinement scale – the strength of vortex confinement.
Standard_volume
standard_volume is a physically based volume shader. It provides independent control over volume density, scattering colours and transparent colours. Blackbody emission is used to render fires and explosions directly from the physics simulation. Each component can be controlled by a volume channel from the volume object, and other parameters can act as multipliers on the volume object. Optionally the channels can be left blank and custom shaders (such as volume examples or procedural textures) can be attached to manipulate each component using more control.
Linear workflows have become the industry standard adopted by most studios because of the great flexibility. It is much easier to adjust the reflectivity of an object or change the basic colours of individual model sections in Photoshop rather than fine-tune and 3D render. This is the great flexibility that the Pixel Squid product offers to the end user. Each layer or element rendered contributes to the final image. Therefore, Pixel Squid content must be generated in a linear workflow. The diagram below shows the basic flow of the linear pipeline.
High Dynamic Range Imaging
High Dynamic Range Imaging (HDRI) is a technique for photographic imaging and film and ray-traced computer-generated imaging that reproduces a wider range of luminance than standard digital imaging or photographic techniques. Standard techniques only allow differentiation within a certain luminance range. There are no visible features outside this range, as in brighter areas everything looks pure white and pure black in darker areas.
The ratio between the maximum and minimum values of an image is called dynamic range. HDRI can be used to record many real-world scenes that contain very bright, direct sunlight to extreme shadows or very faint nebulae. High Dynamic Range (HDR) images are usually produced by capturing and then combining several different, narrower exposure ranges of the same subject.
The two main types of HDR images are computer renderings and images produced by combining multiple low dynamic range (LDR) or standard dynamic range (SDR) photographs. You can also purchase HDR images using a special image sensor such as an oversampled binary image sensor. Due to print and display contrast limitations, the extended brightness range of the HDR input image must be compressed to make it visible.
Gamma Correction
It is the editing of the gamma curve of an image to perform non-linear tonal editing of the image to detect the dark and light parts of the image signal and increase the ratio of the two to improve image contrast. In the field of computer graphics, the curve of the conversion relationship between the screen output voltage and the corresponding brightness is called the gamma curve.
In terms of the characteristics of a conventional CRT (cathode ray tube) screen, the curve is usually a power function, Y = (X + e) γ, where Y is the luminance, X is the output voltage, e is the compensation factor and the power value (γ) is the gamma value. Changing the magnitude of the power value (γ) changes the gamma curve of the CRT. A typical gamma value is 0.45, which makes the brightness of a CRT image linear. For display screens such as televisions using CRTs, this must be corrected as the luminous greyscale of the input signal is not a linear function, but an exponential one.
ACES
The Academy Colour Coding System is an open colour management and exchange system developed by the Academy of Motion Picture Arts and Sciences (AMPAS) and industry partners.
Colour depth
In computer graphics, colour depth represents the number of bits used to store 1 pixel of colour in a bitmap or video frame buffer. It is also referred to as bit/pixel (bpp). The higher the colour depth, the more colours are available.
The colour depth is described by the term “n-bit colour”. If the colour depth is n bits, then there are 2n colour options and the number of bits used to store each pixel is n.
Mantra
Existing render nodes can be edited using the name of the node using the Render License Edit render node. To see the actual driver node network, click on the path at the top of the Network Editor pane and select another network that is not supported. If you add object properties to a render driver, they are defined by default for all objects in the scene. Select the render node, click on the gear menu in the Edit Parameter Editor and select Edit Render Parameters to edit the node’s properties. For complex scenes involving multiple render passes, separate lighting and shadow passes etc., you can create dependencies between render drivers by connecting driver nodes. See Rendering of dependencies.
Use wooden box as a reference, sample the colour value of this wooden box. Then apply the grading into the other.Separating the HDRI. And Exposure (Color) node and mutiply (Math) node, Remap the image by spherical transform,that we can draw a straight line easier. Then open the nuke script and create the project.
Intro the nuke surface
ctrl + a select all, ctrl + shift Search/Replace window Then can see the image in panel, click and drag to selection, and put it down to the bottom of screen, then ctrl + shift + left button + drag
Then click on Add Mutiply (math) to change the channel to RGB, click on the color picker within the display panel and then you can see all the other controls. Use the same math to change the colors (up and down). Make it match better. Put the color value of the environment into low pass. This makes the whole environment darker than before, and then draws a map to isolate it. Make it a separate map. Use the same method to lower it. This way we can simplify the setup and aviod too much at this point.
eek 5 was spent doing destruction effects. I tried to import the models I made at Maya into Houdini for the special effects. Each session was an opportunity to get new content, which really made it challenging and fulfilling for me. Rigid body breaks are a very powerful feature of Houdini. In fact, most of the core work is done in SOP, such as the breaking of different materials, constraint generation control, attribute control and wrapping object transformations, including adding detail and material rendering in post.
Voronoi is a subdivision of the space plane, characterised by any position in a polygon being closest to the example point of the polygon (e.g. a residential area) and away from the example point of an adjacent polygon. Each polygon contains and only contains one example point. Due to Voronoi’s equal division, it can be used to solve nearest points, smallest closed circles and many other spatial analysis problems such as adjacency, proximity and accessibility.
This node allows you to generate three types of fragmented concrete, glass and wood.
It has four input ports: Geometry, Constrained Geometry, Proxy Geometry and optional inputs that can be connected to additional points to control the shape of the fragments. You can directly select the three damage presets for the material type. If a constraint geometry is connected, it automatically generates constraints between fragments.
Use different display modes: The Guide Geometry option controls different display modes. The fracture geometry is the mode of all three presets. As the name implies, it shows the broken shape.
[Bullet Solver]. The Bullet Solvent DOP sets up objects to use the Bullet Dynamic Solver. This solver can use a simplified representation of the object, such as a box or sphere, or a compound of these simple shapes to compose more complex shapes. The solver can use any convex shape depending on the geometric point of the object, or it can collide objects with the emotional body of a cloth, solid or wired object.We only need to use [bullet solver].
Next, we need to use “limits”. Make a model that only breaks and touches the ground when it falls.
This is then applied to the house and the final result is the destruction of the house.
Knowledge of physical lighting rendering: in this topic talks about simulating outdoor light sources, direct and indirect lighting, simulating the reflection path of light sources and the different light reflection behaviour on different objects and materials.
Working with attributes and simulation Manipulate attributes on points, primitives, vertices, packed geo. Introducing Vop and Vex. Introduction to dynamics (Dop) with particles simulations. Adding forces to the simulation. Examples: simple magical effect / disapearing object Previewing simulations. Introduction to Rigid bodies using the wood cabin. Simple Rigid bodies constraints.
Automatic update]: When we change the value of a Houdini node, it will automatically (and very quickly) update the effect on the screen.
[On mouse]: when we change the value of a Houdini node, it is only updated when we click on the window with the mouse.
[Manual]: manual update. This can be interpreted as an independent update of the window effect when we change the value of the node. (This mode is very convenient and I have been using this mode in my last assignment.
[empty] node: this node has no effect. However, it is easier to create an [empty] node in the panel to observe the process. (Probably because the shape of this node is so unusual. Most other nodes are rectangular, whereas the [empty] node is an X-like shape)
When we hold down [J] and [left mouse button], the dragged curves will form connections on the nodes. (In the Houdini interface, it is like stitching nodes together with a needle and thread). When you need to delete a connection, press and hold [Y] and [Left mouse button]. (In the Houdini interface you seem to be cutting the nodes with scissors). After selecting a node, I always use [Delete].
Selecting multiple nodes is very similar to other software. [Shift] plus [Left mouse button] adds more than one selected node, if you want to deselect a node use [Ctrl] plus [Left mouse button].
When the node shows [Warning] we can select [Open display options] (shortcut is [D]). In the [Network view display options] you can see the reasons for the different warnings.
In the animation module.
[arrow key +] is playing
[arrow key +] is play in the opposite direction of the timeline
[arrow key ←] is the previous keyframe of the animation
[Arrow key →] is the next keyframe of the animation
[Ctrl]+[arrow key←] is to reach the first keyframe of the animation
[Ctrl]+[arrow key→] is the last keyframe of the animation
In the [i] property bar of the node we can observe the values of [Point], [Original], [Vertices] and [Polygon].
Starting this week’s exercise [Particles]
The first thing to do is to create a [geometry] node, using [testgeometry_crag] as the base model node.
Custom nodes in the [pop-up net] node.
“pop object” is like a container full of particles that goes through a blaster. “blaster” is like a toolbox to think about it. A toolbox, you will have. Everything you need to calculate what happens in a dynamic, so it all has physical operations. It has all the physical logic that we need. “pop source” can solve any physical problem that we have.
Add the [Podlage] node as a change in air resistance. (Make some more defined shapes if you wish.
Back in the [Geography] panel, I added [Point Velocity] and [Delete]. [Point Velocity] changes the speed of the particles and [Delete] is used to remove particles that affect the screen. I have also adjusted the value of the nodes in the [Popup Mesh].
In the first session, the main objective was to introduce us to the types of lighting and the workflow and specific details that need to be completed in this area. The lighting charge is mainly responsible for compositing the elements of the workflow, designing the lighting and creating a very comfortable picture effect. It is also responsible for dealing with noise and adjusting the lighting settings of the scenes of the characters so that the film and television production is altered.
An introduction to the lighting method of three-point lighting, usually used for lighting small areas of a scene. If the scene is large, you can split it into several smaller areas for lighting. Generally, there are three lights, the main light, the auxiliary light and the background light. The subject light source is literal, it is the main light in the shot, the auxiliary light is to supplement the shadow areas that cannot be illuminated by the main light source so that the scene light does not appear as a strong shadow and the background light is used to distinguish the background from the subject.
Contrast and Light intensity Depending on the intensity and contrast of the lighting, it can be divided into high key lighting and low key lighting. The difference between the two is the difference between primary and secondary light and contrast. There are two types of lighting modifiers, reflectors and signs, which are two ways of enhancing and reducing contrast.
Colour temperature: Depending on the colour temperature of the whole light, this can be used to distinguish a variety of information, such as the different times of the day, as well as differences between indoors and outdoors, or to express the depth of a scene to convey a feeling.
The intensity of light is also divided into strong light and soft light, which is also a literal meaning. Strong light is a very strong transition between the subject and the background, soft light is a soft overload.
Creative lighting: for example, using object patterns and colours to create light projections to add complexity to a scene.
This week we start learning about Houdini, a powerful software in the field of VFX for 3D animation, which not only can create special effects, but also models and animations using nodes, and below I will start learning how to use nodes to create animations and make FX.
SOP: old term for geo –Surface OPerators OBJ: object DOP: Dynamics OPerators ROP: Rendering OPerators VOP: Vex OPerators > Vex: Houdini scripting language, similar to Mel. $HIP > file output $OS > object name
In contrast to MAYA, Houdini’s project folder does not have [scenes]. The scene data in Houdini is usually very small. In most cases, the main files are saved in the [desktop folder].
[ch] is used for animations. [img] is used for pictures. Normally, we deal with objects on the [object] screen. However, you can also [double-click] on an object node and then go to the [geometry] screen to manipulate the object.
The rock making process：Create the [Alembic] node and double-click it to enter the properties panel for the [Alembic] node. In [File name], select the file to be imported. (It is best to import the file in the Alembic format abc.
To create a rock, first create [Sphere] and then select [Polygon] in [Primitive Type]. Increase the [Frequency] value in [Sphere]. This way, we will have more detail in [Noise]. Change the position attribute [attribute name] of the noise to [P]. Change the values of [Noise Type] and [Element Size] in [Trebnois]. More details can also be added to [Fractal] and [Distortion].
The process of making a log cabin：Create two [geometry], create [box] and [testgeometry_tommy1] separately. Adjust the value on the [box] property so that the model will remain on the horizon when [size] is increased on the y-axis. Select the [Point] mode. Select the point in [sphere] and create a [transformation] node. We need to add the details of the house to be copied to the node, when I dragged to the sides of the node my node only moved and was not copied. Create a [boolean] node. The [boolean] node is used to handle the interpolation model so that the interpolation model does not overlap with the model error.
