Архив рубрики: PROnews

Microsoft at digitizing reality

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Microsoft Research always has the best toys, and is especially strong in augmented reality (AR) with projects like Illumiroom and its insane Hololens Minecraft game. Redmond’s think tank has just revealed another impressive demo called «SemanticPaint» that lets you scan objects in 3D using a Kinect. While that’s not new, Microsoft’s latest magic trick is to separate and define individual objects in the scene. That might one day allow us to create a more accurate visualization of the world, a boon for things like robots and self-driving cars.

To pull it off, the researchers scanned the environment with a Kinect to create a 3D scene, which the computer at first sees as just a single object. However, a human user can touch and interact with objects in real time (as shown in the video below), then vocally call out the name of each («banana,» for instance). The system then separates the touched object from the surfaces while creating a «class» for each. All of that is done using local resources (a laptop, for instance) for better interactivity.

Behind the scenes, however, software running on more powerful systems is learning as new objects are labeled, and can deduce if an object belongs to a specific class like «chair.» In the last pass, it further refines the objects and creates a final 3D scene. Microsoft says that its online system can not only «rapidly segment 3D scenes,» but also «learn from these labels» to perform the tasks better and faster in the future.

Once the system is perfected, users may one day be able to just walk around with a Kinect or other depth-sensing camera and create a detailed map of a scene, complete with individual objects. The possibilities for using such maps are endless, but Microsoft cited a few examples «from robot guidance, to aiding partially sighted people, to helping us find objects and navigate our worlds, or experience new types ofaugmented realities.»

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Fairy Lights in Femtoseconds

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Abstract :
We present a method of rendering aerial and volumetric graphics using femtosecond lasers. A high-intensity laser excites a physical matter to emit light at an arbitrary 3D position. Popular applications can then be explored especially since plasma induced by a femtosecond laser is safer than that generated by a nanosecond laser. There are two methods of rendering graphics with a femtosecond laser in air: Producing holograms using spatial light modulation technology, and scanning of a laser beam by a galvano mirror. The holograms and workspace of the system proposed here occupy a volume of up to 1 cm^3; however, this size is scalable depending on the optical devices and their setup. This paper provides details of the principles, system setup, and experimental evaluation, and discussions on scalability, design space, and applications of this system. We tested two laser sources: an adjustable (30-100 fs) laser which projects up to 1,000 pulses per second at energy up to 7 mJ per pulse, and a 269-fs laser which projects up to 200,000 pulses per second at an energy up to 50 uJ per pulse. We confirmed that the spatiotemporal resolution of volumetric displays, implemented with these laser sources, is 4,000 and 200,000 dots per second. Although we focus on laser-induced plasma in air, the discussion presented here is also applicable to other rendering principles such as fluorescence and microbubble in solid/liquid materials.

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Rhythm & Hues Visual Effects Production Pipeline + Voodoo

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Rhythm & Hues – A Framework for Global Visual Effects Production Pipeline from SIGGRAPH 2014.
This video presents a global visual effects production pipeline framework developed by Rhythm & Hues Studios. The framework is a set of abstraction layers that represent the fundamental building blocks of a post production pipeline. R&H has used these core components to build a single, unified pipeline that spans the breadth of production, from plate ingestion to final delivery. The framework has built-in support for multiple studio locations across the globe and allowed all of R&H’s facilities to work together seamlessly as if production was happening in a single location. Because the framework makes no assumptions as to the software to be used on production, or even the type of work to be done, it has allowed R&H to easily adapt its pipeline to any projects awarded. Used on every production at Rhythm & Hues since 2006, this framework has been the foundation of the studio’s efficient, scalable, and flexible global production pipeline.

Rhythm & Hues Oscar Winning Technology Voodoo

The Oscars just did a little segment on their Scientific and Technical Awards. Among the the winners of the Technical Achievement Award this year was Rhythm & Hues for its proprietary Voodoo software. The Academy presented the award to Peter Huang and Chris Perry for their architectural contributions to the application framework of Voodoo, and to Hans Rijpkema and Joe Mancewicz for the core engineering of the software.

Rhythm & Hues has always placed great value on creating its own tools and workflows. When they declared bankruptcy last year, a list of all their proprietary software applications was made public in court documents. Here is that list:

Voodoo – Animation, Rigging, Matchmove, Crowds, Fur grooming, Computer Vision.
Icy – Rotoscoping, Paint and Compositing.
Wren – Renderer.
Rampage – Environment projection system.
Crom – Light Comp, Lighting Workflow and next generation VFX software platform.
Eve – Multi-resolution, collaborative digital dailies and review system.
Anvil – R&H’s oranizational tool for plugins for Crom (and potentially other software platforms).
AHAB – Academy award winning fluid simulation technology.
Ocean Tools – Proprietary tools for generating water and fluid effects.
Jobtracker – Distributed production management system.
Snarf – Global trouble ticketing.
LoUIE – Global information distribution system.
Merlin – Online media reference library and archive.
Scheduler – Online room and video conference scheduling system.
TaskTrack – Timesheet management system.
HRIS – Human Resources Information System.
Node/Asset System – Artist Workspace and digital asset system.
Queue – Academy award winning render farm management software.
Wired – Asset distribution technology.
Unibrowser – Software to manage this asset system.
PTS – Replicated production tracking database.
PTSFS – Database driven POSIX-like global namespace.
CacheFS – Proprietary version of CacheFS
DDR/HSM – Custom storage system that contains all reviewable material submitted since 1996.
Delorean – R&H version of time machine – backup system.
Swamp – Proprietary storage system for 2K playback solution.

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FMX2015 MAXON

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ArnoldToC4D

Manuel Casasola Merkle (Aixsponza) & Marcos Fajardo (Solid Angle):
Arnold Comes to Cinema 4D. An Overview of C4DtoA

ColorwayForC4D

Eric Smit: Colorway for Cinema 4D Artists

MPCMotionDesign

William MacNeil, MPC London: MPC Motion Design – From Small Beginnings To Big Ideas

SubstancesInC4D

Athanasios “Thanassis” Pozantzis «Using Substances in Cinema 4D»

NextLimitRealFlow

MAXON Cinema 4D – Next Limit RealFlow Production Workflows

RenderMan

PIXAR RenderMan’s Latest Advancements: RIS & Cinema 4D

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The Foundry Modo 901

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MODO 901 represents our most significant update so far. With a new advanced photorealistic viewport, progressive texture baking, physically based materials and support for vector-based graphics, MODO 901 helps you get the high-quality look you want. There is also a host of new and improved modeling, sculpting, painting, texturing and UV tools—not to mention the integration of the award-winning MeshFusion for consistently better Booleans. In animation and effects, we’ve added more flexible rigging and new procedural Shatter and Rock items. And, with accelerated performance, complexity management tools and new pipeline integration options, MODO 901 lets you take on more challenging projects than ever before.

https://www.thefoundry.co.uk/products/modo/latest-version/new-features/

Better physically based materials and final-frame rendering
For final-frame rendering, Modo now implements Multiple Importance Sampling for both diffuse and specular shading, which should result in faster, less noisy production renders, as summarised in the video above.

Modo 901 also offers a new physically based BRDF material based on the Disney-developed GTR model, used in renderers like V-Ray. It provides better specular highlights and more control over blurry reflections.

The software’s physical daylight system has also been updated to account for more subtle real-world phenomena such as direct radiation from the solar disc, limb darkening and atmospheric in-scattering.

To Modo’s existing tonemapping system, 901 adds Reinhard RGB mapping, which lowers saturation in bright areas of an image; and a new system for adjusting exposure using real-world camera properties, like f-stop.

More art-directable dynamics and FX
Modo’s dynamics tools have also been revamped to make sims more art-directable, particularly for destruction.

The Shatter command can now make use of background geometries, including curves and point clouds, to drive the shatter pattern; and a new Constraint Modifier enables users to ‘glue’ the shards of a shattered object together in different ways. The modifier can be layered; and its effect localised with a scene by using a falloff.

There is also a new procedural shatter item, which shatters objects based on point of impact; and a new procedural rock item, which can be used to quickly populate a scene, and which responds to simulation forces.

Particle simulations get a range of smaller, but useful-looking, updates, summarised in the video above.

Significantly, simulation results can also now be saved externally, reducing the size of scene files, and enabling users to re-run a simulation without destroying any cached simulations in the scene.

Smaller, but interesting, new rigging and animation features
Of all the new features in Modo 901, the changes to the rigging and animation toolsets were the ones least favourably received on The Foundry’s user forum.

But while the update doesn’t introduce the major new features that some users were looking for (no non-linear animation or animation layers, no stretchy IK), there are some interesting new additions.

One that particuarly caught our eye was the new modifier for animating the opacity of a sculpted layer, which should enable a rig to trigger corrective blendshapes or detail layers.

The video above shows the system in use to display the tendons of a hand when the fingers are extended.

In addition, a new Tension texture lets surface tension drive the surface colour of an object: useful for whitening the knuckles of the hand in the example above.

Another nice feature is the Command Regions functionality shown at the start of the video, which enables a user to create simple rig controls from any selection of polygons in the mesh.

Improved complexity-management and performance
Under the hood, Modo 901 introduces a set of tools for managing the complexity of large production scenes.

A new Deferred Mesh item enables users to offload assets to disk, loading them only at render time, with simple proxies or bounding boxes used to represent the item in the scene.

Other complexity-management options include the ability to mass-convert scene image clips to tiled EXRs, and better ways to expose only selected inputs in assemblies.

Performance has also been increased across the board, with the Modo 901 product page listing speed boosts of over 25 times for common operations like selecting or copying items in very large scenes.

On more typically sized scenes, selecting all the shaders in a scene is now 1.4 times faster than previous releases, animation playback with OpenSubdiv 3.1 times faster, and merging layers 3.4 times faster.

Easier pipeline integration
For VFX studios looking to integrate Modo into their pipelines, version 901 now incorporates a new Python API, making it easier for technical directors to author their own custom tools.

The interface is also now drawn using the industry-standard Qt framework and PySide on Windows and OS X as well as Linux, enabling TDs to create cross-platform custom UIs.

Modo 901 also now supports volumetric data in the now-ubiquitous OpenVDB format; and can export animated meshes as MDD point caches.

New GPU-accelerated Advanced Viewport
For most users, the most obvious of the changes is going to be the new OpenGL-based GPU-accelerated Advanced Viewport display, derived from techology developed for Mari, Modo’s sister package.

Described as “the beginning of a complete physically based WYSIWYG environment”, the new viewport reduces the gap in quality between the real-time display and final-frame renders, speeding up the look dev process.

Like Maya’s Viewport 2.0, it displays accurate shadows, screen-based ambient occlusion, HDRI reflections and independent-order transparency.

Texture blending modes and gradients also now display accurately in the viewport, not just in the final render.

So far, there’s no option to author your own custom GLSL shaders, as you can in Maya, but The Foundry says that this will come in a future release.

Extra modelling and texturing options
We covered the bulk of Modo’s 901 new modelling and texturing options in our original story, so we won’t repeat them here.

However, there were a few notable new announcements, including the option to import and export vector graphics in SVG format, shown in the video above; and a new texture switch node and wireframe shader.

There are also a number of changes to the UI, including the replacement of tabbed layouts with a switcher bar to minimise interface clutter.

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Arnold for Cinema 4D

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Arnold for Cinema 4D

Originally developed for and with Sony Pictures Imageworks, Solid Angle’s Monte Carlo-based render engine has become a leading renderer in professional film production and is the standard renderer for over 300 leading studios and production houses worldwide, including ILM, Framestore, MPC, The Mill and Digic Pictures.

Since the C4DtoA plugin was announced at Siggraph 2014, Solid Angle’s chief designer and CEO Marcos Fajardo and his team have worked with MAXON’s development department – with input from the beta community – to forge a connectivity that supports most areas and functions in Cinema 4D and enriches the Cinema 4D toolset with new features.

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Intuitive Settings
Basic render settings can be easily accessed via a convenient control panel and impressive renderings can be created after just a few tweaks.

Team Render Support for Animations and Stills
The Arnold renderer’s seamless connectivity with Cinema 4D’s Team Render means that it can access all available network clients for rendering animations and stills. “C4DtoA is the only render plugin currently available that can be used for distributed rendering of stills,” explains Marcos.

Interactive Preview Render (IPR)
A preview of the final render result can be displayed in an interactive window in the viewport while working. Changes made to the scene will appear in near realtime. Marcos adds: “C4DtoA is the most powerful IPR connection that we currently offer. This plugin supports most Cinema 4D components such as instances, Cloner objects, Deformer objects, Generator objects, MoGraph geometry, hair and much more. Objects can be created, moved and deformed. Lights, materials and volumetric objects can be adjusted interactively.”

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Create Materials in Two Ways
Basic materials can be quickly and easily created using the control panel and properties such as color, reflectance, transparency, sub-surface scattering and more can be adjusted using the available sliders. Free third-party shader libraries are available for creating a wide range of additional textures.

Experienced users can use the node-based material system, which can be used to create very elaborate shaders. This material system offers a very high level of flexibility and gives users an excellent overview of the materials they create, which is exactly what professional users need for an efficient workflow.

Stand-Ins: Cross-Platform and Cross-Application Digital Assets
Arnold has its own system for creating digital assets – the Arnold Stand-Ins. These object instances can be easily duplicated, e.g., when adding large numbers of plants or other 3D objects to landscapes, without a noticeable loss in performance. Stand-Ins are particularly useful for studios that also work with other 3D applications supported by Arnold such as Houdini, Maya or Softimage. Stand-Ins can be exchanged across different applications and operating systems, which makes it easy for a multi-disciplinary team to work on large scenes.

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Open VDB Support
Since Cinema 4D does not yet support Open VDB, volumetric effects such as clouds can be created in applications like Houdini and imported into Cinema 4D using the C4DtoA plugin for editing and rendering.

Cinema 4D Plugin Support
The native support of popular plugins for creating smoke, fire and particle effects such as Turbulence FD and XParticles underscore Solid Angle’s goal of offering Cinema 4D users the most comprehensive package possible above and beyond just rendering.

AOV for Maximum Compositing Flexibility
Another highlight is Arnold’s AOV (Arbitrary Object Variables) feature. Comparable to Cinema 4D’s multi-passes, AOVs let the user output individual passes like Normals, Position, Depth Information (Z-Pass), Specular and many more, for maximum flexibility in post-production. Using the node-based material system, custom AOVs can be created for improved render workflow and compositing.

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Microsoft Surface 3 vs Surface Pro 3 For Music Apps

The Microsoft Surface & Surface Pro lines of computers got off to a rocky start, when they was introduced. And, while musicians have widely embraced the iPad, adoption of touch-screen computers has been slower. 

This video, via Molten Music Technology, takes a look at the latest versions of Microsoft’s Surface & Surface Po computers. With the Surface 3, Microsoft has ditched the ARM platform for Intel, so both devices offer the promise of full-fledged Windows application support on a multi-touch capable computer.

How do the new Surface 3 and Surface Pro 3 work with music apps? Check out the video and then let us know what you think!

Video summary:

The deepest review you will ever see of the new Microsoft Surface 3. I demonstrate it running actual software, comparing performance to the Surface Pro 3, showing you what it’s actually capable of.

You know it can run Office and use the internets but how well does it run Cubase, Pro Tools, PhotoShop, Maschine? This is the only review you’ll ever need.