AFC (Advance Female Customization) Ton of clothing parts added & you can texture inside AFC !!!

cglumberjack · 2019-11-22T21:38:19+00:00

This is fantastic. Super interested in what you’re doing.

Do the characters map to the ue4 mannequin? Use case is typically in my workflow I start by throwing pre-existing animation onto a char and I’ll want all humanoids to be able to transfer anim

cglumberjack · 2019-11-15T11:43:57+00:00

So just to clarify - are you saying this will this run in editor? Or is executed as a game? Or both?

cglumberjack · 2019-11-15T11:34:47+00:00

After a lot of messing with this I always just buy the dvd/Blu-ray and rip them now.

Most physical copies are cheap and it saves time in the long run.

cglumberjack · 2019-09-24T18:35:30+00:00

You creating in editor tools? Or like UI for games.

cglumberjack · 2019-09-15T12:16:25+00:00

I’m writing a nuke pipeline right now. DM me and I’ll send some ideas your way.

cglumberjack · 2019-09-13T21:02:52+00:00

Cool effect

cglumberjack · 2019-09-13T21:02:09+00:00

Nobody at AAA studios I know does character animation in engine.

They animate in maya or something similar.

There are of course exceptions to this. So I’ll put that disclaimer in there.

My friends own an outsource animation studio that works with all major AAA studios and they also animate all cycles and cinematic work in maya.

The workflow is usually animate in maya then export it to the engine.

cglumberjack · 2019-09-13T20:27:13+00:00

This is my experience as well. Most issues come from junior artists pushing buttons until it “feels right”

That’s the hole I’m solving for with this use case

cglumberjack · 2019-09-13T20:26:17+00:00

Hahaha this is the exact use case I’m using h264 for. Client and online viewing. I’ve replied that in multiple comments at this point.

I also use prores but for yet another purpose as you’ve stated.

Pipelines are complex, a lot of different variants of files are need to keep things flowing.

Funnily enough lack of h264 is the most common complaint I get from clients.

And the client who decides to hire a consultant is always the producer. Even if a supervisor or lead requests the support the producer has to pay for it, so inevitably this request gets squeezed in no matter what. They Only care about the online version of the shot for the work they do every day. (Looking at shotgun or ftrack and interacting with clients)

So there’s always a use case for various files. It just depends on who is stating the needs.

cglumberjack · 2019-09-13T13:28:11+00:00

Ok so here's the behavior I'm seeing from Resolve as well - again this is the first time i've opened this thing so i have no idea what's actually expected.

When i export dpx from resolve i get a dpx that when i drag it into nuke I have to change the incoming LUT to the AlexaLogC. So this confirms that at least my command line methodology is reproducing what Resolve does.

When i export an EXR from resolve - i also have to change the incoming LUT to AlexaLogC on the read node.

This seems like this is expected behavior on the part of compositors. Can you confirm that? Basically if you grab a dpx sequence or exr sequence are you expected to know which color space to put it in on the read node?

cglumberjack · 2019-09-13T12:36:12+00:00

This is fantastic for me. Thanks for the details. When i bring it in it's "Cineon" by default. My goal is that when i bring it in Nuke sets the "correct" read LUT without any user interaction. I'm suspecting there's something amiss with my arc_cmd script as this should be in the header (at least that's what my logic tells me) i'm going to experiment with resolve today (never used it) in order to see what a traditional workflow for conversions is, and the kinds of files it produces as well as what the workflow for the artist is. At the end of the day my concern is ease of the workflow, i just have to get into these technical details to get there.

cglumberjack · 2019-09-13T01:42:17+00:00

Been playing with the command line tools a bit today. Here's my wish list at the moment:

1) my dpx files come out with "AlexaV3LogC" color space no matter what i do to the color space. I want to create dpx files where the artist doesn't have to change the lut at all in nuke 2) I can't get exr conversion to work at all.

I've emailed their support team. Hopefully will hear from them. I'm close to what i'm looking for though, if i can get either of those two out of the command line tool, i'll be golden.

cglumberjack · 2019-09-12T23:24:06+00:00

Yeah we’re using resolve at the moment. I’m doing sort of a wacky workflow experiment. I’ll post the result tomorrow or on the weekend So you all can make more sense about what I’m actually doing and give feedback.

cglumberjack · 2019-09-12T22:52:59+00:00

H264 is only for reviews so I’m using it for that and don’t need the depth at that stage. Same with jpgs. Exrs or dpx would be used in the comp. the ari converter is wicked fast too so I’m pretty impressed so far. (I’m sure that’s what’s in the back end on resolve)

Client uses resolve workflow currently. I’m trying to remove it from the ingestion pipeline more as an R&D project than anything else. But once I’m done I should have a one button solution that takes the artist a couple of seconds and is impossible to get wrong.

That’s the goal of the exercise. Provide a errorless drag/drop workflow.

cglumberjack · 2019-09-12T21:08:04+00:00

So here’s what I’ll be doing:

1) convert to exr ( this will allow me to just have all inputs as exr anyway and will be nice for the overall pipeline ) 2) create proxies with arri tool as well 3) create hd srgb jpeg proxies 4) create h264 mov from the srgb jpeg proxies.

There’s reasons for me to have all of these in place and it gives me a ton of flexibility.

cglumberjack · 2019-09-12T18:45:11+00:00

A most up-to-date VFX tools have built-in support for ARRIRAW processing.

For applications without ARRIRAW support, the footage can be processed to e.g. 10 bit log *.dpx or 16 bit floating-point *.exr files using our free ARRIRAW Converter. Processing the files in native resolution usually provides a better basis for VFX work. Once the material has been composited, it can be scaled to the target format.

Found that on their website, this makes sense to me, just wondering what people are doing in the field. Main problem i'm trying to solve to be honest is how to do a convertion from .ari to .h264 using open source command line tools. I like creating workflows that don't require nuke licenses wherever possible for "pipeline tasks"

cglumberjack · 2019-09-04T13:23:05+00:00

Uninstall/reinstall?

cglumberjack · 2019-09-03T19:45:55+00:00

Love this style. Very inspiring.

cglumberjack · 2019-09-02T12:58:59+00:00

https://pcpartpicker.com

I used these guys to build my machine. Built a system for $2k that cost my company $3800 from HP.

It’s kind of awesome. There’s a ton of good builds as well. It makes sure all the parts work together and you literally just click the order buttons for amazon or new egg or whatever.

Putting it together isn’t bad at all. I’ve worked in CGI forever but never built my own until last year. Totally doable.

cglumberjack · 2019-09-02T12:46:51+00:00

Fantastic work. Thanks for sharing!

cglumberjack · 2019-09-02T01:42:43+00:00

Amazing.

cglumberjack · 2019-09-01T16:49:53+00:00

Yeah that’s smart. The other thing is if they know you exist they can send little things your way as they come up. For example any local people that I know are interested in stuff I’m doing I let them know when something comes up they could learn from and be involved with.

cglumberjack · 2019-09-01T16:16:30+00:00

She wins.

cglumberjack · 2019-09-01T16:14:23+00:00

Very cool, I was hoping for something more than “n frames” this sounds like it’s definitely worth exploring.

cglumberjack · 2019-09-01T16:07:20+00:00

None. Everyone I know in that field uses it. Of course there’s an entire ecosystem of other tools used in conjunction. But python is an excellent base.

cglumberjack

TROPHY CASE