hiplc

thanks, I already have a nice job :)

unfortunately I have stopped using Maya for a long time.

it is very similar to the default houdini whitewater rendering method. convert everything to vdb density and vdb analysis a gradient field as normal for specular. I just baked the velocity in as the camera isn't moving too much.

I no longer use Maya anymore

ahahaha! I assume shouldn't be too difficult

@@HangYuriYangFXthat would be really fun tbh!!

they are not combined.. it is literally just a sim render on top of the ocean surface render(in 2D).

@@HangYuriYangFX ahh right, I've been wanting to learn the proper way of doing combining flip tank with large ocean. I have done it in comp always so its nice to hear such an expert is doing it in comp too! I've thought the real way is to somehow with the ocean extend workflow etc

@@HangYuriYangFX PS. Do you happen to know anything about something called BEM in flip? I've seen an article some time ago how someone managed to extend the flip sim to the large ocean post-sim to get those insanely large boat wakes

@@SwipeLess Oh, You can totally do that. combine the sim and the ocean isn't too difficult with mantra..just need to flatten the edge and connect with the extended ocean surface. then need a bunch of spectrum masking if needed.. I just find it a bit time consuming on my own shots, so I tend to do it in comp as I can blend them whereever I want to.

@@SwipeLess hmmm interesting..if it is just the boat wake like the kelvin wake.. you can just create the pattern and do a post deformation on the surface.. I will need to look into this BEM thing though. seems like an interesting topic.

Literally just change one point to multiple smaller points haha. Not a sim change. Post sim upres

@@HangYuriYangFX Yeah i understood it was post sim, good ol' point replicate? hahah I've used point replicate aswell to upres but I've always thought if theres some other ways similiar to upressing pyro

my machines is fast.. usually the water sim is like 1 minute per frame something like that.

I just used the internal 1.33x de squeeze😅 wasn't too far off!

@@HangYuriYangFX I see. By the way, do I need to de squeeze the footage again in post production softwares? And which format option do you choose when shoot, 4K? 2.4:1?many thanks^_^

@@HangYuriYangFX I am struggling between BMPCC 4K and PANASONIC G9 Mark II . I want to shoot anamorphic^_^

@@larryzhou you can do the desqueeze quite easily in editing software. If you are using resolve, it should come with a 1.33 setting since that’s in the metadata.. but really just a few clicks to change to 1.5x. I am doing UHD, using the entire sensor is too wide for me. Even this is kind wide. 16:9 is better for 1.33x. If G9 can do open gate, I feel like it could be a better choice for anamorphic lens especially 2.0x. I am just doing this for fun, the power of RAW is way too much!

@@HangYuriYangFX thanks . ^_^

There is no doubt that "AI" can do a lot of things, though you should know that the reason the word is in quotes is that it isn't what the definition of AI in general is. I would say, it can do a lot of things, commercials are already affected quite a bit, I still think it is not going to affect higher end work as much. Nowdays, vfx is more of pixel level work, speed up/down or move here/there or change that shapes or change timeshift things that I am not sure it is a thing yet that's possible for it to understand.

@@HangYuriYangFX thank you so much for your insight. This was very helpful. And will affect one of my biggest decision.

I just kind of doing it by chatting with colleagues and exploring things myself.. trying new ideas

@@HangYuriYangFX that's awesome, your work is amazing

@@FilmFlicks3358 thank you!

Which part are you not understanding?

It’s threadripper 3990x + 128GB of RAM + rtx3080

@@HangYuriYangFX Wow, such a beast Machine. I love your work, it always inspires me 😍. Btw i am still learning Houdini and Nuke😀.

thank you!

Thanks!

Had it downloaded for a year, but only seriously learning for about half of a year. Got lucky, the studio was also doing FX in Maya as well.

Thanks! You can do it as well!

Woohoo!

Yes

Ahhh, thanks!

Yoooo! My boy is here! Thanks man!

Cheers!

通常都是一个场景有一个重要的镜头需要设计个两三个月 然后周围镜头就同样设置跑一跑然后改的不会那么夸张。用的是mantra哈哈哈哈哈

@@HangYuriYangFX 时间长 但是效果好啊 ，国内基本上hero shot 不会给那么长时间 ，mantra 不错 一直喜欢用， karma 你们现在用的多吗

@@HangYuriYangFX 还有 航哥 国外特效公司对年龄有限制吗 比如 30多岁 40岁 工作这个行业 2-3年 可以吗 如果作品是OK的话 对年龄卡的死吗

@@jackpaul3359 还比较无所谓 并不太看 主要靠能力

@@HangYuriYangFX 嗯 比如在国外上过学 或者现在就在国外 做的还可以 那进去大公司的概率很大， 假设在国内 同样的DEMO 直接投国外 感觉上 很难 除非是非常优秀，才有可能给你办理签证要你， 毕竟这方面国外的人才非常多，得超过国外的大多数 值得公司给你办理签证 才有可能应聘成功啊

Cheers!

Thank you!

Cheers man!

核心还是Flip做的 然后转的体积

谢了 航哥 ， 还有个问题 ，@@HangYuriYangFX 和下面的白水层 是完全交互的吗 还是 分离的 解算呢 乍一看好像是分离的

@@jackpaul3359 水面是没有模拟的 只有置换～

好的 航哥 谢谢了 啥时候能完全公开啊 我看B站你很多镜头还没有公开呢

@@jackpaul3359 已经删了的就肯定再也看不到了～很遗憾

I indeed used a lowers proxy model for collision! Modern models can’t be used directly

The RBD secondary was literally rbd sims with post instancing, however the method is no longer functional after H19. For pop, I used a global pyro sim to drive its motion.