Re: Houdini : non VFX jobs?
Yes he has but mainly on the technology front, definitely not on the interaction with the software front. On 14/05/2018 12:53, Andy Chlupka (Goehler) wrote: I hope this isn't trolling, as I find it a very informative discussion. But I wonder, if this hair pulling has an opposite to it? Has he not experienced anything that he liked? Andy On Mon 14. May 2018 at 11:32, Alastair Hearsum <alast...@glassworks.co.uk <mailto:alast...@glassworks.co.uk>> wrote: Is this trolling? I'm not sure. But I feel I have to keep shooting this kind of thing down. Without naming names you know the guy that created a very complex feather system in ICE here at Glasswork, on the job. We have been using Houdini as you know for a few years now, so with the combination of a technically minded artist who operates at a high level exposed to Houdini for few years who is still tearing his hair out in frustration points to the issues with Houdini. They need to seriously look at improving their user interaction. Its not just about getting used to it. On 12/05/2018 16:18, Jordi Bares wrote: I would suggest to give it a proper go, if you have used ICE you will see how easy it is. jb On 12 May 2018, at 10:48, Tom Kleinenberg <zagan...@gmail.com <mailto:zagan...@gmail.com>> wrote: This is a really interesting discussion and covers thoughts from all angles. There is an element to the discussion of technical types telling the rest of us we just need to "git gud" which is a bit disheartening though. (It's disheartening not because it's patronising but because the only way to use Houdini is to master it at fairly high technical level which will exclude a number of people, myself included). I understand that there is a technical learning curve to any piece of software but Houdini is a different beast to the other big three (Max, Maya, eXSI). You can drop a Maya artist in XSI and tell them to achieve a task and they'll do it - maybe not the most efficient way, but a way that works. I don't feel that's the same in Houdini. There's too much "well, nobody really models in Houdini" or "you can, but nobody really animates in Houdini". That's not necessarily bad, Zbrush is probably the "best" software on the market in terms of expectations to results but it's clear about it's narrow focus. To put it in a personal way, I've worked to some level in 3DS Max, Maya, Lightwave and XSI. I wouldn't consider myself particularly artistically gifted or technically proficient but I am good at understanding the needs of a non-technical person (eg art-director), drawing up a list of requirements and achieving them, getting support from concept artists are pipeline TD's if needed. XSI was* the software that allowed me to go the furthest independently (*was because I've had to move to Maya). I would love to replace that and Houdini appears to be a good fit but I'm not sure. Maybe the "uber-nodes" you're discussing are anathematic to Houdini's overall workflow but would be streamline the on-boarding process. XSI was excellent at getting people into the software and then allowing you to get into the more complex bits on your own; although ICE was the main weapon in my arsenal, it's possible to work for years without ever touching it. On 12 May 2018 at 09:34, Jordi Bares<jordiba...@gmail.com <mailto:jordiba...@gmail.com>>wrote: @Matt, Exactly my thoughts (but clearly better explained) I would certainly advocate to improve things in terms of node functionality or assisting better in certain aspects (blend shape manager, exporting bundles in and out, or adding hierarchical overrides in takes, or adding certain tools we use every single day, or bringing more “uber nodes” to VOPs so we don’t have to be so granular) but always without sacrificing proceduralism or breaking their core design. Jb On 11 May 2018, at 22:04, Matt Lind <speye...@hotmail.com <mailto:speye...@hotmail.com>> wrote: Given Houdini is a node based system, there is a simple paradox at play that in order to get the level of cohesiveness Softimage employed, tools need to share information and work together. A node based system, by design, requires each node to act independently. To get the Softimage workflow in Houdini requires either monolithic nodes with enough intelligence to cover all the bases of a particular task, or the UI needs to take control and hide the nodes behind the scenes slapping user's wrists if they attempt to fiddle with the nodes involved. In either case, it works against a node based system's
Re: Houdini : non VFX jobs?
I didnt mean you were trolling I meant is what I am doing trolling? I'm popping up and shooting everything down. I'm just trying to get an aknowledgement that there is a huge gap to be filled in the user experience of Houdini and its something they dont take seriously enough On 14/05/2018 10:37, Jordi Bares wrote: The opposite of trolling actually, I hope it is obvious I only mean to share my experiences and ideas on how to get the best possible Houdini ride. But I won’t insist any more on the “try it” part… jb On 14 May 2018, at 10:32, Alastair Hearsum <alast...@glassworks.co.uk <mailto:alast...@glassworks.co.uk>> wrote: Is this trolling? I'm not sure. But I feel I have to keep shooting this kind of thing down. Without naming names you know the guy that created a very complex feather system in ICE here at Glasswork, on the job. We have been using Houdini as you know for a few years now, so with the combination of a technically minded artist who operates at a high level exposed to Houdini for few years who is still tearing his hair out in frustration points to the issues with Houdini. They need to seriously look at improving their user interaction. Its not just about getting used to it. On 12/05/2018 16:18, Jordi Bares wrote: I would suggest to give it a proper go, if you have used ICE you will see how easy it is. jb On 12 May 2018, at 10:48, Tom Kleinenberg <zagan...@gmail.com <mailto:zagan...@gmail.com>> wrote: This is a really interesting discussion and covers thoughts from all angles. There is an element to the discussion of technical types telling the rest of us we just need to "git gud" which is a bit disheartening though. (It's disheartening not because it's patronising but because the only way to use Houdini is to master it at fairly high technical level which will exclude a number of people, myself included). I understand that there is a technical learning curve to any piece of software but Houdini is a different beast to the other big three (Max, Maya, eXSI). You can drop a Maya artist in XSI and tell them to achieve a task and they'll do it - maybe not the most efficient way, but a way that works. I don't feel that's the same in Houdini. There's too much "well, nobody really models in Houdini" or "you can, but nobody really animates in Houdini". That's not necessarily bad, Zbrush is probably the "best" software on the market in terms of expectations to results but it's clear about it's narrow focus. To put it in a personal way, I've worked to some level in 3DS Max, Maya, Lightwave and XSI. I wouldn't consider myself particularly artistically gifted or technically proficient but I am good at understanding the needs of a non-technical person (eg art-director), drawing up a list of requirements and achieving them, getting support from concept artists are pipeline TD's if needed. XSI was* the software that allowed me to go the furthest independently (*was because I've had to move to Maya). I would love to replace that and Houdini appears to be a good fit but I'm not sure. Maybe the "uber-nodes" you're discussing are anathematic to Houdini's overall workflow but would be streamline the on-boarding process. XSI was excellent at getting people into the software and then allowing you to get into the more complex bits on your own; although ICE was the main weapon in my arsenal, it's possible to work for years without ever touching it. On 12 May 2018 at 09:34, Jordi Bares<jordiba...@gmail.com <mailto:jordiba...@gmail.com>>wrote: @Matt, Exactly my thoughts (but clearly better explained) I would certainly advocate to improve things in terms of node functionality or assisting better in certain aspects (blend shape manager, exporting bundles in and out, or adding hierarchical overrides in takes, or adding certain tools we use every single day, or bringing more “uber nodes” to VOPs so we don’t have to be so granular) but always without sacrificing proceduralism or breaking their core design. Jb On 11 May 2018, at 22:04, Matt Lind <speye...@hotmail.com <mailto:speye...@hotmail.com>> wrote: Given Houdini is a node based system, there is a simple paradox at play that in order to get the level of cohesiveness Softimage employed, tools need to share information and work together. A node based system, by design, requires each node to act independently. To get the Softimage workflow in Houdini requires either monolithic nodes with enough intelligence to cover all the bases of a particular task, or the UI needs to take control and hide the nodes behind the scenes slapping user's wrists if they attempt to fiddle with the nodes involved. In either case, it works against a node based system's mantra. In short, I don't think it's possible for Houdini
Re: Houdini : non VFX jobs?
Is this trolling? I'm not sure. But I feel I have to keep shooting this
kind of thing down. Without naming names you know the guy that created a
very complex feather system in ICE here at Glasswork, on the job. We
have been using Houdini as you know for a few years now, so with the
combination of a technically minded artist who operates at a high level
exposed to Houdini for few years who is still tearing his hair out in
frustration points to the issues with Houdini.
They need to seriously look at improving their user interaction. Its not
just about getting used to it.
On 12/05/2018 16:18, Jordi Bares wrote:
I would suggest to give it a proper go, if you have used ICE you will
see how easy it is.
jb
On 12 May 2018, at 10:48, Tom Kleinenberg <zagan...@gmail.com
<mailto:zagan...@gmail.com>> wrote:
This is a really interesting discussion and covers thoughts from all
angles. There is an element to the discussion of technical types
telling the rest of us we just need to "git gud" which is a bit
disheartening though. (It's disheartening not because it's
patronising but because the only way to use Houdini is to master it
at fairly high technical level which will exclude a number of people,
myself included). I understand that there is a technical learning
curve to any piece of software but Houdini is a different beast to
the other big three (Max, Maya, eXSI). You can drop a Maya artist in
XSI and tell them to achieve a task and they'll do it - maybe not the
most efficient way, but a way that works. I don't feel that's the
same in Houdini. There's too much "well, nobody really models in
Houdini" or "you can, but nobody really animates in Houdini". That's
not necessarily bad, Zbrush is probably the "best" software on the
market in terms of expectations to results but it's clear about it's
narrow focus.
To put it in a personal way, I've worked to some level in 3DS Max,
Maya, Lightwave and XSI. I wouldn't consider myself particularly
artistically gifted or technically proficient but I am good at
understanding the needs of a non-technical person (eg art-director),
drawing up a list of requirements and achieving them, getting support
from concept artists are pipeline TD's if needed. XSI was* the
software that allowed me to go the furthest independently (*was
because I've had to move to Maya). I would love to replace that and
Houdini appears to be a good fit but I'm not sure. Maybe the
"uber-nodes" you're discussing are anathematic to Houdini's overall
workflow but would be streamline the on-boarding process. XSI was
excellent at getting people into the software and then allowing you
to get into the more complex bits on your own; although ICE was the
main weapon in my arsenal, it's possible to work for years without
ever touching it.
On 12 May 2018 at 09:34, Jordi Bares<jordiba...@gmail.com
<mailto:jordiba...@gmail.com>>wrote:
@Matt, Exactly my thoughts (but clearly better explained)
I would certainly advocate to improve things in terms of node
functionality or assisting better in certain aspects (blend shape
manager, exporting bundles in and out, or adding hierarchical
overrides in takes, or adding certain tools we use every single
day, or bringing more “uber nodes” to VOPs so we don’t have to be
so granular) but always without sacrificing proceduralism or
breaking their core design.
Jb
On 11 May 2018, at 22:04, Matt Lind <speye...@hotmail.com
<mailto:speye...@hotmail.com>> wrote:
Given Houdini is a node based system, there is a simple paradox
at play that in order to get the level of cohesiveness Softimage
employed, tools need to share information and work together. A
node based system, by design, requires each node to act
independently. To get the Softimage workflow in Houdini requires
either monolithic nodes with enough intelligence to cover all
the bases of a particular task, or the UI needs to take control
and hide the nodes behind the scenes slapping user's wrists if
they attempt to fiddle with the nodes involved. In either case,
it works against a node based system's mantra.
In short, I don't think it's possible for Houdini to ever become
another Softimage. You'll have to settle for something that has
great power but some degree of cumbersome workflow.
Matt
Message: 2 Date: Fri, 11 May 2018 18:44:10 +0100 From: Alastair
Hearsum <alast...@glassworks.co.uk
<mailto:alast...@glassworks.co.uk>> Subject: Re: Houdini : non
VFX jobs? To:softimage@listproc.autodesk.com
<mailto:softimage@listproc.autodesk.com>
I think there is real danger in pinning all this grumbling on
lack of familiarity and not acknowledging that there are some
fundamental design issues . The first step to recovery is to
admit that there a problem. A
Re: Houdini : non VFX jobs?
I think this is the overarching issue. It still feels like separate developers with their own sphere of interest not being unified into a cohesive product. As I said before they really really need someone like Steve Jobs who won't take no for an answer to knock some heads together and really get them to take the user experience as seriously as they do their technology. The task seems clear to me. How its done is for someone who thinks abou this stuff for a living. On 13/05/2018 22:48, Jordi Bares wrote: There are historic reasons for this to be the case, in the very early days those were completely different programs, that was then unified and finally new contexts appeared (like VOPs) and lately MATs -- Alastair Hearsum Creative Director of 3d GLASSWORKS <https://urldefense.proofpoint.com/v2/url?u=http-3A__www.glassworks.co.uk=DwICaQ=76Q6Tcqc-t2x0ciWn7KFdCiqt6IQ7a_IF9uzNzd_2pA=GmX_32eCLYPFLJ529RohsPjjNVwo9P0jVMsrMw7PFsA=NNUtJMPDB8-j_UwpFUDLclNgxKPtqfyi5ifCoQn_r_o=huEpOOtRzp53LP_DkWVz1GaFAO3POKeBM-hUyz6ppUE=>Facebook <https://urldefense.proofpoint.com/v2/url?u=http-3A__www.facebook.com_pages_Glassworks_150976168270682=DwICaQ=76Q6Tcqc-t2x0ciWn7KFdCiqt6IQ7a_IF9uzNzd_2pA=GmX_32eCLYPFLJ529RohsPjjNVwo9P0jVMsrMw7PFsA=NNUtJMPDB8-j_UwpFUDLclNgxKPtqfyi5ifCoQn_r_o=Yn_DuIjnVzM759fRutA1RLHYySBRiDqSplEd3Tm4WeY=> Vimeo <https://urldefense.proofpoint.com/v2/url?u=https-3A__vimeo.com_glassworksvfx=DwICaQ=76Q6Tcqc-t2x0ciWn7KFdCiqt6IQ7a_IF9uzNzd_2pA=GmX_32eCLYPFLJ529RohsPjjNVwo9P0jVMsrMw7PFsA=NNUtJMPDB8-j_UwpFUDLclNgxKPtqfyi5ifCoQn_r_o=6NzRQnfSOsD_jkYXJ7Gp9cOg_m-BdFDzi2UNiOF-wgA=> Instagram <https://urldefense.proofpoint.com/v2/url?u=http-3A__instagram.com_glassworksvfx_=DwICaQ=76Q6Tcqc-t2x0ciWn7KFdCiqt6IQ7a_IF9uzNzd_2pA=GmX_32eCLYPFLJ529RohsPjjNVwo9P0jVMsrMw7PFsA=NNUtJMPDB8-j_UwpFUDLclNgxKPtqfyi5ifCoQn_r_o=76OglaIYOZSHZ25b1g4BBU197w_5iOjkfhli3u9zQAM=> Twitter <https://urldefense.proofpoint.com/v2/url?u=https-3A__twitter.com_GlassworksVFX=DwICaQ=76Q6Tcqc-t2x0ciWn7KFdCiqt6IQ7a_IF9uzNzd_2pA=GmX_32eCLYPFLJ529RohsPjjNVwo9P0jVMsrMw7PFsA=NNUtJMPDB8-j_UwpFUDLclNgxKPtqfyi5ifCoQn_r_o=LEMAnJs5r-lGunlemT4-K6afkbS44_eN-Pu1gyOM0sE=> See our latest work _here_ <https://urldefense.proofpoint.com/v2/url?u=http-3A__www.glassworks.co.uk=DwICaQ=76Q6Tcqc-t2x0ciWn7KFdCiqt6IQ7a_IF9uzNzd_2pA=GmX_32eCLYPFLJ529RohsPjjNVwo9P0jVMsrMw7PFsA=NNUtJMPDB8-j_UwpFUDLclNgxKPtqfyi5ifCoQn_r_o=huEpOOtRzp53LP_DkWVz1GaFAO3POKeBM-hUyz6ppUE=> The Penthouse, 5th Floor, 87-91 Newman Street London W1T 3EY T +44 (0)20 7434 1182 glassworks.co.uk <https://urldefense.proofpoint.com/v2/url?u=http-3A__www.glassworks.co.uk=DwICaQ=76Q6Tcqc-t2x0ciWn7KFdCiqt6IQ7a_IF9uzNzd_2pA=GmX_32eCLYPFLJ529RohsPjjNVwo9P0jVMsrMw7PFsA=NNUtJMPDB8-j_UwpFUDLclNgxKPtqfyi5ifCoQn_r_o=huEpOOtRzp53LP_DkWVz1GaFAO3POKeBM-hUyz6ppUE=> Glassworks Terms and Conditions of Sale can be found at glassworks.co.uk <https://urldefense.proofpoint.com/v2/url?u=http-3A__www.glassworks.co.uk=DwICaQ=76Q6Tcqc-t2x0ciWn7KFdCiqt6IQ7a_IF9uzNzd_2pA=GmX_32eCLYPFLJ529RohsPjjNVwo9P0jVMsrMw7PFsA=NNUtJMPDB8-j_UwpFUDLclNgxKPtqfyi5ifCoQn_r_o=huEpOOtRzp53LP_DkWVz1GaFAO3POKeBM-hUyz6ppUE=> (Company registered in England with number 04759979. Registered office 73 Cornhill, London, EC3V 3QQ. VAT registration number: 198083762) Please consider the environment before you print this email. DISCLAIMER: This e-mail and attachments are strictly privileged, private and confidential and are intended solely for the stated recipient(s). Any views or opinions presented are solely those of the author and do not necessarily represent those of the Company. If you are not the intended recipient, be advised that you have received this e-mail in error and that any use, dissemination, forwarding, printing, or copying of this e-mail is strictly prohibited. If this transmission is received in error please kindly return it to the sender and delete this message from your system. -- Softimage Mailing List. To unsubscribe, send a mail to softimage-requ...@listproc.autodesk.com with "unsubscribe" in the subject, and reply to confirm.
Re: Houdini : non VFX jobs?
FaQ=76Q6Tcqc-t2x0ciWn7KFdCiqt6IQ7a_IF9uzNzd_2pA=GmX_32eCLYPFLJ529RohsPjjNVwo9P0jVMsrMw7PFsA=nVhAUpYNfxDTuHLPO3Rvvr10i0RMVqK1g6H88ORyaYc=6REEWxjdnNzvHDSH0z7tuviRNzmQhcqVSA1SoF2FQ3s=> <https://urldefense.proofpoint.com/v2/url?u=https-3A__u7507473.ct.sendgrid.net_wf_click-3Fupn-3D4NJpoo1h1GOdyqBB3sJimai-2D2BQC-2D2FGskUXuPx0XSl6rNdaJFGAiSAtRlLIFMPKKS9zYUVvw6tqP6OR-2D2BwHxAPVGvQ-2D3D-2D3D-5FxtAIgyeGUkaFYUSrrLyyFGCT559IxnI2CalBtcQNCt0FbiUxYtn6yHlWA6xMWzORoz4TPI1olXS9CMFIjf-2D2FBvtTrNC-2D2B7GUdhPwq-2D2BmxPjzPqy2Tqmj-2D2F5HnOFcV50B2duYt71-2D2BhcMd-2D2BgI3qJgYk5lBitbafdOxB4XDzbEiLouZBkgoTUGaqVI73l5kHEIkMDEkd-2D2F-2D2Fwm2XjSbz7il-2D2FJgTzBdVyXcrAq2bdKTqGvCTzdd-2D2Bo-2D3D=DwIFaQ=76Q6Tcqc-t2x0ciWn7KFdCiqt6IQ7a_IF9uzNzd_2pA=GmX_32eCLYPFLJ529RohsPjjNVwo9P0jVMsrMw7PFsA=IMplZKKOuoDL5uedA4ZHoOaQBRAMft5emUuoFQMHNSI=10nSXwU8d4fltdDDJx95_rWu6WDeLuzZYu5G9P6G1gg= <https://u7507473.ct.sendgrid.net/wf/click?upn=5SmYwFIJXHmC5X9wAP0G6mg4oLGBuQENbeDkYXezg3m6vjHxJcC6rUMd8QE2MtqzS3nHFJpHH1mihN2vNWVF73yH4QzPTUaj-2BU-2FV4xCvLLTnZ7suFMzmFdGmjVRnYdJAKith4Whk5JaytuF7Nk8IHKlYLsaIMZgzrqdICveGAG7KRQqffkjFi0kR5Z9i0vucmQXazMpaaBfXqJzb-2F0LjJtoZDr4hJ3EUw3wc6xIdAI0po8RMLfUBintMAPtCXHHQ8-2F0IelDPUFqzco-2B3fT5-2FH2zYfEwbrClRwTAmU5CPdDm-2FfOLmeUpETOZZG6vhiGRKhAyHPWI5D-2BjK6k7ShXk3NA-2FN10ijVbapsdTVQ0Dah5l8YqLu7qDQR55ISbTt-2B6ymqbPKmO2EIr7r9sYZ2RLU-2BKP-2FQyYeg-2BEJNZy2LuLgWj04dmsDjji0LJ-2Fc8bpwnr6kO1Cox-2F-2BvZZY5GyQirEekxFoUoHGxPytdvDMPdziM0S-2FOBY-2B6ZoPbaW9g-2FI3640r7zMB8c-2Fnt8MWTy0fKzNW0JS0u1tSHtHnIfTv9GL0NiB9byKL9jnUZM-2BIEbbUahuV-2Flze-2BwZCe6ndlZFMlZKgiraUJHEs4PqoPYcoB2SehKZSMZxXlZz2xZvpfX1ODopc4icwuJ1Qg7iNIEXeyO1b070PxmQt2fHojvJdPw6Bf56jd-2BS4ZkiEFWSav1PHFwcq7Lr-2F-2FG6-2BQnrWKU6VNhsIdNQ3YRXD-2FSE-2BP-2FkoDxSSPmQH4rCyy7z3K3gX3crmloMP56tRpX2UXtpxRHTvUzoeQTiRbpSja7t6Trc-2BvNW8LeurEwDkFYK2SoCV6VcjenY5Kwbyw6SVv1b4jIfU-2FbnlBlyxjvbNkTZVHeXWWEMV3Svm80kpCwRs0KdpKfG9jisS3kHDJ33-2BGpGwIIOExkzVOsODzIX1eHjMxyeFSWhEid9U-3D_Vc8mziDHrPN8aVnt2OEz9C4uFALvmVT-2FYAEMRFpADT0xtxWlb1snTt-2BVK64Z1uMDrACzGl5WNst-2Fno-2BHKKfQka87EGqLn7WktyAwPlCjPrrofCvc-2F3IbOqWRpPHKmWnbrfdFhGhQR4Hep7fWFIW5N0-2F7Lzx3UbAg3Jh6NVwacx-2F4FySGi-2FvYFGTYV9D0IULOmGpUWIzC-2BShqs00kMfTHChRIfvt2yYMrKf3xUIPFSaQ-3D>> End of Softimage Digest, Vol 114, Issue 60 **-- Softimage Mailing List. To unsubscribe, send a mail to softimage-requ...@listproc.autodesk.com with ?unsubscribe? in the subject, and reply to confirm. -- next part -- An HTML attachment was scrubbed… URL: http://listproc.autodesk.com/mailman/private/softimage/attachments/20180513/88e3112f/attachment.html <https://urldefense.proofpoint.com/v2/url?u=https-3A__u7507473.ct.sendgrid.net_wf_click-3Fupn-3D4NJpoo1h1GOdyqBB3sJimai-2D2BQC-2D2FGskUXuPx0XSl6rNdr5Gg0XscjA7dk-2D2BFQcvfCTrPyNVTe21bXODeNjelkdcj7ocyG7Qzl-2D2FhzVov6tKwKjh02LXD4YmGt-2D2B4tZWQ0MTKfsk0m5J-2D2Bfl0uC8AR2xnMcg-2D3D-2D3D-5FVc8mziDHrPN8aVnt2OEz9C4uFALvmVT-2D2FYAEMRFpADT0xtxWlb1snTt-2D2BVK64Z1uMDrACzGl5WNst-2D2Fno-2D2BHKKfQkQGn8BNQEam3Pjt-2D2B9tbqoaHPwmcSYZ3MMOn2-2D2BGCbhH1ldpJ9BoJRqtkqgncTtRvCEiEoBNWlpHIQvyObsTjL9JO4pp06u9J5k0rRjSfiCwoDA8Ok9-2D2FAaeYl86oPY0fJotcmrjPyo4wXdFrV8p9gB-2D2Fns-2D3D=DwIFaQ=76Q6Tcqc-t2x0ciWn7KFdCiqt6IQ7a_IF9uzNzd_2pA=GmX_32eCLYPFLJ529RohsPjjNVwo9P0jVMsrMw7PFsA=nVhAUpYNfxDTuHLPO3Rvvr10i0RMVqK1g6H88ORyaYc=BK5XjbJIC64k1AoJc01I8qAuj3i1ni-CSg9K0G2AJUE=> -- /__/_ Softimage mailing list Softimage@listproc.autodesk.com http://listproc.autodesk.com/mailman/listinfo/softimage <https://urldefense.proofpoint.com/v2/url?u=https-3A__u7507473.ct.sendgrid.net_wf_click-3Fupn-3D4NJpoo1h1GOdyqBB3sJimai-2D2BQC-2D2FGskUXuPx0XSl6rNdaJFGAiSAtRlLIFMPKKS9zYUVvw6tqP6OR-2D2BwHxAPVGvQ-2D3D-2D3D-5FVc8mziDHrPN8aVnt2OEz9C4uFALvmVT-2D2FYAEMRFpADT0xtxWlb1snTt-2D2BVK64Z1uMDrACzGl5WNst-2D2Fno-2D2BHKKfQkStw8xQGT3Uu-2D2BIxKjAWm4RTgb-2D2FQJaNBb-2D2B5gt0K-2D2FecIjdPghhho12-2D2FvHWrfa3hHVnLckN4Q6krplyvYgxBHJndU6cZvBJGrMx-2D2FzJCw6uYgjfPYjMkGmGIlSs2-2D2Ffxmkwizi8uWSZR9uIbhdXsObuTPgn0-2D3D=DwIFaQ=76Q6Tcqc-t2x0ciWn7KFdCiqt6IQ7a_IF9uzNzd_2pA=GmX_32eCLYPFLJ529RohsPjjNVwo9P0jVMsrMw7PFsA=nVhAUpYNfxDTuHLPO3Rvvr10i0RMVqK1g6H88ORyaYc=ruEznrUfPvWWAe3hcuS7BaJ1OMnMF8nzhyubk3gW2Ik=> End of Softimage Digest, Vol 114, Issue 62 -- Softimage Mailing List. To unsubscribe, send a mail to softimage-requ...@listproc.autodesk.com with “unsubscribe” in the subject, and reply to confirm. -- Alastair Hearsum Creative Director of 3d GLASSWORKS <https://urldefense.proofpoint.com/v2/url?u=http-3A__www.glassworks.co.uk=DwIFaQ=76Q6Tcqc-t2x0ciWn7KFdCiqt6IQ7a_IF9uzNzd_2pA=GmX_32eCLYPFLJ529RohsPjjNVwo9P0jVMsrMw7PFsA=nVhAUpYNfxDTuHLPO3Rvvr10i0RMVqK1g6H88ORyaYc=v2dCA76CUcYtS-EAuZ12iO08SfFzRst132l7vOs-lJo=>Facebook <https://urldefense.proofpoint.com/v2/url?u=http-3A__www.facebook.com_pages_Glassworks_150976168270682=DwIFaQ=76Q6Tcqc-t2x0ciWn7KFdCiqt6IQ7a_IF9uzNzd_2pA=GmX_32eCLYPFLJ529Ro
Re: Houdini : non VFX jobs?
I think there is real danger in pinning all this grumbling on lack of familiarity and not acknowledging that there are some fundamental design issues . The first step to recovery is to admit that there a problem. As everyone knows there is some fantastic technology in there but its strung together in an awful way. Its like putting the organs of a 20 year old in an octagenarian; each organ very capable in its own right but not in the ideal host to get the best out if it. On 11/05/2018 18:21, Jordi Bares wrote: It is like moving houses… hard at first… little by little you discover how to use it and finally you are ready to enjoy it. ;-) jb On 11 May 2018, at 16:43, Bradley Gabe <witha...@gmail.com <mailto:witha...@gmail.com>> wrote: I find it a humorous coincidence that people are coming to the conclusion that Houdini is not Softimage or Maya, and you eventually have to come around to thinking the Houdini way in order to unlock its full potential. Didn’t we have the exact same issue with Maya people trying to use XSI with Maya thinking? Setting up rigs and hierarchies in a Maya way, using a Maya-linear-production workflow, all highly inefficient. And then they didn’t like XSI because it wasn’t very good at being Maya. :-) It’s a big reason I dreaded the idea of switching apps. I assumed Maya was going to really bad at being XSI for me. Still wish I had time to pick up Houdini at some point. -B -- Softimage Mailing List. To unsubscribe, send a mail to softimage-requ...@listproc.autodesk.com <mailto:softimage-requ...@listproc.autodesk.com> with “unsubscribe” in the subject, and reply to confirm. -- Softimage Mailing List. To unsubscribe, send a mail to softimage-requ...@listproc.autodesk.com with "unsubscribe" in the subject, and reply to confirm. -- Alastair Hearsum Creative Director of 3d GLASSWORKS <https://urldefense.proofpoint.com/v2/url?u=http-3A__www.glassworks.co.uk=DwIDaQ=76Q6Tcqc-t2x0ciWn7KFdCiqt6IQ7a_IF9uzNzd_2pA=GmX_32eCLYPFLJ529RohsPjjNVwo9P0jVMsrMw7PFsA=hG17vCsS19FYj2xs6I3cunGeQBrvskmrwpT8Otf0E9s=URxOJAFSmc2OkXFEHwmK8pIoPWKR57CasfT5kWQoI5Q=>Facebook <https://urldefense.proofpoint.com/v2/url?u=http-3A__www.facebook.com_pages_Glassworks_150976168270682=DwIDaQ=76Q6Tcqc-t2x0ciWn7KFdCiqt6IQ7a_IF9uzNzd_2pA=GmX_32eCLYPFLJ529RohsPjjNVwo9P0jVMsrMw7PFsA=hG17vCsS19FYj2xs6I3cunGeQBrvskmrwpT8Otf0E9s=Odjf3cbDHfhoaNwvAZqkcbBaws1Kg4_iGRFZhAqkEKg=> Vimeo <https://urldefense.proofpoint.com/v2/url?u=https-3A__vimeo.com_glassworksvfx=DwIDaQ=76Q6Tcqc-t2x0ciWn7KFdCiqt6IQ7a_IF9uzNzd_2pA=GmX_32eCLYPFLJ529RohsPjjNVwo9P0jVMsrMw7PFsA=hG17vCsS19FYj2xs6I3cunGeQBrvskmrwpT8Otf0E9s=y28u4a6bNkObP2Okj0HRh2FX79f0x7FrIN81XjRf3do=> Instagram <https://urldefense.proofpoint.com/v2/url?u=http-3A__instagram.com_glassworksvfx_=DwIDaQ=76Q6Tcqc-t2x0ciWn7KFdCiqt6IQ7a_IF9uzNzd_2pA=GmX_32eCLYPFLJ529RohsPjjNVwo9P0jVMsrMw7PFsA=hG17vCsS19FYj2xs6I3cunGeQBrvskmrwpT8Otf0E9s=6xPJzlXRq-Ss04dPwCtm0D9Zhy6j7suBahxkEAs928w=> Twitter <https://urldefense.proofpoint.com/v2/url?u=https-3A__twitter.com_GlassworksVFX=DwIDaQ=76Q6Tcqc-t2x0ciWn7KFdCiqt6IQ7a_IF9uzNzd_2pA=GmX_32eCLYPFLJ529RohsPjjNVwo9P0jVMsrMw7PFsA=hG17vCsS19FYj2xs6I3cunGeQBrvskmrwpT8Otf0E9s=tW_nyf6WGclk_BR3OkJwaBp-Q2Ddr3sgWkk3bbw7sgc=> See our latest work _here_ <https://urldefense.proofpoint.com/v2/url?u=http-3A__www.glassworks.co.uk=DwIDaQ=76Q6Tcqc-t2x0ciWn7KFdCiqt6IQ7a_IF9uzNzd_2pA=GmX_32eCLYPFLJ529RohsPjjNVwo9P0jVMsrMw7PFsA=hG17vCsS19FYj2xs6I3cunGeQBrvskmrwpT8Otf0E9s=URxOJAFSmc2OkXFEHwmK8pIoPWKR57CasfT5kWQoI5Q=> The Penthouse, 5th Floor, 87-91 Newman Street London W1T 3EY T +44 (0)20 7434 1182 glassworks.co.uk <https://urldefense.proofpoint.com/v2/url?u=http-3A__www.glassworks.co.uk=DwIDaQ=76Q6Tcqc-t2x0ciWn7KFdCiqt6IQ7a_IF9uzNzd_2pA=GmX_32eCLYPFLJ529RohsPjjNVwo9P0jVMsrMw7PFsA=hG17vCsS19FYj2xs6I3cunGeQBrvskmrwpT8Otf0E9s=URxOJAFSmc2OkXFEHwmK8pIoPWKR57CasfT5kWQoI5Q=> Glassworks Terms and Conditions of Sale can be found at glassworks.co.uk <https://urldefense.proofpoint.com/v2/url?u=http-3A__www.glassworks.co.uk=DwIDaQ=76Q6Tcqc-t2x0ciWn7KFdCiqt6IQ7a_IF9uzNzd_2pA=GmX_32eCLYPFLJ529RohsPjjNVwo9P0jVMsrMw7PFsA=hG17vCsS19FYj2xs6I3cunGeQBrvskmrwpT8Otf0E9s=URxOJAFSmc2OkXFEHwmK8pIoPWKR57CasfT5kWQoI5Q=> (Company registered in England with number 04759979. Registered office 73 Cornhill, London, EC3V 3QQ. VAT registration number: 198083762) Please consider the environment before you print this email. DISCLAIMER: This e-mail and attachments are strictly privileged, private and confidential and are intended solely for the stated recipient(s). Any views or opinions presented are solely those of the author and do not necessarily represent those of the Company. If you are not the intended recipient, be advised that you have received this e-mail in error and that any use, dissemination, forwarding, printing, or copying of this e-mail is strictly prohibited. If this transmi
Re: Houdini : non VFX jobs?
There is a whole raft of improvements they should/could make to the user experience without jeopordising their principles: Improving the fcurve editor and having time controls in the texture node are two examples that spring immediately to mind. On 11/05/2018 16:05, Jordi Bares wrote: You hit the nail on the head with “Slow stop-start workflows can stall your creative flow”, that is the critical factor for me as well, in the sense that in a few occasions (may be too many?) you are forced/invited to stop your creative flow to write your own tool (for example a path deform) and that should be there from the start. This is getting better though so I am hopeful. But I do not agree with your suggestion of “wrapping”, the self tools really is a framework to do those but I don’t think SideFX should be the one promoting traditional workflows because I suspect it will lead to linear networks and although the motive is great, the result may be a non-Houdini approach, remember Houdini is a huge massively parallel ICE network. And yes, Softimage workflow is/was king, no doubt… Jb On 11 May 2018, at 14:28, <p...@bustykelp.com <mailto:p...@bustykelp.com>> <p...@bustykelp.com <mailto:p...@bustykelp.com>> wrote: I Agree. I know that Houdini has a wider scope and thus more ability to achieve ultimately whatever you want, than XSI / ICE. However, in my character workflow, I’m diving into ICE, making a deformer, going back and adding shapes, reading nearby surfaces, and in ICE using them to rotate the vectors of shapes deltas, readjusting the shapes, and generally ping ponging around between programming and using ‘traditional’ tools to feed into the procedure that leads to the final result. In XSI that all happens without the slightest delay or workaround as everything is just there. for me personally, I can do everything i wish to do with ICE/XSI. Obviously I know XSI inside out which helps, but my forays into Houdini never give me hope that I will ever have that workflow at my fingertips. I feel like it needs a layer above the deeper procedural approach, that gives you some tools to manage blendshapes etc. Maya now has a decent version of Softimage’s shape mixer. I know that Houdini doesnt’ want to keep its ‘everything procedural’ approach but sometimes you just want to make a shape and thats it, and you might want to see it in context of the rig, and be able to do a ‘secondary shape mode’ etc, and not have to make your own ‘tools’ to do this. Sculpting is not something that fits well within Houdini’s philosophy, but again ,if you want to do characters, then its a necessary thing to be able to make poses look good. and you dont always want to export, Zbrush it, import. hook up blendshape shape etc.. Slow stop-start workflows can stall your creative flow. I definitely think that if they can add a level of ‘art’ tools that can feed back into the procedural system seamlessly without interfering , then it would make Houdini more appealing and fun to use. *From:*Alastair Hearsum <mailto:alast...@glassworks.co.uk> *Sent:*Friday, May 11, 2018 2:03 PM *To:*softimage@listproc.autodesk.com <mailto:softimage@listproc.autodesk.com> *Subject:*Re: Houdini : non VFX jobs? I see ease of access as a liberating force On 11/05/2018 12:47, Jordi Bares wrote: I see technology and maths as a liberation force so I want to think it is about a personal attitude towards the challenge of getting out of your comfort zone, not age (but may be the fact that keep getting older makes me biased?? ;-) jb On 10 May 2018, at 20:38, Olivier Jeannel <facialdel...@gmail.com <mailto:facialdel...@gmail.com>> wrote: I'm from an old fine art degree. Proceduralism and other math / vector thingy are the best creative things that happened to me :) -- Softimage Mailing List. To unsubscribe, send a mail tosoftimage-requ...@listproc.autodesk.com with "unsubscribe" in the subject, and reply to confirm. -- Alastair Hearsum Creative Director of 3d GLASSWORKS <https://u7507473.ct.sendgrid.net/wf/click?upn=5SmYwFIJXHmC5X9wAP0G6iB4H67OtDu1LYz6krlc8-2FqBeLCXrELBQVbfMn71cNywwCM9MLKQNt6NvY2bdnUVgiRuzEw0g0OZUwVhB4KIDvkjTtq34l13Jmfjgwg01isCCK511SfOUct9zBCzgDFFRO-2FaVrThr3vNXUM7RiWhBe-2BeNhsuRVYy8WcsXk6VbpXImEfuRQawGiawr4d49P-2FHnLnlELB9OOSGEp8kBIqiFZxa2fSH2uroog4eQsi5i0iGOvAlBanKasL72X371xL3Z1-2FMAUK-2F1-2Bn7d4-2Fi9jwJGmD-2FXB0QlJXgqMM4kstz-2Fm56HjIsU-2BkoNKiHaHAxbA8n7qCi7fJECJ12MiQJpTrx2jfXGBXF3zfBvDddlR827i4aFwrn2yvXBGGOoEZOMg9hjJ1wpoyeQ1zfNS-2FsdMLrqqJ4p8jeHAMVxgfxirnYH1ojedKzjZLCUyM-2F57hbGcdlsMWECtycgvH0n5RbnXbIIP0IxPzp8f2qskSKUGrEAEQWxh93WtQw37vtB2ZfdQ8nMqELwmNrYTCc9YLJfaYRYKW-2FH896GdDhLf3Di2fMbgpgS3mKL14EN04x7-2BcsMHSWQxmMTljGMnSrXRt1rL9nSvse0sI9vQQJbpyTY-2BmAPAJfWssKTPRUR-2FcGqEnWrUWad45zc0MLLv7-2BVw2j-2BGq9vPqWKi4Kpm9zxtpHrFFzq9cDYChdW86FZorB2ub6UEvt6Q-2BlzuX586qMgO4INt
Re: Houdini : non VFX jobs?
And that is the bit that I feel that SideFX underestimates On 11/05/2018 14:20, Jordi Bares wrote: That as well… jb On 11 May 2018, at 14:03, Alastair Hearsum <alast...@glassworks.co.uk <mailto:alast...@glassworks.co.uk>> wrote: I see ease of access as a liberating force On 11/05/2018 12:47, Jordi Bares wrote: I see technology and maths as a liberation force so I want to think it is about a personal attitude towards the challenge of getting out of your comfort zone, not age (but may be the fact that keep getting older makes me biased?? ;-) jb On 10 May 2018, at 20:38, Olivier Jeannel <facialdel...@gmail.com <mailto:facialdel...@gmail.com>> wrote: I'm from an old fine art degree. Proceduralism and other math / vector thingy are the best creative things that happened to me :) -- Softimage Mailing List. To unsubscribe, send a mail tosoftimage-requ...@listproc.autodesk.com with "unsubscribe" in the subject, and reply to confirm. -- Alastair Hearsum Creative Director of 3d GLASSWORKS <https://u7507473.ct.sendgrid.net/wf/click?upn=5SmYwFIJXHmC5X9wAP0G6mg4oLGBuQENbeDkYXezg3m6vjHxJcC6rUMd8QE2MtqzS3nHFJpHH1mihN2vNWVF73yH4QzPTUaj-2BU-2FV4xCvLLTnZ7suFMzmFdGmjVRnYdJAxVY-2F5M380PkfQ8TNK8ovM5rxNeeTCOnkRGaT-2F-2Fqta38pWvWMaql23pwdaAWmes-2Fu-2FwoONKissOPCP2dnxYlCF8MuvS9SagvsIc6CtFXU7v7dMieqREDdkqKDPcfejV-2FTJALRx-2FMJGI6QHbuV-2FHw0uA22A3gndOd7xTwC48BqXAf0lEJbaUBTMwK1n2BJ876nw6BM9VXC-2FROZR0M05CMwV4VfZ5OdBABz-2B-2B2HEfiW2dqwZtPKhf90ZFcf8JKJJjPeKKOap5hCek4iTOZAVcoM2ZZiOcNPCyOI-2Fw8Q3EKRCxNiyMTyumrqjqI67yZbxMojdCXaFv-2BwmJQMxQPSfOhqcGPCMeybJcgv8IZxE-2ByL9kqY2ygJbqYCBP2Z1WV3KyrZkHHKtOASEpq3kVteytDSU6fsIFk2uWaVOkhZz2f-2B2KSY8DfDmwNAhBdCYMKQw57C6ZViVcxOvMQB9tdPpRuHaGWBjgjuw2heXfZBN-2BrhzFSkghMIR-2Bf8bvihsZnwVQU90WDjEcrnwOzdlBuFhyThRMi3kb4x4ytKSjkLlQqoWkCZRyJFIMfDTGJglaH8Cw-2FlAalsmRizxLBzNjFPF3-2Bruc1QHwROM0idrzF2RT5J4Im6q9JkvM0ivXf5mJiyq-2FYsLmPEjQ73Q1jFCxOeFVQNL4pbsS3ulD7mRvbgLFtAZV8yw9PUJmts0PZqs-2F-2BOoJi4d6xwRQRp7-2FOJrcjE-2FRKftuNYqnUvXASU44-2BCIu-2BXKTlVIf6YJsqbm8ObPbQIo-2Bq7ic6q-2B0NBYiHuWdQ1pEtIFEz2UegM-2FvqchXXIdkvMMbOHIzuLa7I1AlvT2y682CcszkJZhUitV9cQCMmwE-2BYXbIaxLw0SuugFzF79ULrJyrF-2F3G8BtNPW2Oj9-2Bg5F796-2BzcxDGyi2-2BBImmn2Yoszym1NcydiFWcXcTlqiePbCwlYKuc5RsU2ZIagY4WIi97zozXej3yHFbBiEUWCUBWC5LN31fG6Qya9pSWQqkR5FIva3r-2BWKIFjVHNr8CKt4GC25-2BacIDnfMjH-2BDirR4WNOnORa4LpbtE8CTK32bCmUyu6BsE66Km2WDmiatmX2PDc2mVPOmzZjlM-2F-2FOm8REveoZ4xfDZ9-2F-2FNvD-2FSL6TNabfVgib8vxTcQvT-2F6cGLG5DYptlwVTrRP35f0ZZ6plfpiwyDGS9onmO5KeRvgvh4LXFLx4-3D_Vc8mziDHrPN8aVnt2OEz9C4uFALvmVT-2FYAEMRFpADT383IqbZ4FzaFsUTCagTz1Amc8k-2B-2FUTMkdLwGh3StTePpn8QEiURQMeSTBF4q-2F32m8gJRzkeaDovlK-2BtdyH-2Bx6VeTc7WR5lFmmgs5askLe9uo3d4472B3Xhwdok53RsMckfprwuRoFeMLS-2F0yRViOc5F0zdt8qHMY3oqie8HAcBeIADfjq8TIm0DAtUXe0cPug-3D>Facebook <https://u7507473.ct.sendgrid.net/wf/click?upn=5SmYwFIJXHmC5X9wAP0G6iB4H67OtDu1LYz6krlc8-2FqBeLCXrELBQVbfMn71cNywwCM9MLKQNt6NvY2bdnUVgiRuzEw0g0OZUwVhB4KIDvkjTtq34l13Jmfjgwg01isCCK511SfOUct9zBCzgDFFRIK-2BUDCx5wHaLT6DK6a1Ollq8V68hVYuKgcF-2FtCt43KycaIg-2BybFqRA4kwkOQn4e-2F-2FOqCPR-2BMGXvjQ8Zj-2FnC3XpUqgBuAKCzIW1WxO10ybST6wLgmQA1cCffmxs8-2Bt0ccGTpW9sdZxXI6L6XLS1Tx-2Bb1R-2BXOyZ3gE7-2BHCRpzjNB3cCNZtCqjl0AW31NMeXGW0VOOKVsVOgM2TjmZy9MYk3saNKy2rVpznTc4l-2FiAr8uOgnk3ojc3vthJzuAt6FDE5Rv-2FP-2F2QWvnBUdrVqTt1-2BXb7TeOSRhmr6XdlBEqENg3jYKRuv-2FXfsUdX6WG68i70amLsYHTezymA85S3Er8zK2HIzaogxYOokuVD1qy1oxY-2B3460syH3h3C-2B0Wg0I1q1Xxtt4IOzO0IL15kIjRZBFMR-2BQ5L5cz28anAt-2BYPbpvN4CNnv5vtwlGCUdKzhOZcA4i40Yn-2FUiwWAWuDf-2FkNg7i4o8W4Tk6nbY-2BC-2F2-2B2eOXU8ENbLG5l65twLa2yWv3ZpKetzlVvRbYFziWDmGW75YbR3Vjsbxn4S1D8VrDUsmllsbWs3gYJNyLo-2FPdwv34MK4s1feSzslQ7dFh6EUQ0l9yUtd4LNjVbeKwinulus4QMvJKkvTka4EiU8OGavdpc-2Fqe3PDqBNRU0ZpXyx3NSL-2BlZBg92ZfqX8-2B2nIMrHLiHR6-2BoMjGsj1-2FqVQlZEkQhTYGmlpD37TV4-2B3xlc8uCAtAf0B0S-2FjmOpddHJnpvnlV2jOR-2BdvaDckSf5vshRrGQyknR6dM43spL4dw2Bez5K0n4vbAsdcA5v-2BNhLWdMr-2FG-2FodEdlpPpYbHjCEy-2BYhSyztqD7Lm6yBJl6pMOzQKWbj6A-2BYRe8kXjYISb60E-2Fx3ZZlK_Vc8mziDHrPN8aVnt2OEz9C4uFALvmVT-2FYAEMRFpADT383IqbZ4FzaFsUTCagTz1Amc8k-2B-2FUTMkdLwGh3StTePlZZPzzG0jXIodbLRkHDmJ-2B7RP9UOgQMPScuKUGZxgK6mAta7W1DncPTObyzXTpBojbw9C6YyXFyF6D4v-2B40azItxc16mwACNCim8gx-2FsAlRVUQ8TgO2HJsQtQKVP15bj-2FJlplsPbbZioaGIQkFv1Pg-3D>Vimeo <https://u7507473.ct.sendgrid.net/wf/click?upn=5SmYwFIJXHmC5X9wAP0G6mg4oLGBuQENbeDkYXezg3m6vjHxJcC6rUMd8QE2MtqzS3nHFJpHH1mihN2vNWVF73yH4QzPTUaj-2BU-2FV4xCvLLTnZ7suFMzmFdGmjVRnYdJAxVY-2F5M380PkfQ8TNK8ovM5rxNeeTCOnkRGaT-2F-2Fqta38pWvWMaql23pwdaAWmes-2Fu-2FwoONKissOPCP2dnxYlCF-2B0HhMxKC0lm9F-2FMl3byx3ZQ5tm1IURatgUdNdj2jXjfnOLzIJVlNS6WRo6eDtxFbs7Afes7h7Z07bLssJL61X41IFNaZlwlKgDvtD7rLUrF5gZpwCfTWcJ2NFdY1GkR1feHffwPhEEvk7Ku1VFKNz8-2F2v4W-2BvRmugHkH5OTFVbxpxL1yu8ABMhmVKAsj5toZ7nK-2BCFbuBiX54Dv-2BffiOpvyC9W3N-2Fou4SHP7tk5elaY0DXl3koVMEkP01VybhuRWZRRWO1G-2B640db8vUvrKrB7R04JuvuCHiGSnLb-2BR6XOdBrT6zjZE0eZMooRQoAsPS0t-2BRs1FF0qoJYbiSrs4B392moEaj4-2FShaAM2h1Pn-2BJlFzQslqgJG5w7ujyLaYbZsMW53qH8uTYO1M-2Fi2ar4e1Pq1jkmsmJGLpdRyM5EOdlNmdSsalowGI8wFABP5W-2BirTZ
Re: Houdini : non VFX jobs?
I see ease of access as a liberating force On 11/05/2018 12:47, Jordi Bares wrote: I see technology and maths as a liberation force so I want to think it is about a personal attitude towards the challenge of getting out of your comfort zone, not age (but may be the fact that keep getting older makes me biased?? ;-) jb On 10 May 2018, at 20:38, Olivier Jeannel <facialdel...@gmail.com <mailto:facialdel...@gmail.com>> wrote: I'm from an old fine art degree. Proceduralism and other math / vector thingy are the best creative things that happened to me :) -- Softimage Mailing List. To unsubscribe, send a mail to softimage-requ...@listproc.autodesk.com with "unsubscribe" in the subject, and reply to confirm. -- Alastair Hearsum Creative Director of 3d GLASSWORKS <https://urldefense.proofpoint.com/v2/url?u=http-3A__www.glassworks.co.uk=DwID-g=76Q6Tcqc-t2x0ciWn7KFdCiqt6IQ7a_IF9uzNzd_2pA=GmX_32eCLYPFLJ529RohsPjjNVwo9P0jVMsrMw7PFsA=p9-GKviYJKVs5Dccup1sLIaDMZv7lplg3OXXG8sEYDE=3FZ84-D29PqX4FAc-an6X6bWAolUTfdPUtEzY_k-ElA=>Facebook <https://urldefense.proofpoint.com/v2/url?u=http-3A__www.facebook.com_pages_Glassworks_150976168270682=DwID-g=76Q6Tcqc-t2x0ciWn7KFdCiqt6IQ7a_IF9uzNzd_2pA=GmX_32eCLYPFLJ529RohsPjjNVwo9P0jVMsrMw7PFsA=p9-GKviYJKVs5Dccup1sLIaDMZv7lplg3OXXG8sEYDE=u_O6ghQQb8Vlc_yz-Qr34vBXrk7fJwoijeMEGscsOj4=> Vimeo <https://urldefense.proofpoint.com/v2/url?u=https-3A__vimeo.com_glassworksvfx=DwID-g=76Q6Tcqc-t2x0ciWn7KFdCiqt6IQ7a_IF9uzNzd_2pA=GmX_32eCLYPFLJ529RohsPjjNVwo9P0jVMsrMw7PFsA=p9-GKviYJKVs5Dccup1sLIaDMZv7lplg3OXXG8sEYDE=AEUgEAoiBKkxNaNCz00RpfdVbOcx_bWw3Ib_5WUVdqw=> Instagram <https://urldefense.proofpoint.com/v2/url?u=http-3A__instagram.com_glassworksvfx_=DwID-g=76Q6Tcqc-t2x0ciWn7KFdCiqt6IQ7a_IF9uzNzd_2pA=GmX_32eCLYPFLJ529RohsPjjNVwo9P0jVMsrMw7PFsA=p9-GKviYJKVs5Dccup1sLIaDMZv7lplg3OXXG8sEYDE=1ijPugf5PlCdukPRSTma5JREXPwrAMPP6LfFm_wqd-w=> Twitter <https://urldefense.proofpoint.com/v2/url?u=https-3A__twitter.com_GlassworksVFX=DwID-g=76Q6Tcqc-t2x0ciWn7KFdCiqt6IQ7a_IF9uzNzd_2pA=GmX_32eCLYPFLJ529RohsPjjNVwo9P0jVMsrMw7PFsA=p9-GKviYJKVs5Dccup1sLIaDMZv7lplg3OXXG8sEYDE=NwO8FEMbYF1nezQcfrN7Y9kJ8OpF4uSGJAT60SMdZJQ=> See our latest work _here_ <https://urldefense.proofpoint.com/v2/url?u=http-3A__www.glassworks.co.uk=DwID-g=76Q6Tcqc-t2x0ciWn7KFdCiqt6IQ7a_IF9uzNzd_2pA=GmX_32eCLYPFLJ529RohsPjjNVwo9P0jVMsrMw7PFsA=p9-GKviYJKVs5Dccup1sLIaDMZv7lplg3OXXG8sEYDE=3FZ84-D29PqX4FAc-an6X6bWAolUTfdPUtEzY_k-ElA=> The Penthouse, 5th Floor, 87-91 Newman Street London W1T 3EY T +44 (0)20 7434 1182 glassworks.co.uk <https://urldefense.proofpoint.com/v2/url?u=http-3A__www.glassworks.co.uk=DwID-g=76Q6Tcqc-t2x0ciWn7KFdCiqt6IQ7a_IF9uzNzd_2pA=GmX_32eCLYPFLJ529RohsPjjNVwo9P0jVMsrMw7PFsA=p9-GKviYJKVs5Dccup1sLIaDMZv7lplg3OXXG8sEYDE=3FZ84-D29PqX4FAc-an6X6bWAolUTfdPUtEzY_k-ElA=> Glassworks Terms and Conditions of Sale can be found at glassworks.co.uk <https://urldefense.proofpoint.com/v2/url?u=http-3A__www.glassworks.co.uk=DwID-g=76Q6Tcqc-t2x0ciWn7KFdCiqt6IQ7a_IF9uzNzd_2pA=GmX_32eCLYPFLJ529RohsPjjNVwo9P0jVMsrMw7PFsA=p9-GKviYJKVs5Dccup1sLIaDMZv7lplg3OXXG8sEYDE=3FZ84-D29PqX4FAc-an6X6bWAolUTfdPUtEzY_k-ElA=> (Company registered in England with number 04759979. Registered office 73 Cornhill, London, EC3V 3QQ. VAT registration number: 198083762) Please consider the environment before you print this email. DISCLAIMER: This e-mail and attachments are strictly privileged, private and confidential and are intended solely for the stated recipient(s). Any views or opinions presented are solely those of the author and do not necessarily represent those of the Company. If you are not the intended recipient, be advised that you have received this e-mail in error and that any use, dissemination, forwarding, printing, or copying of this e-mail is strictly prohibited. If this transmission is received in error please kindly return it to the sender and delete this message from your system. -- Softimage Mailing List. To unsubscribe, send a mail to softimage-requ...@listproc.autodesk.com with "unsubscribe" in the subject, and reply to confirm.
Re: Houdini : non VFX jobs?
Their declared aims are commendable but as I said in another mail they don't comprehend how far they have to go to attract the non technical artist/animator and I don't think they appreciate how irritating the sludgy workflow is. Don't get me started on the graphic design of the interface; that GI Light icon is like your granny's occasional table table cloth. What they need is for that dead MAC man to come back from the dead and knock some heads togther. You appeciate the user experience of the MAC/ Iphone Jordi. Houdini needs that kinda treatment and its not just about the icons its about the ease of use. On 03/05/2018 18:17, Jordi Bares wrote: And by my judgement, Houdini is no closer to being a generalist replacement for Softimage. This is what I would love to understand if you don’t mind… jb -- Softimage Mailing List. To unsubscribe, send a mail to softimage-requ...@listproc.autodesk.com with "unsubscribe" in the subject, and reply to confirm. -- Alastair Hearsum Creative Director of 3d GLASSWORKS <https://urldefense.proofpoint.com/v2/url?u=http-3A__www.glassworks.co.uk=DwIDaQ=76Q6Tcqc-t2x0ciWn7KFdCiqt6IQ7a_IF9uzNzd_2pA=GmX_32eCLYPFLJ529RohsPjjNVwo9P0jVMsrMw7PFsA=uQohdlYQASoOuXIoes6jN6E8jpSo2Uw30h_vGiTVUBY=9FjxM4F5822XwQcTwpQniv3icOKGP1aAE5ycTI0NxFQ=>Facebook <https://urldefense.proofpoint.com/v2/url?u=http-3A__www.facebook.com_pages_Glassworks_150976168270682=DwIDaQ=76Q6Tcqc-t2x0ciWn7KFdCiqt6IQ7a_IF9uzNzd_2pA=GmX_32eCLYPFLJ529RohsPjjNVwo9P0jVMsrMw7PFsA=uQohdlYQASoOuXIoes6jN6E8jpSo2Uw30h_vGiTVUBY=28Yz5hDaHdpc9txJNocCDy-D3YLreppnOkGlz0mhXhE=> Vimeo <https://urldefense.proofpoint.com/v2/url?u=https-3A__vimeo.com_glassworksvfx=DwIDaQ=76Q6Tcqc-t2x0ciWn7KFdCiqt6IQ7a_IF9uzNzd_2pA=GmX_32eCLYPFLJ529RohsPjjNVwo9P0jVMsrMw7PFsA=uQohdlYQASoOuXIoes6jN6E8jpSo2Uw30h_vGiTVUBY=m76REjZmhcLubRZcs8lFKwAiZfVYUKph9kzPecEOGyc=> Instagram <https://urldefense.proofpoint.com/v2/url?u=http-3A__instagram.com_glassworksvfx_=DwIDaQ=76Q6Tcqc-t2x0ciWn7KFdCiqt6IQ7a_IF9uzNzd_2pA=GmX_32eCLYPFLJ529RohsPjjNVwo9P0jVMsrMw7PFsA=uQohdlYQASoOuXIoes6jN6E8jpSo2Uw30h_vGiTVUBY=ZqriMRoYXEmwZPMzdab2BcggZDRxzunv56smAGnlLw0=> Twitter <https://urldefense.proofpoint.com/v2/url?u=https-3A__twitter.com_GlassworksVFX=DwIDaQ=76Q6Tcqc-t2x0ciWn7KFdCiqt6IQ7a_IF9uzNzd_2pA=GmX_32eCLYPFLJ529RohsPjjNVwo9P0jVMsrMw7PFsA=uQohdlYQASoOuXIoes6jN6E8jpSo2Uw30h_vGiTVUBY=W-mh4S5nTKThEFgXykmr7QHrY6HvCpemsByFwIBXXf8=> See our latest work _here_ <https://urldefense.proofpoint.com/v2/url?u=http-3A__www.glassworks.co.uk=DwIDaQ=76Q6Tcqc-t2x0ciWn7KFdCiqt6IQ7a_IF9uzNzd_2pA=GmX_32eCLYPFLJ529RohsPjjNVwo9P0jVMsrMw7PFsA=uQohdlYQASoOuXIoes6jN6E8jpSo2Uw30h_vGiTVUBY=9FjxM4F5822XwQcTwpQniv3icOKGP1aAE5ycTI0NxFQ=> The Penthouse, 5th Floor, 87-91 Newman Street London W1T 3EY T +44 (0)20 7434 1182 glassworks.co.uk <https://urldefense.proofpoint.com/v2/url?u=http-3A__www.glassworks.co.uk=DwIDaQ=76Q6Tcqc-t2x0ciWn7KFdCiqt6IQ7a_IF9uzNzd_2pA=GmX_32eCLYPFLJ529RohsPjjNVwo9P0jVMsrMw7PFsA=uQohdlYQASoOuXIoes6jN6E8jpSo2Uw30h_vGiTVUBY=9FjxM4F5822XwQcTwpQniv3icOKGP1aAE5ycTI0NxFQ=> Glassworks Terms and Conditions of Sale can be found at glassworks.co.uk <https://urldefense.proofpoint.com/v2/url?u=http-3A__www.glassworks.co.uk=DwIDaQ=76Q6Tcqc-t2x0ciWn7KFdCiqt6IQ7a_IF9uzNzd_2pA=GmX_32eCLYPFLJ529RohsPjjNVwo9P0jVMsrMw7PFsA=uQohdlYQASoOuXIoes6jN6E8jpSo2Uw30h_vGiTVUBY=9FjxM4F5822XwQcTwpQniv3icOKGP1aAE5ycTI0NxFQ=> (Company registered in England with number 04759979. Registered office 73 Cornhill, London, EC3V 3QQ. VAT registration number: 198083762) Please consider the environment before you print this email. DISCLAIMER: This e-mail and attachments are strictly privileged, private and confidential and are intended solely for the stated recipient(s). Any views or opinions presented are solely those of the author and do not necessarily represent those of the Company. If you are not the intended recipient, be advised that you have received this e-mail in error and that any use, dissemination, forwarding, printing, or copying of this e-mail is strictly prohibited. If this transmission is received in error please kindly return it to the sender and delete this message from your system. -- Softimage Mailing List. To unsubscribe, send a mail to softimage-requ...@listproc.autodesk.com with "unsubscribe" in the subject, and reply to confirm.
Re: Houdini : non VFX jobs?
Oh dear On 02/05/2018 22:26, Jonathan Moore wrote: Those at the tail end of their career, that came from a pure fine arts education are at a definite disadvantage with a technical application like Houdini. -- Alastair Hearsum Creative Director of 3d GLASSWORKS <https://urldefense.proofpoint.com/v2/url?u=http-3A__www.glassworks.co.uk=DwICaQ=76Q6Tcqc-t2x0ciWn7KFdCiqt6IQ7a_IF9uzNzd_2pA=GmX_32eCLYPFLJ529RohsPjjNVwo9P0jVMsrMw7PFsA=gvE3JhXHJnpgH8fgeiz75ixiaFBXvvLCQ8cmF0B4zos=cnN2DXfia0jhkfNWiG-WEv2uvkaZwm5QOKt9D_ti9Zk=>Facebook <https://urldefense.proofpoint.com/v2/url?u=http-3A__www.facebook.com_pages_Glassworks_150976168270682=DwICaQ=76Q6Tcqc-t2x0ciWn7KFdCiqt6IQ7a_IF9uzNzd_2pA=GmX_32eCLYPFLJ529RohsPjjNVwo9P0jVMsrMw7PFsA=gvE3JhXHJnpgH8fgeiz75ixiaFBXvvLCQ8cmF0B4zos=bQpMcwovCdCoZpk8gfNthokAJ5xdKDQiYuVZVOTpvPg=> Vimeo <https://urldefense.proofpoint.com/v2/url?u=https-3A__vimeo.com_glassworksvfx=DwICaQ=76Q6Tcqc-t2x0ciWn7KFdCiqt6IQ7a_IF9uzNzd_2pA=GmX_32eCLYPFLJ529RohsPjjNVwo9P0jVMsrMw7PFsA=gvE3JhXHJnpgH8fgeiz75ixiaFBXvvLCQ8cmF0B4zos=8CcW5Rz4pz8QqT22FRmX0eqs7oicwHOO2DZlhoQYuPE=> Instagram <https://urldefense.proofpoint.com/v2/url?u=http-3A__instagram.com_glassworksvfx_=DwICaQ=76Q6Tcqc-t2x0ciWn7KFdCiqt6IQ7a_IF9uzNzd_2pA=GmX_32eCLYPFLJ529RohsPjjNVwo9P0jVMsrMw7PFsA=gvE3JhXHJnpgH8fgeiz75ixiaFBXvvLCQ8cmF0B4zos=gde4QfruhtkTBAz0qYF8K7cXfU3YaPWv3i8QbOlL7lQ=> Twitter <https://urldefense.proofpoint.com/v2/url?u=https-3A__twitter.com_GlassworksVFX=DwICaQ=76Q6Tcqc-t2x0ciWn7KFdCiqt6IQ7a_IF9uzNzd_2pA=GmX_32eCLYPFLJ529RohsPjjNVwo9P0jVMsrMw7PFsA=gvE3JhXHJnpgH8fgeiz75ixiaFBXvvLCQ8cmF0B4zos=i2lISoxb9T2YXv8ePwsvYSaPJKAhaHlUJ5xdoSPfSsc=> See our latest work _here_ <https://urldefense.proofpoint.com/v2/url?u=http-3A__www.glassworks.co.uk=DwICaQ=76Q6Tcqc-t2x0ciWn7KFdCiqt6IQ7a_IF9uzNzd_2pA=GmX_32eCLYPFLJ529RohsPjjNVwo9P0jVMsrMw7PFsA=gvE3JhXHJnpgH8fgeiz75ixiaFBXvvLCQ8cmF0B4zos=cnN2DXfia0jhkfNWiG-WEv2uvkaZwm5QOKt9D_ti9Zk=> The Penthouse, 5th Floor, 87-91 Newman Street London W1T 3EY T +44 (0)20 7434 1182 glassworks.co.uk <https://urldefense.proofpoint.com/v2/url?u=http-3A__www.glassworks.co.uk=DwICaQ=76Q6Tcqc-t2x0ciWn7KFdCiqt6IQ7a_IF9uzNzd_2pA=GmX_32eCLYPFLJ529RohsPjjNVwo9P0jVMsrMw7PFsA=gvE3JhXHJnpgH8fgeiz75ixiaFBXvvLCQ8cmF0B4zos=cnN2DXfia0jhkfNWiG-WEv2uvkaZwm5QOKt9D_ti9Zk=> Glassworks Terms and Conditions of Sale can be found at glassworks.co.uk <https://urldefense.proofpoint.com/v2/url?u=http-3A__www.glassworks.co.uk=DwICaQ=76Q6Tcqc-t2x0ciWn7KFdCiqt6IQ7a_IF9uzNzd_2pA=GmX_32eCLYPFLJ529RohsPjjNVwo9P0jVMsrMw7PFsA=gvE3JhXHJnpgH8fgeiz75ixiaFBXvvLCQ8cmF0B4zos=cnN2DXfia0jhkfNWiG-WEv2uvkaZwm5QOKt9D_ti9Zk=> (Company registered in England with number 04759979. Registered office 73 Cornhill, London, EC3V 3QQ. VAT registration number: 198083762) Please consider the environment before you print this email. DISCLAIMER: This e-mail and attachments are strictly privileged, private and confidential and are intended solely for the stated recipient(s). Any views or opinions presented are solely those of the author and do not necessarily represent those of the Company. If you are not the intended recipient, be advised that you have received this e-mail in error and that any use, dissemination, forwarding, printing, or copying of this e-mail is strictly prohibited. If this transmission is received in error please kindly return it to the sender and delete this message from your system. -- Softimage Mailing List. To unsubscribe, send a mail to softimage-requ...@listproc.autodesk.com with "unsubscribe" in the subject, and reply to confirm.
Re: Wrapped
Great stuff Alastair Hearsum Head of 3d GLASSWORKS <http://www.glassworks.co.uk>Facebook <http://www.facebook.com/pages/Glassworks/150976168270682> Twitter <https://twitter.com/GlassworksVFX> Vimeo <https://vimeo.com/glassworksamsterdam> Instagram <http://instagram.com/glassworksvfx/> See our latest work _here_. <http://www.glassworks.co.uk/> 33/34 Great Pulteney Street London W1F 9NP T +44 (0)20 7434 1182 glassworks.co.uk <http://www.glassworks.co.uk> Glassworks Terms and Conditions of Sale can be found at glassworks.co.uk (Company registered in England with number 04759979. Registered office 25 Harley Street, London, W1G 9BR. VAT registration number: 198083762) Please consider the environment before you print this email. DISCLAIMER: This e-mail and attachments are strictly privileged, private and confidential and are intended solely for the stated recipient(s). Any views or opinions presented are solely those of the author and do not necessarily represent those of the Company. If you are not the intended recipient, be advised that you have received this e-mail in error and that any use, dissemination, forwarding, printing, or copying of this e-mail is strictly prohibited. If this transmission is received in error please kindly return it to the sender and delete this message from your system. On 06/04/2016 10:47, Roman Kaelin wrote: Hi Gang, After a very successful and long festival stretch our graduation short film "Wrapped" is finally online. It's been a while, but I felt I needed to share it on the list since I've gotten a lot of useful tips and help over the course of the production. Thanks to everyone who contributed! The whole project was mainly done in Softimage and Arnold and I'm happy we can finally share it. https://vimeo.com/161599224 Geerz, Roman -- ROMAN KAELIN Director& Visual Effects Artist mobile +41786384626 email romen.kae...@gmail.com www.romankaelin.com -- Softimage Mailing List. To unsubscribe, send a mail to softimage-requ...@listproc.autodesk.com with "unsubscribe" in the subject, and reply to confirm. -- Softimage Mailing List. To unsubscribe, send a mail to softimage-requ...@listproc.autodesk.com with "unsubscribe" in the subject, and reply to confirm.
Re: Get rid of your flip phone and get current on maya!
Ha Ha Ha! Where to begin? Its pretty laughable. All the predictable analogies come to mind. Dad dancing is one of them. Its like your dad getting a man-bun, skinny jeans, 50s plimsoles and a single speed bike and talking street. Autodesk should stick to their tweed jacket and grey flannel trousers image. It suits them. Alastair Hearsum Head of 3d GLASSWORKS http://www.glassworks.co.ukFacebook http://www.facebook.com/pages/Glassworks/150976168270682 Twitter https://twitter.com/GlassworksVFX Vimeo https://vimeo.com/glassworksamsterdam Instagram http://instagram.com/glassworksvfx/ See our latest work _here_. http://www.glassworks.co.uk/ 33/34 Great Pulteney Street London W1F 9NP T +44 (0)20 7434 1182 glassworks.co.uk http://www.glassworks.co.uk Glassworks Terms and Conditions of Sale can be found at glassworks.co.uk (Company registered in England with number 04759979. Registered office 25 Harley Street, London, W1G 9BR. VAT registration number: 198083762) Please consider the environment before you print this email. DISCLAIMER: This e-mail and attachments are strictly privileged, private and confidential and are intended solely for the stated recipient(s). Any views or opinions presented are solely those of the author and do not necessarily represent those of the Company. If you are not the intended recipient, be advised that you have received this e-mail in error and that any use, dissemination, forwarding, printing, or copying of this e-mail is strictly prohibited. If this transmission is received in error please kindly return it to the sender and delete this message from your system. On 08/07/2015 23:34, Scott Parrish wrote: Anybody see this today? Barf! http://www.autodesk.com/campaigns/your-life-maya
Re: orangutan - the mill
I agree. Very very nice indeed Alastair Hearsum Head of 3d GLASSWORKS http://www.glassworks.co.ukFacebook http://www.facebook.com/pages/Glassworks/150976168270682 Twitter https://twitter.com/GlassworksVFX Vimeo https://vimeo.com/glassworksamsterdam Instagram http://instagram.com/glassworksvfx/ See our latest work _here_. http://www.glassworks.co.uk/ 33/34 Great Pulteney Street London W1F 9NP T +44 (0)20 7434 1182 glassworks.co.uk http://www.glassworks.co.uk Glassworks Terms and Conditions of Sale can be found at glassworks.co.uk (Company registered in England with number 04759979. Registered office 25 Harley Street, London, W1G 9BR. VAT registration number: 86729) Please consider the environment before you print this email. DISCLAIMER: This e-mail and attachments are strictly privileged, private and confidential and are intended solely for the stated recipient(s). Any views or opinions presented are solely those of the author and do not necessarily represent those of the Company. If you are not the intended recipient, be advised that you have received this e-mail in error and that any use, dissemination, forwarding, printing, or copying of this e-mail is strictly prohibited. If this transmission is received in error please kindly return it to the sender and delete this message from your system. On 05/10/2014 16:50, Matt Morris wrote: Just saw this last night, absolutely mind-blowing! Stunning work guys. So much character and real life in that face. http://www.themill.com/work/sse-orangutan.aspx -- www.matinai.com http://www.matinai.com
Re: Glasswoks Lycra
We're going to try and get one out. You know how it is when you are straight on to the next thing though. Alastair Hearsum Head of 3d GLASSWORKS http://www.glassworks.co.ukFacebook http://www.facebook.com/pages/Glassworks/150976168270682 Twitter https://twitter.com/GlassworksVFX Vimeo https://vimeo.com/glassworksamsterdam Instagram http://instagram.com/glassworksvfx/ See our latest work _here_. http://www.glassworks.co.uk/ 33/34 Great Pulteney Street London W1F 9NP T +44 (0)20 7434 1182 glassworks.co.uk http://www.glassworks.co.uk Glassworks Terms and Conditions of Sale can be found at glassworks.co.uk (Company registered in England with number 04759979. Registered office 25 Harley Street, London, W1G 9BR. VAT registration number: 86729) Please consider the environment before you print this email. DISCLAIMER: This e-mail and attachments are strictly privileged, private and confidential and are intended solely for the stated recipient(s). Any views or opinions presented are solely those of the author and do not necessarily represent those of the Company. If you are not the intended recipient, be advised that you have received this e-mail in error and that any use, dissemination, forwarding, printing, or copying of this e-mail is strictly prohibited. If this transmission is received in error please kindly return it to the sender and delete this message from your system. On 03/10/2014 14:45, Sebastien Sterling wrote: A wee making of would be nice :) On 3 October 2014 11:34, Florian Juri florian.j...@googlemail.com mailto:florian.j...@googlemail.com wrote: oh and I forgot to mention: without Redshift we'd be still rendering! On Fri, Oct 3, 2014 at 11:32 AM, Florian Juri florian.j...@googlemail.com mailto:florian.j...@googlemail.com wrote: Thanks very much guys, we're glad you like the job! Some have been scratching their heads about how we've achieved the extrusion effect and creation of UVs, and Manny, you've cracked it already! After a lot of RD and smoking heads we've 'settled' with the most simple technique, which seemed to work best to achieve the effect the Director was after, and it also turned out to be robust and fast. For the majority of cloth elements we've used the following workflow: After having accurately tracked characters and the camera we've: - drawn spline curves on a static copy of the character's mesh to define the areas the cloth should be 'emitted' from. - we then sampled points on these curves, reinterpreted the locations on the animated characters, and - for every frame of a shot added strand positions, effectively creating strand trail point clouds for the whole length of a shot, for every piece of garment - the strands were then converted into splines and - lofted. So for a lot of shots we already head the UVs for free. For quite a few shots, because of the nature of the dancers' movements we needed to re-do the UVs though. So we ended up with an extruded mesh (one edge loop per frame, or subdivided if more detail was needed) which represented the dancer's movement in 3D space over time. Using ICE we've triggered vertices at the right time to start simulating (using a Verlet setup) and hid/deleted all polygons 'in front' of a dancer. For some shots to help joining characters and garment, additional pieces were simulated using nCloth or Marvelous Designer. That's it, nothing too fancy. :) cheers, Florian On Thu, Oct 2, 2014 at 10:09 PM, Jason S jasonsta...@gmail.com mailto:jasonsta...@gmail.com wrote: Don't know how it was extruded, but the integration with actors' very dynamic movements is excellent! don't know exactly where real cloth starts or ends! :] On 10/02/14 16:56, Steven Caron wrote: if they are generating the data from strands then they know the start and end, as long as they know the vertical start and end it wouldn't be very hard to generate the the UVs along with the mesh. On Thu, Oct 2, 2014 at 1:53 PM, Manny Papamanos manny.papama...@autodesk.com mailto:manny.papama...@autodesk.com wrote: The long extruded element may already be generated as a whole piece, and then is 'masked' off. Would definitely be easier if it were patch/nurbs based. Manny Papamanos Product Support Specialist Americas Frontline Technical Support Customer Service and Support From: softimage-boun...@listproc.autodesk.com mailto:softimage-boun
Re: Glasswoks Lycra
Thanks for the compliment. Yes Softimage and Redshift Great result from the team here at Glassworks and such a good director work with. Alastair Hearsum Head of 3d GLASSWORKS http://www.glassworks.co.ukFacebook http://www.facebook.com/pages/Glassworks/150976168270682 Twitter https://twitter.com/GlassworksVFX Vimeo https://vimeo.com/glassworksamsterdam Instagram http://instagram.com/glassworksvfx/ See our latest work _here_. http://www.glassworks.co.uk/ 33/34 Great Pulteney Street London W1F 9NP T +44 (0)20 7434 1182 glassworks.co.uk http://www.glassworks.co.uk Glassworks Terms and Conditions of Sale can be found at glassworks.co.uk (Company registered in England with number 04759979. Registered office 25 Harley Street, London, W1G 9BR. VAT registration number: 86729) Please consider the environment before you print this email. DISCLAIMER: This e-mail and attachments are strictly privileged, private and confidential and are intended solely for the stated recipient(s). Any views or opinions presented are solely those of the author and do not necessarily represent those of the Company. If you are not the intended recipient, be advised that you have received this e-mail in error and that any use, dissemination, forwarding, printing, or copying of this e-mail is strictly prohibited. If this transmission is received in error please kindly return it to the sender and delete this message from your system. On 30/09/2014 18:55, olivier jeannel wrote: http://www.glassworks.co.uk/video/lycra-moves-yousearch-type=allterm=all Beautifull film, out of curiousity are we still speaking softimage here ?
Side Effects, Foundry watching this?
Hello We've made a fair bit of noise and getting some attention from Autodesk development team. Thats good. What also would be good, perhaps, is if Side effects and the Foundry monitor what is being said here. I'm sure they do. But if anyone has contacts in either of those two organisations than please point them in the direction of the more sane threads here. We would like something good to migrate to, clearly, and if our voice can be heard by all the main contenders then the chances are better that we'll get a little of what we want somewhere. Alastair -- Alastair Hearsum Head of 3d GLASSWORKS 33/34 Great Pulteney Street London W1F 9NP +44 (0)20 7434 1182 glassworks.co.uk http://www.glassworks.co.uk/ Glassworks Terms and Conditions of Sale can be found at glassworks.co.uk (Company registered in England with number 04759979. Registered office 25 Harley Street, London, W1G 9BR. VAT registration number: 86729) Please consider the environment before you print this email. DISCLAIMER: This e-mail and attachments are strictly privileged, private and confidential and are intended solely for the stated recipient(s). Any views or opinions presented are solely those of the author and do not necessarily represent those of the Company. If you are not the intended recipient, be advised that you have received this e-mail in error and that any use, dissemination, forwarding, printing, or copying of this e-mail is strictly prohibited. If this transmission is received in error please kindly return it to the sender and delete this message from your system.
Re: Side Effects, Foundry watching this?
thanks Jordi. I have had a look at the forum but not often enough it must be said A Alastair Hearsum Head of 3d GLASSWORKS 33/34 Great Pulteney Street London W1F 9NP +44 (0)20 7434 1182 glassworks.co.uk http://www.glassworks.co.uk/ Glassworks Terms and Conditions of Sale can be found at glassworks.co.uk (Company registered in England with number 04759979. Registered office 25 Harley Street, London, W1G 9BR. VAT registration number: 86729) Please consider the environment before you print this email. DISCLAIMER: This e-mail and attachments are strictly privileged, private and confidential and are intended solely for the stated recipient(s). Any views or opinions presented are solely those of the author and do not necessarily represent those of the Company. If you are not the intended recipient, be advised that you have received this e-mail in error and that any use, dissemination, forwarding, printing, or copying of this e-mail is strictly prohibited. If this transmission is received in error please kindly return it to the sender and delete this message from your system. On 26/03/2014 13:14, Jordi Bares wrote: There is a clear thing Alastair, you want to use ICE then there is only one option, you have it in Houdini on steroids (VOPs), the parts that are lacking are being discussed as we speak so have serious look around.. I imagine you have seen the guides I have been producing, if not, have a proper read… I will carry on as fast as I can but you can see the activity on the SI Forum inside the Houdini site is pretty much on fire. https://www.dropbox.com/sh/y0ti6tyf7o3435u/thsQH1Kf2o and http://www.sidefx.com/index.php?option=com_forumItemid=172page=viewtopict=31012start=150sid=e66eb944af1e7074a707e34c56ee92cb Plus http://www.sidefx.com/index.php?option=com_forumItemid=172page=viewtopict=31169 http://www.sidefx.com/index.php?option=com_forumItemid=172page=viewtopict=31222 http://www.sidefx.com/index.php?option=com_forumItemid=172page=viewtopict=31210start=50 http://www.sidefx.com/index.php?option=com_forumItemid=172page=viewtopict=31141start=25 http://www.sidefx.com/index.php?option=com_forumItemid=172page=viewtopict=31009start=25 Jordi Bares jordiba...@gmail.com mailto:jordiba...@gmail.com On 26 Mar 2014, at 12:37, Alastair Hearsum hear...@glassworks.co.uk mailto:hear...@glassworks.co.uk wrote: Hello We've made a fair bit of noise and getting some attention from Autodesk development team. Thats good. What also would be good, perhaps, is if Side effects and the Foundry monitor what is being said here. I'm sure they do. But if anyone has contacts in either of those two organisations than please point them in the direction of the more sane threads here. We would like something good to migrate to, clearly, and if our voice can be heard by all the main contenders then the chances are better that we'll get a little of what we want somewhere. Alastair -- Alastair Hearsum Head of 3d GLASSWORKS 33/34 Great Pulteney Street London W1F 9NP +44 (0)20 7434 1182 glassworks.co.uk http://www.glassworks.co.uk/ Glassworks Terms and Conditions of Sale can be found at glassworks.co.uk http://glassworks.co.uk (Company registered in England with number 04759979. Registered office 25 Harley Street, London, W1G 9BR. VAT registration number: 86729) Please consider the environment before you print this email. DISCLAIMER: This e-mail and attachments are strictly privileged, private and confidential and are intended solely for the stated recipient(s). Any views or opinions presented are solely those of the author and do not necessarily represent those of the Company. If you are not the intended recipient, be advised that you have received this e-mail in error and that any use, dissemination, forwarding, printing, or copying of this e-mail is strictly prohibited. If this transmission is received in error please kindly return it to the sender and delete this message from your system.
Re: Side Effects, Foundry watching this?
Tim Maybe my kinda teenage-magazine style top 5s threads for a start: humanize maya, SOFT top 5 (for user interface, workflow stuff) YOUR TOP 5(for general lovely Softimage stuff we'll miss and we feel is essential) What use is ICE really?(why ice functionality is crucial and examples of it in use in all sots of wonderful ways) The top 5 poll put ICE and user experience at the top of the pile. If anyone is interested in attracting the Softimage users as customers (although we are being told regularly how insignificant we are numerically) then these are good areas to focus on. It's difficult to keep up with all the threads so I'm not sure what else would would be fruitful to look at. Thoughts? Alastair Alastair Hearsum Head of 3d GLASSWORKS 33/34 Great Pulteney Street London W1F 9NP +44 (0)20 7434 1182 glassworks.co.uk http://www.glassworks.co.uk/ Glassworks Terms and Conditions of Sale can be found at glassworks.co.uk (Company registered in England with number 04759979. Registered office 25 Harley Street, London, W1G 9BR. VAT registration number: 86729) Please consider the environment before you print this email. DISCLAIMER: This e-mail and attachments are strictly privileged, private and confidential and are intended solely for the stated recipient(s). Any views or opinions presented are solely those of the author and do not necessarily represent those of the Company. If you are not the intended recipient, be advised that you have received this e-mail in error and that any use, dissemination, forwarding, printing, or copying of this e-mail is strictly prohibited. If this transmission is received in error please kindly return it to the sender and delete this message from your system. On 26/03/2014 14:43, Tim Crowson wrote: Alastair, I don't know if anyone from the Foundry is monitoring this list (to be honest I've had a hard time staying on top of it as well lately... it's all quite vitriolic now...), but Brad Peebler did reach out on the heels of the AD announcements, and has stated that he's trying to put together an online event of some kind to clarify what Modo is (there's a broad misconception that it's just a modeling app with benefits). Haven't heard any news on that front. Which threads were you suggesting they check out? -Tim On 3/26/2014 7:37 AM, Alastair Hearsum wrote: Hello We've made a fair bit of noise and getting some attention from Autodesk development team. Thats good. What also would be good, perhaps, is if Side effects and the Foundry monitor what is being said here. I'm sure they do. But if anyone has contacts in either of those two organisations than please point them in the direction of the more sane threads here. We would like something good to migrate to, clearly, and if our voice can be heard by all the main contenders then the chances are better that we'll get a little of what we want somewhere. Alastair -- Alastair Hearsum Head of 3d GLASSWORKS 33/34 Great Pulteney Street London W1F 9NP +44 (0)20 7434 1182 glassworks.co.uk http://www.glassworks.co.uk/ Glassworks Terms and Conditions of Sale can be found at glassworks.co.uk (Company registered in England with number 04759979. Registered office 25 Harley Street, London, W1G 9BR. VAT registration number: 86729) Please consider the environment before you print this email. DISCLAIMER: This e-mail and attachments are strictly privileged, private and confidential and are intended solely for the stated recipient(s). Any views or opinions presented are solely those of the author and do not necessarily represent those of the Company. If you are not the intended recipient, be advised that you have received this e-mail in error and that any use, dissemination, forwarding, printing, or copying of this e-mail is strictly prohibited. If this transmission is received in error please kindly return it to the sender and delete this message from your system. -- Signature *Tim Crowson */Lead CG Artist/ *Magnetic Dreams, Inc. *2525 Lebanon Pike, Bldg C, Suite 101, Nashville, TN 37214 *Ph* 615.885.6801 | *Fax* 615.889.4768 | www.magneticdreams.com tim.crow...@magneticdreams.com /Confidentiality Notice: This email, including attachments, is confidential and should not be used by anyone who is not the original intended recipient(s). If you have received this e-mail in error please inform the sender and delete it from your mailbox or any other storage mechanism. Magnetic Dreams, Inc cannot accept liability for any statements made which are clearly the sender's own and not expressly made on behalf of Magnetic Dreams, Inc or one of its agents./
humanize maya, SOFT top 5
Hello friends Me again with my TOP 5's I have had some minimal contact with the Humanize Maya people. Lets get our views across with our TOP 5 Softimage user workflow/interface experiences. As usual a list with a brief description. Here are some random examples 1)Middle mouse to repeat last function 2)Multiple windows You can have many graph editors, outliners, property pages open at once. 3) Really contextual menus 4) Comprehensive universal drag and drop of parameters Quickly set up expressions. 5) Text rather than icons, general stylishness of interface Alastair -- Alastair Hearsum Head of 3d GLASSWORKS 33/34 Great Pulteney Street London W1F 9NP +44 (0)20 7434 1182 glassworks.co.uk http://www.glassworks.co.uk/ Glassworks Terms and Conditions of Sale can be found at glassworks.co.uk (Company registered in England with number 04759979. Registered office 25 Harley Street, London, W1G 9BR. VAT registration number: 86729) Please consider the environment before you print this email. DISCLAIMER: This e-mail and attachments are strictly privileged, private and confidential and are intended solely for the stated recipient(s). Any views or opinions presented are solely those of the author and do not necessarily represent those of the Company. If you are not the intended recipient, be advised that you have received this e-mail in error and that any use, dissemination, forwarding, printing, or copying of this e-mail is strictly prohibited. If this transmission is received in error please kindly return it to the sender and delete this message from your system.
Re: humanize maya, SOFT top 5
Very interesting Alastair Hearsum Head of 3d GLASSWORKS 33/34 Great Pulteney Street London W1F 9NP +44 (0)20 7434 1182 glassworks.co.uk http://www.glassworks.co.uk/ Glassworks Terms and Conditions of Sale can be found at glassworks.co.uk (Company registered in England with number 04759979. Registered office 25 Harley Street, London, W1G 9BR. VAT registration number: 86729) Please consider the environment before you print this email. DISCLAIMER: This e-mail and attachments are strictly privileged, private and confidential and are intended solely for the stated recipient(s). Any views or opinions presented are solely those of the author and do not necessarily represent those of the Company. If you are not the intended recipient, be advised that you have received this e-mail in error and that any use, dissemination, forwarding, printing, or copying of this e-mail is strictly prohibited. If this transmission is received in error please kindly return it to the sender and delete this message from your system. On 25/03/2014 10:35, Andy Goehler wrote: If you're going to humanize this is a MUST read to all UI/UX designers. Then have a look at the Softimage UI — rounded corners everywhere! http://uxmovement.com/thinking/why-rounded-corners-are-easier-on-the-eyes/ Also, continue reading the references at the bottom. Have a great day, Andy
Re: humanize maya, SOFT top 5
Hello I would just like to say that this is genuine attempt to get our opinions across to the Humanizing team. Please lets stick to giving your top positive experiences of the Softimage user experience. Its difficult to resist, I know, but please no flaming. Thanks alastair Alastair Hearsum Head of 3d GLASSWORKS 33/34 Great Pulteney Street London W1F 9NP +44 (0)20 7434 1182 glassworks.co.uk http://www.glassworks.co.uk/ Glassworks Terms and Conditions of Sale can be found at glassworks.co.uk (Company registered in England with number 04759979. Registered office 25 Harley Street, London, W1G 9BR. VAT registration number: 86729) Please consider the environment before you print this email. DISCLAIMER: This e-mail and attachments are strictly privileged, private and confidential and are intended solely for the stated recipient(s). Any views or opinions presented are solely those of the author and do not necessarily represent those of the Company. If you are not the intended recipient, be advised that you have received this e-mail in error and that any use, dissemination, forwarding, printing, or copying of this e-mail is strictly prohibited. If this transmission is received in error please kindly return it to the sender and delete this message from your system. On 25/03/2014 10:16, Alastair Hearsum wrote: Hello friends Me again with my TOP 5's I have had some minimal contact with the Humanize Maya people. Lets get our views across with our TOP 5 Softimage user workflow/interface experiences. As usual a list with a brief description. Here are some random examples 1)Middle mouse to repeat last function 2)Multiple windows You can have many graph editors, outliners, property pages open at once. 3) Really contextual menus 4) Comprehensive universal drag and drop of parameters Quickly set up expressions. 5) Text rather than icons, general stylishness of interface Alastair -- Alastair Hearsum Head of 3d GLASSWORKS 33/34 Great Pulteney Street London W1F 9NP +44 (0)20 7434 1182 glassworks.co.uk http://www.glassworks.co.uk/ Glassworks Terms and Conditions of Sale can be found at glassworks.co.uk (Company registered in England with number 04759979. Registered office 25 Harley Street, London, W1G 9BR. VAT registration number: 86729) Please consider the environment before you print this email. DISCLAIMER: This e-mail and attachments are strictly privileged, private and confidential and are intended solely for the stated recipient(s). Any views or opinions presented are solely those of the author and do not necessarily represent those of the Company. If you are not the intended recipient, be advised that you have received this e-mail in error and that any use, dissemination, forwarding, printing, or copying of this e-mail is strictly prohibited. If this transmission is received in error please kindly return it to the sender and delete this message from your system.
Re: humanize Maya, SOFT top 5
Hi Joseph I know 5 is a short list. Of course it is. I'm with you on that. The intent was to prick the interest of the developers and not put them off with mountains of stuff that they had to wade through. I don't know if its the right thing to do. Maybe they'll see a few key things popping up with regularity and be prompted to invite a core group of users to consult with them. Alastair Alastair Hearsum Head of 3d GLASSWORKS 33/34 Great Pulteney Street London W1F 9NP +44 (0)20 7434 1182 glassworks.co.uk http://www.glassworks.co.uk/ Glassworks Terms and Conditions of Sale can be found at glassworks.co.uk (Company registered in England with number 04759979. Registered office 25 Harley Street, London, W1G 9BR. VAT registration number: 86729) Please consider the environment before you print this email. DISCLAIMER: This e-mail and attachments are strictly privileged, private and confidential and are intended solely for the stated recipient(s). Any views or opinions presented are solely those of the author and do not necessarily represent those of the Company. If you are not the intended recipient, be advised that you have received this e-mail in error and that any use, dissemination, forwarding, printing, or copying of this e-mail is strictly prohibited. If this transmission is received in error please kindly return it to the sender and delete this message from your system. On 25/03/2014 14:24, Ponthieux, Joseph G. (LARC-E1A)[LITES] wrote: 1.Selection contexts need to be corrected for natural workflow.(change it to the Source(first) - Target(second) method rather than second selected item follows first selected item) 2.All selection contexts need to be synchronized to work the same way. a.For example, Parenting and constraints should be the same way and Attach to Motion Path selection method should be made rigid, and in the same context as constrain, rather than dual context. 3.Outliner and Attribute editor(and all other primary windows) need dedicated hotkeys (some of these primary windows don't have hotkeys yet the PaintFx panel does?) 4.Get rid of option box as a differentiating command, use it as an option setting for command repeat strictly: a.For example, freezing transforms needs to be broken into multiple commands just like hiding/showing. There are almost 70 hide/show commands, but only one Freezing command? This is a classic example of the inconsistencies that Maya is riddled with. 5.Hiding/Showing needs a toggle command to hide/show in the same command. It needs to be hotkeyed to a single key stroke(h would be nice). Asking for 5 does not do justice to the incredibly long list of things that need to be fixed with the Maya interface. There are so many things with the interface which are problematic, incongruent, inconsistent, un-anticipatable, and generally difficult as to make the interface the most problematic aspect of Maya, the one thing that Autodesk should address before modifying any other part of the program. Further, asking for these in brief description runs the risk of the developer not understanding, and potentially discounting ) the nature and context of each request. I could expand the above 5 items into almost 4 pages of discussion as to why they are significant impediments to workflow. And that doesn't even get close to addressing the next 50+ things that should be addressed. -- Joey Ponthieux __ Opinions stated here-in are strictly those of the author and do not represent the opinions of NASA or any other party. *From:*softimage-boun...@listproc.autodesk.com [mailto:softimage-boun...@listproc.autodesk.com] *On Behalf Of *Alastair Hearsum *Sent:* Tuesday, March 25, 2014 6:16 AM *To:* softimage@listproc.autodesk.com *Subject:* humanize maya, SOFT top 5 Hello friends Me again with my TOP 5's I have had some minimal contact with the Humanize Maya people. Lets get our views across with our TOP 5 Softimage user workflow/interface experiences. As usual a list with a brief description. Here are some random examples 1)Middle mouse to repeat last function 2)Multiple windows You can have many graph editors, outliners, property pages open at once. 3) Really contextual menus 4) Comprehensive universal drag and drop of parameters Quickly set up expressions. 5) Text rather than icons, general stylishness of interface Alastair -- Alastair Hearsum Head of 3d GLASSWORKS 33/34 Great Pulteney Street London W1F 9NP +44 (0)20 7434 1182 glassworks.co.uk http://www.glassworks.co.uk/ Glassworks Terms and Conditions of Sale can be found at glassworks.co.uk (Company registered in England with number 04759979. Registered office 25 Harley Street, London, W1G 9BR. VAT registration number: 86729) Please consider the environment before you print this email. DISCLAIMER: This e-mail and attachments are strictly privileged, private and confidential and are intended
Re: humanize maya, SOFT top 5
Jean louis You beat me to it. I was just about to say that. Alastair Alastair Hearsum Head of 3d GLASSWORKS 33/34 Great Pulteney Street London W1F 9NP +44 (0)20 7434 1182 glassworks.co.uk http://www.glassworks.co.uk/ Glassworks Terms and Conditions of Sale can be found at glassworks.co.uk (Company registered in England with number 04759979. Registered office 25 Harley Street, London, W1G 9BR. VAT registration number: 86729) Please consider the environment before you print this email. DISCLAIMER: This e-mail and attachments are strictly privileged, private and confidential and are intended solely for the stated recipient(s). Any views or opinions presented are solely those of the author and do not necessarily represent those of the Company. If you are not the intended recipient, be advised that you have received this e-mail in error and that any use, dissemination, forwarding, printing, or copying of this e-mail is strictly prohibited. If this transmission is received in error please kindly return it to the sender and delete this message from your system. On 25/03/2014 17:49, Jean-Louis Billard wrote: Hi Shuting, That’s not the same thing at all I’m afraid. In Softimage *every* menu has it’s own memory of the last command accessed. So you can middle click any menu and repeat its last command (as long as there has been one used within the session) Regards, Jean-Louis Jean-Louis Billard Digital Golem BE: +32 (0) 484 263 563 UK: +44 (0) 7973 660 119 jean-lo...@digitalgolem.com http://www.digitalgolem.com/ 53 Rue Gustave Huberti 1030 Brussels On 25 Mar 2014, at 18:46, Shuting Chang shuting.ch...@autodesk.com wrote: Hi Paul, I am a design in Maya team. I am collecting the feedback from this email group and use them to improve Maya. I agree that Maya icons need some texts. But for “5”, in Maya we have “g” to repeat last action. Hope this is helpful. Thank you, Shuting From: Paul Griswold pgrisw...@fusiondigitalproductions.commailto:pgrisw...@fusiondigitalproductions.com Reply-To: softimage@listproc.autodesk.commailto:softimage@listproc.autodesk.com softimage@listproc.autodesk.commailto:softimage@listproc.autodesk.com Date: Tuesday, March 25, 2014 at 12:40 PM To: softimage@listproc.autodesk.commailto:softimage@listproc.autodesk.com softimage@listproc.autodesk.commailto:softimage@listproc.autodesk.com Subject: Re: humanize maya, SOFT top 5 I think part of the problem with a lot/all of the devs working on Maya is - you guys use this stuff day in and day out and you already understand how why things are the way they are. I would strongly urge the entire Maya team to do some real user interface usability testing with a 3rd party testing service. Get people from all sorts of backgrounds and actually record them trying to use Maya to achieve specific tasks. My gut instinct says, most of the team will be very surprised at how unintuitive and difficult Maya is for most people that don't live in the Maya universe. As for top 5: 1. Text based everything - I hate the shelf in Softimage as well as the UV editor. Get rid of icons entirely. 2. Drag and drop divots simple expressions. 3. Consistent UI - this was my last wish for Softimage. I wanted the FXTree to be updated to match ICE and the Render Tree (and possibly the schematic view to get updated as well). There should not be more than 1 style of graph in Maya and all navigation should use the same mouse/key combo everywhere. Additionally, revisit what things are named. As mentioned in a previous email - why is there at tab called Renderer and a tab called Rendering, or a tab called Shading and a tab called Surfaces? Maybe to long-time Maya users that makes sense, but if you open the software for the first time, that makes absolutely no sense at all. 4. Sticky keys. 5. Middle-click repeat the last action. I use this every day of the week. -PG On Tue, Mar 25, 2014 at 12:25 PM, Luc-Eric Rousseau luceri...@gmail.commailto:luceri...@gmail.com wrote: Text not icons I don't understand this one. Which part of the UI is this a problem with that it isn't in Softimage? You have the shelf at the top of the UI, but that's just shortcuts to things that are already in the menu. Hide the shelf if you don't want it (there is also a shelf in XSI) For the viewport (panel) toolbar, if you don't use it, you can hide it (shift+ctrl+m) - these are all shortcuts to the items also in the menu. It certainly would not make sense to turn that into text buttons, although they should be generally fewer and bigger buttons there. But again these are shotcuts to the text menus. Everything is menu-based in Maya. winmail.dat
What use is ICE really?
Folks We had a chat with a senior chap at Autodesk. There was hint of surprise at one use of ICE that I mentioned in passing. I think we over estimate the understanding of what ICE gets used for and its all pervading usefulness. I'd like to invite people to share their ice work especially if its more obscure (without giving away your trade secrets obviously). Here are some starters for us. Please keep the explanations as short as possible to attract Autodesk to read them. http://www.glassworks.co.uk/video/love 1) Fine feathers created totally with ice strands 2) Feather system created in ice 3) Cats fur : ice strands http://www.glassworks.co.uk/video/tadpoles-master 1) Totally ice strand vegetation 2) Ice driven water surface 3) Render tadpoles have ice compound which auomatically detects the shot number and selects the correct cache http://www.glassworks.co.uk/node/3266search-type=brandterm=g-star 1) Ice creating the cotton balls unravelling http://www.glassworks.co.uk/node/549 1) Ice crowd http://www.glassworks.co.uk/video/transformationsearch-type=brandterm=lg 1) Object IDs picked up in ice and use to assign materials of supermarket aisle items https://vimeo.com/87096859 Some holes aesthetically 1) ice rigid body pens transferring their attributes to lagoa ice fluid melted pens 2)Ice fracturing bottle http://www.glassworks.co.uk/video/strewthsearch-type=brandterm=o 1) Intervened in Momentum ice plugin to extract vectors and modulate them http://www.glassworks.co.uk/video/excess-baggagesearch-type=brandterm=benylin 1) Hair created from scratch in ice strands including clumping http://www.glassworks.co.uk/video/summer-sport-0search-type=brandterm=freeview 1) Ice rigid bodies combine with ice syflex and custom hand cooked verlet for the strings And many many more. -- Alastair Hearsum Head of 3d GLASSWORKS 33/34 Great Pulteney Street London W1F 9NP +44 (0)20 7434 1182 glassworks.co.uk http://www.glassworks.co.uk/ Glassworks Terms and Conditions of Sale can be found at glassworks.co.uk (Company registered in England with number 04759979. Registered office 25 Harley Street, London, W1G 9BR. VAT registration number: 86729) Please consider the environment before you print this email. DISCLAIMER: This e-mail and attachments are strictly privileged, private and confidential and are intended solely for the stated recipient(s). Any views or opinions presented are solely those of the author and do not necessarily represent those of the Company. If you are not the intended recipient, be advised that you have received this e-mail in error and that any use, dissemination, forwarding, printing, or copying of this e-mail is strictly prohibited. If this transmission is received in error please kindly return it to the sender and delete this message from your system.
Re: What use is ICE really?
Correction http://www.glassworks.co.uk/video/model-britainsearch-type=brandterm=talk 1) Ice crowd Alastair Hearsum Head of 3d GLASSWORKS 33/34 Great Pulteney Street London W1F 9NP +44 (0)20 7434 1182 glassworks.co.uk http://www.glassworks.co.uk/ Glassworks Terms and Conditions of Sale can be found at glassworks.co.uk (Company registered in England with number 04759979. Registered office 25 Harley Street, London, W1G 9BR. VAT registration number: 86729) Please consider the environment before you print this email. DISCLAIMER: This e-mail and attachments are strictly privileged, private and confidential and are intended solely for the stated recipient(s). Any views or opinions presented are solely those of the author and do not necessarily represent those of the Company. If you are not the intended recipient, be advised that you have received this e-mail in error and that any use, dissemination, forwarding, printing, or copying of this e-mail is strictly prohibited. If this transmission is received in error please kindly return it to the sender and delete this message from your system. On 21/03/2014 11:12, Alastair Hearsum wrote: Folks We had a chat with a senior chap at Autodesk. There was hint of surprise at one use of ICE that I mentioned in passing. I think we over estimate the understanding of what ICE gets used for and its all pervading usefulness. I'd like to invite people to share their ice work especially if its more obscure (without giving away your trade secrets obviously). Here are some starters for us. Please keep the explanations as short as possible to attract Autodesk to read them. http://www.glassworks.co.uk/video/love 1) Fine feathers created totally with ice strands 2) Feather system created in ice 3) Cats fur : ice strands http://www.glassworks.co.uk/video/tadpoles-master 1) Totally ice strand vegetation 2) Ice driven water surface 3) Render tadpoles have ice compound which auomatically detects the shot number and selects the correct cache http://www.glassworks.co.uk/node/3266search-type=brandterm=g-star 1) Ice creating the cotton balls unravelling http://www.glassworks.co.uk/node/549 1) Ice crowd http://www.glassworks.co.uk/video/transformationsearch-type=brandterm=lg 1) Object IDs picked up in ice and use to assign materials of supermarket aisle items https://vimeo.com/87096859 Some holes aesthetically 1) ice rigid body pens transferring their attributes to lagoa ice fluid melted pens 2)Ice fracturing bottle http://www.glassworks.co.uk/video/strewthsearch-type=brandterm=o 1) Intervened in Momentum ice plugin to extract vectors and modulate them http://www.glassworks.co.uk/video/excess-baggagesearch-type=brandterm=benylin 1) Hair created from scratch in ice strands including clumping http://www.glassworks.co.uk/video/summer-sport-0search-type=brandterm=freeview 1) Ice rigid bodies combine with ice syflex and custom hand cooked verlet for the strings And many many more. -- Alastair Hearsum Head of 3d GLASSWORKS 33/34 Great Pulteney Street London W1F 9NP +44 (0)20 7434 1182 glassworks.co.uk http://www.glassworks.co.uk/ Glassworks Terms and Conditions of Sale can be found at glassworks.co.uk (Company registered in England with number 04759979. Registered office 25 Harley Street, London, W1G 9BR. VAT registration number: 86729) Please consider the environment before you print this email. DISCLAIMER: This e-mail and attachments are strictly privileged, private and confidential and are intended solely for the stated recipient(s). Any views or opinions presented are solely those of the author and do not necessarily represent those of the Company. If you are not the intended recipient, be advised that you have received this e-mail in error and that any use, dissemination, forwarding, printing, or copying of this e-mail is strictly prohibited. If this transmission is received in error please kindly return it to the sender and delete this message from your system.
Re: What use is ICE really?
The point is to get Autodesk to understand the power and all pervading nature of ICE and for that to inform their development of Bifrost Alastair Hearsum Head of 3d GLASSWORKS 33/34 Great Pulteney Street London W1F 9NP +44 (0)20 7434 1182 glassworks.co.uk http://www.glassworks.co.uk/ Glassworks Terms and Conditions of Sale can be found at glassworks.co.uk (Company registered in England with number 04759979. Registered office 25 Harley Street, London, W1G 9BR. VAT registration number: 86729) Please consider the environment before you print this email. DISCLAIMER: This e-mail and attachments are strictly privileged, private and confidential and are intended solely for the stated recipient(s). Any views or opinions presented are solely those of the author and do not necessarily represent those of the Company. If you are not the intended recipient, be advised that you have received this e-mail in error and that any use, dissemination, forwarding, printing, or copying of this e-mail is strictly prohibited. If this transmission is received in error please kindly return it to the sender and delete this message from your system. On 21/03/2014 11:17, olivier jeannel wrote: What's the point ? Understanding of Ice for Maya ? Le 21/03/2014 12:12, Alastair Hearsum a écrit : Folks We had a chat with a senior chap at Autodesk. There was hint of surprise at one use of ICE that I mentioned in passing. I think we over estimate the understanding of what ICE gets used for and its all pervading usefulness. I'd like to invite people to share their ice work especially if its more obscure (without giving away your trade secrets obviously). Here are some starters for us. Please keep the explanations as short as possible to attract Autodesk to read them. http://www.glassworks.co.uk/video/love 1) Fine feathers created totally with ice strands 2) Feather system created in ice 3) Cats fur : ice strands http://www.glassworks.co.uk/video/tadpoles-master 1) Totally ice strand vegetation 2) Ice driven water surface 3) Render tadpoles have ice compound which auomatically detects the shot number and selects the correct cache http://www.glassworks.co.uk/node/3266search-type=brandterm=g-star 1) Ice creating the cotton balls unravelling http://www.glassworks.co.uk/node/549 1) Ice crowd http://www.glassworks.co.uk/video/transformationsearch-type=brandterm=lg 1) Object IDs picked up in ice and use to assign materials of supermarket aisle items https://vimeo.com/87096859 Some holes aesthetically 1) ice rigid body pens transferring their attributes to lagoa ice fluid melted pens 2)Ice fracturing bottle http://www.glassworks.co.uk/video/strewthsearch-type=brandterm=o 1) Intervened in Momentum ice plugin to extract vectors and modulate them http://www.glassworks.co.uk/video/excess-baggagesearch-type=brandterm=benylin 1) Hair created from scratch in ice strands including clumping http://www.glassworks.co.uk/video/summer-sport-0search-type=brandterm=freeview 1) Ice rigid bodies combine with ice syflex and custom hand cooked verlet for the strings And many many more. -- Alastair Hearsum Head of 3d GLASSWORKS 33/34 Great Pulteney Street London W1F 9NP +44 (0)20 7434 1182 glassworks.co.uk http://www.glassworks.co.uk/ Glassworks Terms and Conditions of Sale can be found at glassworks.co.uk (Company registered in England with number 04759979. Registered office 25 Harley Street, London, W1G 9BR. VAT registration number: 86729) Please consider the environment before you print this email. DISCLAIMER: This e-mail and attachments are strictly privileged, private and confidential and are intended solely for the stated recipient(s). Any views or opinions presented are solely those of the author and do not necessarily represent those of the Company. If you are not the intended recipient, be advised that you have received this e-mail in error and that any use, dissemination, forwarding, printing, or copying of this e-mail is strictly prohibited. If this transmission is received in error please kindly return it to the sender and delete this message from your system.
Re: What use is ICE really?
sorry our website isn't playing ball. Its the wrong link https://www.youtube.com/watch?v=RZZOUq-FoG0 1) ice crowd Alastair Hearsum Head of 3d GLASSWORKS 33/34 Great Pulteney Street London W1F 9NP +44 (0)20 7434 1182 glassworks.co.uk http://www.glassworks.co.uk/ Glassworks Terms and Conditions of Sale can be found at glassworks.co.uk (Company registered in England with number 04759979. Registered office 25 Harley Street, London, W1G 9BR. VAT registration number: 86729) Please consider the environment before you print this email. DISCLAIMER: This e-mail and attachments are strictly privileged, private and confidential and are intended solely for the stated recipient(s). Any views or opinions presented are solely those of the author and do not necessarily represent those of the Company. If you are not the intended recipient, be advised that you have received this e-mail in error and that any use, dissemination, forwarding, printing, or copying of this e-mail is strictly prohibited. If this transmission is received in error please kindly return it to the sender and delete this message from your system. On 21/03/2014 11:17, Alastair Hearsum wrote: Correction http://www.glassworks.co.uk/video/model-britainsearch-type=brandterm=talk 1) Ice crowd Alastair Hearsum Head of 3d GLASSWORKS 33/34 Great Pulteney Street London W1F 9NP +44 (0)20 7434 1182 glassworks.co.uk http://www.glassworks.co.uk/ Glassworks Terms and Conditions of Sale can be found at glassworks.co.uk (Company registered in England with number 04759979. Registered office 25 Harley Street, London, W1G 9BR. VAT registration number: 86729) Please consider the environment before you print this email. DISCLAIMER: This e-mail and attachments are strictly privileged, private and confidential and are intended solely for the stated recipient(s). Any views or opinions presented are solely those of the author and do not necessarily represent those of the Company. If you are not the intended recipient, be advised that you have received this e-mail in error and that any use, dissemination, forwarding, printing, or copying of this e-mail is strictly prohibited. If this transmission is received in error please kindly return it to the sender and delete this message from your system. On 21/03/2014 11:12, Alastair Hearsum wrote: Folks We had a chat with a senior chap at Autodesk. There was hint of surprise at one use of ICE that I mentioned in passing. I think we over estimate the understanding of what ICE gets used for and its all pervading usefulness. I'd like to invite people to share their ice work especially if its more obscure (without giving away your trade secrets obviously). Here are some starters for us. Please keep the explanations as short as possible to attract Autodesk to read them. http://www.glassworks.co.uk/video/love 1) Fine feathers created totally with ice strands 2) Feather system created in ice 3) Cats fur : ice strands http://www.glassworks.co.uk/video/tadpoles-master 1) Totally ice strand vegetation 2) Ice driven water surface 3) Render tadpoles have ice compound which auomatically detects the shot number and selects the correct cache http://www.glassworks.co.uk/node/3266search-type=brandterm=g-star 1) Ice creating the cotton balls unravelling http://www.glassworks.co.uk/node/549 1) Ice crowd http://www.glassworks.co.uk/video/transformationsearch-type=brandterm=lg 1) Object IDs picked up in ice and use to assign materials of supermarket aisle items https://vimeo.com/87096859 Some holes aesthetically 1) ice rigid body pens transferring their attributes to lagoa ice fluid melted pens 2)Ice fracturing bottle http://www.glassworks.co.uk/video/strewthsearch-type=brandterm=o 1) Intervened in Momentum ice plugin to extract vectors and modulate them http://www.glassworks.co.uk/video/excess-baggagesearch-type=brandterm=benylin 1) Hair created from scratch in ice strands including clumping http://www.glassworks.co.uk/video/summer-sport-0search-type=brandterm=freeview 1) Ice rigid bodies combine with ice syflex and custom hand cooked verlet for the strings And many many more. -- Alastair Hearsum Head of 3d GLASSWORKS 33/34 Great Pulteney Street London W1F 9NP +44 (0)20 7434 1182 glassworks.co.uk http://www.glassworks.co.uk/ Glassworks Terms and Conditions of Sale can be found at glassworks.co.uk (Company registered in England with number 04759979. Registered office 25 Harley Street, London, W1G 9BR. VAT registration number: 86729) Please consider the environment before you print this email. DISCLAIMER: This e-mail and attachments are strictly privileged, private and confidential and are intended solely for the stated recipient(s). Any views or opinions presented are solely those of the author and do not necessarily represent those of the Company. If you are not the intended recipient, be advised that you have received this e-mail in error and that any use, dissemination
Re: What use is ICE really?
Great stuff Keep it all coming everyone A Alastair Hearsum Head of 3d GLASSWORKS 33/34 Great Pulteney Street London W1F 9NP +44 (0)20 7434 1182 glassworks.co.uk http://www.glassworks.co.uk/ Glassworks Terms and Conditions of Sale can be found at glassworks.co.uk (Company registered in England with number 04759979. Registered office 25 Harley Street, London, W1G 9BR. VAT registration number: 86729) Please consider the environment before you print this email. DISCLAIMER: This e-mail and attachments are strictly privileged, private and confidential and are intended solely for the stated recipient(s). Any views or opinions presented are solely those of the author and do not necessarily represent those of the Company. If you are not the intended recipient, be advised that you have received this e-mail in error and that any use, dissemination, forwarding, printing, or copying of this e-mail is strictly prohibited. If this transmission is received in error please kindly return it to the sender and delete this message from your system. On 21/03/2014 12:58, Sebastian Kowalski wrote: http://www.sekow.com/subaru_carparts „vegetation“ system, rigs (character, flowers, camera), instancing galore, procedural aov management and so many more.. whole job would not been possible without ICE. http://www.sekow.com/catrice_color more ’traditional’ simulation. dust, fluids and shatter.. additional render support but again, crucial in scene management. http://www.sekow.com/kaercher_breeze dirt, bubbles and some fluids http://www.sekow.com/schwab_rollover pseudo swarm behavior and modeling http://www.sekow.com/anz neural networks out of strands, completely direct-able, no simulation involved at all. https://vimeo.com/89426397 post it setup, stop motion behavior .. technical animation there is so much more, I use it every friggin day. the most fun I have lately is in building whole scene management systems using just string type nodes. the tight relationship to the render tree.. damn I could cry .sebastian ——— http://www.sekow.com Am 21.03.2014 um 13:32 schrieb Paul Doyle technove...@gmail.com: Sorry if it was already linked, but there's a nice vimeo group for ICE videos here: https://vimeo.com/groups/ice Shows a lot of work as well as plugins and other capabilities. On 21 March 2014 08:26, Paul Griswold pgrisw...@fusiondigitalproductions.com mailto:pgrisw...@fusiondigitalproductions.com wrote: I typically use ICE for motion graphics. I try to avoid simulation as much as possible so I can have artistic control over the results. To me, fluid simulation is the absolute last thing I would be interested in or need. -Paul On Fri, Mar 21, 2014 at 8:06 AM, Juan Brockhaus juanxsil...@gmail.com mailto:juanxsil...@gmail.com wrote: Hi, totally agree with Jacob. can't talk about the project at the moment, but... I'm building shapes/objects made out of dominoes. I made different compounds to stack and pile dominoes in different ways and methods. And if the shapes/objects I have to create (and even the domino) change, it is all instantly updated. Only right at the end I add a Sim node and the whole things collapses... (obviously controlled with nulls, forces, etc...) The Sim is the last 5% of what I use ICE for. and another non-sim-ICE use example http://www.themill.com/work/qoros/shredder.aspx in most shots ICE to shred the car, keep rendernormals intact, bind HiRes to LowRes, etc (no sim, this is all hand animated...) Juan On Fri, Mar 21, 2014 at 12:02 PM, Alastair Hearsum hear...@glassworks.co.uk mailto:hear...@glassworks.co.uk wrote: sorry our website isn't playing ball. Its the wrong link https://www.youtube.com/watch?v=RZZOUq-FoG0 1) ice crowd Alastair Hearsum Head of 3d GLASSWORKS 33/34 Great Pulteney Street London W1F 9NP +44 (0)20 7434 1182 tel:%2B44%20%280%2920%207434%201182 glassworks.co.uk http://www.glassworks.co.uk/ Glassworks Terms and Conditions of Sale can be found at glassworks.co.uk http://glassworks.co.uk/ (Company registered in England with number 04759979. Registered office 25 Harley Street, London, W1G 9BR. VAT registration number: 86729) Please consider the environment before you print this email. DISCLAIMER: This e-mail and attachments are strictly privileged, private and confidential and are intended solely for the stated recipient(s). Any views or opinions presented are solely those of the author and do not necessarily represent those of the Company. If you are not the intended recipient
Re: ICE - When will we have todays functionality in Maya?
Hi Adrian I'm no egg head so forgive the simplicity of my question. Would this platform agnostic scenario actively prevent any of the procedures and scenarios that we currently use ICE for? Is ICE */so/* functional because its embedded in Softimage? Can we have the same functionality with a non embedded engine? Alastair Alastair Hearsum Head of 3d GLASSWORKS 33/34 Great Pulteney Street London W1F 9NP +44 (0)20 7434 1182 glassworks.co.uk http://www.glassworks.co.uk/ Glassworks Terms and Conditions of Sale can be found at glassworks.co.uk (Company registered in England with number 04759979. Registered office 25 Harley Street, London, W1G 9BR. VAT registration number: 86729) Please consider the environment before you print this email. DISCLAIMER: This e-mail and attachments are strictly privileged, private and confidential and are intended solely for the stated recipient(s). Any views or opinions presented are solely those of the author and do not necessarily represent those of the Company. If you are not the intended recipient, be advised that you have received this e-mail in error and that any use, dissemination, forwarding, printing, or copying of this e-mail is strictly prohibited. If this transmission is received in error please kindly return it to the sender and delete this message from your system. On 21/03/2014 16:53, Adrian Graham wrote: Ah, but may I respectfully point out that this was one of the problems with ICE, in that its complete and total integration into Softimage makes it difficult to engineer and manage, from a software and, unfortunately, a marketing point of view. Most modern software libraries are platform-agnostic, and this is what we're aiming for with Bifrost. The problem with ICE is that you had to use Softimage in order to gain access to it. Nothing against Softimage, just that you're limiting ICE's exposure to the industry at large. Would a renderer be more or less popular if it only worked with Maya, and not with Max or Houdini? No, it should be available on all applications, on all OSs if you want it to be successful. Adrian
Re: ICE - When will we have todays functionality in Maya?
I agree with martin peter and juan Alastair Hearsum Head of 3d GLASSWORKS 33/34 Great Pulteney Street London W1F 9NP +44 (0)20 7434 1182 glassworks.co.uk http://www.glassworks.co.uk/ Glassworks Terms and Conditions of Sale can be found at glassworks.co.uk (Company registered in England with number 04759979. Registered office 25 Harley Street, London, W1G 9BR. VAT registration number: 86729) Please consider the environment before you print this email. DISCLAIMER: This e-mail and attachments are strictly privileged, private and confidential and are intended solely for the stated recipient(s). Any views or opinions presented are solely those of the author and do not necessarily represent those of the Company. If you are not the intended recipient, be advised that you have received this e-mail in error and that any use, dissemination, forwarding, printing, or copying of this e-mail is strictly prohibited. If this transmission is received in error please kindly return it to the sender and delete this message from your system. On 21/03/2014 17:16, Juan Brockhaus wrote: totally agree with Martin and Peter. that's exactly what I'm also very much interested in. will BiFrost be as versatile as ICE? ;-) Juan On Fri, Mar 21, 2014 at 5:09 PM, Peter Agg peter@googlemail.com mailto:peter@googlemail.com wrote: Future releases could encompass more types of solvers (rigid, cloth, fluid, liquid, etc, all interacting). And from there, it would be amazing to see more procedural geometry generation, destruction and stuff like that. Just stepping away from solvers etc for a moment though: could I use Bifrost to do something un-simulated and simple like (for argument's sake) add the frame number onto the vertex y positions on an object if they're inside the volume of a polygon sphere? I know personally I'm not worried about the big effects, it's the small day-to-day 'simple' stuff which is where I'm concerned about not having ICE. On 21 March 2014 16:53, Adrian Graham adrian.gra...@autodesk.com mailto:adrian.gra...@autodesk.com wrote: Ah, but may I respectfully point out that this was one of the problems with ICE, in that its complete and total integration into Softimage makes it difficult to engineer and manage, from a software and, unfortunately, a marketing point of view. Most modern software libraries are platform-agnostic, and this is what we're aiming for with Bifrost. The problem with ICE is that you had to use Softimage in order to gain access to it. Nothing against Softimage, just that you're limiting ICE's exposure to the industry at large. Would a renderer be more or less popular if it only worked with Maya, and not with Max or Houdini? No, it should be available on all applications, on all OSs if you want it to be successful. Adrian From: softimage-boun...@listproc.autodesk.com mailto:softimage-boun...@listproc.autodesk.com [mailto:softimage-boun...@listproc.autodesk.com mailto:softimage-boun...@listproc.autodesk.com] On Behalf Of Chris Marshall Sent: Friday, March 21, 2014 6:52 AM To: softimage@listproc.autodesk.com mailto:softimage@listproc.autodesk.com Subject: Re: ICE - When will we have todays functionality in Maya? I think we can see there's some reason to look into Bifrost, but I also have a nagging feeling it's simply never going to achieve the same level of functionality as ICE, for the very reason ICE is essentially being shut down. ICE does what it does and is so much more than a particle system, because it is built into the very core of Softimage. To attempt to make Bifrost 'future proof' they are deliberately *not* building it into the core of Maya, thus allowing for the potential for it to be standalone and / or plugged into other software / platforms at a later date. But by approaching it in this way, it'll only ever be a bolt on, that surely can never achieve that level of flexibility that we have with ICE at the heart of Softimage. It feels that the very thing that makes ICE such an amazing tool is actually causing it's downfall, and is the reason Bifrost can never replace it. And that totally sucks! On 21 March 2014 10:29, Juan Brockhaus juanxsil...@gmail.com mailto:juanxsil...@gmail.commailto:juanxsil...@gmail.com mailto:juanxsil...@gmail.com wrote: Hey Adrian, this is some great info here. and makes me suddenly feel spmehow better ;-) maybe in two/three years time, when Soft slowly falls back (just due to no further development) BiFrost will be in a state where it can take over...? (wishful thinking) If I read between
Re: A confession
thankyou Alastair Hearsum Head of 3d GLASSWORKS 33/34 Great Pulteney Street London W1F 9NP +44 (0)20 7434 1182 glassworks.co.uk http://www.glassworks.co.uk/ Glassworks Terms and Conditions of Sale can be found at glassworks.co.uk (Company registered in England with number 04759979. Registered office 25 Harley Street, London, W1G 9BR. VAT registration number: 86729) Please consider the environment before you print this email. DISCLAIMER: This e-mail and attachments are strictly privileged, private and confidential and are intended solely for the stated recipient(s). Any views or opinions presented are solely those of the author and do not necessarily represent those of the Company. If you are not the intended recipient, be advised that you have received this e-mail in error and that any use, dissemination, forwarding, printing, or copying of this e-mail is strictly prohibited. If this transmission is received in error please kindly return it to the sender and delete this message from your system. On 19/03/2014 22:32, Raffaele Fragapane wrote: Sorry Luce-Eric, I have to disagree with this, and I find your examples defeat your own argument. I have had years to develop muscle memory in Maya, and I'm comfortable nearly anywhere in the software, at least everywhere I might need to be, and it's still very frequently an uphill struggle. Maya is hugely inconsistent, especially in the views you mention, compared to Softimage. You can get to decent operational speed in Maya, but a double digit number of years in I still have to write a script for something at least once a week... when it can be written at all. The main problem is twofold. The first part is that Maya absolutely requires you become a power user with an intimate understanding of the choices and modes of operation to be fluid when working. There is no hints to shortcuts, the shortcut editor is a mess, A LOT of absolutely key day one stuff is simply not available in the interface (if you don't watch a tutorial you will never find you need insert and x,c,v on a constant basis), and in general it actively discourages exploration by being punishing of any single mistake. Comparatively speaking Soft is a lot more in your face and immediate. Even if you don't know the software you can usually bumble your way around into finding what you need and first develop knowledge of what's available, and then developing muscle memory through simple repetition. The second part is developing muscle memory itself. You're a UI guy, I'm sure you've read your literature on user experience, learning patterns, conditioning and so on. XSI will generally confront you with about four or five key interaction models, and it hardly ever excepts them. Everything is a sticky key, every menu unfolds and works the same way, every panel toggles and offers options the same way and has functionality aggregated nearby that is generally understandable and correlated by similar rules. Conversely, Maya requires constant exceptions to learning. Altering interaction, which should all be part of the same learning group, is inconsistent. Some modifiers are sticky. Snapping is semi-sticky, as in it sticks only if you enter snapping before you draw/drag, whereas some things are completely non sticky, such as moving a pivot. Menus are generally click through, unless you access them from the hotbox, in which case they are, uselessly, hold-to-traverse. I could write you a long list, but my point is that while I do find people being excessively contrary and biased, but can't blame them for it given the situation, lets not pretend Maya's user experience is comparable but different: it simply isn't, and there's work to do. Hopefully H-Maya will go part or all the way to address it, but there are some very, very fundamental issues that worked their way backwards into the actual functional guts of Maya coming from its extremely poor, inconsistent, frustratingly fragmented and arbitrary interaction model. The GUI itself is probably not even worth discussing in depth. I mean, no arbitrary viewport arrangement after 16 years? F'in Seriously? And if you want me to use the stupid buttons on the left you're not even providing one with the left view vertical and a horizontal split on the right? Only the opposite. Come on, Luc, get on it and fix that shit already :p You did infinitely better work than this on XSI, bring it to Maya if you want people to use and don't be dismissive of people's opinions by saying you can only compare power-user experiences (beside the fact a Soft Power User will run circles around a Maya one in nearly any task when it comes to interaction). On Thu, Mar 20, 2014 at 1:45 AM, Luc-Eric Rousseau luceri...@gmail.com mailto:luceri...@gmail.com wrote: None of these products are for newbies; we spent years learning Softimage. Sounds like you wanted to edit a history node, doing a procedural modification
A confession
Folks Here is a confession. I've never used Maya! Not really. I've had a little poke every now and again but no more than make a sphere and spin round it. Now, the lack of Maya knowledge may diminish the value of my comments in some eyes but I think that , on the contrary, it puts me in quite a good position to appraise the software at a certain level. Here is an example of the trouble I'm having that may bring a smile to people's faces. But first just a couple of more sentences before I reveal my difficulty. I like to bill myself as the sensitive artist/animator who is technically all fingers and thumbs, like the woman by the side of her broken down car waiting on a big strong man to help her out. The truth is that its not true. I do have a degree in Fine Art but I also studied maths and physics at university and programmed extensively in Lisp in my first job. So I'm not stupid BUT: *I'm on my third night trying to adjust the resolution of a sphere after I have applied n-cloth to it!* Isn't that incredible? Its one example plucked from many experienced by people I work with who can and have used Maya. Its symptomatic of the all encompassing interface workflow issues that Maya has that I think are really fundamental problems and more important in some ways than headline large features. Admittedly I had had a couple of glasses of wine by that point and it was a casual , before bedtime attempt to try something out but I had already twice asked my colleague at work to explain what the procedure was and I followed what he was doing at the time. So there you have it. Is it me.? Alastair -- Alastair Hearsum Head of 3d GLASSWORKS 33/34 Great Pulteney Street London W1F 9NP +44 (0)20 7434 1182 glassworks.co.uk http://www.glassworks.co.uk/ Glassworks Terms and Conditions of Sale can be found at glassworks.co.uk (Company registered in England with number 04759979. Registered office 25 Harley Street, London, W1G 9BR. VAT registration number: 86729) Please consider the environment before you print this email. DISCLAIMER: This e-mail and attachments are strictly privileged, private and confidential and are intended solely for the stated recipient(s). Any views or opinions presented are solely those of the author and do not necessarily represent those of the Company. If you are not the intended recipient, be advised that you have received this e-mail in error and that any use, dissemination, forwarding, printing, or copying of this e-mail is strictly prohibited. If this transmission is received in error please kindly return it to the sender and delete this message from your system.
Re: A confession
Graham I think its disingenuous to ascribe the difficulties people have in doing things in Maya only to the workflow being different. It was simple example I gave and I would have hoped that it would have highlighted the Maya workflow as being, dare I say, bad. I hope you don't mind the analogy here but the first step to an alcoholics recovery is admitting the problem. Marc Stevens went as far as he could in the webinar in conceding that there may be qualitative differences in the Maya/Softimage interface workflow scenario and that it is something that you are looking at So yes, different, but lets not shy away from calling a spade a spade. Alastair Alastair Hearsum Head of 3d GLASSWORKS 33/34 Great Pulteney Street London W1F 9NP +44 (0)20 7434 1182 glassworks.co.uk http://www.glassworks.co.uk/ Glassworks Terms and Conditions of Sale can be found at glassworks.co.uk (Company registered in England with number 04759979. Registered office 25 Harley Street, London, W1G 9BR. VAT registration number: 86729) Please consider the environment before you print this email. DISCLAIMER: This e-mail and attachments are strictly privileged, private and confidential and are intended solely for the stated recipient(s). Any views or opinions presented are solely those of the author and do not necessarily represent those of the Company. If you are not the intended recipient, be advised that you have received this e-mail in error and that any use, dissemination, forwarding, printing, or copying of this e-mail is strictly prohibited. If this transmission is received in error please kindly return it to the sender and delete this message from your system. On 19/03/2014 11:31, Graham Bell wrote: I've use both Maya and Softimage (XSI) for years, and the problem (imo) that many will make is that they're two different applications. You simply can't go into one and expect it to work in the same way to something else. This is no different to when jumping to Modo, Houdini, or Max. From: softimage-boun...@listproc.autodesk.com [mailto:softimage-boun...@listproc.autodesk.com] On Behalf Of Martin Yara Sent: 19 March 2014 11:19 To: softimage@listproc.autodesk.com Subject: Re: A confession You shouldn't rely too much on the outliners, they are nowhere near what SI Explorer is. But if you must, and want to open multiple outliners ala Softimage, you can do it with something like this: // MEL //- window -t Outliner -wh 200 500; frameLayout -labelVisible false; string $panel = `outlinerPanel`; showWindow; //- Yeah, you have to script a lot in Maya. Even for stupid things like this. Knowing basic scripting in SI is very useful, but in Maya, not knowing basic scripting may be critical. Martin On Wed, Mar 19, 2014 at 6:51 PM, Ivan Vasiljevic klebed...@gmail.commailto:klebed...@gmail.com wrote: You should go with something more simpler for start: Try opening few outliners as you would often have few explorer opened in SI.
Re: A confession
Graham Sorry , I just can't accept that. We have very experienced people here who have used Maya a lot in production. I trust them implicitly. They produce some of our best work. They are not raving newbies and have shown repeatedly their willingness and ability to embrace new technology and workflows. Its not only from my lack of experience that I have formed my opinions. I'll say it again, Maya's interface and general workflow leaves a lot to be desired. If you want to listen and you have a genuine desire to improve Maya, this what we are saying. Alastair Alastair Hearsum Head of 3d GLASSWORKS 33/34 Great Pulteney Street London W1F 9NP +44 (0)20 7434 1182 glassworks.co.uk http://www.glassworks.co.uk/ Glassworks Terms and Conditions of Sale can be found at glassworks.co.uk (Company registered in England with number 04759979. Registered office 25 Harley Street, London, W1G 9BR. VAT registration number: 86729) Please consider the environment before you print this email. DISCLAIMER: This e-mail and attachments are strictly privileged, private and confidential and are intended solely for the stated recipient(s). Any views or opinions presented are solely those of the author and do not necessarily represent those of the Company. If you are not the intended recipient, be advised that you have received this e-mail in error and that any use, dissemination, forwarding, printing, or copying of this e-mail is strictly prohibited. If this transmission is received in error please kindly return it to the sender and delete this message from your system. On 19/03/2014 13:25, Graham Bell wrote: I'm not being disingenuous at all, only that this is a common problem when people jump from one software to another. I've seen this many times from users where they start in another package and try to do the exact same workflow, only to then become frustrated. You can't jump to something else and expect it to work in the same way, you simply can't. It's a recipe for disaster. And it's all too easy to label something as being bad. I'm not saying that Maya's workflow is superior either. There are things I like and hate about Maya, but you could also say the same about Softimage and any software package to be fair. I think it was Luc-Eric who said in a previous post that apps have their set of compromises, which we essentially accept. Chris has mention on work starting to improve Maya's UI and I welcome that. And if there some Softimage goodness in there, then I welcome that too. From: softimage-boun...@listproc.autodesk.com [mailto:softimage-boun...@listproc.autodesk.com] On Behalf Of Alastair Hearsum Sent: 19 March 2014 12:45 To: softimage@listproc.autodesk.com Subject: Re: A confession Graham I think its disingenuous to ascribe the difficulties people have in doing things in Maya only to the workflow being different. It was simple example I gave and I would have hoped that it would have highlighted the Maya workflow as being, dare I say, bad. I hope you don't mind the analogy here but the first step to an alcoholics recovery is admitting the problem. Marc Stevens went as far as he could in the webinar in conceding that there may be qualitative differences in the Maya/Softimage interface workflow scenario and that it is something that you are looking at So yes, different, but lets not shy away from calling a spade a spade. Alastair Alastair Hearsum Head of 3d [GLASSWORKS] 33/34 Great Pulteney Street London W1F 9NP +44 (0)20 7434 1182 glassworks.co.ukhttp://www.glassworks.co.uk/ Glassworks Terms and Conditions of Sale can be found at glassworks.co.uk (Company registered in England with number 04759979. Registered office 25 Harley Street, London, W1G 9BR. VAT registration number: 86729) Please consider the environment before you print this email. DISCLAIMER: This e-mail and attachments are strictly privileged, private and confidential and are intended solely for the stated recipient(s). Any views or opinions presented are solely those of the author and do not necessarily represent those of the Company. If you are not the intended recipient, be advised that you have received this e-mail in error and that any use, dissemination, forwarding, printing, or copying of this e-mail is strictly prohibited. If this transmission is received in error please kindly return it to the sender and delete this message from your system. On 19/03/2014 11:31, Graham Bell wrote: I've use both Maya and Softimage (XSI) for years, and the problem (imo) that many will make is that they're two different applications. You simply can't go into one and expect it to work in the same way to something else. This is no different to when jumping to Modo, Houdini, or Max. From: softimage-boun...@listproc.autodesk.commailto:softimage-boun...@listproc.autodesk.com [mailto:softimage-boun...@listproc.autodesk.com] On Behalf Of Martin Yara Sent: 19 March 2014 11:19 To: softimage
Re: A confession
Sorry Luc If you re-read my last mail I'm talking about the opinions of my colleagues who know how to use it. Alastair Hearsum Head of 3d GLASSWORKS 33/34 Great Pulteney Street London W1F 9NP +44 (0)20 7434 1182 glassworks.co.uk http://www.glassworks.co.uk/ Glassworks Terms and Conditions of Sale can be found at glassworks.co.uk (Company registered in England with number 04759979. Registered office 25 Harley Street, London, W1G 9BR. VAT registration number: 86729) Please consider the environment before you print this email. DISCLAIMER: This e-mail and attachments are strictly privileged, private and confidential and are intended solely for the stated recipient(s). Any views or opinions presented are solely those of the author and do not necessarily represent those of the Company. If you are not the intended recipient, be advised that you have received this e-mail in error and that any use, dissemination, forwarding, printing, or copying of this e-mail is strictly prohibited. If this transmission is received in error please kindly return it to the sender and delete this message from your system. On 19/03/2014 14:45, Luc-Eric Rousseau wrote: None of these products are for newbies; we spent years learning Softimage. Sounds like you wanted to edit a history node, doing a procedural modification. You'd open the node editor or try the input section of the channel box. This is a first days stuff. We would probably not have had a render tree in XSI if we had focused on simplicity over power. And certainly not Ice. God you have to guess node name and search for them, are you kidding me. Even with classic simulation it's not always obvious to know what to select and when to call menu. There is all sort of stuff we just learn - the measure of usability is how well you can do more complex stuff once you know the basics On Mar 19, 2014 9:55 AM, Alastair Hearsum hear...@glassworks.co.uk mailto:hear...@glassworks.co.uk wrote: Graham Sorry , I just can't accept that. We have very experienced people here who have used Maya a lot in production. I trust them implicitly. They produce some of our best work. They are not raving newbies and have shown repeatedly their willingness and ability to embrace new technology and workflows. Its not only from my lack of experience that I have formed my opinions. I'll say it again, Maya's interface and general workflow leaves a lot to be desired. If you want to listen and you have a genuine desire to improve Maya, this what we are saying. Alastair Alastair Hearsum Head of 3d GLASSWORKS 33/34 Great Pulteney Street London W1F 9NP +44 (0)20 7434 1182 tel:%2B44%20%280%2920%207434%201182 glassworks.co.uk http://www.glassworks.co.uk/ Glassworks Terms and Conditions of Sale can be found at glassworks.co.uk http://glassworks.co.uk (Company registered in England with number 04759979. Registered office 25 Harley Street, London, W1G 9BR. VAT registration number: 86729) Please consider the environment before you print this email. DISCLAIMER: This e-mail and attachments are strictly privileged, private and confidential and are intended solely for the stated recipient(s). Any views or opinions presented are solely those of the author and do not necessarily represent those of the Company. If you are not the intended recipient, be advised that you have received this e-mail in error and that any use, dissemination, forwarding, printing, or copying of this e-mail is strictly prohibited. If this transmission is received in error please kindly return it to the sender and delete this message from your system. On 19/03/2014 13:25, Graham Bell wrote: I'm not being disingenuous at all, only that this is a common problem when people jump from one software to another. I've seen this many times from users where they start in another package and try to do the exact same workflow, only to then become frustrated. You can't jump to something else and expect it to work in the same way, you simply can't. It's a recipe for disaster. And it's all too easy to label something as being bad. I'm not saying that Maya's workflow is superior either. There are things I like and hate about Maya, but you could also say the same about Softimage and any software package to be fair. I think it was Luc-Eric who said in a previous post that apps have their set of compromises, which we essentially accept. Chris has mention on work starting to improve Maya's UI and I welcome that. And if there some Softimage goodness in there, then I welcome that too. From:softimage-boun...@listproc.autodesk.com mailto:softimage-boun...@listproc.autodesk.com [mailto:softimage-boun...@listproc.autodesk.com] On Behalf Of Alastair Hearsum Sent: 19 March 2014 12:45 To:softimage@listproc.autodesk.com mailto:softimage
Re: A confession
Graham I may well be imposing my own emphasis on the word totally in your sentence: I don't accept that Maya's UI and workflow is 'totally' crap. But you have put quotations round the word. Would I be wrong in rephrasing your sentence to be: .Maya's UI and workflow is crap but not totally Alastair Alastair Hearsum Head of 3d GLASSWORKS 33/34 Great Pulteney Street London W1F 9NP +44 (0)20 7434 1182 glassworks.co.uk http://www.glassworks.co.uk/ Glassworks Terms and Conditions of Sale can be found at glassworks.co.uk (Company registered in England with number 04759979. Registered office 25 Harley Street, London, W1G 9BR. VAT registration number: 86729) Please consider the environment before you print this email. DISCLAIMER: This e-mail and attachments are strictly privileged, private and confidential and are intended solely for the stated recipient(s). Any views or opinions presented are solely those of the author and do not necessarily represent those of the Company. If you are not the intended recipient, be advised that you have received this e-mail in error and that any use, dissemination, forwarding, printing, or copying of this e-mail is strictly prohibited. If this transmission is received in error please kindly return it to the sender and delete this message from your system. On 19/03/2014 14:45, Graham Bell wrote: I totally agree. I'm not defending Maya as some kind of perfection, far from it. But at the same time, I don't accept that Maya's UI and workflow is 'totally' crap. I actually like various bits of Maya, but are there big chunks of it that need addressing? You betcha. And I'm all for change and I'd love to have Softs rendering 'system' in Maya, but I would also echo what Marc Stevens said in that I wouldn't perhaps copy/paste a feature, but take the best and build something new. G From: softimage-boun...@listproc.autodesk.com [mailto:softimage-boun...@listproc.autodesk.com] On Behalf Of Jacob Gonzalez Sent: 19 March 2014 14:28 To: softimage@listproc.autodesk.com Subject: Re: A confession Hi Graham Apart from a shot experience using Maya I also did the same with Houdini. And again i was rendering. With Houdini I was frustrated the first few days as I felt I could do things quicker in Soft. But it was much more interesting than Maya since I could see the potential. After 3 weeks rendering with houdini I was actually quite happy about it. It's flexible, powerful and let's the artist enjoy a rendering workflow. My experience with Maya was totally the opposite. I don't have a massive experience with either Houdini or Maya, just a short one. But I am very experienced with Soft and I now what it works for me and what it doesnt. If AD makes rendering in Maya as nice as in XSI, takes ICE into Maya, etc. I would be very happy, sincemost likely I will be switching to Maya - but I doubt they will. J On Wed, Mar 19, 2014 at 2:08 PM, Perry Harovas perryharo...@gmail.commailto:perryharo...@gmail.com wrote: Maya = WorkDrip Softimage = WorkFlow On Wed, Mar 19, 2014 at 9:59 AM, Gaël Honorez g...@nozon.commailto:g...@nozon.com wrote: We are using maya here for a dozen of years, but we are still trying to run away from it on every occasion possible. Today, we read the what's new page for maya 2015. Maya 2015 addresses at least 30 workflow obstacles identified as high priority by customers. That sentence make us laugh during all launch break. I don't know what customers you asked, but I can tell you 30 workflow problems in the color picker alone. I just hope you forgot a 0 somewhere. On 19/03/2014 14:25, Graham Bell wrote: I'm not being disingenuous at all, only that this is a common problem when people jump from one software to another. I've seen this many times from users where they start in another package and try to do the exact same workflow, only to then become frustrated. You can't jump to something else and expect it to work in the same way, you simply can't. It's a recipe for disaster. And it's all too easy to label something as being bad. I'm not saying that Maya's workflow is superior either. There are things I like and hate about Maya, but you could also say the same about Softimage and any software package to be fair. I think it was Luc-Eric who said in a previous post that apps have their set of compromises, which we essentially accept. Chris has mention on work starting to improve Maya's UI and I welcome that. And if there some Softimage goodness in there, then I welcome that too. From: softimage-boun...@listproc.autodesk.commailto:softimage-boun...@listproc.autodesk.com [mailto:softimage-boun...@listproc.autodesk.commailto:softimage-boun...@listproc.autodesk.com] On Behalf Of Alastair Hearsum Sent: 19 March 2014 12:45 To: softimage@listproc.autodesk.commailto:softimage@listproc.autodesk.com Subject: Re: A confession Graham I think its disingenuous to ascribe the difficulties people have in doing
Re: Maya UI aesthetics
Eugene Brilliant brilliant brilliant. Exactly. Very well put. I often think of the analogy of mobile phones. Before Apple (and don't get me wrong here, I'm no Apple fan boy) you had flip phones, slidey phones, phones with loads of keys, phones with few all sorts of ugly shapes and ill considered graphics. Apple came along and you thought how could it have been any other way. That is what you are aiming for and, to an extent, what Softimage has. It has been designed with some thought. The Maya UI has not been designed by a good designer. Alastair Alastair Hearsum Head of 3d GLASSWORKS 33/34 Great Pulteney Street London W1F 9NP +44 (0)20 7434 1182 glassworks.co.uk http://www.glassworks.co.uk/ Glassworks Terms and Conditions of Sale can be found at glassworks.co.uk (Company registered in England with number 04759979. Registered office 25 Harley Street, London, W1G 9BR. VAT registration number: 86729) Please consider the environment before you print this email. DISCLAIMER: This e-mail and attachments are strictly privileged, private and confidential and are intended solely for the stated recipient(s). Any views or opinions presented are solely those of the author and do not necessarily represent those of the Company. If you are not the intended recipient, be advised that you have received this e-mail in error and that any use, dissemination, forwarding, printing, or copying of this e-mail is strictly prohibited. If this transmission is received in error please kindly return it to the sender and delete this message from your system. On 17/03/2014 11:21, Eugen Sares wrote: Cite from Chris Vienneau: As for the workflows we have an internal project called Project H (or Humanize Maya) where we are working with all sorts of users from students to pros to studios to come up with proposals to the problems that have come up here and in the Maya user base. We invite anyone here and many of you have taken up our offer to contribute and it is up to us to show that we are delivering over the next two years during the transition period. If we don't at the end than you will all have choices and plenty of time to evaluate your options. 'Humanize Maya'... I like that! It brings me to a topic that often seems to falls short in discussions about a user interface, due to the technical nature of 3d applications: aesthetics/readability. Not workflow logic/consistency/ergonomics, which are of course absolutely vital (and also one of Maya's big weaknesses, but I'm leaving this out intentionally for now), but just the sheer visual appearance. An equally important piece in the puzzle in my opinion. As someone with an education and background in graphics design, I dare to say that Maya's UI is ugly. Like the devil's old grandmother. Why? Imagine the cockpit of a jet plane riddled with such a motley bunch of deranged elements and icons... get the point? Presenting complexity in a way that can be processed by our visual cortex with the least effort is an art form, and Maya fails miserably. Softimage did it right. Ironically, where Maya shows it's qualities mostly (...) is as a studio 'backbone' - exactly where you would least expect people fancying funny little fiddly colored icons. Like putting a hello kitty sticker on the airplane's throttle control Some recommendations: Generally, reduce the visual clutter! Hide everything that isn't important - show in only in the proper context. Hire graphics designers, in addition to user interface designers, if you didn't already - the best you can find. The ones with a good taste. Text instead of icons, wherever you can! For me, it's no question that text is easier to 'read' than icons, from a certain (quite low) level of complexity on. A simple arrow is ok, but just don't tell me most of those Maya icons are intuitive... Tastes are different, true, but at least give the user the option to switch icon/text, or both! Offer a colorless UI scheme, or at least one with a much reduced palette! Make the UI steplessly scalable! You probably have the chance now, after all you use Qt. The hypergraph/hypershade icons, also the Bifröst nodes, from what I see... horrible design. Compare this to ICE! Try to find a color code where the different colors have the same lightness. E.g. dark blue is barely visible, and you get a confusing and misleading visual contrast between elements of equal importance. Get inspired... Softimage has this noble, modest and efficient appearance. Windows Metro - if Microsoft has the courage for such a step, maybe you do, too. Less is more - I can't think of a better example of that old saying! We all eat with our eyes also, don't we, and after all 3d users are mostly visual people (sometimes I'm not so sure about developers). All this might sound superficial, but when it helps keeping track, it ain't anymore. And, finally, what harm is done when your girlfriend puts one some mascara... ; } Thanks for your
Stand up and be counted
Hello Could I be so bold as to encourage everyone out there to petition the prominent people in their organisations to stand up and make a statement. Outside the list would be most beneficial. Do they have journalistic contacts, open letters etc. The deed may be done but we want to have a voice, if Maya is a choice, into what the development priorities are. And, I may be being melodramatic here, we want them to look into our eyes are they are twisting the knife. Thanks Alastair Hearsum -- Alastair Hearsum Head of 3d GLASSWORKS 33/34 Great Pulteney Street London W1F 9NP +44 (0)20 7434 1182 glassworks.co.uk http://www.glassworks.co.uk/ Glassworks Terms and Conditions of Sale can be found at glassworks.co.uk (Company registered in England with number 04759979. Registered office 25 Harley Street, London, W1G 9BR. VAT registration number: 86729) Please consider the environment before you print this email. DISCLAIMER: This e-mail and attachments are strictly privileged, private and confidential and are intended solely for the stated recipient(s). Any views or opinions presented are solely those of the author and do not necessarily represent those of the Company. If you are not the intended recipient, be advised that you have received this e-mail in error and that any use, dissemination, forwarding, printing, or copying of this e-mail is strictly prohibited. If this transmission is received in error please kindly return it to the sender and delete this message from your system.
Re: Stand up and be counted
I've tried but need an introduction Can anyone introduce me? Alastair Hearsum Head of 3d GLASSWORKS 33/34 Great Pulteney Street London W1F 9NP +44 (0)20 7434 1182 glassworks.co.uk http://www.glassworks.co.uk/ Glassworks Terms and Conditions of Sale can be found at glassworks.co.uk (Company registered in England with number 04759979. Registered office 25 Harley Street, London, W1G 9BR. VAT registration number: 86729) Please consider the environment before you print this email. DISCLAIMER: This e-mail and attachments are strictly privileged, private and confidential and are intended solely for the stated recipient(s). Any views or opinions presented are solely those of the author and do not necessarily represent those of the Company. If you are not the intended recipient, be advised that you have received this e-mail in error and that any use, dissemination, forwarding, printing, or copying of this e-mail is strictly prohibited. If this transmission is received in error please kindly return it to the sender and delete this message from your system. On 17/03/2014 14:14, Halim Negadi wrote: Alastair, how about starting the same thread on 3D pro ? On Mon, Mar 17, 2014 at 3:11 PM, Michal Doniec doni...@gmail.com mailto:doni...@gmail.com wrote: I meant he is not on the list On 17 March 2014 14:10, Michal Doniec doni...@gmail.com mailto:doni...@gmail.com wrote: Dave is on the list. He's be thrown off the list 15 years ago :) On 17 March 2014 13:35, Andi Farhall hack...@outlook.com mailto:hack...@outlook.com wrote: I wonder what Dave Levy thinks? I'm sure he's listening? you there Dave? Do I need to tempt you with a spoon? A. ... http://www.hackneyeffects.com/ https://vimeo.com/user4174293 http://www.linkedin.com/pub/andi-farhall/b/496/b21 http://www.flickr.com/photos/lord_hackney/ http://spylon.tumblr.com/ This email and any attachments to it may be confidential and are intended solely for the use of the individual to whom it is addressed. Any views or opinions expressed are solely those of the author and do not necessarily represent those of Hackney Effects Ltd. If you are not the intended recipient of this email, you must neither take any action based upon its contents, nor copy or show it to anyone. Please contact the sender if you believe you have received this email in error. From: perryharo...@gmail.com mailto:perryharo...@gmail.com Subject: Re: Stand up and be counted Date: Mon, 17 Mar 2014 08:10:14 -0400 To: softimage@listproc.autodesk.com mailto:softimage@listproc.autodesk.com Alastair, This is exactly what is needed. Thank you for stating this (and STARTING this)! Perry On Mar 17, 2014, at 4:32 AM, Alastair Hearsum hear...@glassworks.co.uk mailto:hear...@glassworks.co.uk wrote: Hello Could I be so bold as to encourage everyone out there to petition the prominent people in their organisations to stand up and make a statement. Outside the list would be most beneficial. Do they have journalistic contacts, open letters etc. The deed may be done but we want to have a voice, if Maya is a choice, into what the development priorities are. And, I may be being melodramatic here, we want them to look into our eyes are they are twisting the knife. Thanks Alastair Hearsum -- Alastair Hearsum Head of 3d GLASSWORKS 33/34 Great Pulteney Street London W1F 9NP +44 (0)20 7434 1182 tel:%2B44%20%280%2920%207434%201182 glassworks.co.uk http://www.glassworks.co.uk/ Glassworks Terms and Conditions of Sale can be found at glassworks.co.uk http://glassworks.co.uk (Company registered in England with number 04759979. Registered office 25 Harley Street, London, W1G 9BR. VAT registration number: 86729) Please consider the environment before you print this email. DISCLAIMER: This e-mail and attachments are strictly privileged, private and confidential
Autodesk response
Hello Following this article http://www.creativebloq.com/3d/rip-softimage-reaction-autodesks-decision-kill-3d-software-31410967 here is Autodesk's response http://www.creativebloq.com/3d/rip-softimage-autodesk-responds-31411033 Alastair -- Alastair Hearsum Head of 3d GLASSWORKS 33/34 Great Pulteney Street London W1F 9NP +44 (0)20 7434 1182 glassworks.co.uk http://www.glassworks.co.uk/ Glassworks Terms and Conditions of Sale can be found at glassworks.co.uk (Company registered in England with number 04759979. Registered office 25 Harley Street, London, W1G 9BR. VAT registration number: 86729) Please consider the environment before you print this email. DISCLAIMER: This e-mail and attachments are strictly privileged, private and confidential and are intended solely for the stated recipient(s). Any views or opinions presented are solely those of the author and do not necessarily represent those of the Company. If you are not the intended recipient, be advised that you have received this e-mail in error and that any use, dissemination, forwarding, printing, or copying of this e-mail is strictly prohibited. If this transmission is received in error please kindly return it to the sender and delete this message from your system.
Re: Idea- Just keep Mental Ray and FBX support - Softimage free w/Maya or Max or any Suite.
Julian Great. Articulate a Alastair Hearsum Head of 3d GLASSWORKS 33/34 Great Pulteney Street London W1F 9NP +44 (0)20 7434 1182 glassworks.co.uk http://www.glassworks.co.uk/ Glassworks Terms and Conditions of Sale can be found at glassworks.co.uk (Company registered in England with number 04759979. Registered office 25 Harley Street, London, W1G 9BR. VAT registration number: 86729) Please consider the environment before you print this email. DISCLAIMER: This e-mail and attachments are strictly privileged, private and confidential and are intended solely for the stated recipient(s). Any views or opinions presented are solely those of the author and do not necessarily represent those of the Company. If you are not the intended recipient, be advised that you have received this e-mail in error and that any use, dissemination, forwarding, printing, or copying of this e-mail is strictly prohibited. If this transmission is received in error please kindly return it to the sender and delete this message from your system. On 16/03/2014 08:47, Julian Johnson wrote: On 15/03/2014 17:44, Graham Bell wrote: I¹ve absolutely no doubt, but in all the time I¹ve demoed Softimage, even pre-AD, there was never anyone who didn¹t like the software, tech or couldn¹t see the potential benefits. However despite this, it wasn¹t easy for people to simply adopt. We could easily lead the horse to water, but never make it drink. Graham, as everyone at Autodesk seems convinced there is no market for Softimage what harm could there be in selling it? If the might of Autodesk's marketing resources had no impact then it stands to reason that no one else is going to be able to make a success of it. I mean you've tried your best, right? It's just not possible to market Softimage. Avid tried and failed, you tried and failed. It stands absolutely no chance of ever becoming a competitor to Maya or Max as it's too hard to adopt. Why not, therefore, sell it on to an interested third party who could solely cater for the niche Softimage audience? Don't we all win that way? We have an interested 'owner' - you can focus your resources on Maya and Max and walk away with a lump sum for 'innovative' RD and you still have no competition. You no longer have an alienated and hostile Softimage customer base. Better still, as soon as Maya becomes a more attractive option we then have the choice to adopt or not. Given the myriad improvements listed by Chris that adoption in a few years time should be a no-brainer for us, shouldn't it? We can once more re-enter the Autodesk fold willingly and migrate to the better product. If you, Chris and Maurice genuinely believe in 'new' Maya and Autodesk's own marketing abilities it should be relatively easy to sell it to Softimage customers in a few years time. I'm sure we're going to be blown away by the new innovations that Maurice talked about. With the current roadmap and user input Maya will undoubtedly be a better product than Softimage is now. I know you wouldn't be asking us to transition to an inferior product - that just wouldn't make business sense. No billion dollar business would treat their customers that way. Fundamentally, it seems as though if the initial decision to buy XSI was motivated by a desire to move the product forward and market it in earnest (with a genuine business case that demonstrated either more sales or additional revenue - and why else would you have bought XSI?) then there has been a colossal failure in that business plan by Autodesk. The burden of that failure has been placed solely on the customers to whom, surely, Autodesk has some level of responsibility. And yet, that burden of responsibility doesn't seem to have been reflected in the manner in which Softimage is currently being EOL'd. I can't think of a more brutal scenario - immediate cessation of development; no prior warning; no safe-harbour alternative option; no pre-planning or understanding of the essential migratable features in Softimage; no in-place transition training; no concept of recompense for your failure; and no willingness to negotiate or ameliorate the terms of the EOL in any substantial way. Julian
Re: Idea- Just keep Mental Ray and FBX support - Softimage free w/Maya or Max or any Suite.
We do TV commercials almost exclusively. No games no movies. We have the best tool in SI Alastair Hearsum Head of 3d GLASSWORKS 33/34 Great Pulteney Street London W1F 9NP +44 (0)20 7434 1182 glassworks.co.uk http://www.glassworks.co.uk/ Glassworks Terms and Conditions of Sale can be found at glassworks.co.uk (Company registered in England with number 04759979. Registered office 25 Harley Street, London, W1G 9BR. VAT registration number: 86729) Please consider the environment before you print this email. DISCLAIMER: This e-mail and attachments are strictly privileged, private and confidential and are intended solely for the stated recipient(s). Any views or opinions presented are solely those of the author and do not necessarily represent those of the Company. If you are not the intended recipient, be advised that you have received this e-mail in error and that any use, dissemination, forwarding, printing, or copying of this e-mail is strictly prohibited. If this transmission is received in error please kindly return it to the sender and delete this message from your system. On 17/03/2014 15:20, Dan Yargici wrote: Hi Chris, I've had to ignore the list for the last week for personal reasons, so apologies if this has been mentioned somewhere across the myriad threads... I keep hearing yourself, Maurice, Graham, and everyone else from Autodesk who have stuck their heads above the parapet continuously mention movies and games, movies and games, movies and games (I've quoted the last paragraph from you mail below). It's always been my impression that most of the people on the list, and users of Softimage in general, are working in *broadcast and commercials*. Without wanting to step out of line, it seems to me to be the crux of your problem here and why you find yourselves having to swim so hard against this raging tide of discontent and abuse. In terms of creating broadcast and commercial graphics with it's associated constraints and problems, I think I speak for a lot of people here in saying we feel we already have the tool that we want and need (minus the continued feature updates and bugfixes we were already expecting before you dropped the bomb on us). Neither Maya or Max fit that bill as cleanly. Much akin to Brad's reference to bullet-point driven decision making, I think you have a large chunk of users here representing a square-peg which feel you are relentlessly trying to bash them through a round hole. Just an observation, and again, apologies if this has been mentioned previously, it's hard to keep track coming in cold after my break... DAN. On Sat, Mar 15, 2014 at 3:37 PM, Chris Vienneau chris.vienn...@autodesk.com mailto:chris.vienn...@autodesk.com wrote: First and foremost everyone who works at Autodesk in the ME division including the people who used to work at Soft (there are way more than have left) love the film and games industry and the chance to be a part of it. The decision with Soft was a hard one but we back it so we can focus on helping the ecosystem make better movies and games. Innovation comes from the synergies of all these products, platforms, hardware and your talent and putting that on any one tool or company does not capture what is still a vibrant passionate community. The business model right now sucks and things need to change but there is still a bright future ahead and many problems left to solve. cv/
Re: a NEW open letter to Autodesk
Good stuff Alastair Hearsum Head of 3d GLASSWORKS 33/34 Great Pulteney Street London W1F 9NP +44 (0)20 7434 1182 glassworks.co.uk http://www.glassworks.co.uk/ Glassworks Terms and Conditions of Sale can be found at glassworks.co.uk (Company registered in England with number 04759979. Registered office 25 Harley Street, London, W1G 9BR. VAT registration number: 86729) Please consider the environment before you print this email. DISCLAIMER: This e-mail and attachments are strictly privileged, private and confidential and are intended solely for the stated recipient(s). Any views or opinions presented are solely those of the author and do not necessarily represent those of the Company. If you are not the intended recipient, be advised that you have received this e-mail in error and that any use, dissemination, forwarding, printing, or copying of this e-mail is strictly prohibited. If this transmission is received in error please kindly return it to the sender and delete this message from your system. On 14/03/2014 11:52, adrian wyer wrote: at David Saber's suggestion, i'll start a new thread so it doesn't get lost in the noise; Autodesk, you probably don't know me, beyond a yearly subscription payment, so allow me to tell you about myself. I started in the 3D industry in the 1990s, using Softimage 3D at a small games company, before that I'd been training myself on a 'demo' copy of 3DS on Dos. From day one using Softimage it was obvious the pedigree and artist driven interface was light-years ahead of anything else I'd seen. When i moved to the post industry in Soho a few years later, i made sure that, even though i was working in a Lightwave house, they got me a copy of Softimage. Against a backdrop of Lightwave evangelists, i consistently produced work faster, and more elegantly than my peers. (this is purely down to the software, not my abilities) For a few years i was a senior artist at the Hive, i was adrift in a sea of Maya users, but slowly convinced my peers that Softimage (and then XSI, as i was involved in the beta program) was the better package for quick turnaround commercial work. Gaining a regular stream of repeat clients, asking for me by name. Moving on i went to head up the 3D department at MillTV, producing work well above the level of the budget, for television documentaries and drama. I worked on the tests which would convince the BBC to bring Doctor Who back from the dead. My colleague and friend Dave Throssell, who again, you probably don't know, but who was responsible for the success of Mill3D and their many award winning commercials during the 1990s, all produced on Softimage, left the mill with me, and we started Fluid Pictures in 2006. The decision to use XSI as our primary application was a no-brainer, the end-to-end ability of this software, to let an artist hit the ground running, without fighting the interface, or having to be a programmer, allowed us to produce work far in excess of the quality that the shrinking budgets of television should have allowed. There is LITERALLY NO WAY we could have competed in our market, with a small team, using ANY other package. Over the years ICE has become one of the reasons i come to work in the morning! The challenges presented by our clients become a joy to solve when i know i can jump into ICE, and figure out some clever way to shave hours or even days off production time. For us as a company, there really is NO alternative package, nothing does everything that Softimage does, nothing comes close. And when i get stuck, i have the Softimage community. The mailing list has been my online home since 1999, and i count some of its members as dear friends, without whom, again, i would have struggled to compete in the market place. The members are always there with words of encouragement and advice (and no small amount of ribbing!) the atmosphere is one of enlightened, grown up camaraderie. A place where you can ask the simplest, or most complicated of questions, and someone will usually be there to help you out. Finally, i would like to posit a suggestion, that may be too late, but would impress upon you to consider; Softimage, with a little love, and a little investment, coupled with better marketing strategy, could well be your missing effects pipeline. Your Houdini. Is there a way for the developers, and the third party guys, to work together with you, to take Softimage forward, to bridge the gap until Bifrost is mature, and become your fx software? By all means keep it in the suites, concentrate mainly on bug fixes, but please, don't kill our baby! a Adrian Wyer Fluid Pictures 75-77 Margaret St. London W1W 8SY ++44(0) 207 580 0829 adrian.w...@fluid-pictures.com blocked::blocked::blocked::blocked::blocked::blocked::mailto:adrian.w...@fluid-pictures.com www.fluid-pictures.com blocked::blocked::blocked::blocked::blocked::blocked::http://www.fluid
MAYA community
Folks Doses anyone know the equivalent of this list for Maya users? I wanted to pose some questions to them. Alastair -- Alastair Hearsum Head of 3d GLASSWORKS 33/34 Great Pulteney Street London W1F 9NP +44 (0)20 7434 1182 glassworks.co.uk http://www.glassworks.co.uk/ Glassworks Terms and Conditions of Sale can be found at glassworks.co.uk (Company registered in England with number 04759979. Registered office 25 Harley Street, London, W1G 9BR. VAT registration number: 86729) Please consider the environment before you print this email. DISCLAIMER: This e-mail and attachments are strictly privileged, private and confidential and are intended solely for the stated recipient(s). Any views or opinions presented are solely those of the author and do not necessarily represent those of the Company. If you are not the intended recipient, be advised that you have received this e-mail in error and that any use, dissemination, forwarding, printing, or copying of this e-mail is strictly prohibited. If this transmission is received in error please kindly return it to the sender and delete this message from your system.
Re: MAYA community
Thanks The questions I wanted to pose were more along the lines of : Are there Maya users here with direct experience of Softimage or who work alongside Softimage users in a larger facility who have opinions about what Softimage functionality they envy The aim is to get some counterpoint from that side of the equation to use in any discussions with Autodesk. The other type of question I have is something like I want to make a sphere and move it somewhere over time (as I struggle manfully with dark lord, but I'm not making them too public yet. Alastair Alastair Hearsum Head of 3d GLASSWORKS 33/34 Great Pulteney Street London W1F 9NP +44 (0)20 7434 1182 glassworks.co.uk http://www.glassworks.co.uk/ Glassworks Terms and Conditions of Sale can be found at glassworks.co.uk (Company registered in England with number 04759979. Registered office 25 Harley Street, London, W1G 9BR. VAT registration number: 86729) Please consider the environment before you print this email. DISCLAIMER: This e-mail and attachments are strictly privileged, private and confidential and are intended solely for the stated recipient(s). Any views or opinions presented are solely those of the author and do not necessarily represent those of the Company. If you are not the intended recipient, be advised that you have received this e-mail in error and that any use, dissemination, forwarding, printing, or copying of this e-mail is strictly prohibited. If this transmission is received in error please kindly return it to the sender and delete this message from your system. On 14/03/2014 14:05, Tim Leydecker wrote: You might like to google: maya_he3d google group https://groups.google.com/forum/#!forum/maya_he3d There´s many of the long-time Maya users there that transitioned from the old/closed m...@highend3d.com listserver. The volume is quite low. For specific questions you may as well probably go ahead and ask Stefan Andersson or Matt Estela. I think Matt set it up, in case you want to subscribe. Cheers, tim On 14.03.2014 13:44, Alastair Hearsum wrote: Folks Doses anyone know the equivalent of this list for Maya users? I wanted to pose some questions to them. Alastair -- Alastair Hearsum Head of 3d GLASSWORKS 33/34 Great Pulteney Street London W1F 9NP +44 (0)20 7434 1182 glassworks.co.uk http://www.glassworks.co.uk/ Glassworks Terms and Conditions of Sale can be found at glassworks.co.uk (Company registered in England with number 04759979. Registered office 25 Harley Street, London, W1G 9BR. VAT registration number: 86729) Please consider the environment before you print this email. DISCLAIMER: This e-mail and attachments are strictly privileged, private and confidential and are intended solely for the stated recipient(s). Any views or opinions presented are solely those of the author and do not necessarily represent those of the Company. If you are not the intended recipient, be advised that you have received this e-mail in error and that any use, dissemination, forwarding, printing, or copying of this e-mail is strictly prohibited. If this transmission is received in error please kindly return it to the sender and delete this message from your system.
Re: More XSI Monkey business by The Mill
Yep. Nice work there. Alastair Hearsum Head of 3d GLASSWORKS 33/34 Great Pulteney Street London W1F 9NP +44 (0)20 7434 1182 glassworks.co.uk http://www.glassworks.co.uk/ Glassworks Terms and Conditions of Sale can be found at glassworks.co.uk (Company registered in England with number 04759979. Registered office 25 Harley Street, London, W1G 9BR. VAT registration number: 86729) Please consider the environment before you print this email. DISCLAIMER: This e-mail and attachments are strictly privileged, private and confidential and are intended solely for the stated recipient(s). Any views or opinions presented are solely those of the author and do not necessarily represent those of the Company. If you are not the intended recipient, be advised that you have received this e-mail in error and that any use, dissemination, forwarding, printing, or copying of this e-mail is strictly prohibited. If this transmission is received in error please kindly return it to the sender and delete this message from your system. On 14/03/2014 14:33, Morten Bartholdy wrote: While we are talking about why we want to keep using XSI, here goes another very good reason: http://www.youtube.com/watch?v=TQo0Qtr5iU8 Morten
Re: MAYA community
Thanks Ivan You'll do for starters although a way of posing this question to a wider Maya user group would be good. The question is: Are there Maya users here with direct experience of Softimage or who work alongside Softimage users in a larger facility who have opinions about what Softimage functionality they envy The top 5 favourite features from our lovely Softimage list goes something like: 1) Clean elegant efficient user interface and logical workflow: enabling us to get things done quicker and with less pain. This so important and a really fundamental part of the fabric of the software. 2) ICE: its seamless powerful and all pervading presence; everything can connect to and control everything else 3) Render pass and partition system. It is absolutely robust and does all you expect. Indespensible. 4) Live operator stack and construction history. Its all alive all of the time enabling highly complex layering of effects and processes 5) Animation, modelling and rigging toolsets. They are peerless. Alastair Alastair Hearsum Head of 3d GLASSWORKS 33/34 Great Pulteney Street London W1F 9NP +44 (0)20 7434 1182 glassworks.co.uk http://www.glassworks.co.uk/ Glassworks Terms and Conditions of Sale can be found at glassworks.co.uk (Company registered in England with number 04759979. Registered office 25 Harley Street, London, W1G 9BR. VAT registration number: 86729) Please consider the environment before you print this email. DISCLAIMER: This e-mail and attachments are strictly privileged, private and confidential and are intended solely for the stated recipient(s). Any views or opinions presented are solely those of the author and do not necessarily represent those of the Company. If you are not the intended recipient, be advised that you have received this e-mail in error and that any use, dissemination, forwarding, printing, or copying of this e-mail is strictly prohibited. If this transmission is received in error please kindly return it to the sender and delete this message from your system. On 14/03/2014 15:13, Ivan Vasiljevic wrote: Hello there. @Alastair: I've starter with Maya 7-8 years ago and 4 years ago I had to switch to Softimage since I got my first job at Softimage facility back in the time. If there are any questions feel free to ask, here or of the list, I'll be pleased to answer. Cheers, Ivan. On Fri, Mar 14, 2014 at 3:58 PM, Emilio Hernandez emi...@e-roja.com mailto:emi...@e-roja.com wrote: Hey Alastair. It is funny you mention the sphere approach for evaluate the simplicity and how intuitive a program is. The sphere model and animate from frames 1 to 100 paradigm, is the one I used when I switched from 3D Studio to Softimage 3D. Without opening any manual I sat at a Softimage workstation, and I was able to create a sphere, translate it to an x position at frame 1, set a key and then translate it again to another position at frame 100 and set a key, and playback in 5 minutes. This paradigm is something I have used from ever since to evaluate how fast or slow I can start interacting with a new software, and gives me a first approach of the learning curve. I am not going to comment my experience in Maya when I applied this same paradigm about 10 years ago... But the result was that I uninstalled Maya from the workstations at my former studio even that the Autodesk sales rep at that time, left me with Maya open demo licenses that had some synth music when he was installing them in my computers. --- Emilio Hernández VFX 3D animation. 2014-03-14 8:41 GMT-06:00 Alastair Hearsum hear...@glassworks.co.uk mailto:hear...@glassworks.co.uk: Thanks The questions I wanted to pose were more along the lines of : Are there Maya users here with direct experience of Softimage or who work alongside Softimage users in a larger facility who have opinions about what Softimage functionality they envy The aim is to get some counterpoint from that side of the equation to use in any discussions with Autodesk. The other type of question I have is something like I want to make a sphere and move it somewhere over time (as I struggle manfully with dark lord, but I'm not making them too public yet. Alastair Alastair Hearsum Head of 3d GLASSWORKS 33/34 Great Pulteney Street London W1F 9NP +44 (0)20 7434 1182 tel:%2B44%20%280%2920%207434%201182 glassworks.co.uk http://www.glassworks.co.uk/ Glassworks Terms and Conditions of Sale can be found at glassworks.co.uk http://glassworks.co.uk (Company registered in England with number 04759979. Registered office 25 Harley Street, London, W1G 9BR. VAT registration number: 86729
YOUR TOP 5
Hello It seems as if I may have some contact with Autodesk shortly! I want to be armed with some points. What I'd like is your top 5 features that make Softimage great that we'd miss if we migrated to something else. Please don't give me more than 5 and please don't go on too long describing them (It takes a while to read all the posts). Thanks Alastair -- Alastair Hearsum Head of 3d GLASSWORKS 33/34 Great Pulteney Street London W1F 9NP +44 (0)20 7434 1182 glassworks.co.uk http://www.glassworks.co.uk/ Glassworks Terms and Conditions of Sale can be found at glassworks.co.uk (Company registered in England with number 04759979. Registered office 25 Harley Street, London, W1G 9BR. VAT registration number: 86729) Please consider the environment before you print this email. DISCLAIMER: This e-mail and attachments are strictly privileged, private and confidential and are intended solely for the stated recipient(s). Any views or opinions presented are solely those of the author and do not necessarily represent those of the Company. If you are not the intended recipient, be advised that you have received this e-mail in error and that any use, dissemination, forwarding, printing, or copying of this e-mail is strictly prohibited. If this transmission is received in error please kindly return it to the sender and delete this message from your system.
Re: YOUR TOP 5
Hi Maurice I've started a thread that you might be interested in. Alastair Alastair Hearsum Head of 3d GLASSWORKS 33/34 Great Pulteney Street London W1F 9NP +44 (0)20 7434 1182 glassworks.co.uk http://www.glassworks.co.uk/ Glassworks Terms and Conditions of Sale can be found at glassworks.co.uk (Company registered in England with number 04759979. Registered office 25 Harley Street, London, W1G 9BR. VAT registration number: 86729) Please consider the environment before you print this email. DISCLAIMER: This e-mail and attachments are strictly privileged, private and confidential and are intended solely for the stated recipient(s). Any views or opinions presented are solely those of the author and do not necessarily represent those of the Company. If you are not the intended recipient, be advised that you have received this e-mail in error and that any use, dissemination, forwarding, printing, or copying of this e-mail is strictly prohibited. If this transmission is received in error please kindly return it to the sender and delete this message from your system. On 13/03/2014 09:54, Alastair Hearsum wrote: Hello It seems as if I may have some contact with Autodesk shortly! I want to be armed with some points. What I'd like is your top 5 features that make Softimage great that we'd miss if we migrated to something else. Please don't give me more than 5 and please don't go on too long describing them (It takes a while to read all the posts). Thanks Alastair -- Alastair Hearsum Head of 3d GLASSWORKS 33/34 Great Pulteney Street London W1F 9NP +44 (0)20 7434 1182 glassworks.co.uk http://www.glassworks.co.uk/ Glassworks Terms and Conditions of Sale can be found at glassworks.co.uk (Company registered in England with number 04759979. Registered office 25 Harley Street, London, W1G 9BR. VAT registration number: 86729) Please consider the environment before you print this email. DISCLAIMER: This e-mail and attachments are strictly privileged, private and confidential and are intended solely for the stated recipient(s). Any views or opinions presented are solely those of the author and do not necessarily represent those of the Company. If you are not the intended recipient, be advised that you have received this e-mail in error and that any use, dissemination, forwarding, printing, or copying of this e-mail is strictly prohibited. If this transmission is received in error please kindly return it to the sender and delete this message from your system.
Re: A more graceful retirement - my counter offer
Hi Maurice As I've mentioned I've asked fellow SI users for their top 5 SI features and why they are passionate about them. This would be useful reading if you want our input. Alastair Alastair Hearsum Head of 3d GLASSWORKS 33/34 Great Pulteney Street London W1F 9NP +44 (0)20 7434 1182 glassworks.co.uk http://www.glassworks.co.uk/ Glassworks Terms and Conditions of Sale can be found at glassworks.co.uk (Company registered in England with number 04759979. Registered office 25 Harley Street, London, W1G 9BR. VAT registration number: 86729) Please consider the environment before you print this email. DISCLAIMER: This e-mail and attachments are strictly privileged, private and confidential and are intended solely for the stated recipient(s). Any views or opinions presented are solely those of the author and do not necessarily represent those of the Company. If you are not the intended recipient, be advised that you have received this e-mail in error and that any use, dissemination, forwarding, printing, or copying of this e-mail is strictly prohibited. If this transmission is received in error please kindly return it to the sender and delete this message from your system. On 13/03/2014 08:34, Maurice Patel wrote: Hi Tim, I don't think anyone here at Autodesk would disagree with you there. Softimage and 3ds Max were designed very much to be out of the box. Maya was designed differently. But Maya users have been asking for more artist friendly workflows and tools out of the box and we believe we can do this and do this really well. We are looking for input from Softimage users too. maurice Maurice Patel Autodesk : Tél: 514 954-7134 -Original Message- From: softimage-boun...@listproc.autodesk.com [mailto:softimage-boun...@listproc.autodesk.com] On Behalf Of Tim Leydecker Sent: Thursday, March 13, 2014 4:20 AM To: softimage@listproc.autodesk.com Subject: Re: A more graceful retirement - my counter offer Comparing Maya and Softimage jobs/projects I worked on for the last 10-15 yrs, I would come to the conclusion that I worked on many almost vanilla install Softimage projects while the Maya projects involved a significantly higher amount of using scripted extensions and plug-in functionality. That may boil down to the Softimage projects I was involved in being more from the commercials side of jobs while the Maya projects where often incorporating bigger teams or bigger promises made in advance. Currently, I´m on a Maya centric project, myself doing all the modeling in Softimage, creating assets and handing them off into the Maya pipeline. The reason I´m modeling in Softimage today is the 3D Love Tour and the home access to XSI Foundation this gave me back then. I will miss modeling in Softimage (2014sp2). Maya is not on par with Softimage in terms of fluidly modeling in my opinion. A co-worker is biased heavily towards C4D and I´m impressed with it´s potential. Personally, I haven´t decided where to lean to but am grateful for the heads-up and license conversion options offered by Autodesk. As a freelancer, I have learned not to expect being treated as part of the family, moving on is part of the job and am transfering this to the choice of my tools. I´ll see what´s out there and what comes next. All the best, tim
Re: YOUR TOP 5
Jordi I've got a bunch of columns and I'm copying and pasting the headline items from the users into them. The front runners are no surprise and in this order : interface/worklow ICE render passes operator stack construction history A Alastair Hearsum Head of 3d GLASSWORKS 33/34 Great Pulteney Street London W1F 9NP +44 (0)20 7434 1182 glassworks.co.uk http://www.glassworks.co.uk/ Glassworks Terms and Conditions of Sale can be found at glassworks.co.uk (Company registered in England with number 04759979. Registered office 25 Harley Street, London, W1G 9BR. VAT registration number: 86729) Please consider the environment before you print this email. DISCLAIMER: This e-mail and attachments are strictly privileged, private and confidential and are intended solely for the stated recipient(s). Any views or opinions presented are solely those of the author and do not necessarily represent those of the Company. If you are not the intended recipient, be advised that you have received this e-mail in error and that any use, dissemination, forwarding, printing, or copying of this e-mail is strictly prohibited. If this transmission is received in error please kindly return it to the sender and delete this message from your system. On 13/03/2014 14:59, Jordi Bares wrote: I would suggest Alastair to have a poll, will be easier to do… Anyway, would you mind sharing your final list? I am fascinated by what the community of artists say. Jordi Bares jordiba...@gmail.com mailto:jordiba...@gmail.com On 13 Mar 2014, at 14:41, Pablo Tufaro pablo@gmail.com mailto:pablo@gmail.com wrote: Here´s my tip 5! 1-Explorer 2-Render Passes/Partitions/Overrides 3-ICE 4-Render Tree 5-Animation mixer. El 13/03/2014 6:54, Alastair Hearsum escribió: Hello It seems as if I may have some contact with Autodesk shortly! I want to be armed with some points. What I'd like is your top 5 features that make Softimage great that we'd miss if we migrated to something else. Please don't give me more than 5 and please don't go on too long describing them (It takes a while to read all the posts). Thanks Alastair -- Alastair Hearsum Head of 3d GLASSWORKS 33/34 Great Pulteney Street London W1F 9NP +44 (0)20 7434 1182 glassworks.co.uk http://www.glassworks.co.uk/ Glassworks Terms and Conditions of Sale can be found at glassworks.co.uk http://glassworks.co.uk (Company registered in England with number 04759979. Registered office 25 Harley Street, London, W1G 9BR. VAT registration number: 86729) Please consider the environment before you print this email. DISCLAIMER: This e-mail and attachments are strictly privileged, private and confidential and are intended solely for the stated recipient(s). Any views or opinions presented are solely those of the author and do not necessarily represent those of the Company. If you are not the intended recipient, be advised that you have received this e-mail in error and that any use, dissemination, forwarding, printing, or copying of this e-mail is strictly prohibited. If this transmission is received in error please kindly return it to the sender and delete this message from your system.
Re: Open letter to Autodesk
Folks This letter precipitated a little bit of publicity http://www.creativebloq.com/3d/rip-softimage-reaction-autodesks-decision-kill-3d-software-31410967 Alastair Alastair Hearsum Head of 3d GLASSWORKS 33/34 Great Pulteney Street London W1F 9NP +44 (0)20 7434 1182 glassworks.co.uk http://www.glassworks.co.uk/ Glassworks Terms and Conditions of Sale can be found at glassworks.co.uk (Company registered in England with number 04759979. Registered office 25 Harley Street, London, W1G 9BR. VAT registration number: 86729) Please consider the environment before you print this email. DISCLAIMER: This e-mail and attachments are strictly privileged, private and confidential and are intended solely for the stated recipient(s). Any views or opinions presented are solely those of the author and do not necessarily represent those of the Company. If you are not the intended recipient, be advised that you have received this e-mail in error and that any use, dissemination, forwarding, printing, or copying of this e-mail is strictly prohibited. If this transmission is received in error please kindly return it to the sender and delete this message from your system. On 10/03/2014 10:20, Alastair Hearsum wrote: Folks Dan Y and other folks, I hope this comes across as firm but reasonable. I will post it on other appropriate sites. Any ideas on that front? * An open letter to Autodesk. Dear Autodesk My name is Alastair Hearsum. I'm a founding partner, director and head of 3d at Glassworks. If you haven't heard of us, we are a small to midsized company which has been creating VFX and animation for TV commercials for markets around the world, for the past 20 years. We have branches in London, Amsterdam and Barcelona. We create innovative and multi award winning work and we use Softimage. Your announcement that you are retiring Softimage has left us saddened, disappointed and not a little angry. The anger for two reasons; that you have shot the racehorse of the 3d software world in the head in its prime but also that you didn't consult with us about this assassination or discuss any of your plans for the future with us. We have no idea what the future from you holds. We are big and longstanding users of other Autodesk products as well as Softimage. The puzzling thing is, technologically speaking, there was no writing on the wall as there was with Henry and Flame, for example, or these days with Flame and Nuke. We have been punching above our weight, in London, for the past 20 years competing well with the much larger organisations of MPC, Framestore and The Mill. One of the reasons we have been able to do that, apart from the deep talent of our crew is, I believe, because of the software that we chose. I'm nearly 150 years old now but I still sit at the computer making pictures for TV commercials to the same arduous schedule that I always have. So I know what I'm talking about. For a period a few years back we had a 50/50 split of Maya and Softimage. We chose to go 100% Softimage. Its better for the work that we do and the sector we are in. Its no coincidence that all the finalists in the recent British Animation Awards (tv commercials) did their work in Softimage. Similarly, both silver and gold award winners in the 3d animation category at this year's British Television Advertising Craft awards were Softimage companies. You may well go on to list major work that's been done in Maya. Sure there has, and great work too. But Maya is used as a shell in the major film effect companies. It is heavily customised and unrecognisable as the product you ship. We have our proprietary software and tailored workflow as well, but Softimage remains pretty much untouched. It is lean, efficient, and the ICE environment is innovative and empowering. So you've done it. What's next? Like I said we have had vague information about what the future holds. We hear rumours about bi-frost and that's about it. From what I understand from various sources there are no plans to replicate the efficient workflow and full ice functionality that made us so productive. You have offered free transitionary licenses of Maya with the threat of having to discontinue using Softimage in 2 years time. The final thought is not just about what software is best for our future but also about what sort of software supply company we want to get into bed with. The attributes that come top of my list: listening to customers, acting on their recommendations, speedy development, innovation. Now does that sound like you? Alastair Hearsum Glassworks.* -- Alastair Hearsum Head of 3d GLASSWORKS 33/34 Great Pulteney Street London W1F 9NP +44 (0)20 7434 1182 glassworks.co.uk http://www.glassworks.co.uk/ Glassworks Terms and Conditions of Sale can be found at glassworks.co.uk (Company registered in England with number 04759979. Registered office 25 Harley Street, London, W1G 9BR. VAT
Re: Open letter to Autodesk
yes you can Alastair Hearsum Head of 3d GLASSWORKS 33/34 Great Pulteney Street London W1F 9NP +44 (0)20 7434 1182 glassworks.co.uk http://www.glassworks.co.uk/ Glassworks Terms and Conditions of Sale can be found at glassworks.co.uk (Company registered in England with number 04759979. Registered office 25 Harley Street, London, W1G 9BR. VAT registration number: 86729) Please consider the environment before you print this email. DISCLAIMER: This e-mail and attachments are strictly privileged, private and confidential and are intended solely for the stated recipient(s). Any views or opinions presented are solely those of the author and do not necessarily represent those of the Company. If you are not the intended recipient, be advised that you have received this e-mail in error and that any use, dissemination, forwarding, printing, or copying of this e-mail is strictly prohibited. If this transmission is received in error please kindly return it to the sender and delete this message from your system. On 10/03/2014 21:31, Francisco Criado wrote: can we repost your text Alastair? F. 2014-03-10 18:27 GMT-03:00 Jordi Bares jordiba...@gmail.com mailto:jordiba...@gmail.com: Pubished!!! thanks Alastair, great work! http://forums.autodesk.com/t5/Softimage-General/Open-letter-to-Autodesk/td-p/4874950 Jordi Bares jordiba...@gmail.com mailto:jordiba...@gmail.com On 10 Mar 2014, at 17:43, Jason S jasonsta...@gmail.com mailto:jasonsta...@gmail.com wrote: +1 On 03/10/14 6:29, Jordi Bares wrote: Spot on, it feels really well balanced, mature and fair, the feedback of a true professional. Jordi Bares jordiba...@gmail.com mailto:jordiba...@gmail.com
Re: A more graceful retirement - my counter offer
Good idea Alastair Hearsum Head of 3d GLASSWORKS 33/34 Great Pulteney Street London W1F 9NP +44 (0)20 7434 1182 glassworks.co.uk http://www.glassworks.co.uk/ Glassworks Terms and Conditions of Sale can be found at glassworks.co.uk (Company registered in England with number 04759979. Registered office 25 Harley Street, London, W1G 9BR. VAT registration number: 86729) Please consider the environment before you print this email. DISCLAIMER: This e-mail and attachments are strictly privileged, private and confidential and are intended solely for the stated recipient(s). Any views or opinions presented are solely those of the author and do not necessarily represent those of the Company. If you are not the intended recipient, be advised that you have received this e-mail in error and that any use, dissemination, forwarding, printing, or copying of this e-mail is strictly prohibited. If this transmission is received in error please kindly return it to the sender and delete this message from your system. On 11/03/2014 02:49, Greg Punchatz wrote: Hello Autodesk, My name is Greg Punchatz , Senior Creative Director at Janimation. I have a proposal, or call it a counter offer on the proper way to retire Softimage. First off, if you don't know who I am, I feel like I have been part of the Softimage team since the beginning of Sumatra testing. I spent countless hours creating content on my own time and letting Softimage use my personal work as the sample scenes that make up a good deal of the Softimage library. Because of this relationship I have many, many very dear friends from all eras of Softimage. From the very top to the bottom of Softimage, I was always welcomed as one of the family. Our company, Janimation, was instrumental in helping promote XSI from its earliest days from being its first customer demo at the XSI launch party. To its final days giving Avid and Autodesk permission to use our work for promoting Softimage launches. We did this because we truly believe it is the best software on the planet for what we do and that's commercial work. Softimage is lighter on its feet out of the box for the kind of work the post production world is doing today in commercials. I don't know a single CG supervisor that knows each package equally that would rather take a commercial through a single package other than XSI. That being said, I believe Autodesk needs to be working on a completely new 3d software package. I would hope that is the plan. I also understand that if you are working towards moving us all to one package, Softimage by market share alone is the logical one to first retire as it creates the least income. So if it's time has truly come (even though I believe it is the most complete out-of-the-box 3-D solution you provide currently) I think there is a more elegant... let's say, a kinder gentler way for Softimage to be put into retirement. You can continue to benefit from our subscription support while we have enough time to move our existing pipeline to somthing else. Please consider keepinng the current small development team you already have for FOUR more years. With a single focus on these three things: opening up the SDK, working with 3rd party folk, and fixing long outstanding low-level requests. It's nothing but a win-win situation, you still get our money, and we get to evalute Maya along the way. It's going to take a lot more than two years for a lot of us to be able to make a tranistion completely. I'm not sure if Autodesk realizes this, but while the team in Singapore was not making giant leaps technologically, they were on their way to leaving Softimage in a much better state. They need a bit more time than you are giving them. At the end of the four years, we can at least consider staying in the Autodesk family because they listened to the usersgave us pleanty of heads up of its EOL, and did thier darndest to make sure the last version of softimage is the best version ever...XSI deserves thatwe deserve that ... and quite frankly I deserve that. Sincerely Greg Punchatz Senior Creative Director at Janimation ...
Re: Open letter to Autodesk
yes Alastair Hearsum Head of 3d GLASSWORKS 33/34 Great Pulteney Street London W1F 9NP +44 (0)20 7434 1182 glassworks.co.uk http://www.glassworks.co.uk/ Glassworks Terms and Conditions of Sale can be found at glassworks.co.uk (Company registered in England with number 04759979. Registered office 25 Harley Street, London, W1G 9BR. VAT registration number: 86729) Please consider the environment before you print this email. DISCLAIMER: This e-mail and attachments are strictly privileged, private and confidential and are intended solely for the stated recipient(s). Any views or opinions presented are solely those of the author and do not necessarily represent those of the Company. If you are not the intended recipient, be advised that you have received this e-mail in error and that any use, dissemination, forwarding, printing, or copying of this e-mail is strictly prohibited. If this transmission is received in error please kindly return it to the sender and delete this message from your system. On 11/03/2014 11:00, Emilio Hernandez wrote: Hey Alastair can I put your letter in my website besides the Truth about Autodesk and Softimage? Cheers! --- Emilio Hernández VFX 3D animation. 2014-03-11 4:51 GMT-06:00 Alastair Hearsum hear...@glassworks.co.uk mailto:hear...@glassworks.co.uk: yes you can Alastair Hearsum Head of 3d GLASSWORKS 33/34 Great Pulteney Street London W1F 9NP +44 (0)20 7434 1182 tel:%2B44%20%280%2920%207434%201182 glassworks.co.uk http://www.glassworks.co.uk/ Glassworks Terms and Conditions of Sale can be found at glassworks.co.uk http://glassworks.co.uk (Company registered in England with number 04759979. Registered office 25 Harley Street, London, W1G 9BR. VAT registration number: 86729) Please consider the environment before you print this email. DISCLAIMER: This e-mail and attachments are strictly privileged, private and confidential and are intended solely for the stated recipient(s). Any views or opinions presented are solely those of the author and do not necessarily represent those of the Company. If you are not the intended recipient, be advised that you have received this e-mail in error and that any use, dissemination, forwarding, printing, or copying of this e-mail is strictly prohibited. If this transmission is received in error please kindly return it to the sender and delete this message from your system. On 10/03/2014 21:31, Francisco Criado wrote: can we repost your text Alastair? F. 2014-03-10 18:27 GMT-03:00 Jordi Bares jordiba...@gmail.com mailto:jordiba...@gmail.com: Pubished!!! thanks Alastair, great work! http://forums.autodesk.com/t5/Softimage-General/Open-letter-to-Autodesk/td-p/4874950 Jordi Bares jordiba...@gmail.com mailto:jordiba...@gmail.com On 10 Mar 2014, at 17:43, Jason S jasonsta...@gmail.com mailto:jasonsta...@gmail.com wrote: +1 On 03/10/14 6:29, Jordi Bares wrote: Spot on, it feels really well balanced, mature and fair, the feedback of a true professional. Jordi Bares jordiba...@gmail.com mailto:jordiba...@gmail.com
Re: A more graceful retirement - my counter offer
Hi Peter Very well put. Absolutely spot on. For me as an animation orientated generalist it is a great package which allows a host of low level built-in tools to be used together to create something that , as you put it, is greater than the some of the parts; a greatly underestimated aspect of the software. The other greatly underestimated aspect is the interface and general interaction, and I know I'm preaching to the converted here, but it really is great. ICE has never been my personal area of expertise but it is for a few of the guys here and they do amazing stuff with it. I think it is a little more than the icing on the cake and its been pressed into service in all manner of ways here. I agree, there is no obvious candidate screaming use-me. There is a vacuum here for something next generation. I used the example of Henry and Flame in my open letter as a situation where it was plain that Flame really was the next big step forward. Our CEO Hector Macleod was an early adopter back in the early 90s when he setup and ran Click3x in New York with a Flame. I don't see an equivalent 3d package today. Houdini and Modo have their advocates and we hear words of intent about making these better in the areas that they are deficient. We also hear about bifrost but to hijack your analogy i would say this would be the icing on Maya's slightly stale cake. We need a new cake baked with fresh ingredients. I would personally like a longer period of transition. Alastair Alastair Hearsum Head of 3d GLASSWORKS 33/34 Great Pulteney Street London W1F 9NP +44 (0)20 7434 1182 glassworks.co.uk http://www.glassworks.co.uk/ Glassworks Terms and Conditions of Sale can be found at glassworks.co.uk (Company registered in England with number 04759979. Registered office 25 Harley Street, London, W1G 9BR. VAT registration number: 86729) Please consider the environment before you print this email. DISCLAIMER: This e-mail and attachments are strictly privileged, private and confidential and are intended solely for the stated recipient(s). Any views or opinions presented are solely those of the author and do not necessarily represent those of the Company. If you are not the intended recipient, be advised that you have received this e-mail in error and that any use, dissemination, forwarding, printing, or copying of this e-mail is strictly prohibited. If this transmission is received in error please kindly return it to the sender and delete this message from your system. On 11/03/2014 11:46, pete...@skynet.be wrote: Hi Greg, this is pretty much along the lines of what I’ve been thinking. Retiring Softimage as announced is way too abrupt and disruptive. While not a big success in the market place, it has it’s place, is very much alive and in good shape. Yes, we would all love to see some huge development and commercial efforts put into Softimage to make it ready to take on another decade and really compete in the market place, but that’s not going to happen, and we can hardly expect this from Autodesk – I think most of us have accepted that. But keeping the software on life support as it has for the past few years should be an acceptable compromise. It has more than 2 years of life left, and should be perfectly usable until a next generation offering comes along. Migrating to other current software, from Autodesk or the competition just doesn’t appeal. If it did, we’d be there already. We are not blind fools who don’t know any better. As a freelancer I have been in a wide variety of productions, of all sizes, in several countries, in several industries. I’ve seen many multi software productions, and have personally touched upon Maya, Lightwave and Modo in production, each on more than one occasion, and have furthermore been confronted with Max in production repeatedly. Coming from Poweranimator in the past, I really wanted to like Maya, and I have looked into it several times over the past 15 years. And I know I disliked XSI in the very beginning. But there is no helping it - it truly is a next generation software, built up from a fresh start and carefully thought out and groomed into an efficient, elegant, usable whole that is much more than the sum of it’s parts. I’ll abandon it for a better offering, but Maya, as popular and widely spread and industry standard as it is, is not it. No amount of AD representatives saying it is superior is going to make it so. No amount of copying tools from Softimage into Maya is going to turn this around. It has mostly become a platform to run proprietary tools on, just as Max is a platform for running 3rd party tools. If that’s not what you are looking for, then it’s not your solution. (and Modo and Houdini are better suited alternatives) That is the situation most remaining Softimage users are confronted with I think. They have deliberately chosen Softimage as their homebase, against all odds, mostly because out of the box
Re: Open letter to Autodesk
Daniel My open letter has got a lot of attention. I would encourage you to do something similar with the company name behind you. It seems to get some results however small. At the risk of sounding patronising and contrary to my own behaviour on facebook in recent weeks, I'd say keep it calm and reasoned (everything you said was absolutely spot on but you did use the word fuck:-) ). Alastair Alastair Hearsum Head of 3d GLASSWORKS 33/34 Great Pulteney Street London W1F 9NP +44 (0)20 7434 1182 glassworks.co.uk http://www.glassworks.co.uk/ Glassworks Terms and Conditions of Sale can be found at glassworks.co.uk (Company registered in England with number 04759979. Registered office 25 Harley Street, London, W1G 9BR. VAT registration number: 86729) Please consider the environment before you print this email. DISCLAIMER: This e-mail and attachments are strictly privileged, private and confidential and are intended solely for the stated recipient(s). Any views or opinions presented are solely those of the author and do not necessarily represent those of the Company. If you are not the intended recipient, be advised that you have received this e-mail in error and that any use, dissemination, forwarding, printing, or copying of this e-mail is strictly prohibited. If this transmission is received in error please kindly return it to the sender and delete this message from your system. On 11/03/2014 14:42, Daniel Jahnel wrote: Good stuff Alastair, what also really fucks me off is that in the last 2 years with the takeover by Arnold as the primary render engine for most SI users it has opened up big time! In combination with the powerful ICE features of SI all of a sudden SI houses are producing work at a complexity and quality level that only feature companies we are able to achieve with them investing tons in RD...Also things like Alembic or OpenVDB now contribute to the amazing work coming out of SI... How can Autodesk get the timing so wrong? Just when everything was coming together that was missing in SI before...A great renderer, a great interchange format, a great procedural system at its core, plus awesome and experienced operators... We here at Sehsucht are only a small team of around 10 3d guys but expanding to twice that if needed easily, we pay shedloads of maintenance to Autodesk for SI and other AD products but now we will have to look for an exit strategy...The time and money we have invested in the last 4 years to build our custom pipeline around SI is not entirely wasted, but rest assured AD, the future for your products is not bright in our house... Daniel, Joint Head of 3D@Sehsucht Hamburg On 10/03/2014 11:20, Alastair Hearsum wrote: Folks Dan Y and other folks, I hope this comes across as firm but reasonable. I will post it on other appropriate sites. Any ideas on that front? * An open letter to Autodesk. Dear Autodesk My name is Alastair Hearsum. I'm a founding partner, director and head of 3d at Glassworks. If you haven't heard of us, we are a small to midsized company which has been creating VFX and animation for TV commercials for markets around the world, for the past 20 years. We have branches in London, Amsterdam and Barcelona. We create innovative and multi award winning work and we use Softimage. Your announcement that you are retiring Softimage has left us saddened, disappointed and not a little angry. The anger for two reasons; that you have shot the racehorse of the 3d software world in the head in its prime but also that you didn't consult with us about this assassination or discuss any of your plans for the future with us. We have no idea what the future from you holds. We are big and longstanding users of other Autodesk products as well as Softimage. The puzzling thing is, technologically speaking, there was no writing on the wall as there was with Henry and Flame, for example, or these days with Flame and Nuke. We have been punching above our weight, in London, for the past 20 years competing well with the much larger organisations of MPC, Framestore and The Mill. One of the reasons we have been able to do that, apart from the deep talent of our crew is, I believe, because of the software that we chose. I'm nearly 150 years old now but I still sit at the computer making pictures for TV commercials to the same arduous schedule that I always have. So I know what I'm talking about. For a period a few years back we had a 50/50 split of Maya and Softimage. We chose to go 100% Softimage. Its better for the work that we do and the sector we are in. Its no coincidence that all the finalists in the recent British Animation Awards (tv commercials) did their work in Softimage. Similarly, both silver and gold award winners in the 3d animation category at this year's British Television Advertising Craft awards were Softimage companies. You may well go on to list major work that's been done in Maya
Softimage helps win awards
Hello I'd just like to point out that ALL finalists in the TV commercials category of the British Animation Awards on Friday used SOFTIMAGE to create their work. Yes that's right SOFTIMAGE that redundant piece of software. Mm Alastair -- Alastair Hearsum Head of 3d GLASSWORKS 33/34 Great Pulteney Street London W1F 9NP +44 (0)20 7434 1182 glassworks.co.uk http://www.glassworks.co.uk/ Glassworks Terms and Conditions of Sale can be found at glassworks.co.uk (Company registered in England with number 04759979. Registered office 25 Harley Street, London, W1G 9BR. VAT registration number: 86729) Please consider the environment before you print this email. DISCLAIMER: This e-mail and attachments are strictly privileged, private and confidential and are intended solely for the stated recipient(s). Any views or opinions presented are solely those of the author and do not necessarily represent those of the Company. If you are not the intended recipient, be advised that you have received this e-mail in error and that any use, dissemination, forwarding, printing, or copying of this e-mail is strictly prohibited. If this transmission is received in error please kindly return it to the sender and delete this message from your system.
Open letter to Autodesk
Folks Dan Y and other folks, I hope this comes across as firm but reasonable. I will post it on other appropriate sites. Any ideas on that front? * An open letter to Autodesk. Dear Autodesk My name is Alastair Hearsum. I'm a founding partner, director and head of 3d at Glassworks. If you haven't heard of us, we are a small to midsized company which has been creating VFX and animation for TV commercials for markets around the world, for the past 20 years. We have branches in London, Amsterdam and Barcelona. We create innovative and multi award winning work and we use Softimage. Your announcement that you are retiring Softimage has left us saddened, disappointed and not a little angry. The anger for two reasons; that you have shot the racehorse of the 3d software world in the head in its prime but also that you didn't consult with us about this assassination or discuss any of your plans for the future with us. We have no idea what the future from you holds. We are big and longstanding users of other Autodesk products as well as Softimage. The puzzling thing is, technologically speaking, there was no writing on the wall as there was with Henry and Flame, for example, or these days with Flame and Nuke. We have been punching above our weight, in London, for the past 20 years competing well with the much larger organisations of MPC, Framestore and The Mill. One of the reasons we have been able to do that, apart from the deep talent of our crew is, I believe, because of the software that we chose. I'm nearly 150 years old now but I still sit at the computer making pictures for TV commercials to the same arduous schedule that I always have. So I know what I'm talking about. For a period a few years back we had a 50/50 split of Maya and Softimage. We chose to go 100% Softimage. Its better for the work that we do and the sector we are in. Its no coincidence that all the finalists in the recent British Animation Awards (tv commercials) did their work in Softimage. Similarly, both silver and gold award winners in the 3d animation category at this year's British Television Advertising Craft awards were Softimage companies. You may well go on to list major work that's been done in Maya. Sure there has, and great work too. But Maya is used as a shell in the major film effect companies. It is heavily customised and unrecognisable as the product you ship. We have our proprietary software and tailored workflow as well, but Softimage remains pretty much untouched. It is lean, efficient, and the ICE environment is innovative and empowering. So you've done it. What's next? Like I said we have had vague information about what the future holds. We hear rumours about bi-frost and that's about it. From what I understand from various sources there are no plans to replicate the efficient workflow and full ice functionality that made us so productive. You have offered free transitionary licenses of Maya with the threat of having to discontinue using Softimage in 2 years time. The final thought is not just about what software is best for our future but also about what sort of software supply company we want to get into bed with. The attributes that come top of my list: listening to customers, acting on their recommendations, speedy development, innovation. Now does that sound like you? Alastair Hearsum Glassworks.* -- Alastair Hearsum Head of 3d GLASSWORKS 33/34 Great Pulteney Street London W1F 9NP +44 (0)20 7434 1182 glassworks.co.uk http://www.glassworks.co.uk/ Glassworks Terms and Conditions of Sale can be found at glassworks.co.uk (Company registered in England with number 04759979. Registered office 25 Harley Street, London, W1G 9BR. VAT registration number: 86729) Please consider the environment before you print this email. DISCLAIMER: This e-mail and attachments are strictly privileged, private and confidential and are intended solely for the stated recipient(s). Any views or opinions presented are solely those of the author and do not necessarily represent those of the Company. If you are not the intended recipient, be advised that you have received this e-mail in error and that any use, dissemination, forwarding, printing, or copying of this e-mail is strictly prohibited. If this transmission is received in error please kindly return it to the sender and delete this message from your system.
Re: Open letter to Autodesk
I've taken out the sentence referring to the threat of discontinuing Softimage licenses if the Maya offer is taken up. I've also revised my age reference. It was a joke but may have been misconstrued as a typographical error. Feel free to distribute it to any channels where it would help or alternatively point me in the right directions and I'll post it directly. An open letter to Autodesk. Dear Autodesk My name is Alastair Hearsum. I'm a founding partner, director and head of 3d at Glassworks. If you haven't heard of us, we are a small to midsized company which has been creating VFX and animation for TV commercials for markets around the world, for the past 20 years. We have branches in London, Amsterdam and Barcelona. We create innovative and multi award winning work and we use Softimage. Your announcement that you are retiring Softimage has left us saddened, disappointed and not a little angry. The anger for two reasons; that you have shot the racehorse of the 3d software world in the head in its prime but also that you didn't consult with us about this assassination or discuss any of your plans for the future with us. We have no idea what the future from you holds. We are big and longstanding users of other Autodesk products as well as Softimage. The puzzling thing is, technologically speaking, there was no writing on the wall as there was with Henry and Flame, for example, or these days with Flame and Nuke. We have been punching above our weight, in London, for the past 20 years competing well with the much larger organisations of MPC, Framestore and The Mill. One of the reasons we have been able to do that, apart from the deep talent of our crew is, I believe, because of the software that we chose. I'm of advanced years now but I still sit at the computer making pictures for TV commercials to the same arduous schedule that I always have. So I know what I'm talking about. For a period a few years back we had a 50/50 split of Maya and Softimage. We chose to go 100% Softimage. Its better for the work that we do and the sector we are in. Its no coincidence that all the finalists in the recent British Animation Awards (tv commercials) did their work in Softimage. Similarly, both silver and gold award winners in the 3d animation category at this year's British Television Advertising Craft awards were Softimage companies. You may well go on to list major work that's been done in Maya. Sure there has, and great work too. But Maya is used as a shell in the major film effect companies. It is heavily customised and unrecognisable as the product you ship. We have our proprietary software and tailored workflow as well, but Softimage remains pretty much untouched. It is lean, efficient, and the ICE environment is innovative and empowering. So you've done it. What's next? Like I said we have had vague information about what the future holds. We hear rumours about bi-frost and that's about it. From what I understand from various sources there are no plans to replicate the efficient workflow and full ice functionality that made us so productive. The final thought is not just about what software is best for our future but also about what sort of software supply company we want to get into bed with. The attributes that come top of my list: listening to customers, acting on their recommendations, speedy development, innovation. Now does that sound like you? Alastair Hearsum Glassworks. Alastair Hearsum Head of 3d GLASSWORKS 33/34 Great Pulteney Street London W1F 9NP +44 (0)20 7434 1182 glassworks.co.uk http://www.glassworks.co.uk/ Glassworks Terms and Conditions of Sale can be found at glassworks.co.uk (Company registered in England with number 04759979. Registered office 25 Harley Street, London, W1G 9BR. VAT registration number: 86729) Please consider the environment before you print this email. DISCLAIMER: This e-mail and attachments are strictly privileged, private and confidential and are intended solely for the stated recipient(s). Any views or opinions presented are solely those of the author and do not necessarily represent those of the Company. If you are not the intended recipient, be advised that you have received this e-mail in error and that any use, dissemination, forwarding, printing, or copying of this e-mail is strictly prohibited. If this transmission is received in error please kindly return it to the sender and delete this message from your system. On 10/03/2014 10:20, Alastair Hearsum wrote: Folks Dan Y and other folks, I hope this comes across as firm but reasonable. I will post it on other appropriate sites. Any ideas on that front? * An open letter to Autodesk. Dear Autodesk My name is Alastair Hearsum. I'm a founding partner, director and head of 3d at Glassworks. If you haven't heard of us, we are a small to midsized company which has been creating VFX and animation for TV commercials
Re: Open letter to Autodesk
Not sure what size of fish we're regarded as but no bribe was offered to us. Alastair Hearsum Head of 3d GLASSWORKS 33/34 Great Pulteney Street London W1F 9NP +44 (0)20 7434 1182 glassworks.co.uk http://www.glassworks.co.uk/ Glassworks Terms and Conditions of Sale can be found at glassworks.co.uk (Company registered in England with number 04759979. Registered office 25 Harley Street, London, W1G 9BR. VAT registration number: 86729) Please consider the environment before you print this email. DISCLAIMER: This e-mail and attachments are strictly privileged, private and confidential and are intended solely for the stated recipient(s). Any views or opinions presented are solely those of the author and do not necessarily represent those of the Company. If you are not the intended recipient, be advised that you have received this e-mail in error and that any use, dissemination, forwarding, printing, or copying of this e-mail is strictly prohibited. If this transmission is received in error please kindly return it to the sender and delete this message from your system. On 10/03/2014 11:58, Mirko Jankovic wrote: Just wondering if bigger fishes aren't actually bribed or something with some super extra offer from AD to keep them happy and silent...
Re: Ensuing Chaos
Love the software and its nice light grey interface. The problem we would have as a company is freelancers. We gear up and down depending on the project and if its difficult to find freelancers, because they're a dwindling resource, then that's a problem. The major educational establishments don't teach softimage. I'd personally be happy trundling along with Soft for a few years to come but it probably needs to be one part of the arsenal we have. Alastair Hearsum Head of 3d GLASSWORKS 33/34 Great Pulteney Street London W1F 9NP +44 (0)20 7434 1182 glassworks.co.uk http://www.glassworks.co.uk/ Glassworks Terms and Conditions of Sale can be found at glassworks.co.uk (Company registered in England with number 04759979. Registered office 25 Harley Street, London, W1G 9BR. VAT registration number: 86729) Please consider the environment before you print this email. DISCLAIMER: This e-mail and attachments are strictly privileged, private and confidential and are intended solely for the stated recipient(s). Any views or opinions presented are solely those of the author and do not necessarily represent those of the Company. If you are not the intended recipient, be advised that you have received this e-mail in error and that any use, dissemination, forwarding, printing, or copying of this e-mail is strictly prohibited. If this transmission is received in error please kindly return it to the sender and delete this message from your system. On 03/03/2014 16:35, Emilio Hernandez wrote: +1 And I will add. Stop running, it will take years for other softwares including Maya to be as efficient and slim as Softimage. As long as your able to still work with Softimage and deliver the job. Who cares what are you working with. As I said before I never heard of a client saying Hey you work sucks because it is not done in Maya. Au contraire. What I've heard from my clients is Good job! Everything went smooth and peachy. So... again. I see no reason to start fleeing like a headless chicken. 2014-03-03 10:05 GMT-06:00 Francisco Criado malcriad...@gmail.com mailto:malcriad...@gmail.com: Agree a 100% On Monday, March 3, 2014, Andi Farhall hack...@outlook.com mailto:hack...@outlook.com wrote: Chaos with the soft community would be exactly what AD want. Divide and rule through fear. Bugger that for a game of soldiers out of sheer bloody mindedness to not let AD have it all their own way. To buy a pro tool like softimage purely to kill it a couple of years later is an act of entirely unethical destruction. Roofs are kept over heads and kids fed on the back of software that come with the pro label and price. People, us, will continue to be able to service our clients using soft for a number of years to come but it would be prudent to learn something new along the way. Maya with it's wide user base and antiquated work flow and elderly architecture, Houdini might have a steep learning curve but it seems to be a more up to date suggestion. Plus AD won't get your cash. Revenge is best served cold for a reason A ... http://www.hackneyeffects.com/ https://vimeo.com/user4174293 http://www.linkedin.com/pub/andi-farhall/b/496/b21 http://www.flickr.com/photos/lord_hackney/ http://spylon.tumblr.com/ This email and any attachments to it may be confidential and are intended solely for the use of the individual to whom it is addressed. Any views or opinions expressed are solely those of the author and do not necessarily represent those of Hackney Effects Ltd. If you are not the intended recipient of this email, you must neither take any action based upon its contents, nor copy or show it to anyone. Please contact the sender if you believe you have received this email in error.
Re: CG Cat's face and Budgie by Glassworks.
We've been asked to take it down for some reason. Hopefully we'll get it back up soon Alastair Hearsum Head of 3d GLASSWORKS 33/34 Great Pulteney Street London W1F 9NP +44 (0)20 7434 1182 glassworks.co.uk http://www.glassworks.co.uk/ Glassworks Terms and Conditions of Sale can be found at glassworks.co.uk (Company registered in England with number 04759979. Registered office 25 Harley Street, London, W1G 9BR. VAT registration number: 86729) Please consider the environment before you print this email. DISCLAIMER: This e-mail and attachments are strictly privileged, private and confidential and are intended solely for the stated recipient(s). Any views or opinions presented are solely those of the author and do not necessarily represent those of the Company. If you are not the intended recipient, be advised that you have received this e-mail in error and that any use, dissemination, forwarding, printing, or copying of this e-mail is strictly prohibited. If this transmission is received in error please kindly return it to the sender and delete this message from your system. On 04/03/2014 13:28, adrian wyer wrote: im getting access denied in multiple browsers anyone? a *From:*softimage-boun...@listproc.autodesk.com [mailto:softimage-boun...@listproc.autodesk.com] *On Behalf Of *Simon Reeves *Sent:* 04 March 2014 13:23 *To:* softimage@listproc.autodesk.com *Subject:* Re: CG Cat's face and Budgie by Glassworks. great stuff as usual Simon Reeves London, UK /si...@simonreeves.com mailto:si...@simonreeves.com/ /www.simonreeves.com http://www.simonreeves.com/ /www.analogstudio.co.uk http://www.analogstudio.co.uk/ On 4 March 2014 13:15, Dan Yargici danyarg...@gmail.com mailto:danyarg...@gmail.com wrote: I should point out that I did not work on this! I'm just sharing... :) On Tue, Mar 4, 2014 at 3:06 PM, Ognjen Vukovic ognj...@gmail.com mailto:ognj...@gmail.com wrote: Awesome, the cannery is mindbogglingly good. Congrats. On Tue, Mar 4, 2014 at 2:03 PM, Maurício PC goneba...@gmail.com mailto:goneba...@gmail.com wrote: That's some amazing work Dan. Congrats to all you guys, really impressive. On Tue, Mar 4, 2014 at 9:55 AM, Dan Yargici danyarg...@gmail.com mailto:danyarg...@gmail.com wrote: Because I know how modest everyone over at Glassworks is and that it wouldn't occur to anyone to share this, I'll go and do it myself! http://www.glassworks.co.uk/news/how-we-made-freeviews-catandbudgie Be sure to watch the making-of video! Amazing work from all involved! It's poignant at this time, what with everything that's going on to point out that Glassworks are more or less exclusively Softimage. I would say %99 of the 3D you see on the their website is created in Softimage. Shame on you Autodesk. DAN -- gonebadfx.com http://gonebadfx.com - your source for bad fx
image clip
Here's a funny one: I have a bunch of particles representing people in a crowd. I set an integer attribute called /*clip_frame*/ on these particles. I have hundred image clips and I set the */time source/* of the clip to be the attribute that I set in the ice tree rather than /*scene_time*/. When all these numbers are the same, MR renders as you'd expect straight off the bat pretty quickly. When these are all different numbers I get a helluva slowdown pre-render. It takes an absolute age to get its act together before it starts rendering. Any ideas? Thanks Alastair -- Alastair Hearsum Head of 3d GLASSWORKS 33/34 Great Pulteney Street London W1F 9NP +44 (0)20 7434 1182 glassworks.co.uk http://www.glassworks.co.uk/ Glassworks Terms and Conditions of Sale can be found at glassworks.co.uk (Company registered in England with number 04759979. Registered office 25 Harley Street, London, W1G 9BR. VAT registration number: 86729) Please consider the environment before you print this email. DISCLAIMER: This e-mail and attachments are strictly privileged, private and confidential and are intended solely for the stated recipient(s). Any views or opinions presented are solely those of the author and do not necessarily represent those of the Company. If you are not the intended recipient, be advised that you have received this e-mail in error and that any use, dissemination, forwarding, printing, or copying of this e-mail is strictly prohibited. If this transmission is received in error please kindly return it to the sender and delete this message from your system.
Re: image clip
Thanks for that but I have a very specific sync number for each clip. I feed that into the ice tree as a string to array node, the string coming from a spreadsheet where I've analysed all the clips for sync points. For each different action that I want to sync I have a different list of numbers. A Alastair Hearsum Head of 3d GLASSWORKS 33/34 Great Pulteney Street London W1F 9NP +44 (0)20 7434 1182 glassworks.co.uk http://www.glassworks.co.uk/ Glassworks Terms and Conditions of Sale can be found at glassworks.co.uk (Company registered in England with number 04759979. Registered office 25 Harley Street, London, W1G 9BR. VAT registration number: 86729) Please consider the environment before you print this email. DISCLAIMER: This e-mail and attachments are strictly privileged, private and confidential and are intended solely for the stated recipient(s). Any views or opinions presented are solely those of the author and do not necessarily represent those of the Company. If you are not the intended recipient, be advised that you have received this e-mail in error and that any use, dissemination, forwarding, printing, or copying of this e-mail is strictly prohibited. If this transmission is received in error please kindly return it to the sender and delete this message from your system. On 10/07/2013 16:02, Michael Heberlein wrote: If you have random time offsets for each particle, it will take more time to load all the different files but maybe you can use time offset groups to reduce the IO overhead. Just use a limited range of (non-animated) random integers, scale the result and add it to the current time. On Wed, Jul 10, 2013 at 4:49 PM, Jens Lindgren jens.lindgren@gmail.com mailto:jens.lindgren@gmail.com wrote: I see now that you're taliking about MR *facepalm* On Wed, Jul 10, 2013 at 4:47 PM, Jens Lindgren jens.lindgren@gmail.com mailto:jens.lindgren@gmail.com wrote: If you're using Arnold you're better of asking on the SItoA list. /Jens On Wed, Jul 10, 2013 at 4:39 PM, Alastair Hearsum hear...@glassworks.co.uk mailto:hear...@glassworks.co.uk wrote: Here's a funny one: I have a bunch of particles representing people in a crowd. I set an integer attribute called /*clip_frame*/ on these particles. I have hundred image clips and I set the */time source/* of the clip to be the attribute that I set in the ice tree rather than /*scene_time*/. When all these numbers are the same, MR renders as you'd expect straight off the bat pretty quickly. When these are all different numbers I get a helluva slowdown pre-render. It takes an absolute age to get its act together before it starts rendering. Any ideas? Thanks Alastair -- Alastair Hearsum Head of 3d GLASSWORKS 33/34 Great Pulteney Street London W1F 9NP +44 (0)20 7434 1182 tel:%2B44%20%280%2920%207434%201182 glassworks.co.uk http://www.glassworks.co.uk/ Glassworks Terms and Conditions of Sale can be found at glassworks.co.uk http://glassworks.co.uk (Company registered in England with number 04759979. Registered office 25 Harley Street, London, W1G 9BR. VAT registration number: 86729) Please consider the environment before you print this email. DISCLAIMER: This e-mail and attachments are strictly privileged, private and confidential and are intended solely for the stated recipient(s). Any views or opinions presented are solely those of the author and do not necessarily represent those of the Company. If you are not the intended recipient, be advised that you have received this e-mail in error and that any use, dissemination, forwarding, printing, or copying of this e-mail is strictly prohibited. If this transmission is received in error please kindly return it to the sender and delete this message from your system. -- Jens Lindgren -- Lead Technical Director Magoo 3D Studios http://www.magoo3dstudios.com/ -- Jens Lindgren -- Lead Technical Director Magoo 3D Studios http://www.magoo3dstudios.com/
Re: image clip
Thanks but I don't have instances just an image clip per particle. Alastair Hearsum Head of 3d GLASSWORKS 33/34 Great Pulteney Street London W1F 9NP +44 (0)20 7434 1182 glassworks.co.uk http://www.glassworks.co.uk/ Glassworks Terms and Conditions of Sale can be found at glassworks.co.uk (Company registered in England with number 04759979. Registered office 25 Harley Street, London, W1G 9BR. VAT registration number: 86729) Please consider the environment before you print this email. DISCLAIMER: This e-mail and attachments are strictly privileged, private and confidential and are intended solely for the stated recipient(s). Any views or opinions presented are solely those of the author and do not necessarily represent those of the Company. If you are not the intended recipient, be advised that you have received this e-mail in error and that any use, dissemination, forwarding, printing, or copying of this e-mail is strictly prohibited. If this transmission is received in error please kindly return it to the sender and delete this message from your system. On 10/07/2013 17:07, Cristobal Infante wrote: Most of the times is a scalar value that it getting fed to the offset when your instances want only integers... If you are sure it's not that, maybe is just the amount, have you tried using standins instead?. This is where Arnold is king though ;). On 10 July 2013 16:40, Alastair Hearsum hear...@glassworks.co.uk mailto:hear...@glassworks.co.uk wrote: Thanks for that but I have a very specific sync number for each clip. I feed that into the ice tree as a string to array node, the string coming from a spreadsheet where I've analysed all the clips for sync points. For each different action that I want to sync I have a different list of numbers. A Alastair Hearsum Head of 3d GLASSWORKS 33/34 Great Pulteney Street London W1F 9NP +44 (0)20 7434 1182 tel:%2B44%20%280%2920%207434%201182 glassworks.co.uk http://www.glassworks.co.uk/ Glassworks Terms and Conditions of Sale can be found at glassworks.co.uk http://glassworks.co.uk (Company registered in England with number 04759979. Registered office 25 Harley Street, London, W1G 9BR. VAT registration number: 86729) Please consider the environment before you print this email. DISCLAIMER: This e-mail and attachments are strictly privileged, private and confidential and are intended solely for the stated recipient(s). Any views or opinions presented are solely those of the author and do not necessarily represent those of the Company. If you are not the intended recipient, be advised that you have received this e-mail in error and that any use, dissemination, forwarding, printing, or copying of this e-mail is strictly prohibited. If this transmission is received in error please kindly return it to the sender and delete this message from your system. On 10/07/2013 16:02, Michael Heberlein wrote: If you have random time offsets for each particle, it will take more time to load all the different files but maybe you can use time offset groups to reduce the IO overhead. Just use a limited range of (non-animated) random integers, scale the result and add it to the current time. On Wed, Jul 10, 2013 at 4:49 PM, Jens Lindgren jens.lindgren@gmail.com mailto:jens.lindgren@gmail.com wrote: I see now that you're taliking about MR *facepalm* On Wed, Jul 10, 2013 at 4:47 PM, Jens Lindgren jens.lindgren@gmail.com mailto:jens.lindgren@gmail.com wrote: If you're using Arnold you're better of asking on the SItoA list. /Jens On Wed, Jul 10, 2013 at 4:39 PM, Alastair Hearsum hear...@glassworks.co.uk mailto:hear...@glassworks.co.uk wrote: Here's a funny one: I have a bunch of particles representing people in a crowd. I set an integer attribute called /*clip_frame*/ on these particles. I have hundred image clips and I set the */time source/* of the clip to be the attribute that I set in the ice tree rather than /*scene_time*/. When all these numbers are the same, MR renders as you'd expect straight off the bat pretty quickly. When these are all different numbers I get a helluva slowdown pre-render. It takes an absolute age to get its act together before it starts rendering. Any ideas? Thanks Alastair -- Alastair Hearsum Head of 3d GLASSWORKS 33/34 Great Pulteney Street London W1F 9NP +44 (0
Re: OT: alien character
There are a few factors: How experienced/practiced you are What's the intended application, how close up its to be seen, how subtle the animation If there is a pre-existing design. What you're clients are like. Taking all that into account, at a generalist commercial post production company like ours where we do characters every now and again (one or two a year). We have talent but not regular practice. Where its to be seen up close. Its on screen for 20 seconds. The clients are averagely demanding. There are thumbnail designs. I'd say: 6 weeks split broadly evenly between modelling, rigging, texturing/shading. Now if I was a specialist doing this everyday it might take half that. If it was a gollum it might take a lot longer. Don't quote me on that! Alastair Hearsum Head of 3d GLASSWORKS 33/34 Great Pulteney Street London W1F 9NP +44 (0)20 7434 1182 glassworks.co.uk http://www.glassworks.co.uk/ Glassworks Terms and Conditions of Sale can be found at glassworks.co.uk (Company registered in England with number 04759979. Registered office 25 Harley Street, London, W1G 9BR. VAT registration number: 86729) Please consider the environment before you print this email. DISCLAIMER: This e-mail and attachments are strictly privileged, private and confidential and are intended solely for the stated recipient(s). Any views or opinions presented are solely those of the author and do not necessarily represent those of the Company. If you are not the intended recipient, be advised that you have received this e-mail in error and that any use, dissemination, forwarding, printing, or copying of this e-mail is strictly prohibited. If this transmission is received in error please kindly return it to the sender and delete this message from your system. On 09/06/2013 19:40, royston michaels wrote: Hi List, I'm curious to know how much time someone would spend to model, texture and rig an alien character(including rig for facial animation), reference is Paul the alien. I need an average estimate. I apologise for the non technical mail. TIA, Royston
Re: Softimage Creatives London - next event Nov 13th
I'll second that. All good stuff. Good to see some old faces and new work. Alastair Alastair Hearsum Head of 3d GLASSWORKS 33/34 Great Pulteney Street London W1F 9NP +44 (0)20 7434 1182 glassworks.co.uk http://www.glassworks.co.uk/ Glassworks Terms and Conditions of Sale can be found at glassworks.co.uk (Company registered in England with number 04759979. Registered office 25 Harley Street, London, W1G 9BR. VAT registration number: 86729) Please consider the environment before you print this email. DISCLAIMER: This e-mail and attachments are strictly privileged, private and confidential and are intended solely for the stated recipient(s). Any views or opinions presented are solely those of the author and do not necessarily represent those of the Company. If you are not the intended recipient, be advised that you have received this e-mail in error and that any use, dissemination, forwarding, printing, or copying of this e-mail is strictly prohibited. If this transmission is received in error please kindly return it to the sender and delete this message from your system. On 14/11/2012 08:41, julian wrote: Just wanted to congratulate all the organisers and presenters at the Event. It was a really good evening. Fabric's presentation helped clarify a lot of issues; Anna's gave a great insight into the creative workflow involved in making a short; and I liked The Mill's presentation - particularly the insight that the Flame Ops discarded most of their passes in favour of the beauty. Genius. Following on from the nVidia presentation, we stayed up late last night and installed racks of pervy GPUs into our farm (I'm sure that's what he said!) and now we're all working from home. Cool. Congratulations and thanks to everyone involved. Julian
