Re: Glasswoks Lycra

[Will Sharkey]

Very cool, well done.

On Wed, Oct 1, 2014 at 5:41 AM, Alastair Hearsum 
wrote:

>  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
> [image: GLASSWORKS]
>  [image: Facebook]
>  [image:
> Twitter]  [image: Vimeo]
>  [image: Instagram]
> 
>  See our latest work *here*. 
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>  On 30/09/2014 18:55, olivier jeannel wrote:
>
> http://www.glassworks.co.uk/video/lycra-moves-you&search-type=all&term=all
>
> Beautifull film, out of curiousity are we still speaking softimage here ?
>
>
>

Re: Glasswoks Lycra

[Chris Marshall]

awesome


On 4 October 2014 16:18, Jason S  wrote:

>  By 1 you mean 100%?  well that would hardly be surprising, together they
> sort of make like a rocket boosted rocket!
>
> And I don't know for others, but for me, apart from highlighting
> awesomeness,  it's (partly) to not talk about the day before yesterdays
> thread.
>
> To which I commented on the article and then pressed save instead of send,
> to reduce the probability of the thread eventually  involving DarthVader
> (taking over) which could similarly be approaching 1.
>
>
> On 10/04/14 5:48, Andreas Bystrom wrote:
>
> as an xsilist thread grows longer, the probability of it involving
> redshift approaches 1
>
> On Sat, Oct 4, 2014 at 1:24 PM, Jason S  wrote:
>
>>  Redshift is a noise cruncher :]
>>
>> (and soft is a production cruncher :] )
>>
>>
>> On 10/03/14 20:11, Jason S wrote:
>>
>> Once I tried the classroom, but with literally everything everywhere
>> displaced at a level of less than a pixel.. a blurry reflection scene
>> material , many many area lights and with a wild camera move, to make
>> motion blurred very dense displaced geo  all over the frame (with 1st bouce
>> brute force GI) , to make the most nightmareish sampling task as possible,
>> and rendered a 1080p frame in 14 min (to get where noise was at an
>> acceptable amount) (.. and I was floored! :]
>> (non-tweaked to death settings took 2h)
>>
>> Would have taken several -hours- if not days with anything else!
>>
>> Made like a full screen of (mostly noise free) fine-fine trail lines
>> (under little redshift logos :] )
>>
>>
>>
>> On 10/03/14 18:44, ola.mad...@digitalcontext.se wrote:
>>
>> Yes, it's a really sweet setup. And it still only requires one license
>> per machine even if you run separate tasks on each card.
>>
>>  We're using a mixtures of Titans, 780ti and tesla cards and I can only
>> second what everyone else is saying. It's ridiculous fast.
>>
>>  O
>>
>>
>>
>> 3 okt 2014 kl. 23:57 skrev Mirko Jankovic :
>>
>>   yes that is exactly what I'm doing.
>> 4 titans using all together when tweaking everything pulling  speed from
>> them, and then in most of cases sending to Deadline with 4 of them each
>> rendering 1 frame or 2 by 2.
>> Really good support in Deadline for that .
>>
>> On Fri, Oct 3, 2014 at 11:50 PM, ola.mad...@digitalcontext.se <
>> ola.mad...@digitalcontext.se> wrote:
>>
>>>  Yes, there seems to be a decline at 3 cards. But another great thing
>>> about redshift is that you can render multiple tasks simultaneously so card
>>> 1 & 2 render frame 1 and card 3 & 4 render frame 2, etc. this is fully
>>> supported with Deadline (don't know about royal render, but I think someone
>>> said it was supported as well).
>>>
>>>  Cheers
>>> Ola
>>>
>>>
>>> 3 okt 2014 kl. 21:54 skrev Ed Manning :
>>>
>>>On Fri, Oct 3, 2014 at 3:49 PM, Simon van de Lagemaat <
>>> si...@theembassyvfx.com> wrote:
>>>
 But still distributing one frame across two cards right?

   yes.  IIR, the docs say up to 8 cards per host.  though there is a
>>> decline in returns, so I think most people don't go over 3.
>>>
>>>
>>
>>
>>
>
>


-- 

Chris Marshall
Mint Motion Limited
029 20 37 27 57
07730 533 115
www.mintmotion.co.uk

Re: Glasswoks Lycra

[Jason S]

  
  
By 1 you mean 100%?  well that would
  hardly be surprising, together they sort of make like a rocket
  boosted rocket!
  
  And I don't know for others, but for me, apart from highlighting
  awesomeness,  it's (partly) to not talk about the day before
  yesterdays thread.
  
  To which I commented on the article and then pressed save instead
  of send, to reduce the probability of the thread eventually 
  involving DarthVader (taking over) which could similarly be
  approaching 1.
  
  On 10/04/14 5:48, Andreas Bystrom wrote:


  as an xsilist thread grows longer, the probability
of it involving redshift approaches 1
  
  
On Sat, Oct 4, 2014 at 1:24 PM, Jason S
  
  wrote:
  

  Redshift is a noise cruncher :]

(and soft is a production cruncher :] )

  

On 10/03/14 20:11, Jason S wrote:
  

  
  

  
Once I tried the classroom, but with literally
  everything everywhere displaced at a level of less
  than a pixel.. a blurry reflection scene material
  , many many area lights and with a wild camera
  move, to make motion blurred very dense displaced
  geo  all over the frame (with 1st bouce brute
  force GI) , to make the most nightmareish sampling
  task as possible,
  and rendered a 1080p frame in 14 min (to get where
  noise was at an acceptable amount) (.. and I was
  floored! :]
  (non-tweaked to death settings took 2h)
  
  Would have taken several -hours- if not days with
  anything else!
  
  Made like a full screen of (mostly noise free)
  fine-fine trail lines (under little redshift logos
  :] )
  
  
  
  On 10/03/14 18:44, ola.mad...@digitalcontext.se
  wrote:


  Yes, it's a really sweet setup. And it still
only requires one license per machine even if
you run separate tasks on each card. 
  
  
  We're using a mixtures of Titans, 780ti and
tesla cards and I can only second what everyone
else is saying. It's ridiculous fast. 
  
  
  O
  

  
  
3 okt 2014 kl. 23:57 skrev Mirko Jankovic :

  
  

  yes that is exactly what I'm
doing. 
4 titans using all together when
  tweaking everything pulling  speed from
  them, and then in most of cases sending to
  Deadline with 4 of them each rendering 1
  frame or 2 by 2.
Really good support in Deadline for
  that . 
  
  
On Fri, Oct 3, 2014
  at 11:50 PM, ola.mad...@digitalcontext.se
  
  wrote:
  

  Yes, there seems to be a decline
at 3 cards. But another great thing
about redshift is that you can
render multiple tasks simultaneously
so card 1 & 2 render frame 1 and
card 3 & 4 render frame 2, etc.
this is fully supported with
Deadline (don't know about royal
render, but I think someone said it
was supported as well). 
  
  
  Cheers
  Ola
 

Re: Glasswoks Lycra

[Andreas Bystrom]

as an xsilist thread grows longer, the probability of it involving redshift
approaches 1

On Sat, Oct 4, 2014 at 1:24 PM, Jason S  wrote:

>  Redshift is a noise cruncher :]
>
> (and soft is a production cruncher :] )
>
>
> On 10/03/14 20:11, Jason S wrote:
>
> Once I tried the classroom, but with literally everything everywhere
> displaced at a level of less than a pixel.. a blurry reflection scene
> material , many many area lights and with a wild camera move, to make
> motion blurred very dense displaced geo  all over the frame (with 1st bouce
> brute force GI) , to make the most nightmareish sampling task as possible,
> and rendered a 1080p frame in 14 min (to get where noise was at an
> acceptable amount) (.. and I was floored! :]
> (non-tweaked to death settings took 2h)
>
> Would have taken several -hours- if not days with anything else!
>
> Made like a full screen of (mostly noise free) fine-fine trail lines
> (under little redshift logos :] )
>
>
>
> On 10/03/14 18:44, ola.mad...@digitalcontext.se wrote:
>
> Yes, it's a really sweet setup. And it still only requires one license per
> machine even if you run separate tasks on each card.
>
>  We're using a mixtures of Titans, 780ti and tesla cards and I can only
> second what everyone else is saying. It's ridiculous fast.
>
>  O
>
>
>
> 3 okt 2014 kl. 23:57 skrev Mirko Jankovic :
>
>   yes that is exactly what I'm doing.
> 4 titans using all together when tweaking everything pulling  speed from
> them, and then in most of cases sending to Deadline with 4 of them each
> rendering 1 frame or 2 by 2.
> Really good support in Deadline for that .
>
> On Fri, Oct 3, 2014 at 11:50 PM, ola.mad...@digitalcontext.se <
> ola.mad...@digitalcontext.se> wrote:
>
>>  Yes, there seems to be a decline at 3 cards. But another great thing
>> about redshift is that you can render multiple tasks simultaneously so card
>> 1 & 2 render frame 1 and card 3 & 4 render frame 2, etc. this is fully
>> supported with Deadline (don't know about royal render, but I think someone
>> said it was supported as well).
>>
>>  Cheers
>> Ola
>>
>>
>> 3 okt 2014 kl. 21:54 skrev Ed Manning :
>>
>>On Fri, Oct 3, 2014 at 3:49 PM, Simon van de Lagemaat <
>> si...@theembassyvfx.com> wrote:
>>
>>> But still distributing one frame across two cards right?
>>>
>>>   yes.  IIR, the docs say up to 8 cards per host.  though there is a
>> decline in returns, so I think most people don't go over 3.
>>
>>
>
>
>

Re: Glasswoks Lycra

[Jason S]

  
  
Redshift is a noise cruncher :]
  
  (and soft is a production cruncher :] )
  
  On 10/03/14 20:11, Jason S wrote:


  
  Once I tried the classroom, but with
literally everything everywhere displaced at a level of less
than a pixel.. a blurry reflection scene material , many many
area lights and with a wild camera move, to make motion blurred
very dense displaced geo  all over the frame (with 1st bouce
brute force GI) , to make the most nightmareish sampling task as
possible,
and rendered a 1080p frame in 14 min (to get where noise was at
an acceptable amount) (.. and I was floored! :]
(non-tweaked to death settings took 2h)

Would have taken several -hours- if not days with anything else!

Made like a full screen of (mostly noise free) fine-fine trail
lines (under little redshift logos :] )



On 10/03/14 18:44, ola.mad...@digitalcontext.se
wrote:
  
  

Yes, it's a really sweet setup. And it still only requires
  one license per machine even if you run separate tasks on each
  card. 


We're using a mixtures of Titans, 780ti and tesla cards and
  I can only second what everyone else is saying. It's
  ridiculous fast. 


O

  


  3 okt 2014 kl. 23:57 skrev Mirko Jankovic :
  


  
yes that is exactly what I'm doing. 
  4 titans using all together when tweaking everything
pulling  speed from them, and then in most of cases
sending to Deadline with 4 of them each rendering 1
frame or 2 by 2.
  Really good support in Deadline for that . 


  On Fri, Oct 3, 2014 at 11:50 PM,
ola.mad...@digitalcontext.se

wrote:

  
Yes, there seems to be a decline at 3 cards.
  But another great thing about redshift is that you
  can render multiple tasks simultaneously so card 1
  & 2 render frame 1 and card 3 & 4 render
  frame 2, etc. this is fully supported with
  Deadline (don't know about royal render, but I
  think someone said it was supported as well). 


Cheers
Ola
  


  3 okt 2014 kl. 21:54 skrev Ed Manning :
  


  

  

  On Fri, Oct 3,
2014 at 3:49 PM, Simon van de Lagemaat 
wrote:

  But still distributing
one frame across two cards right?
  


  


yes.  IIR, the docs say up to 8
  cards per host.  though there is a
  decline in returns, so I think most
  people don't go over 3. 
  

  

  


  
  

  

  
  


  

Re: Glasswoks Lycra

[Jason S]

  
  
Once I tried the classroom, but with
  literally everything everywhere displaced at a level of less than
  a pixel.. a blurry reflection scene material , many many area
  lights and with a wild camera move, to make motion blurred very
  dense displaced geo  all over the frame (with 1st bouce brute
  force GI) , to make the most nightmareish sampling task as
  possible,
  and rendered a 1080p frame in 14 min (to get where noise was at an
  acceptable amount) (.. and I was floored! :]
  (non-tweaked to death settings took 2h)
  
  Would have taken several -hours- if not days with anything else!
  
  Made like a full screen of (mostly noise free) fine-fine trail
  lines (under little redshift logos :] )
  
  
  
  On 10/03/14 18:44, ola.mad...@digitalcontext.se wrote:


  
  Yes, it's a really sweet setup. And it still only requires
one license per machine even if you run separate tasks on each
card. 
  
  
  We're using a mixtures of Titans, 780ti and tesla cards and I
can only second what everyone else is saying. It's ridiculous
fast. 
  
  
  O
  

  
  
3 okt 2014 kl. 23:57 skrev Mirko Jankovic :

  
  

  yes that is exactly what I'm doing. 
4 titans using all together when tweaking everything
  pulling  speed from them, and then in most of cases
  sending to Deadline with 4 of them each rendering 1 frame
  or 2 by 2.
Really good support in Deadline for that . 
  
  
On Fri, Oct 3, 2014 at 11:50 PM, ola.mad...@digitalcontext.se
  
  wrote:
  

  Yes, there seems to be a decline at 3 cards. But
another great thing about redshift is that you can
render multiple tasks simultaneously so card 1 &
2 render frame 1 and card 3 & 4 render frame 2,
etc. this is fully supported with Deadline (don't
know about royal render, but I think someone said it
was supported as well). 
  
  
  Cheers
  Ola

  
  
3 okt 2014 kl. 21:54 skrev Ed Manning :

  
  

  

  
On Fri, Oct 3, 2014
  at 3:49 PM, Simon van de Lagemaat 
  wrote:
  
But still distributing
  one frame across two cards right?

  
  

  
  
  yes.  IIR, the docs say up to 8 cards
per host.  though there is a decline in
returns, so I think most people don't go
over 3. 

  

  

  
  


  

  


  

Re: Glasswoks Lycra

[ola.mad...@digitalcontext.se]

Yes, it's a really sweet setup. And it still only requires one license per 
machine even if you run separate tasks on each card. 

We're using a mixtures of Titans, 780ti and tesla cards and I can only second 
what everyone else is saying. It's ridiculous fast. 

O



> 3 okt 2014 kl. 23:57 skrev Mirko Jankovic :
> 
> yes that is exactly what I'm doing. 
> 4 titans using all together when tweaking everything pulling  speed from 
> them, and then in most of cases sending to Deadline with 4 of them each 
> rendering 1 frame or 2 by 2.
> Really good support in Deadline for that . 
> 
>> On Fri, Oct 3, 2014 at 11:50 PM, ola.mad...@digitalcontext.se 
>>  wrote:
>> Yes, there seems to be a decline at 3 cards. But another great thing about 
>> redshift is that you can render multiple tasks simultaneously so card 1 & 2 
>> render frame 1 and card 3 & 4 render frame 2, etc. this is fully supported 
>> with Deadline (don't know about royal render, but I think someone said it 
>> was supported as well). 
>> 
>> Cheers
>> Ola
>> 
>> 
>>> 3 okt 2014 kl. 21:54 skrev Ed Manning :
>>> 
 On Fri, Oct 3, 2014 at 3:49 PM, Simon van de Lagemaat 
  wrote:
 But still distributing one frame across two cards right?
>>> yes.  IIR, the docs say up to 8 cards per host.  though there is a decline 
>>> in returns, so I think most people don't go over 3. 
> 

Re: Glasswoks Lycra

[Mirko Jankovic]

yes that is exactly what I'm doing.
4 titans using all together when tweaking everything pulling  speed from
them, and then in most of cases sending to Deadline with 4 of them each
rendering 1 frame or 2 by 2.
Really good support in Deadline for that .

On Fri, Oct 3, 2014 at 11:50 PM, ola.mad...@digitalcontext.se <
ola.mad...@digitalcontext.se> wrote:

> Yes, there seems to be a decline at 3 cards. But another great thing about
> redshift is that you can render multiple tasks simultaneously so card 1 & 2
> render frame 1 and card 3 & 4 render frame 2, etc. this is fully supported
> with Deadline (don't know about royal render, but I think someone said it
> was supported as well).
>
> Cheers
> Ola
>
>
> 3 okt 2014 kl. 21:54 skrev Ed Manning :
>
> On Fri, Oct 3, 2014 at 3:49 PM, Simon van de Lagemaat <
> si...@theembassyvfx.com> wrote:
>
>> But still distributing one frame across two cards right?
>>
>> yes.  IIR, the docs say up to 8 cards per host.  though there is a
> decline in returns, so I think most people don't go over 3.
>
>

Re: Glasswoks Lycra

[ola.mad...@digitalcontext.se]

Yes, there seems to be a decline at 3 cards. But another great thing about 
redshift is that you can render multiple tasks simultaneously so card 1 & 2 
render frame 1 and card 3 & 4 render frame 2, etc. this is fully supported with 
Deadline (don't know about royal render, but I think someone said it was 
supported as well). 

Cheers
Ola


> 3 okt 2014 kl. 21:54 skrev Ed Manning :
> 
>> On Fri, Oct 3, 2014 at 3:49 PM, Simon van de Lagemaat 
>>  wrote:
>> But still distributing one frame across two cards right?
> yes.  IIR, the docs say up to 8 cards per host.  though there is a decline in 
> returns, so I think most people don't go over 3. 

Re: Glasswoks Lycra

[Ed Manning]

On Fri, Oct 3, 2014 at 3:49 PM, Simon van de Lagemaat <
si...@theembassyvfx.com> wrote:

> But still distributing one frame across two cards right?
>
> yes.  IIR, the docs say up to 8 cards per host.  though there is a decline
in returns, so I think most people don't go over 3.

Re: Glasswoks Lycra

[Rob Chapman]

ah I see and no I do not use progressive mode as am just wanting a preview
whilst tweaking stuff so yes to see any changes made one will have to
resubmit the scene. honestly did not know about the auto update in Arnold
will switch it on next time I'm contrasting and comparing, thanks for the
tip.




On 3 October 2014 20:07, Steven Caron  wrote:

> let's not get 'pokey' here, apples and oranges. unless you have
> 'progressive' on in redshift, it is re exporting the data each time. in
> sitoa you just turn scene rebuild mode to 'always' and it is the same
> thing. my findings were i couldn't use 'progressive' similar to how sitoa
> does... so, apples and oranges.
>
> back to how awesome redshift is and how much talent glassworks' has...
>
> On Fri, Oct 3, 2014 at 11:34 AM, Rob Chapman  wrote:
>

Re: Glasswoks Lycra

[Simon van de Lagemaat]

But still distributing one frame across two cards right?

On Fri, Oct 3, 2014 at 12:46 PM, Ed Manning  wrote:

>
>
> Actually, SLI doesn't enter into it -- Redshift doesn't use it, and if
> your cards are wired up with an SLI bridge, you need to disable it in the
> nVidia settings.
>
>
>

Re: Glasswoks Lycra

[Ed Manning]

On Fri, Oct 3, 2014 at 2:52 PM, Simon van de Lagemaat <
si...@theembassyvfx.com> wrote:

> So SLI seems to be the most cost efficient method i.e. double the power
> per physical box...  nice thing is you can probably upgrade those GPU's
> across a few generations without upgrading the rest of the system since the
> PCI specs don't change much and power draw tends to decrease with newer
> cards.
>
> I mean, it's not cheap but I'll assume the dollar per flops ratio is way
> higher.
>

Actually, SLI doesn't enter into it -- Redshift doesn't use it, and if your
cards are wired up with an SLI bridge, you need to disable it in the nVidia
settings.

Re: Glasswoks Lycra

[Simon van de Lagemaat]

With Modo we almost always ended up using brute force because the IC
methods were just far to skittish no matter how much you dialed things up.
I think since then they've implemented some hybrid approach as well.

I still think the future is bidirectional with beastly hardware dealing
with any noise but for now I'm curious to try out RS.  Seems like the raw
speed is over riding any other concerns especially on smaller jobs.

On Fri, Oct 3, 2014 at 12:20 PM, Steven Caron  wrote:

> haha, thanks. that is what i figured.. most people using vray do something
> similar with their brute force + light cache
>
>
>

Re: Glasswoks Lycra

[Steven Caron]

haha, thanks. that is what i figured.. most people using vray do something
similar with their brute force + light cache


On Fri, Oct 3, 2014 at 12:13 PM, Emilio Hernandez  wrote:

> Haha.
>
> Regularly I use as the Primary Brute Force, and for the secondary IPC.
>
> Cheers!
>
>
>

Re: Glasswoks Lycra

[Simon van de Lagemaat]

Ya sorry I totally derailed this thread... the work was amazing!!!

On Fri, Oct 3, 2014 at 12:07 PM, Steven Caron  wrote:

>
>
> back to how awesome redshift is and how much talent glassworks' has...
>
>

Re: Glasswoks Lycra

[Simon van de Lagemaat]

I suppose there's also no density processing tax that Intel likes to levy
on the xeon silicone along with the shitty extra dollars for ecc ram and
server class motherboards.  They really aren't growing any positive karma
with that.

On Fri, Oct 3, 2014 at 12:07 PM, Tim Crowson  wrote:

>  What's really awesome is that these cards are not only getting better,
> but cheaper too. The 900 series was just released and packs a punch for not
> a whole lot of money. Redshift excells with these so-called 'gaming' cards.
>
> -Tim
>
>

Re: Glasswoks Lycra

[Emilio Hernandez]

Haha.

Regularly I use as the Primary Brute Force, and for the secondary IPC.

Cheers!

---
Emilio Hernández   VFX & 3D animation.

2014-10-03 14:08 GMT-05:00 Steven Caron :

> i meant... which rendering engines do you use in redshift :P
>
> On Fri, Oct 3, 2014 at 11:42 AM, Emilio Hernandez 
> wrote:
>
>> Since Redshift appeared, mostly I used Mental Ray since Softimage 3D 3.5
>>
>> I used Maxwell, Arnold, 3Delight, Fury and I was in the beta testers of
>> V-ray.  But when finally Redshift came out in its Alpha stage, and I was
>> able to participate in the group. I knew this was the render engine I was
>> expecting for Softimage.
>>
>>
>>

Re: Glasswoks Lycra

[Steven Caron]

their memory footprint is very similar to arnold. ie. cost per triangle and
the attributes associated to it redshift guys have done a great job with
their 'out of core' performance.

redshift has brute force modes, you can get it to behave like arnold just
like you can get vray to behave like arnold.

On Fri, Oct 3, 2014 at 11:34 AM, Simon van de Lagemaat <
si...@theembassyvfx.com> wrote:

> At the cost of a smaller fast memory pool?  From what I understand
> Redshift slows down significantly when it starts using off board RAM?  I
> know this is one of the main reasons many other renderers haven't gone to
> the GPU yet since cards with decent amounts of memory are still priced far
> too high.
>
> How is Redshift with overall memory usage?  i.e. what is the memory
> footprint per polygon etc.  Also it's biased correct?  I
> become nauseous when someone mentions that word, is their approach better
> than other IC approaches?  Similar pitfalls?
>
> I may try it this weekend on my 780gtx (only 3GB onboard) at home since
> it's been getting good PR here.  With the type of memory heavy rendering we
> do for film and the efficient platform agnostic pipeline friendly workflow
> we have with Arnold I don't see it being useful outside some smaller
> commercial jobs but I'd like to get a taste of the speed and interactivity.
> I suppose if we were a 5 person shop again something like RS would be a
> godsend.
>
> On Fri, Oct 3, 2014 at 11:06 AM, Steven Caron  wrote:
>
>> that extra GPU power is a dramatic increase in speed though.
>>
>>
>>

Re: Glasswoks Lycra

[Tim Crowson]

I know you asked Emilio, but I'll answer for my part: BF+BF or BF+IPC.
-Tim

On 10/3/2014 2:08 PM, Steven Caron wrote:

i meant... which rendering engines do you use in redshift :P

On Fri, Oct 3, 2014 at 11:42 AM, Emilio Hernandez > wrote:


Since Redshift appeared, mostly I used Mental Ray since Softimage
3D 3.5

I used Maxwell, Arnold, 3Delight, Fury and I was in the beta
testers of V-ray.  But when finally Redshift came out in its Alpha
stage, and I was able to participate in the group. I knew this was
the render engine I was expecting for Softimage.




--
Signature

Re: Glasswoks Lycra

[Steven Caron]

i meant... which rendering engines do you use in redshift :P

On Fri, Oct 3, 2014 at 11:42 AM, Emilio Hernandez  wrote:

> Since Redshift appeared, mostly I used Mental Ray since Softimage 3D 3.5
>
> I used Maxwell, Arnold, 3Delight, Fury and I was in the beta testers of
> V-ray.  But when finally Redshift came out in its Alpha stage, and I was
> able to participate in the group. I knew this was the render engine I was
> expecting for Softimage.
>
>
>

Re: Glasswoks Lycra

[Steven Caron]

let's not get 'pokey' here, apples and oranges. unless you have
'progressive' on in redshift, it is re exporting the data each time. in
sitoa you just turn scene rebuild mode to 'always' and it is the same
thing. my findings were i couldn't use 'progressive' similar to how sitoa
does... so, apples and oranges.

back to how awesome redshift is and how much talent glassworks' has...

On Fri, Oct 3, 2014 at 11:34 AM, Rob Chapman  wrote:

> Not having to kick ass or rewind a frame for evey render region preview is
> a huge time saver on its own..
> On 3 Oct 2014 19:12, "Steven Caron"  wrote:
>
>> hey emilio
>>
>> which rendering engines do you use?
>>
>>

Re: Glasswoks Lycra

[Tim Crowson]

What's really awesome is that these cards are not only getting better, 
but cheaper too. The 900 series was just released and packs a punch for 
not a whole lot of money. Redshift excells with these so-called 'gaming' 
cards.


-Tim


On 10/3/2014 1:52 PM, Simon van de Lagemaat wrote:
So SLI seems to be the most cost efficient method i.e. double the 
power per physical box...  nice thing is you can probably upgrade 
those GPU's across a few generations without upgrading the rest of the 
system since the PCI specs don't change much and power draw tends to 
decrease with newer cards.


I mean, it's not cheap but I'll assume the dollar per flops ratio is 
way higher.


On Fri, Oct 3, 2014 at 11:43 AM, Ed Manning > wrote:


Ditto.  total gamechanger. Redshift is literally the only thing
that kept me from closing up shop. I had priced out new multicore
render nodes, and licenses for VRay and Arnold, as well as testing
Arion, Octane and more obscure options, and the numbers just
didn't make sense.  I was going to just not be able to continue
doing the type of remote work my clients expect on the schedules
they need, and make enough money for it to be worth doing.

For example, I'm just putting 2 new render machines online -
they're refurb Dell workstations that cost $450 each, with an
additional 16GB RAM, ($190 each), an auxiliary drive bay power
supply ($25!) and 2 GTX 780s ($850/pair).  So each render node's
hardware was about $1500, the Redshift license is $500, and I get
much better performance from each node than I see from brand-new
$10K 20-core CPU render boxes.







--
Signature

Re: Glasswoks Lycra

[Tim Crowson]

1) it slows down the most when sending geometry out of core, and frankly 
even that ain't all that bad. 'Significantly' is relative here when it's 
already that fast.
2) There is currently a hard-coded 4GB cap on on-board geo cache, to try 
and balance performance in these early stages. So even if your card has 
6+, it will send geo out of core if hits 4GB. The devs have talked about 
upping this though, especially with bigger cards coming along.
3) I can't recall the exact numbers, but they're able to fit roughly 
110-120M unique triangles in 4GB, that geo being simple geo with a 
single UV mesh.
4) Biased man I'm not gonna split hairs on this. If that's a big 
deal for you it's a big deal for you. Seems like the sort of thing 
Archviz people would care about more than VFX or Animation folks. 
Redshift does have a hearty Monte-Carlo-only mode that I am partial too 
though
5) I lit and rendered all 75 of my shots on Yellowday 
 in about 30 days on 12 multi-GPU 
boxes. The toughest shots' frame times averaged 45min/f, with most in 
the 5-15m range, and several far faster than that. The densest shots 
here used about 8-9GB total, IIRC.
6) As always, everything is relative to your business and what the needs 
of your production are. No news there.


-Tim


On 10/3/2014 1:34 PM, Simon van de Lagemaat wrote:
At the cost of a smaller fast memory pool?  From what I understand 
Redshift slows down significantly when it starts using off board RAM?  
I know this is one of the main reasons many other renderers haven't 
gone to the GPU yet since cards with decent amounts of memory are 
still priced far too high.


How is Redshift with overall memory usage?  i.e. what is the memory 
footprint per polygon etc.  Also it's biased correct?  I 
become nauseous when someone mentions that word, is their approach 
better than other IC approaches?  Similar pitfalls?


I may try it this weekend on my 780gtx (only 3GB onboard) at home 
since it's been getting good PR here.  With the type of memory heavy 
rendering we do for film and the efficient platform agnostic pipeline 
friendly workflow we have with Arnold I don't see it being useful 
outside some smaller commercial jobs but I'd like to get a taste of 
the speed and interactivity. I suppose if we were a 5 person shop 
again something like RS would be a godsend.


On Fri, Oct 3, 2014 at 11:06 AM, Steven Caron > wrote:


that extra GPU power is a dramatic increase in speed though.




--
Signature

Re: Glasswoks Lycra

[Simon van de Lagemaat]

So SLI seems to be the most cost efficient method i.e. double the power per
physical box...  nice thing is you can probably upgrade those GPU's across
a few generations without upgrading the rest of the system since the PCI
specs don't change much and power draw tends to decrease with newer cards.

I mean, it's not cheap but I'll assume the dollar per flops ratio is way
higher.

On Fri, Oct 3, 2014 at 11:43 AM, Ed Manning  wrote:

> Ditto.  total gamechanger. Redshift is literally the only thing that kept
> me from closing up shop. I had priced out new multicore render nodes, and
> licenses for VRay and Arnold, as well as testing Arion, Octane and more
> obscure options, and the numbers just didn't make sense.  I was going to
> just not be able to continue doing the type of remote work my clients
> expect on the schedules they need, and make enough money for it to be worth
> doing.
>
> For example, I'm just putting 2 new render machines online - they're
> refurb Dell workstations that cost $450 each, with an additional 16GB RAM,
> ($190 each), an auxiliary drive bay power supply ($25!) and 2 GTX 780s
> ($850/pair).  So each render node's hardware was about $1500, the Redshift
> license is $500, and I get much better performance from each node than I
> see from brand-new $10K 20-core CPU render boxes.
>
>
>
>
>

Re: Glasswoks Lycra

[Sebastien Sterling]

Octane is an un-biased GPU renderer, i wonder how it stacks

they way i understand bias and unbies

is it, that

unbias, computer goes through the whole gamut of possible calculations to
find the right result per ray traced.

Bias, you get to clamp the calculations to a more probable outcome, so the
ray calculation won't bother with "everything" just the specific bracket
you want to work in, which speeds up things, but sacrifices certainty in
accuracy?

is that right ?

or is that brute force ?



On 3 October 2014 19:34, Simon van de Lagemaat 
wrote:

> At the cost of a smaller fast memory pool?  From what I understand
> Redshift slows down significantly when it starts using off board RAM?  I
> know this is one of the main reasons many other renderers haven't gone to
> the GPU yet since cards with decent amounts of memory are still priced far
> too high.
>
> How is Redshift with overall memory usage?  i.e. what is the memory
> footprint per polygon etc.  Also it's biased correct?  I
> become nauseous when someone mentions that word, is their approach better
> than other IC approaches?  Similar pitfalls?
>
> I may try it this weekend on my 780gtx (only 3GB onboard) at home since
> it's been getting good PR here.  With the type of memory heavy rendering we
> do for film and the efficient platform agnostic pipeline friendly workflow
> we have with Arnold I don't see it being useful outside some smaller
> commercial jobs but I'd like to get a taste of the speed and interactivity.
> I suppose if we were a 5 person shop again something like RS would be a
> godsend.
>
> On Fri, Oct 3, 2014 at 11:06 AM, Steven Caron  wrote:
>
>> that extra GPU power is a dramatic increase in speed though.
>>
>>
>>

Re: Glasswoks Lycra

[Emilio Hernandez]

Forgot to mention the amazing Redshift support.  Those guys really rock!

---
Emilio Hernández   VFX & 3D animation.

2014-10-03 13:43 GMT-05:00 Ed Manning :

> Ditto.  total gamechanger. Redshift is literally the only thing that kept
> me from closing up shop. I had priced out new multicore render nodes, and
> licenses for VRay and Arnold, as well as testing Arion, Octane and more
> obscure options, and the numbers just didn't make sense.  I was going to
> just not be able to continue doing the type of remote work my clients
> expect on the schedules they need, and make enough money for it to be worth
> doing.
>
> For example, I'm just putting 2 new render machines online - they're
> refurb Dell workstations that cost $450 each, with an additional 16GB RAM,
> ($190 each), an auxiliary drive bay power supply ($25!) and 2 GTX 780s
> ($850/pair).  So each render node's hardware was about $1500, the Redshift
> license is $500, and I get much better performance from each node than I
> see from brand-new $10K 20-core CPU render boxes.
>
>
>
>
>

Re: Glasswoks Lycra

[Ed Manning]

Ditto.  total gamechanger. Redshift is literally the only thing that kept
me from closing up shop. I had priced out new multicore render nodes, and
licenses for VRay and Arnold, as well as testing Arion, Octane and more
obscure options, and the numbers just didn't make sense.  I was going to
just not be able to continue doing the type of remote work my clients
expect on the schedules they need, and make enough money for it to be worth
doing.

For example, I'm just putting 2 new render machines online - they're refurb
Dell workstations that cost $450 each, with an additional 16GB RAM, ($190
each), an auxiliary drive bay power supply ($25!) and 2 GTX 780s
($850/pair).  So each render node's hardware was about $1500, the Redshift
license is $500, and I get much better performance from each node than I
see from brand-new $10K 20-core CPU render boxes.

Re: Glasswoks Lycra

[Emilio Hernandez]

Since Redshift appeared, mostly I used Mental Ray since Softimage 3D 3.5

I used Maxwell, Arnold, 3Delight, Fury and I was in the beta testers of
V-ray.  But when finally Redshift came out in its Alpha stage, and I was
able to participate in the group. I knew this was the render engine I was
expecting for Softimage.

I was working in a 5 seconds lenght product shot for Kellogg's that with my
hardware resources, it would have been impossible to deliver on time with
the quality the client was expecting.

So, straight after download and installed Redshift, I gave it a try.
Straight from the beggining, I felt at home with Redshift, setup the scene
in a breeze, made a couple of tests and hit render.

The final render came out without any problem and incredibly fast without
any flickering, fireflies, noise, etc.   Since then, I am using Redshift
99%  Except for particle volumes.

Cheers!


---
Emilio Hernández   VFX & 3D animation.

2014-10-03 13:11 GMT-05:00 Steven Caron :

> hey emilio
>
> which rendering engines do you use?
>
> On Fri, Oct 3, 2014 at 11:09 AM, Emilio Hernandez 
> wrote:
>
>> I will add quality and clean renders to the speed and power.
>>
>> No fireflies, unexpected noise, etc.
>>
>> Besides for me it is not only about the rendering. Maybe if you have a
>> super render farm, you can just send the job and forget about unitl it is
>> done.  But when working in texturing, shading, and lighting, Redshift is a
>> joy to work with, and a hell of a time saver.
>>
>>
>

Re: Glasswoks Lycra

[Simon van de Lagemaat]

At the cost of a smaller fast memory pool?  From what I understand Redshift
slows down significantly when it starts using off board RAM?  I know this
is one of the main reasons many other renderers haven't gone to the GPU yet
since cards with decent amounts of memory are still priced far too high.

How is Redshift with overall memory usage?  i.e. what is the memory
footprint per polygon etc.  Also it's biased correct?  I
become nauseous when someone mentions that word, is their approach better
than other IC approaches?  Similar pitfalls?

I may try it this weekend on my 780gtx (only 3GB onboard) at home since
it's been getting good PR here.  With the type of memory heavy rendering we
do for film and the efficient platform agnostic pipeline friendly workflow
we have with Arnold I don't see it being useful outside some smaller
commercial jobs but I'd like to get a taste of the speed and interactivity.
I suppose if we were a 5 person shop again something like RS would be a
godsend.

On Fri, Oct 3, 2014 at 11:06 AM, Steven Caron  wrote:

> that extra GPU power is a dramatic increase in speed though.
>
>
>

Re: Glasswoks Lycra

[Rob Chapman]

Not having to kick ass or rewind a frame for evey render region preview is
a huge time saver on its own..
On 3 Oct 2014 19:12, "Steven Caron"  wrote:

> hey emilio
>
> which rendering engines do you use?
>
> On Fri, Oct 3, 2014 at 11:09 AM, Emilio Hernandez 
> wrote:
>
>> I will add quality and clean renders to the speed and power.
>>
>> No fireflies, unexpected noise, etc.
>>
>> Besides for me it is not only about the rendering. Maybe if you have a
>> super render farm, you can just send the job and forget about unitl it is
>> done.  But when working in texturing, shading, and lighting, Redshift is a
>> joy to work with, and a hell of a time saver.
>>
>>
>

Re: Glasswoks Lycra

[Tim Crowson]

It really is. Even on very complex scenes.
-Tim

On 10/3/2014 1:06 PM, Steven Caron wrote:

that extra GPU power is a dramatic increase in speed though.

On Fri, Oct 3, 2014 at 10:53 AM, Simon van de Lagemaat 
mailto:si...@theembassyvfx.com>> wrote:


Why is that?  I didn't see anything in that spot any renderer
couldn't handle without issue.  Was there some specific reason
redshift excelled beyond some extra gpu power?



On Fri, Oct 3, 2014 at 3:34 AM, Florian Juri
mailto:florian.j...@googlemail.com>>
wrote:

oh and I forgot to mention: without Redshift we'd be still
rendering!





--
Signature

Re: Glasswoks Lycra

[Steven Caron]

hey emilio

which rendering engines do you use?

On Fri, Oct 3, 2014 at 11:09 AM, Emilio Hernandez  wrote:

> I will add quality and clean renders to the speed and power.
>
> No fireflies, unexpected noise, etc.
>
> Besides for me it is not only about the rendering. Maybe if you have a
> super render farm, you can just send the job and forget about unitl it is
> done.  But when working in texturing, shading, and lighting, Redshift is a
> joy to work with, and a hell of a time saver.
>
>

Re: Glasswoks Lycra

[Emilio Hernandez]

I will add quality and clean renders to the speed and power.

No fireflies, unexpected noise, etc.

Besides for me it is not only about the rendering. Maybe if you have a
super render farm, you can just send the job and forget about unitl it is
done.  But when working in texturing, shading, and lighting, Redshift is a
joy to work with, and a hell of a time saver.



---
Emilio Hernández   VFX & 3D animation.

Re: Glasswoks Lycra

[Steven Caron]

that extra GPU power is a dramatic increase in speed though.

On Fri, Oct 3, 2014 at 10:53 AM, Simon van de Lagemaat <
si...@theembassyvfx.com> wrote:

> Why is that?  I didn't see anything in that spot any renderer couldn't
> handle without issue.  Was there some specific reason redshift excelled
> beyond some extra gpu power?
>
>
>
> On Fri, Oct 3, 2014 at 3:34 AM, Florian Juri 
> wrote:
>
>> oh and I forgot to mention: without Redshift we'd be still rendering!
>>
>>
>>

Re: Glasswoks Lycra

[Mirko Jankovic]

sheer power and speed of Redshift is something you need to see first hand
really :) they will oproably explain better but... Redshift for a lot of
people was game changer

On Fri, Oct 3, 2014 at 7:53 PM, Simon van de Lagemaat <
si...@theembassyvfx.com> wrote:

> Why is that?  I didn't see anything in that spot any renderer couldn't
> handle without issue.  Was there some specific reason redshift excelled
> beyond some extra gpu power?
>
>
>
> On Fri, Oct 3, 2014 at 3:34 AM, Florian Juri 
> wrote:
>
>> oh and I forgot to mention: without Redshift we'd be still rendering!
>>
>>
>>

Re: Glasswoks Lycra

[Simon van de Lagemaat]

Why is that?  I didn't see anything in that spot any renderer couldn't
handle without issue.  Was there some specific reason redshift excelled
beyond some extra gpu power?



On Fri, Oct 3, 2014 at 3:34 AM, Florian Juri 
wrote:

> oh and I forgot to mention: without Redshift we'd be still rendering!
>
>
>

Re: Glasswoks Lycra

[Sebastien Sterling]

g 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> 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...@listproc.autodesk.com] On Behalf Of adrian wyer
>>>>> Sent: Thursday, October 02, 2014 6:46 AM
>>>>> To: softimage@listproc.autodesk.com
>>>>> Subject: RE: Glasswoks Lycra
>>>>>
>>>>> any idea how the UVs were created?
>>>>>
>>>>> a
>>>>>
>>>>>
>>>>
>>>
>>
>
>

Re: Glasswoks Lycra

[Alastair Hearsum]

upport

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 adrian wyer
Sent: Thursday, October 02, 2014 6:46 AM
To: softimage@listproc.autodesk.com
<mailto:softimage@listproc.autodesk.com>
Subject: RE: Glasswoks Lycra

any idea how the UVs were created?

a

Re: Glasswoks Lycra

[Sebastien Sterling]

A wee making of would be nice :)

On 3 October 2014 11:34, Florian Juri  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  > 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 R&D 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  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> 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...@listproc.autodesk.com] On Behalf Of adrian wyer
>>>> Sent: Thursday, October 02, 2014 6:46 AM
>>>> To: softimage@listproc.autodesk.com
>>>> Subject: RE: Glasswoks Lycra
>>>>
>>>> any idea how the UVs were created?
>>>>
>>>> a
>>>>
>>>>
>>>
>>
>

Re: Glasswoks Lycra

[Florian Juri]

oh and I forgot to mention: without Redshift we'd be still rendering!



On Fri, Oct 3, 2014 at 11:32 AM, Florian Juri 
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 R&D 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  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> 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...@listproc.autodesk.com] On Behalf Of adrian wyer
>>> Sent: Thursday, October 02, 2014 6:46 AM
>>> To: softimage@listproc.autodesk.com
>>> Subject: RE: Glasswoks Lycra
>>>
>>> any idea how the UVs were created?
>>>
>>> a
>>>
>>>
>>
>

Re: Glasswoks Lycra

[Florian Juri]

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 R&D 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  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> 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...@listproc.autodesk.com] On Behalf Of adrian wyer
>> Sent: Thursday, October 02, 2014 6:46 AM
>> To: softimage@listproc.autodesk.com
>> Subject: RE: Glasswoks Lycra
>>
>> any idea how the UVs were created?
>>
>> a
>>
>>
>

Re: Glasswoks Lycra

[Jason S]

  
  
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>
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...@listproc.autodesk.com]
  On Behalf Of adrian wyer
  Sent: Thursday, October 02, 2014 6:46 AM
  To: softimage@listproc.autodesk.com
  Subject: RE: Glasswoks Lycra
  
any idea how the UVs were created?

a

  
  

  


  

RE: Glasswoks Lycra

[Matt Lind]

Yes, and it can be achieved very easily using the native toolset.  Just tag 
point(s) on the surfaces to be extruded, then Animate > Plot > Curve to 
generate the curves over the sequence.  Finally, loft the generated curves to 
form the surface.  The Texture UVs come for free.

Matt



From: softimage-boun...@listproc.autodesk.com 
[mailto:softimage-boun...@listproc.autodesk.com] On Behalf Of Manny Papamanos
Sent: Thursday, October 02, 2014 1:53 PM
To: softimage@listproc.autodesk.com
Subject: RE: Glasswoks Lycra

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...@listproc.autodesk.com>
 [mailto:softimage-boun...@listproc.autodesk.com] On Behalf Of adrian wyer
Sent: Thursday, October 02, 2014 6:46 AM
To: softimage@listproc.autodesk.com<mailto:softimage@listproc.autodesk.com>
Subject: RE: Glasswoks Lycra

any idea how the UVs were created?

a


From: 
softimage-boun...@listproc.autodesk.com<mailto:softimage-boun...@listproc.autodesk.com>
 [mailto:softimage-boun...@listproc.autodesk.com] On Behalf Of Rob Chapman
Sent: 02 October 2014 10:37
To: softimage@listproc.autodesk.com<mailto:softimage@listproc.autodesk.com>
Subject: Re: Glasswoks Lycra

speaking to JJ about this the other day (am on a short gig at Glassworks so sat 
next to him)  he said that it was verlet dynamic strands that were then meshed 
- most of the hard work was in the matchmove / roto integration

and yes Softimage still very much alive and kicking here :D



On 2 October 2014 10:08, adrian wyer 
mailto:adrian.w...@fluid-pictures.com>> wrote:
Alastair (or anyone else) any insight into how you extruded the geometry to 
have UV for the fabric patterns?

been baking my noodle thinking about this

a


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 Sebastien Sterling
Sent: 02 October 2014 02:57
To: softimage@listproc.autodesk.com<mailto:softimage@listproc.autodesk.com>
Subject: Re: Glasswoks Lycra

Looks like a bloody intense pitch meeting ;).

On 2 October 2014 01:50, David Barosin 
mailto:dbaro...@gmail.com>> wrote:
Wow.  Cool idea and great execution!

On Wed, Oct 1, 2014 at 11:39 AM, Byron Nash 
mailto:byronn...@gmail.com>> wrote:
Very nice spot.

On Wed, Oct 1, 2014 at 5:41 AM, Alastair Hearsum 
mailto:hear...@glassworks.co.uk>> wrote:
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
[http://old.glassworks.co.uk/images/Logo_UK.png]
<http://www.glassworks.co.uk>[http://old.glassworks.co.uk/images/Fbook.jpg]<http://www.facebook.com/pages/Glassworks/150976168270682>[http://old.glassworks.co.uk/images/Tweet.jpg]<https://twitter.com/GlassworksVFX>[http://old.glassworks.co.uk/images/vimeo.png]<https://vimeo.com/glassworksamsterdam>[http://old.glassworks.co.uk/images/instagram.png]<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<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 30/09/2014 18:55, olivier jeannel wrote:
http://www.glassworks.co.uk/video/lycra-moves-you&search-type=all&term=all

Beautifull film, out of curiousity are we still speaking softimage here ?

Re: Glasswoks Lycra

[Steven Caron]

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> 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...@listproc.autodesk.com] On Behalf Of adrian wyer
> Sent: Thursday, October 02, 2014 6:46 AM
> To: softimage@listproc.autodesk.com
> Subject: RE: Glasswoks Lycra
>
> any idea how the UVs were created?
>
> a
>
>

RE: Glasswoks Lycra

[Manny Papamanos]

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...@listproc.autodesk.com] On Behalf Of adrian wyer
Sent: Thursday, October 02, 2014 6:46 AM
To: softimage@listproc.autodesk.com
Subject: RE: Glasswoks Lycra

any idea how the UVs were created?

a


From: 
softimage-boun...@listproc.autodesk.com<mailto:softimage-boun...@listproc.autodesk.com>
 [mailto:softimage-boun...@listproc.autodesk.com] On Behalf Of Rob Chapman
Sent: 02 October 2014 10:37
To: softimage@listproc.autodesk.com<mailto:softimage@listproc.autodesk.com>
Subject: Re: Glasswoks Lycra

speaking to JJ about this the other day (am on a short gig at Glassworks so sat 
next to him)  he said that it was verlet dynamic strands that were then meshed 
- most of the hard work was in the matchmove / roto integration

and yes Softimage still very much alive and kicking here :D



On 2 October 2014 10:08, adrian wyer 
mailto:adrian.w...@fluid-pictures.com>> wrote:
Alastair (or anyone else) any insight into how you extruded the geometry to 
have UV for the fabric patterns?

been baking my noodle thinking about this

a


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 Sebastien Sterling
Sent: 02 October 2014 02:57
To: softimage@listproc.autodesk.com<mailto:softimage@listproc.autodesk.com>
Subject: Re: Glasswoks Lycra

Looks like a bloody intense pitch meeting ;).

On 2 October 2014 01:50, David Barosin 
mailto:dbaro...@gmail.com>> wrote:
Wow.  Cool idea and great execution!

On Wed, Oct 1, 2014 at 11:39 AM, Byron Nash 
mailto:byronn...@gmail.com>> wrote:
Very nice spot.

On Wed, Oct 1, 2014 at 5:41 AM, Alastair Hearsum 
mailto:hear...@glassworks.co.uk>> wrote:
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.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<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 30/09/2014 18:55, olivier jeannel wrote:
http://www.glassworks.co.uk/video/lycra-moves-you&search-type=all&term=all

Beautifull film, out of curiousity are we still speaking softimage here ?





<>

RE: Glasswoks Lycra

[adrian wyer]

any idea how the UVs were created?

 

a

 

  _  

From: softimage-boun...@listproc.autodesk.com
[mailto:softimage-boun...@listproc.autodesk.com] On Behalf Of Rob Chapman
Sent: 02 October 2014 10:37
To: softimage@listproc.autodesk.com
Subject: Re: Glasswoks Lycra

 

speaking to JJ about this the other day (am on a short gig at Glassworks so
sat next to him)  he said that it was verlet dynamic strands that were then
meshed - most of the hard work was in the matchmove / roto integration

 

and yes Softimage still very much alive and kicking here :D

 

 

 

On 2 October 2014 10:08, adrian wyer  wrote:

Alastair (or anyone else) any insight into how you extruded the geometry to
have UV for the fabric patterns?

 

been baking my noodle thinking about this

 

a

 

  _  

From: softimage-boun...@listproc.autodesk.com
[mailto:softimage-boun...@listproc.autodesk.com] On Behalf Of Sebastien
Sterling
Sent: 02 October 2014 02:57
To: softimage@listproc.autodesk.com
Subject: Re: Glasswoks Lycra

 

Looks like a bloody intense pitch meeting ;).

 

On 2 October 2014 01:50, David Barosin  wrote:

Wow.  Cool idea and great execution!

 

On Wed, Oct 1, 2014 at 11:39 AM, Byron Nash  wrote:

Very nice spot. 

 

On Wed, Oct 1, 2014 at 5:41 AM, Alastair Hearsum 
wrote:

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

 <http://www.glassworks.co.uk> GLASSWORKS
 <http://www.facebook.com/pages/Glassworks/150976168270682> Facebook
<https://twitter.com/GlassworksVFX> Twitter
<https://vimeo.com/glassworksamsterdam> Vimeo
<http://instagram.com/glassworksvfx/> Instagram

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-you
<http://www.glassworks.co.uk/video/lycra-moves-you&search-type=all&term=all>
&search-type=all&term=all 

Beautifull film, out of curiousity are we still speaking softimage here ? 

 

 

 

 

 

Re: Glasswoks Lycra

[Rob Chapman]

speaking to JJ about this the other day (am on a short gig at Glassworks so
sat next to him)  he said that it was verlet dynamic strands that were then
meshed - most of the hard work was in the matchmove / roto integration

and yes Softimage still very much alive and kicking here :D



On 2 October 2014 10:08, adrian wyer  wrote:

>   Alastair (or anyone else) any insight into how you extruded the
> geometry to have UV for the fabric patterns?
>
>
>
> been baking my noodle thinking about this
>
>
>
> a
>
>
>  --
>
> *From:* softimage-boun...@listproc.autodesk.com [mailto:
> softimage-boun...@listproc.autodesk.com] *On Behalf Of *Sebastien Sterling
> *Sent:* 02 October 2014 02:57
> *To:* softimage@listproc.autodesk.com
> *Subject:* Re: Glasswoks Lycra
>
>
>
> Looks like a bloody intense pitch meeting ;).
>
>
>
> On 2 October 2014 01:50, David Barosin  wrote:
>
> Wow.  Cool idea and great execution!
>
>
>
> On Wed, Oct 1, 2014 at 11:39 AM, Byron Nash  wrote:
>
> Very nice spot.
>
>
>
> On Wed, Oct 1, 2014 at 5:41 AM, Alastair Hearsum 
> wrote:
>
> 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
>
> [image: GLASSWORKS]
>  <http://www.glassworks.co.uk>[image: Facebook]
> <http://www.facebook.com/pages/Glassworks/150976168270682>[image: Twitter]
> <https://twitter.com/GlassworksVFX>[image: Vimeo]
> <https://vimeo.com/glassworksamsterdam>[image: 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-you&search-type=all&term=all
>
> Beautifull film, out of curiousity are we still speaking softimage here ?
>
>
>
>
>
>
>
>
>

Re: Glasswoks Lycra

[olivier jeannel]

Watching beautiful stuff made with SI makes me feel less dead !


Le 01/10/2014 11:41, Alastair Hearsum a écrit :

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
Facebook 
 Twitter 
 Vimeo 
 Instagram 


See our latest work _here_. 
33/34 Great Pulteney Street
London
W1F 9NP
T +44 (0)20 7434 1182
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-you&search-type=all&term=all 



Beautifull film, out of curiousity are we still speaking softimage 
here ?

RE: Glasswoks Lycra

[adrian wyer]

Alastair (or anyone else) any insight into how you extruded the geometry to
have UV for the fabric patterns?

 

been baking my noodle thinking about this

 

a

 

  _  

From: softimage-boun...@listproc.autodesk.com
[mailto:softimage-boun...@listproc.autodesk.com] On Behalf Of Sebastien
Sterling
Sent: 02 October 2014 02:57
To: softimage@listproc.autodesk.com
Subject: Re: Glasswoks Lycra

 

Looks like a bloody intense pitch meeting ;).

 

On 2 October 2014 01:50, David Barosin  wrote:

Wow.  Cool idea and great execution!

 

On Wed, Oct 1, 2014 at 11:39 AM, Byron Nash  wrote:

Very nice spot. 

 

On Wed, Oct 1, 2014 at 5:41 AM, Alastair Hearsum 
wrote:

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

 <http://www.glassworks.co.uk> GLASSWORKS
 <http://www.facebook.com/pages/Glassworks/150976168270682> Facebook
<https://twitter.com/GlassworksVFX> Twitter
<https://vimeo.com/glassworksamsterdam> Vimeo
<http://instagram.com/glassworksvfx/> Instagram

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-you
<http://www.glassworks.co.uk/video/lycra-moves-you&search-type=all&term=all>
&search-type=all&term=all 

Beautifull film, out of curiousity are we still speaking softimage here ? 

 

 

 

 

Re: Glasswoks Lycra

[Sebastien Sterling]

Looks like a bloody intense pitch meeting ;).

On 2 October 2014 01:50, David Barosin  wrote:

> Wow.  Cool idea and great execution!
>
> On Wed, Oct 1, 2014 at 11:39 AM, Byron Nash  wrote:
>
>> Very nice spot.
>>
>> On Wed, Oct 1, 2014 at 5:41 AM, Alastair Hearsum <
>> hear...@glassworks.co.uk> wrote:
>>
>>>  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
>>> [image: GLASSWORKS]
>>>  [image: Facebook]
>>>  [image:
>>> Twitter]  [image: Vimeo]
>>>  [image: Instagram]
>>> 
>>>  See our latest work *here*. 
>>>  33/34 Great Pulteney Street
>>> London
>>> W1F 9NP
>>> T +44 (0)20 7434 1182
>>> 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-you&search-type=all&term=all
>>>
>>> Beautifull film, out of curiousity are we still speaking softimage here
>>> ?
>>>
>>>
>>>
>>
>

Re: Glasswoks Lycra

[David Barosin]

Wow.  Cool idea and great execution!

On Wed, Oct 1, 2014 at 11:39 AM, Byron Nash  wrote:

> Very nice spot.
>
> On Wed, Oct 1, 2014 at 5:41 AM, Alastair Hearsum  > wrote:
>
>>  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
>> [image: GLASSWORKS]
>>  [image: Facebook]
>>  [image:
>> Twitter]  [image: Vimeo]
>>  [image: Instagram]
>> 
>>  See our latest work *here*. 
>>  33/34 Great Pulteney Street
>> London
>> W1F 9NP
>> T +44 (0)20 7434 1182
>> 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-you&search-type=all&term=all
>>
>> Beautifull film, out of curiousity are we still speaking softimage here ?
>>
>>
>>
>

Re: Glasswoks Lycra

[Byron Nash]

Very nice spot.

On Wed, Oct 1, 2014 at 5:41 AM, Alastair Hearsum 
wrote:

>  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
> [image: GLASSWORKS]
>  [image: Facebook]
>  [image:
> Twitter]  [image: Vimeo]
>  [image: Instagram]
> 
>  See our latest work *here*. 
>  33/34 Great Pulteney Street
> London
> W1F 9NP
> T +44 (0)20 7434 1182
> 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-you&search-type=all&term=all
>
> Beautifull film, out of curiousity are we still speaking softimage here ?
>
>
>

Re: Glasswoks Lycra

[Alastair Hearsum]

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
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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-you&search-type=all&term=all 



Beautifull film, out of curiousity are we still speaking softimage here ?

RE: Glasswoks Lycra

[adrian wyer]

very nice piece, extruded texturing especially clever

a

-Original Message-
From: softimage-boun...@listproc.autodesk.com
[mailto:softimage-boun...@listproc.autodesk.com] On Behalf Of Jordi Bares
Sent: 30 September 2014 20:56
To: softimage@listproc.autodesk.com
Subject: Re: Glasswoks Lycra

Beautiful piece. really happy to see Softimage kicking!!!

Jordi Bares
jordiba...@gmail.com

On 30 Sep 2014, at 18:55, olivier jeannel  wrote:

> http://www.glassworks.co.uk/video/lycra-moves-you&search-type=all&term=all
> 
> Beautifull film, out of curiousity are we still speaking softimage here ?

Re: Glasswoks Lycra

[Jordi Bares]

Beautiful piece… really happy to see Softimage kicking!!!

Jordi Bares
jordiba...@gmail.com

On 30 Sep 2014, at 18:55, olivier jeannel  wrote:

> http://www.glassworks.co.uk/video/lycra-moves-you&search-type=all&term=all
> 
> Beautifull film, out of curiousity are we still speaking softimage here ?

Re: Glasswoks Lycra

[Sebastien Sterling]

Eat that new AD idents :P

have already shared it 3 times.

Thanks Glassworks, making consumerism, worth being a whore for ;)

On 30 September 2014 20:38, Eric Turman  wrote:

> Simply beautiful =)
>
> On Tue, Sep 30, 2014 at 2:29 PM, Eric Mootz  wrote:
>
>> Superbe work, Glassworks.
>>
>
>
>
> --
>
>
>
>
> -=T=-
>

Re: Glasswoks Lycra

[Andres Stephens]

=O =O =O 






-Draise 

PH: +57 313 811 6821





From: olivier jeannel
Sent: ‎Tuesday‎, ‎September‎ ‎30‎, ‎2014 ‎12‎:‎55‎:‎53‎ ‎
To: softimage@listproc.autodesk.com





http://www.glassworks.co.uk/video/lycra-moves-you&search-type=all&term=all

Beautifull film, out of curiousity are we still speaking softimage here ?

Re: Glasswoks Lycra

[Eric Turman]

Simply beautiful =)

On Tue, Sep 30, 2014 at 2:29 PM, Eric Mootz  wrote:

> Superbe work, Glassworks.
>



-- 




-=T=-

Re: Glasswoks Lycra

[Eric Mootz]

Superbe work, Glassworks.

Re: Glasswoks Lycra

[Emilio Hernandez]

Amazing work as always.

Indeed Softimage and Redshift are prooving themselves of their capabilities
in such fine hands as Glassworks'

Cheers and congrats!

---
Emilio Hernández   VFX & 3D animation.

2014-09-30 13:00 GMT-05:00 Matt Morris :

> Soft and Redshift. Killer combo!
>
> On 30 September 2014 18:55, olivier jeannel 
> wrote:
>
>> http://www.glassworks.co.uk/video/lycra-moves-you&search-
>> type=all&term=all
>>
>> Beautifull film, out of curiousity are we still speaking softimage here ?
>>
>
>
>
> --
> www.matinai.com
>

Re: Glasswoks Lycra

[Matt Morris]

Soft and Redshift. Killer combo!

On 30 September 2014 18:55, olivier jeannel  wrote:

> http://www.glassworks.co.uk/video/lycra-moves-you&search-type=all&term=all
>
> Beautifull film, out of curiousity are we still speaking softimage here ?
>



-- 
www.matinai.com

Glasswoks Lycra

[olivier jeannel]

http://www.glassworks.co.uk/video/lycra-moves-you&search-type=all&term=all

Beautifull film, out of curiousity are we still speaking softimage here ?