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Your opinion on something doesn’t mean much when confronted with real world experiences from the biggest studios.

by aprdm 6y ago

CyberDildonics 6y ago
Maybe some day I'll know what I'm talking about. Which part specifically do think is wrong?
- aprdm 6y ago
  Focusing on the technical steps and what might be technically feasible or not versus the existing world and artists workflows. Also speaking as an authority that knows best patronizing who actually works in the industry.
  - CyberDildonics 6y ago
    > Focusing on the technical steps and what might be technically feasible or not versus the existing world and artists workflows. I would say it's the opposite. There is nothing necessary about 10,000 4k maps and definitely nothing typical. Workflows trade a certain amount of optimization for consistency, but not like this. > patronizing who actually works in the industry. I don't think I was patronizing. This person is valuable in that they are trying to make completely excessive situations work. Telling people (or demonstrating to them) they are being ridiculous is not his responsibility and is a tight rope to walk in his position. > Also speaking as an authority that knows best If I said that 2 + 2 = 4 would you ask about a math degree? This is an exercise in appeal to authority. This person and myself aren't even contradicting each other very much. He is saying the extremes that he has seen, I'm saying that 10,000 pixels of texture data for each pixel in a frame is enormous excess. The only contradiction is that he seems to think that because someone did it, it must be a neccesity. Instead of confronting what I'm actually saying, you are trying to rationalize why you don't need to.
    - aprdm 6y ago
      > This person is valuable in that they are trying to make completely excessive situations work. Telling people (or demonstrating to them) they are being ridiculous is not his responsibility and is a tight rope to walk in his position. Usually the way VFX works is that technology (R&D) is very moved away from production. The artist job is getting the shot done regardless of technology and they have very short deadlines. They usually push the limits. Digital artists are not very tech savvy in a lot of disciplines, it is not feasible to have a TD in the delivery deadlines of the shots for a show. The person at Weta also told you how Weta actually worked in Kong which is very typical. You don't know upfront what you need. And you dismissed it as something unnecessary, still, is how every big VFX studio works. Do you feel that you know better and/or everyone is doing something wrong and hasn't really thought about it? If that is the case you might have a business opportunity for a more efficient VFX studio!
      - CyberDildonics 6y ago
        Your post is an actual example of being patronizing. Before I was just trying to explain what the person I replied to probably already knew intuitively. > how Weta actually worked in Kong which is very typical It is not typical to have 10,000 4k maps on a creature. What has been typical when rendering at 2k is a set of 2k maps for face, torso, arms and legs. Maybe a single arm and leg can be painted and the UVs can be mirrored, though mostly texture painters will layout the UVs separately and duplicate the texture themselves to leave room for variations. > it is not feasible to have a TD in the delivery deadlines of the shots for a show. Actually most of the people working on shots are considered TDs. Specific asset work for some sequence with a hero asset is actually very common, which makes sense if you think about it from a story point of view of needing a visual change to communicate a change of circumstances. 4k rendering (was the 2017 king kong rendered in 4k?) and all the closeups of king kong mean that higher resolution maps and more granular sections are understandable, but it doesn't add up to going from 16 2k maps to 10,000 4k maps. Maps like diffuse, specular and subsurface albedo are also just multiplicative, so there is no reason to have multiple maps unless they need to be rebalanced against each other per shot (such as for variations). You still never actually explained a problem or inconsistency with anything I've said.

Your opinion on something doesn’t mean much when confronted with real world experiences from the biggest studios.

by aprdm 6y ago

Your opinion on something doesn’t mean much when confronted with real world experiences from the biggest studios.

CyberDildonics 6y ago

Maybe some day I'll know what I'm talking about. Which part specifically do think is wrong?

aprdm 6y ago
Focusing on the technical steps and what might be technically feasible or not versus the existing world and artists workflows. Also speaking as an authority that knows best patronizing who actually works in the industry.
- CyberDildonics 6y ago
  > Focusing on the technical steps and what might be technically feasible or not versus the existing world and artists workflows. I would say it's the opposite. There is nothing necessary about 10,000 4k maps and definitely nothing typical. Workflows trade a certain amount of optimization for consistency, but not like this. > patronizing who actually works in the industry. I don't think I was patronizing. This person is valuable in that they are trying to make completely excessive situations work. Telling people (or demonstrating to them) they are being ridiculous is not his responsibility and is a tight rope to walk in his position. > Also speaking as an authority that knows best If I said that 2 + 2 = 4 would you ask about a math degree? This is an exercise in appeal to authority. This person and myself aren't even contradicting each other very much. He is saying the extremes that he has seen, I'm saying that 10,000 pixels of texture data for each pixel in a frame is enormous excess. The only contradiction is that he seems to think that because someone did it, it must be a neccesity. Instead of confronting what I'm actually saying, you are trying to rationalize why you don't need to.
  - aprdm 6y ago
    > This person is valuable in that they are trying to make completely excessive situations work. Telling people (or demonstrating to them) they are being ridiculous is not his responsibility and is a tight rope to walk in his position. Usually the way VFX works is that technology (R&D) is very moved away from production. The artist job is getting the shot done regardless of technology and they have very short deadlines. They usually push the limits. Digital artists are not very tech savvy in a lot of disciplines, it is not feasible to have a TD in the delivery deadlines of the shots for a show. The person at Weta also told you how Weta actually worked in Kong which is very typical. You don't know upfront what you need. And you dismissed it as something unnecessary, still, is how every big VFX studio works. Do you feel that you know better and/or everyone is doing something wrong and hasn't really thought about it? If that is the case you might have a business opportunity for a more efficient VFX studio!
    - CyberDildonics 6y ago
      Your post is an actual example of being patronizing. Before I was just trying to explain what the person I replied to probably already knew intuitively. > how Weta actually worked in Kong which is very typical It is not typical to have 10,000 4k maps on a creature. What has been typical when rendering at 2k is a set of 2k maps for face, torso, arms and legs. Maybe a single arm and leg can be painted and the UVs can be mirrored, though mostly texture painters will layout the UVs separately and duplicate the texture themselves to leave room for variations. > it is not feasible to have a TD in the delivery deadlines of the shots for a show. Actually most of the people working on shots are considered TDs. Specific asset work for some sequence with a hero asset is actually very common, which makes sense if you think about it from a story point of view of needing a visual change to communicate a change of circumstances. 4k rendering (was the 2017 king kong rendered in 4k?) and all the closeups of king kong mean that higher resolution maps and more granular sections are understandable, but it doesn't add up to going from 16 2k maps to 10,000 4k maps. Maps like diffuse, specular and subsurface albedo are also just multiplicative, so there is no reason to have multiple maps unless they need to be rebalanced against each other per shot (such as for variations). You still never actually explained a problem or inconsistency with anything I've said.