It occurs to me that this looks like I'm dissing the tek2shoot shader. I wasn't, it's a fine shader. What I was trying to say was that often the all in one solution isn't enough.
> -----Original Message-----
> From: owner-xsi(at)Softimage.COM [mailto:owner-xsi(at)Softimage.COM] On
> Behalf Of kim aldis
> Sent: 28 June 2006 23:19
> To: XSI(at)Softimage.COM
> Subject: RE: Replacing the shadertree? Possible?
>
> Can it make a sort of stripey, greeny, marbly sort of thing. With
> splodges. And maybe a couple of holes, with a client breathing down
> your neck who can change his mind on a sixpence and thinks green is too
> blue?
>
> > -----Original Message-----
> > From: owner-xsi(at)Softimage.COM [mailto:owner-xsi(at)Softimage.COM] On
> > Behalf Of Thomas Helzle
> > Sent: 28 June 2006 23:14
> > To: XSI(at)Softimage.COM
> > Subject: Re: Replacing the shadertree? Possible?
> >
> > The solution is in reach:
> > If anyone missed this amazing new material
> > http://www.tek2shoot.com/content/view/29/27/
> > Please have a look.
> > It combines a lot of what we are talking about here into one shader.
> >
> > - Instead of separate shaders for each highlight-flavor you have a
> > dropdown to select the one you need.
> > - Instead of those cheap archaic highlight solutions (phong, blinn)
> > only, it has Lafortune built in that really looks like light
> > reflections instead of painting just dots.
> > - It combines physical accurate surface simulation with all the older
> > models.
> >
> > For me, it will replace about 20 or more of XSIs nodes in my everyday
> > work.
> >
> > And it is very fast too.
> >
> > It reflects perfectly what I need everyday: On one hand, I need
> > "Steel, Gold, Glass, Paint" - I don't want to spend half an hour with
> > basic archaic nodes to get it right, but just slap a shader on it and
> > be done. There are many materials like these that are very well
> > defined anyway.
> > Then I have more special needs where I need to tweak a lot. Again,
> > with this node I see all the possibilities to mix and connect like I
> > want to.
> >
> > My first test after playing with the shader for 20 minutes:
> > www.screendream.de/stuff/T2S_illumination_Glass_v0001.jpg
> >
> > Wow, this tool is hot.
> >
> > Now I just have to find out how I can make this the default material
> > :-
> > )
> >
> > I am deeply impressed by this shader. Thanks a ton for this fantastic
> > plugin to the people at Tek2Shot!
> >
> > Thanks, Thanks, Thanks, Thanks....
> > ... ok I'll stop now ;-)
> >
> > Thomas Helzle
> >
> >
> >
> >
> > On Wed, 28 Jun 2006 22:36:47 +0200, Andy Jones <andy(at)thefront.com>
> > wrote:
> >
> > > It sounds like what you're talking about is a sort of "shader
> wizard"
> > > that just helps you design a shader. This is something we've
> talked
> > > about for quite a while, as a way to get more people shading
> despite
> > > the additional complexity of our custom multi-pass shader trees
> that
> > > tend to change per job. In lieu of actually doing that, we
> > eventually
> > > just implemented a system for translating standard shaders into
> > > valid shader for the current job by creating a library of metadata
> > > about
> > how
> > > all the inputs of shaders should be interpreted, even if they have
> > > different names. The problem is that artists still do weird things
> > > with the base shaders that don't really translate into something
> > > reasonable and organized. And sometimes we get things dialed by
> eye
> > > that are just downright wrong.
> > >
> > > Ultimately, what has benefited us far more is to find ways to
> reduce
> > > the building blocks of the shaders to a smaller set which we can
> > > then change dynamically and have the changes propagate through the
> job.
> > By
> > > doing this, we reduced the amount of work required to do shading
> for
> > a
> > > job and were able to leverage more talent and technical prowess per
> > > shader than we could before. Basically, what I'm saying is that
> > there
> > > would be tremendous benefit on even just medium scale productions
> to
> > > having some sort of macro engine so that the work done by technical
> > > types could be used in an intuitive way by artists within the
> > > context of a particular show. Sort of like if there were an easy
> > > interface for creating shader phenomena (which maybe there will be
> very soon).
> > >
> > > Wizard-like tools would still be very useful for people I'm sure.
> > > These aren't mutually exclusive concepts at all.
> > >
> > > -Andy
> > >
> > > Luc-Eric Rousseau wrote:
> > >
> > >> I did not argue for a layer-based approach instead of a tree-based
> > approach, I argued for new tools where the material is described by
> > combining elemental, artistic properties together instead of
> > programming functions. Some of these functions may be complex and a
> > single conceptual connection between two could mean dozens of
> > connections at the low implementation level. For fudging the
> results,
> > artist might use tools like paint the shadows and highlights in 3D,
> or
> > position a gradient with a manipulator in the 3D viewport. It just
> > means that the problems are addressed in different ways, not so much
> > based on how it has to be implemented. The tech people always get a
> > sense of panic that power will be taken from them any time these
> > discussions occur, but they generally end up benifiting from
> > additionnal tools to play with, and more time to as the mundane stuff
> > begins to work out-of-the-box. btw I don't know the plans in XSI,
> but
> > it should be interesting to see how mental r!
> > ay!
> > > '!
> > >> s metaSL will impact the more technical needs.
> > >>
> > >>
> > >>
> > >>> -----Original Message-----
> > >>> From: Tim Leydecker
> > >>>
> > >>> Hi Luc,
> > >>>
> > >>> itÂs true, everything that can be laid out flat and painted
> easily
> > >>> across meshborders without any seams is an artists dream.
> > >>>
> > >>> But nodes for condition state of an object/selection are as well,
> > >>> the angle two objects have, the distance in a relation to
> > >>> something else, the lightintensity at a certain point, the
> > >>> viewingangle all those bits also help in getting the best out of
> > >>> that perfect pink nailgloss painted on previously. ItÂs also
> great
> > >>> if you donÂt have to repeatedly refresh it whenever you add a
> > >>> layer, e.g. you share a common texture support or UV set, picked
> one, new color done.
> > >>>
> > >>> IÂd therefor really wouldnÂt want to limit things to a layer
> > approach.
> > >>> Actually, I hardly ever layer textures in Maya on a specific
> > channel
> > >>> but do often layer entire materials, or misuse a material to get
> > the
> > >>> illuminated areas (including the parts partly occluded by shadow)
> > as
> > >>> a way to select areas and do another operation on those.
> > >>>
> > >>>
> > >> [...]
> > >>
> > >> ---
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> > >>
> > >>
> > >
> > >
> > >
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