This also being available via texture nodes will indeed allow complex planet/overhead terrain textures without the incredibly complex many-step node setups (along with the long rendering times) required now.
It would probably already be powerful enough for some terrain/planet uses as a single layer, but combine it with multiple planet procedural texture types and Blender’s other procedurals in texture node trees and you may have a truly powerful setup.
I’m not yet convinced by this. It still looks like a procedural texture and I can’t think of a planet with such kind of structures. Better call it slime texture, that would fit more the visual style I think.
Wouldn’t it be possible to use other textures in a texture node tree setup to modulate the transitions and other effects on the planet texture? Farsthary is interested in implementing this as a texture node as well and would make this possible providing that all the parameters that give a noticeable effect have their own float input.
I think it would help, but more parameters to affect the structural features of the texture wouldn’t hurt.
I see this as being a great way to generate the contours of a planet. Of course localised fractal noise would be needed for mountains and a more subtle bubbling (Perlin?) would be needed for hilly terrain, but I really see this as being a very nice addition to the procedual toolset of Blender.
Hm, that doesn’t surprise me much. This is the website of a guy from the demo scene. Demos are often packet with exe packers to make it as small as possible, and such are used by viruses too. Many demos will be reported as infected by todays antivirus programs and usually immediately deleted, but in fact there aren’t infected they’re only using an exe packer. That’s pretty lame by all those AV companys but you can’t do much about it except disabling their software if you want to watch demos or visit demo scene related websites.
If you don’t trust a site, then just don’t download anything. Only viewing shouldn’t be too dangerous.
He’s talking about using derivatives of the perlin noise to create more realistic landscapes.