now, i don’t switch to xsi … ha
now, i don’t switch to xsi … ha
I await these features
- Fur rendering… should allow nearly unlimited hairs, and should be much faster (1 shade per hair-vertex?)
- Rendering of complex environments (fur, leaves, forest, …), might imply using bucketing, or disk caches for geometry
- Explore volumetric lighting; like for moist or dusty outdoor forest scenery.
These mean that large landscapes and very complex scenes will become very possible. I don’t care much for the sunlight shadow buffers and when they mention soft shadow, only because Broken took care of that and why do we need old fashioned buffer shadows for the sunlamp. The complex environments will extend beyond landscapes, but for cities, hangers, and everything else that could be complex as well, and the above combined with Eeschlo’s micro polygons:eek:
You don’t care for it because you don’t understand it. The sunlight shadow buffer would be invaluable for animation, as raytracing* is slow in every possible extent of the word.
Also, what on earth will fur rendering and micro-polygons do for you that you are some-how incapable of doing in your pictures now? New features have absolutely nothing to do with being able to make decent pictures.
EDIT: *softened, multi-sampled raytracing is even more so.
Specialized fur and micropolygon rendering would enable me to do stuff that I would run out of RAM for right now.
Think of high quality displacement across a very large expanse and perhaps an incredibly dense field of grass, rendering this now would be slow and take a lot of RAM, these features may make this faster and more efficient.
I know there’s nothing preventing me from making decent pictures, but still, Blender can’t handle say, 4-6 million polygons without taking more than 1000 megs of RAM in most cases.
I’ve (rendered/seen people’s renders of) grass done in blender, before. It just takes a little time and effort. Anyway, I’m not discounting the value of these features, I think it’s cool what they’re doing, I just think you’re a bit too feature-obsessed for your own good.
I’m not saying I’m totally dependent on the planned features, don’t forget fast rendering of complex environments, fur, and displacement will benefit everyone, especially those with time constraints when it comes to rendering.
lol @ blackboe
This is great! Lots of things to look forward to!
What the hell do we need that for?!
you just don’t understand how it works.
everytime something new is being developed for blender, you are supposed to say: “woot! this was the one thing i’ve been waiting for blender to have. now we are up to par with big boys. i can finally use it to make my movie.”
and then you never actually use the feature. but after couple of hours, you post a thread about “feature requests after x.xx release”.
I especially look forward to the SVN Branch.
We will make a Peach Branch, which not only has our own development, but it will actively sync with the other cool branches and kept compatible with trunk.
Does this mean a grouping of all stable branches into 1?
Great to keep up to date with all the new changes.
Thanks To All Involved!
Very good stuff indeed. I think they’ve done a great job of picking out the people to work on the project this year.
I suppose this can wait but it would be great to have all the editing tools available while in fullscreen mode. I’m sure the Peach team could benefit from that.
:eek: You’ve shaved the bunnies? You monster.
- The “everything should be animatable” axiom…
Such and old dream of mine…
The benefits would be immense.
I wonder what other 3D software has it?
Does anyone know anything about - The “everything should be animatable” axiom…? Is that just a brain-storm or is it part of the refactor project?
I think Maya has it.
I agree with CD on everything except the sun lamp shadow buffers which would be incredibly useful. Ray tracing cost me 14 hours to render 8 seconds of flying text in PAL. Micropoly will be awesome for the same reason, I just hope I’m able to learn how to use it.
For the “everything should be animatable” axiom, I hope they’ll make it work for compositor nodes too …
Yep and Shake has it too. It’s incredibly useful especially if it can take expressions as arguments. It’s one way you can do harmonics driven animation because for example Shake has an audio panel that converts audio tracks into IPO curves (AE has this too). It then generates a global variable (arbitrary IPO) and you could assign this global variable to an attribute of a modifier or other parameter.
The way they generally achieve this is just use text fields for every parameter. Clicking the text field and dragging acts as a slider so no physical slider is needed wasting space. This would help get parts of the interface in the right place. For example, the tools buttons shouldn’t be in the buttons panel, that should be for object attributes and all those should be animatable.
The multiple IPOs in one window would be very useful too. With Shake you can load your selected nodes into the IPO window and then change the visibility of each attribute. Items that have no keyframes don’t load in so they don’t clog up the IPO box. It would be nice if this was setup like the outliner list instead of a panel with no scrollbar because some objects have IPO parameters that get cut off at the bottom of the panel.
It’s the sheep from Pixar’s Boundin.
The “everything should be animatable” axiom…
I’ve been busy working on this for the past few weeks… more info on this will come, when I have time to finish coding this.
Now, there’s a nice surprise Algorithm.
Chances are that this is not a simple, straightforward task.
Thank you for you patience and dedication.
Good luck and have fun.
If the sunlight shadow buffer means parallel buffered shadows - and especially if it has better limit controls (maybe a gradient fall-off rather than a straight cut-off) - then “Go Peach!”.
I’m a buffer-shadow junkie but while they might save time rendering and offer other benefits ray lamps don’t have, they really do take some serious effort to either set up or work around.
why do we need old fashioned buffer shadows for the sunlamp.
Because we don’t all produce still pictures and because we don’t all have a garage full of computers to render our animated scenes. Even the “big boys” - who do have rooms full of computers - are careful where and when they use ray tracing. Buffer shadows are no more “old fashioned” than polygons and pixels - but they do require time and understanding to get the most out of them.