Author Topic: dubcats secret little hideout  (Read 137447 times)

2018-07-13, 14:24:15
Reply #210

Jpjapers

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Could you show an example of the material youre recreating?

2018-07-13, 14:29:21
Reply #211

Fluss

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You can map Fresnel IOR so wouldn't it be possible to make this with just a single material?
Yes, I would have done it that way. I don't really like the pure metalness workflow tbh, metallic IOR is not exposed and that's a no-go for me. I just hate the Hardcoded stuff!

2018-07-13, 19:47:30
Reply #212

Njen

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You can map Fresnel IOR so wouldn't it be possible to make this with just a single material?

As long as you are able to treat the dielectric and metallic surfaces differently with the same mask in regards to reflection and diffuse colour it is theoretically possible. But it's just easier to do it with two materials because there would be less nodes to use (less mixes).

2018-07-13, 20:23:46
Reply #213

dubcat

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You can map Fresnel IOR so wouldn't it be possible to make this with just a single material?

Hey!

Everything is possible with enough maps.
In this case we have metal flake bits that range from fully covered in paint to not covered at all.
It was easier to control the paint coverage by blending the materials together with random noise values.

Could you show an example of the material youre recreating?

Hey!

It's this type of paint.
If you cross polarize the material, you will notice white spots (metal) in the specular map.
I made the noise size larger in the preview material to make the effect more noticeable.




I don't really like the pure metalness workflow

Hey!

I don't like pure metalness workflow either.
Vray has a really nice implementation. Metalness is 0 by default, no one will notice it's there.
But if we need it, we can change it to 1. Win win.



As long as you are able to treat the dielectric and metallic surfaces differently with the same mask in regards to reflection and diffuse colour it is theoretically possible. But it's just easier to do it with two materials because there would be less nodes to use (less mixes).

Right on!
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2018-07-14, 15:34:34
Reply #214

dubcat

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Here's the first public "Roughness to IOR" LUT test.

Since slate and LUTs are a complete gamma mess, I have embedded all the gamma conversion stuff inside the LUT.

How to:
01. Open the roughness map in Photoshop.
02. Run my high pass action script. This script uses "Apply Image" to generate a perfect 1:1 High pass. It does not use the terrible Photoshop radius based High pass.
03. Load the map inside 3dsMax with "Auto Gamma".
04. Plug the map into "Corona Color Correct" and load the LUT.
05. Plug "Corona Color Correct" into "Fresnel IOR".



Examples, best enjoyed in a new tab.





I have made a High pass filter inside Corona, when I get around to code the new Bridge scripts, you won't even have to deal with Photoshop. In an ideal situation we would get a high pass Corona map, since it's a must when it comes to scanned textures.
« Last Edit: 2018-07-15, 03:55:20 by dubcat »
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2018-07-16, 04:03:41
Reply #215

Basshunter

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Here's the first public "Roughness to IOR" LUT test.

Hi Dubcat,

will you add this info to the Wiki site? It'd be easier to understand for people who haven't followed this from the beginning (Me included)

Thanks for all your knowledge.
« Last Edit: 2018-07-16, 05:26:24 by Basshunter »

2018-07-16, 10:20:31
Reply #216

Jpjapers

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Quote
Hey!

It's this type of paint.
If you cross polarize the material, you will notice white spots (metal) in the specular map.
I made the noise size larger in the preview material to make the effect more noticeable.




Ah right that kind of plastic dipped metal stuff?

2018-07-21, 22:31:04
Reply #217

dubcat

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will you add this info to the Wiki site? It'd be easier to understand for people who haven't followed this from the beginning (Me included)
Of course, I will add it to my todo list :)

Ah right that kind of plastic dipped metal stuff?
Yes something like that :)

------------------------------------

I will be dumping Camera Profiles until the sun comes up today.
Here is a dump of Phase One - IQ3 100MP it "only" cost 50 000$.
I would recommend that you use "Filmic Highlights" 1 as a starting point when using Camera Profile dumps. And then season to taste, because "Filmic Highlights" at 1 will remove everything called highlight. So either reduce "Filmic Highlights" OR if you want to boost the highlights a little, reduce "Highlight Compress" bellow 1, but this will also add contrast. Keep that in mind.

OR everyone could request ACES with at least five parameters:
Slope           - Controls the overall curvature strength.
Toe              - Controls the bottom half of the curve.
Shoulder      - Controls the top half of the curve.
Black Clip     - Moves the left anchor point below 0.
White Clip    - Moves the right anchor point above 1.

But stuff like this only exist in my dreams and Unreal 4.

edit:
So I have dumped a few cameras now, ranging from expensive mobiles, "cheap" cameras to expensive cameras.
Mobiles and "cheap" cameras have a tendency to crunch blacks and boost saturation. While expensive cameras tend to desaturate a little and keep the black crunch to a minimum.
All the devices boost mid/high, and in most cases the center point of the curve is shifted to the left (What Camera Raw 9.9 2010 has been doing all along). 32bit support has been dismissed by Adobe, so RIP 32bit Camera Raw. GG Adobe!

------------------------------------

Waiting for the 18% grey paint to dry.

« Last Edit: 2018-07-22, 02:51:20 by dubcat »
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2018-07-23, 21:29:02
Reply #218

aldola

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2018-07-23, 21:47:57
Reply #219

aldola

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2018-07-23, 23:44:51
Reply #220

dubcat

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give me a canon 5ds :p

Here is Canon 5DS RGB dump. I'm currently not 100% satisfied with my HSL dumper, will hopefully fix it next weekend.
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2018-07-24, 00:08:33
Reply #221

aldola

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2018-07-24, 15:41:51
Reply #222

aldola

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here is a test with the 5ds dump, this is the correct way to use them? may be the higlights are too strong

2018-07-24, 16:08:47
Reply #223

fabio81

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wow! very beautiful the LUT of the Canon 5dS!

2018-07-24, 17:39:14
Reply #224

dubcat

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here is a test with the 5ds dump, this is the correct way to use them? may be the higlights are too strong

I did a quick comparison against default ACES.
You have to use "Highlight Compress" 2.5 and "Filmic Highlights" 1 to match default ACES.
So leave "Filmic Highlights" at 1 and adjust "Highlight Compress" from 2.5 to taste.

edit:

I forgot to say that these settings only count for the Canon 5DS dump.
« Last Edit: 2018-07-25, 05:31:11 by dubcat »
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