FMX 2018: Getting Started With Clarisse / Learning the Basics

hi and welcome to FMX 2018 I'm Greg Jennings lead technical artist for isotropic the makers of Clarisse eye effects today I'll be giving a presentation called getting started with Clarisse the basics in which I'll be giving you a general overview of the software as well as seeing a few of the main concepts that make furries unique so let's start off with an empty project so this is what shows up when you first open up Therese I'll give you a very brief overview of the UI just so that we get accustomed with the vocabulary that we'll be using throughout the presentation so the workspace is divided in several viewports in which we can add widgets which are these little terms up here you can create new widgets by clicking either on the plus sign so we can create a script editor right here or by using the top menu windows and then choosing your widget in which case the widget will be floating this is a very flexible interface you can just drag and drop any of these widgets to the desired location you can also split the workspaces as many times as you want and build your own layout you can also save the layout so up here and layout presets you have some predefined layouts or you can also store your own and then call it as you wish later on so if we just take a quick look at the shading workshop for instance this will focus on the material editor as well as the 3d view obviously the animation workshop will put the accent on the graph editor and so on and so on so I'll just switch back to the render workshop which is Clarisse as a default pull this out a little bit to see the attribute editor a little bit more up here we have the shelves with just shortcuts to some of the main main functionalities that we'll be using so geometry lighting rendering you can also create your own up here little scripts one thing to notice is that all of these are just Python scripts so if you just drag and drop into the script editor you'll see the actual command that's being used this can come in handy in some cases especially if you want to learn scripting you can probably gather some useful information from this we also have the toolbar on the left hand side a few of these have options that you can access by double clicking there you go and then throughout the interface if you just hover over buttons you can have little help labels and over the attributes you sometimes have detailed descriptions of what the attribute actually does one last thing right here at the bottom if you click this you actually have a fast access to the log so that's about it for the interface and let's just start a quick project so the first thing I'll do is I'll import some geometry so I'll click file import geometry and in geo I'm just going to import all these buildings select all this we excuse me we don't need the materials so there you go we have a few assets so right now they're all loaded at the same time each of these assets was placed at the origin of the world before they were exported let's just double click on one of these this will open a new 3d view in object mode objects display selection mode which means that as I click on each of these I can see each of these objects independently now if we just select one of these and look at the attribute editor unlike other software's you'll see that at the bottom we have a path with a filename pointing to the object's location now this is very important because increase the geometry is never stored inside the project so actually if I save this project and let's just call it test for instance and I'll just put this on my desktop there you go and if I go to the desktop and edit this with any text editor so you'll see that see these are my objects right here and you'll see that in fact a Clarisse project is nothing more than a collection of attributes that define objects so in this case all we have is a filename this is the path of the objects now because we don't store the geometry inside the project this means that you can change this geometry at any time or that you can update the geometry in your modeling application at any time and reload it in Clarisse using file reload resources without losing any of your work already done increase one of the other advantages of course is the size of the project file and the fact that this is a file format that can easily be understood so just for clarity up here at my root I'll just create a new context so I'll right click new context I'll rename this by hitting f2 and I'll call it input and I'll just select all my buildings and I'll just drag and drop them in the import context so let's just talk about what contexts are increase now despite the little icon these are not folders they don't change any of your file hierarchy within Windows these are just really Teresa's project folders and they're mainly used to organize your work so we're not the thing you might have noticed is that up here in 3d view this is the display selection mode and when we first importing the objects by double clicking we would by default in the objects mode now by default this is set to context this means that if I click on import I see everything that this context contains whereas if I click on scene obviously these are not in this scene context so the only things I see are my camera and I'll just zoom in by hitting F my camera my light obviously the path tracing the image are not are not displayed in the viewport so this is a very important concept as well in Clarisse for now what we'll do we'll just click left mouse button and we'll just drag and drop the scene context up here and this will lock my 3d view to this specific scene context so let's start laying out some geometry so the first thing I'm going to do is I'm just going to create a poly grid in the scene context and I'll just make this a little bit bigger so I'll make it five kilometres by five kilometres Wyatt and we don't need as many spans so I'll just make this one in one or if it on that now we'll start placing some of the geometry on this poly grid so first of all let's see so let's just split this few pods and I will create a 3d view in object mode I'll just click on these and I'll select the fit on select option so let's look at these buildings and see which ones we'd like to use so what I'm going to do is I'm going to build a little block of buildings and then we'll use that to build a city so this one's pretty nice oh I think I'll probably start off by some of these lower buildings so let's start off with this one so I'll just right click and I'll combine it here or I'll just copy it let's just keep it simple close this at the time being so we have a building here I'll zoom in ok so we have one building so the way you do this in any other software application is you'd probably just select this place it and then hit ctrl-c ctrl-v place it again so I'm just going to place a few of these and just build a block of buildings so just bear with me during the time that I place these out this may be duplicate this one more time rotate it so if you middle mouse click on one then on one of the axes sorry of the manipulator and this allows you to move the object in a perpendicular plane so I'll just place this and such okay I'm not going to spend too much time being precise the goal being to build this as fast as you can so we can move on to the next step so ctrl-c ctrl-v copy/paste this is the very classical way of doing things now let's introduce some new buildings let's go back to import and I'll use building five so I'll just copy this in here rotate this one same thing middle mouse click just place it somewhere here and by the way a lot of these shortcuts are actually available in what we call the HUD this little button up here will show you some useful information such as the amount of polygons in our scene currently and you can also see up here we have some useful shortcuts related to the tool that we currently have selected so the planer translates middle mouse button and drag we also have the snap and we have the snap on geometry which is one of them more useful ones I'll show you how that works straight away so let's go back to the import maybe selects a Victorian building eight copy it in here so you see this building is right here now remember snap on geometry so the S key and the left mouse button so I can just so because my pivot is in the center of the object and on the ground I can just snap it to my poly grid right here scale this down a little bit something like this maybe and let's let's continue building so Victorian building four let's copy this in here rotate that as well as you can see I'm just trying to build a block of buildings that's pretty much in a in a square shape so we'll move this closer oops I'm sorry let's just select both both of these real quick maybe one more of these let's move this down actually I'm just trying to create some kind of some kind of variations as much as I can and so maybe something like this obviously you did use different methods and you download chose from actual cities and populate things in a slightly more realistic way but again this isn't this isn't the goal of this presentation move this around what we could do also is just take a few of these similar assets and maybe just flip them on the x-axis so they don't all face in the same way okay moving on moving on let's use building number seven now copy that in here so building number seven is here all I rotate this move it's somewhere around here as such and I think that's pretty good for now maybe a few more of these on the side just to kind of give it a slightly more square look and actually this is not going to fit so let's just scale this real quick I'm taking a few liberties neighbor does a pretty manner that doesn't look too good let's just leave a gap that's fine this is a very odd City by the way I'm not sure anyone would want to be able to sitting like this okay so as I said this is the very classical way of just doing your layout and it's pretty tedious I mean we have a few nice options as the snapping option about this is not the most effective way to work now one other tool we have in flurries is the clone stamp tool right here and for this I will first of all copy the Victorian building one into my scene context I will snap it here as such and then what I'll do is I'll use the clone stamp tool so you can just click on this and then what happens is if you control click this will select the source object oh sorry I'm actually in the import context for some reason so let me just place this back in here there you go okay so as I said sorry back to the clone stamp tool control click or select the source object and then you can oh excuse me some reason this is copying my asset into the wrong context okay let's move this back again okay so I'm in my context sorry my bad okay back to here okay back to the clone stamp tool so I'll control click I'm in the right context and now I can just click and place these towers very quickly where I want them to be now you also if you click hit E you can also directly rotate and then click R and you can also scale it and not use not lose sorry your clone stamping tool so we can just make this a little bigger and I'll just move out of it maybe scale this down just make it a little bit different so there you go so we already have my two techniques the clone stamping tool is actually very effective it's a very very very nice way to quickly spread out similar assets okay so now that we have this maybe we should talk about Teresa's deep automatic deduplication feature so what this means is that clarice is smart enough to know that the copies are similar and it won't use any additional memory now where it gets really interesting is that this is also true if you duplicate an object in Maya and then export all the duplicates in an Alembic format Clarisse will automatically figure out that this is similar data and consequently what only use a fraction of the memory that Maya would use so this is really nice so actually we were at 2.4 million polygons right now and everything's pretty fluid I'll just switch to FBS driven and this will just ensure that there's never any lag while I work in the 3d view so to explain instancing actually this is a good time to open new scene so I'm not gonna kill my current project I'm just gonna open a new session of Clarice and talk about instancing a little bit so instancing and most software packages is only related to geometry now I'll just create a cube I will instance this cube right click instantiate I'll rename this box instance now if I select the box and move both boxes are perfect instances so the translation is instance as well now what I can do though is on my instance box see everything is in italic which shows the dependency between both assets now what I could do is I could right-click and localize only this attribute I can now move this to the side now if I go to the rotate though both boxes rotations are still linked together now let's push things a little bit further I'll just create a material I'll create a standard physical material I call this box material I'll change the diffuse to something a little brighter so you see what's going on I'll assign it by just drag and dropping and we'll switch to Priya's mode just to see what's happening there you go okay so obviously both boxers get the material now or instance this material rename it box material instance on the instance box I will localize the shading group there you go and Islands I know sorry and I'll assign the instance material to this box right here now if I go to the instance material I can go back to the diffuse front color I can localize this change it to something completely different and in the same way as we worked with the Translate and the rotation all the other attributes of the material are still instanced so if I were to change the spec strength this is still instanced across both materials so as you can see this is a very powerful feature increase and you can instance materials so you can also instance lights images all sorts of things so back to our first scene we will push things a little bit further so now that we have this simple layout this building block layout let's select all of these buildings first of all let's clean things up a little bit I'll create a new context that I'll call Geo and I'll put all my jus inside so again this is just me organizing my scene as I wish I won't touch the poly grid but I'll just select all the buildings and I should say these all come from the free sample pack from Kepesh 3d comm that I highly recommend please pay them a visit they're awesome I'll select all of these right-click and combine will rename this combiner and call it block underscore CMB for a combiner now our combined is employees are just a collection of objects so if you actually take let me just move this to the side so this is my combiner and these are my original buildings so as I said it's a collection of objects if you look at the combiners attributes you can see these are all the objects that we've added to our combiner now if we take one of the original objects and move it the combiner is updated now this isn't this is very interesting because this shows that combiners can also act as placeholders for objects you can switch out any geo you can choose to turn off some of the geo that you don't want to see so we could turn off building 8 which is the big one here but you could also replace any of the geo so if I if in any of these I changed the file path so instead of this being building 6 I wanted this to be building 5 then automatically without losing my layouts this would get updated obviously in the original geometry but also in the combiner and anything else that's using this geometry so obviously this is not what we want today but this was just to illustrate this powerful feature ok so we now have a combiner what I'll do is I will put this back to the origin and actually my pivot is not in the right place I'll Center the pivot to the ground put that back there you go so I've put this in the origin of the world and all these original buildings I will just hide them my heading control H now you don't want to disable them because if you disable them it's as if they don't exist and then they'll disappear from my combiner but I can just hit control H and then they as soon as they're unselected they just disappear so now that I have this block let's let's scatter this block and try to create a city so for that I'll just right-click new geometry point array I'll change the size of the point array so five kilometres by five kilometres and then for the count we'll just say 14 by 14 so that looks about right I'm trying to get a count that kind of matches the size of my initial building block so that looks pretty good we can obviously adjust this later on if needed now the next step is we'll create a scatter so new scatter oh it's a scatter earth as a support geometry we will choose the point array that we just created there you go and for the geometries I'll choose the block of buildings let me just change the display real quick so for selected geometries I'd only like the bounding box there you go okay so we've scattered our block of buildings not too bad looks looks okay me now I have 474 million polygons still moving moving very easily through the viewport now let's add a little bit of variation to this so in the scatterer let's look at some of the options we have so I'm gonna change the rotation variance and I'm gonna say 360 and then for the step ninety degrees okay that's a little bit better so we're getting some kind of variation in there so of course if you really wanted to do this in a production you could create as many blocks of buildings as you wanted and you could create way more variation than than we than we are today you could also individually scatter these buildings and play with the probability to really influence how many of each you want so now that we've got this let's just Scout this for a nice camera angle so the first thing I'm noticing actually is that there are way too many towers this doesn't look very natural let me just turn off the HUD so let's just turn off a few buildings now we could we could do this up here I think this would be the best way so let's just turn off the Victorian one towers so I'm gonna disable them my head and control D so not hide them but disable them so now they disappear from my scatterer and then I'm also going to remove this building right here and this will give me the opportunity to place another building so this was this one sorry was building zero eight I believe right here so same thing control D and these disappear okay so shift space will fullscreen the 3d view and I'll start looking for a nice angle so in fact I think let's make our life is easier by just choosing something that's probably around here that should be pretty good so shift space to go out of this full-screen mode and I'm gonna place a new building Victorian building three sign of Geo so right click copy hit there you go and I'll just hit s and place it here so I don't automatically snap in the right location so I'm going to try and make this the center point of my image at least a focus point that's interesting okay that's not too bad so move this to the side maybe a little bit zoom in I kind of like to have some kind of foreground element I'd rather have it on the other side to be honest that I'm losing some okay let's just keep it something like that so let's say I'm happy with this angle I'll just click on this little icon up here and this will create a camera I'll rename this shot cam there you go and up here in the general tab and the shelf I'll lock it just to make sure that we don't move this anymore so now that we've done that let's move on and create a few materials so in my scene context create a new context rename that materials and to assign materials I think I'll just use one of the buildings so let's go to geo I'm not going to do it for all the buildings I'm just gonna use which one should I use which one has a mix of bricks and stone I think this one should be pretty good actually oops I'm sorry obviously I've turned it off so let's use this one though not this one sorry let's use number 5 ok so we can move this to the side for the time being you can freeze it remove the wireframe just put it to none excuse me okay so let's just look at this building so as you can see the shading groups are as such we have brick stone metal roof clock and windows I'll create this these materials real quick so back to materials so obviously this disappears right now so what I'll do instead is I will okay I'll show you another function of Clarisse that's quite interesting what I'll do is I'll create a new browser I'll click on building five and what we're going to do is that we're going to link these two viewports together now if I click on this little lock selection icon up here this new drop-down shows up I'll just choose a slot there's a matter which one I'll choose slot one now up here I'll click the lock as well and I'll choose slot one as well so now these two viewports are linked together so when I click it changes but when I click on my seen contacts up here this one isn't linked to slot one so it doesn't affect this viewport on the side so this is good because it means I can just create my materials right here and not have to worry about this changing okay so let's go to new material physical stand it so I'm going to be creating one two three four five six materials so control-c control-v three four five six rename those these sorry brick stone metal roof clock and windows great so this is not going to be a class about luke dev or creating shaders but i will show you how to quickly create them assign them and then spread this across the scene in the most effective way possible so if I go to the brick material let's just change things real quick so I'll try and choose a brick color change this patch something that's not as strong slightly rougher okay and what I'll do is I'll actually assign this at the same time let's just lock this same thing I can just put slot 1 if I want so I'll just drag and drop the brick here to the brick shading group and in fact if we switch to previous mode we should already start seeing the materials being applied okay back to stone so stone will be pretty rough as well diffuse front color just make it something like that drag and drop there you go metal you know what let's just drag and drop first and then we can actually see the materials update in real time it'd be way more interesting the roof material the clock material and the windows material okay so metal will make it a rough metal pretty shiny but pretty rough as well I'll go to the for now I'll switch it to metallic and we'll take the diffuse down quite a bit actually the metal can be a little bit shinier will make the roof a little bit different so the roof can be metallic as well as I said a little bit rougher a little less spec and then we can take the diffuse down quite a bit there you go as I said this is going to be an approximation clock material okay take this way down just put a little bit of color in there something like that and then the windows they're gonna have hardly any diffuse and we can well we can keep them quite shiny doesn't really matter for now okay so this is like the very basic mature assignment so obviously in a proper shot you'd want to spend more time import some textures up here file import textures map file and build your shaders so anytime you click on these this will open the material editor and this is where you could just drag and drop your maps hook them up and do any modifications you want to do now for today we'll just keep this and I'll show you another function again just showing you the main concepts not diving into detail so this is building five so we've assigned these materials here through the mature linker and what I'll do now is I'll just right-click and I'll say create shading layer use shading group names okay now we can just close all this we don't need it anymore I'll just close this little browser okay and back to the scene so actually created it here because I was in the import context but let me just drag and drop this here into the scene so we have a shading layer now what's the shading layer to see what the shading layer looks like let's open the shading layer editor sort of show selection we'll just go to show all and as you can see what Clarice did is it automatically created a set of rules and assigned materials so this means that basically any object in the scene with a shading group called brick why have the brick material assigned to it and so on and so on now because a lot of these buildings actually share common shading groups this means that right now most of my scene is actually already textured now if I switch to previous mode here you'll see that that is not the case and that's because we need to assign the shading layer to the 3d view now you can either do this by dragging and dropping this up here on the little icon or you can just click on the icon and select your shading layer and there you go so all the common materials were automatically assigned so I think my roof is probably a little bit too shiny so I'll just use this tool up here the picker and with the middle mouse click this should take me to the material but for some reason it isn't so let's just go to the material through here oh sorry so this isn't working because I've locked my 3d view that's why it isn't working so let's just unfreeze this and let's do it again let's middle click on the roof and this will take me straight to the roof material ok so now that we're here I'll take down the spec strength quite a bit that doesn't need to be so shiny so maybe something like that I'm actually going to make it pretty rough so there you go now one thing you might notice is the clock up here doesn't seem to be textured so we'll create a few more materials for that so I can actually select this object unlock this and I can see that the missing materials are called clock handles and gold so I'll create these real quick I think clock handles can just be a copy of the metal material just rename this real quick and then we can just duplicate that again call it gold make a few changes I have a bit of diffuse and then switch this we actually have a preset for gold something like that maybe and back in the shading layer editor I can just click on this duplicate the selected rule above I'll change this to flock handles assign the material so this gets assigned and in the same way I'll duplicate this rule again I'll name this gold and assign the gold shader there you go so as you can see this is a very effective way of very quickly texturing you know similar assets assets with similar shading groups as you saw I also created the shading layer straight from this one asset so I didn't have to write any of the rules I mean you could of course but in this particular case I just dragged and dropped the materials on the shading groups and Clarisse automatically built this for me now you could obviously also coming back into the browser you could also just drag the shading layer in here and you could basically select all of this could go up here to file sorry you could just take this whole this whole context go to file export export context as project and this could then be referenced back in so this means that a surfacing artist on the side could be working on all these materials provide you with this temp version very rough version of the materials you could start working on your lighting just laying our objects but with materials working on your shots and then you know as time goes by you can just get a quick email from the surfacing artist tells you hey I've updated the materials and you could just reload the resources and get all the new materials and you'd lose none of your work in your actual research op so this is really cool I'll just switch this back to here some reason this little guy is not too happy so ok back to this scene so we're still missing some lights so we'll create some lights I'll create a new context rename it I'll go up here - excuse me - the lighting shelf and I'll click the second one which is image based lighting so we'll just click it'll prompt us oops sorry this is my test project that's why it's not too happy so let me just find FMX and we'll go to maps and more choose the sunset map okay so this has created a IBL for us if we switch to progressive rendering mode this all load and we should see some lighting okay there you go so it's not very clear to see what's going on right now so let's just create a sphere I'll go to geometry I'll create a nymph licit sphere I'll rename this sky you can make this very large just change the scale and we'll make sure that this doesn't cast any shadows does it receive shadows isn't an ammeter and it's unseen by rays okay next we'll create a new material a matte material and we'll use the same texture I'll just drag and drop it in the color spot rename this to sky material and I'll just drag and drop it straight away there you go so last but not least I'll just go to my IBL now I just need to scale this by minus 1 in X just to flip things around and then what I can do is I can parents my implicit sphere to the IBL now once I have that I can go to my IPL and I can rotate it and I can choose something that I like so that's that's not too bad there you go so actually this is a this is a great moment to take a look at the new AI driven optics denoising so right here you have a little icon and you can just click this and the optics denoiser sorry will kick in and there you go it's pretty nice so obviously the more refinements you add the better the result so will probably switch this to four I'll just turn on the HUD so refinement counts one as you can see - every time and just gets better and better and more precise now this can sometimes give mixed results if you have a lot of detail but simple scenes like this I was actually really nice so last but not least I'll just create a new light I'll create a distant light I'll just jump out of my shot can temporarily and let's see okay so Silas somewhere around here so I'll take this and I will I'm not gonna put it right here I'm afraid it will probably be very low let me just snap it here see how that goes okay back to the shot can open I'm sorry the wrong camera go back here let's increase the exposure that's not good okay I think I might have placed this in the wrong place so let's go back here and it's actually trying to zoom in oh that's not good okay it's not oriented in in the right way at all okay maybe something let's do something like that and then we'll adjust things later on okay so back to the shop cam okay okay that's much better so maybe increase it to something like 1.5 and we'll change the color a little bit just to match the back plate okay something like that I actually push it even more that's it let's have something nice and bright bump up the saturation a little bit okay not too bad okay let's push things it's really like end of day okay that's not too bad what other things could we do you know what I just want to maybe just that a little bit yeah I think that was good enough okay let's just keep it in that I think this is pretty good for today okay there you go so we still have a few minutes left so what I'll do real quick is I'll add a volume go back to my scene actually you know what let's just create it in the in the lights context and I'll show you why later on so I'll just right-click do new geometry under volume I'll choose a box the volume okay I'll make this so the size I'll make this five kilometres by actually you know what let's make it really big 10 K 10 K by 10 K okay no let's reduce the density okay increase the step counts and then let's create a new material physical volume just like this to make sure I'm assigning it to the right thing and I'll just drop this in here okay let's take a look at the volume shader so let's change this a little bit change the absorption so blue a little bit something like that maybe and then obviously this is way too strong so I'll just reduce this quite drastically so yeah maybe something like that see we get this nice haze in the background I'll just wait for the Dino user to kick in there you go nice little addition here in the back so last but not least I'd like to show you one last thing what I would do is I will change the name of this IBL to sunset just drag this at the bottom and you'll see why so if I select all of these and right click I'll just contextual eyes and this will pick up the name of the last item I selected oh well this happens okay so we'll close the program sorry about that let's just open so I'm not gonna save this one so this was actually living on my desktop so I'll just open test now you might have noticed I haven't saved at all in the last 54 minutes but when I open this back up it'll ask me if I want to load the autosave file and remember what I showed you in the beginning now because we don't store any geometry in the project the actual file size that the project is is very small and you might see this at the bottom but the autosave is done in 0.006 seconds which means that this happens on a very very frequent basis now let's just hope I haven't spoken too fast but if we're lucky drag our scene up here go back to geo load the shot can load the shading layer and switch to progressive rendering we should be pretty much in the same place fingers crossed great so we didn't lose any work that's the good news okay so I'll switch so sorry let's just go back to the lights and let's try and do this again so yeah I'll just select these I'll right-click and contextualise so this will create a new context called a sunset and I'll just duplicate this real quick and I'll turn I'll turn off the first one I'll rename this date we'll go back in here and I'll just change the map being used so right here click here and I'll choose the day HDR there you go so all you have to do now is just go back to the distant light change its color to something a little bit more neutral and day like maybe something and there you go so very quickly you can just play around with different lighting scenarios move things around and all the bindings when I copied this context over all the bindings are still true between the implicit sphere and the IPL so obviously I'd have to rename this today clarity but if I go back to the day I BL and then start rotating things everything is still bind to each other obviously my distant light is still placed in in the same place so we'd have to move that manually or you could create a little setup that does it all by itself but I think you get the idea so let's just revert that there you go so the last step is actually rendering an image so since the beginning we've only been using the 3d viewport and this is one of the really cool things about Clarice's that you're working in a fully retrace to viewport with reflections and volumes and you kind of just tend to forget that this is really just a viewport so the viewports doesn't have a resolution if we want to actually render an image we have to switch to the image view so we'll switch to the image view and just click on the scene image and as you can see things are not looking very good the reason for this is because this is actually using the original camera that comes when you first open a Clarisse project right here we have the 3d layer and so this has a few options and I won't go through everything but just real quick we have visibility groups which allows you to actually specify what is rendered in each layer so if we duplicate this you could have a layer for your volume a volume a layer sorry for your sky and a layer for the city so you basically create groups remember groups are just lists of objects somewhere here and you'd reference these up here now the camera as you can see it's using the default camera so and by the way my shot camera shouldn't be in this context Burma I got a little bit lazy as soon as I actually select my shot cam things will go back to normal now we also need to specify the shading layers use and so I'll just click here specify the shading layer and there you go so because this is a an image you need to set a resolution so right now this is the resolution you also have a few presets here so we can just switch it to a regular 1080 format and we also have a resolution multiplier up here so if we wanted to actually render this image we make sure this is switched to 100% we have a sampling quality up here that we can tone down if we want to just speed things up while we're working interactively with increase in the same way you just want to make sure that this is set to hundred percent before rendering out and could also add sub pixel filters and all that this will be part of my second presentation right after this thank you very much thanks for coming I hope this was useful and gave you some good insight as to why Clarice is a unique piece of software and how you can quickly generate large environments in a very efficient and non-destructive way

Channel: Isotropix

Views: 42,860

Keywords: Clarisse, 3d, computer, graphics, software, interactive, rendering, compositing, raytracing, texturing, Isotropix

Id: 0GqxvP0bru4

Length: 61min 26sec (3686 seconds)

Published: Thu May 31 2018