Getting Started With Katana And 3Delight

okay so today I was sort of thinking of titles that we can sort of give this presentation and then we thought okay well getting your head around katana as one just quick room check who here is familiar with katana actually uses it okay so a couple of you alright so it's good and you know I apologize those that understand it you may sort of not pick as much up from this as those of you that are new with it but hopefully there will be some exciting things if you haven't seen katana 3d because that's what we'll be showing today so other ideas for what I thought it could have called is what makes katana special those of you in the room that use it know that you know what it does so well really it does better than anything else and that sort of build passion within the user base and the other way I can look as why do so many people love katana and it's really growing very quickly the number of companies is sort of skyrocketed in the last couple of years so we're really excited about what we're putting into it and you know we're not going to stop until it's an another sort of industry standard tool for it set for you guys alright so a quick primer for everybody in the room that's not so familiar with katana so it covers to look dev and lighting so in our portfolio you've got moto for doing and modelling obviously just more than that but it's really the form creation Mari for texture painting and look development and katana is the look development and lighting side of the the pipeline so it's a flow through everything katana is the collector at the end of the pipeline the reason it exists is really this you are not charged with pulling points moving lights changing shaders for any other reason then somebody has a creative vision and your job is to get through as many of the tasks to enable that creative and deliver that creative vision so our job is to give you guys the best tools to do so and so everything we do is driven around the idea that you need those tools because you have aren't been asked to deliver that creative vision so a few things for everybody to keep in mind as we go through it because I'm actually going to work with it live through most of the presentation and just make sure that we've got our little timer going so I don't go all I can talk for an hour you don't you don't want to let you we might have fun for an hour but he's got a percent as well alright so everything is a reference this is a real big part of katana because everything is a reference it makes the files very lightweight also makes it very flexible the look is separate from the model so basically your animation caches that you bring in your sets everything else are catalogued and brought in separate from the things that make it look like metal glass plastic so those can be freely updated which may gives you a lot of freedom when you're not bound by those two things traveling together no graphs function as templates so you never really want to start from scratch you can but you're missing a great opportunity to actually reuse a lot of work the same way that working with nuke you can build a template and reuse a lot of your work notes can be driven by rules this is a really key critical part okay so think of it this way you've got a crowd system you actually have all your crowd characters you're using a rule to drive them into new layers and then director comes along and goes you know what I actually want another 500 crowd characters in that corner and if you had to go through and manually pick them all or do any kind of work like that that would be something that would be really really arduous but the fact that you can actually select everything by rules and control of nodes by rules means that you don't worry about it most of the tools are hierarchical and procedural meaning that you can change your mind you can branch you can make different changes you'll see all this and what as we going and then the end means you can you can control the most amount of possible efforts or work on your project with the least amount of effort so you can start with broad scope changes and get down to I want to change the shader on one bolt on a model that is one of 1 million in the scene you can do it all right so a bit about the ecosystem we have five great rendering partners we have Arnold render man v-ray redshift and three delight Yule as you may have heard three delight is the rendering plug-in that we'll be shipping with katana three does not diminish the contributions of any of the other four it's just the one that worked out for our needs please check out the presentation by those other teams Redman team are here the Arnold team are here talking about the latest work it's all very exciting and I'll leave it to them to disclose what they're up to getting things into Kitana is a big deal so multiverse Alembic USD are your ways of getting things in Gollum and tool chefs with atoms crowd have crowd systems that are supported by katana and finally deadline pipeline effects tractor and Royal render even can be set up pretty much anything that can issue a command line can render from katana they give you guys a good cross-section of the clients this is sort of a small summary there's a few nice big announcements that'll be coming later this year but it gives you a good cross-section that not all the big it's not just the big studios people come to us and say we really think it's the big studios it's a big studio - well actually know my company count we actually have more medium and small studios that use katana because of the benefits of it then the larger studio is also a large studios have the majority of the licenses [Music] [Music] okay so who's here is still in school or just getting out of school okay very cool if you're still in school really big news for you guys Kitana plus the 3d light that's included with it will be coming to our education program so if you are here at film academy or any other school please get in contact with your instructors if you would like them to be able to offer to you we're not requiring schools that teach a program if you guys just want to actually use it it will be part of what's available to your school so go ahead and let them know all right so a few things I shouldn't learn about katana it's really not hard it's just different how many people here are know nuke that's the majority of you so if you can work in nuke the same logic of working through the node graph applies to katana so it's different but it's very powerful that's the key thing to keep in mind it's a different way of working with 3d but just like nuke is more powerful in certain aspects of workflows than its competitors and so is katana so and then finally to harm a point home if you know nuke you can learn katana because it's easy alright so the things when you set out to learn katana they should keep in mind is that there's really kind of three parts that you need to get your head wrapped around ingestion so how do you load your models how do you load your layouts utilizing the negraph templates so doing all your look development lighting scene management and then finally rendering and so today we'll really going to be looking at this part sort of the acid look development production lighting and scene management and so on and so forth but there's some real cool tricks so you guys can use with my Moto other things like that that power a lot of what you can choose to do okay so let's dig in so basic node graph I call this sort of how you get stuff done so it looks very familiar similar you know same ideas nuke you have backdrops you have nodes you can organize your self so we see here you've got three olymic nodes merging together so you could basically have three large parts of sets you could have three characters you could have two characters in the camera character camera set it doesn't matter those all get merged together you can use two tools called prune and isolate to remove parts you can create your cameras if you need them you have a bunch of different materials you can both make them as monolithic materials and network materials you can assign your materials so you'd find your sequence and shop lighting so you can basically just flow through and then finally funny render Global's and outputting okay so it may seem like it's actually a lot of things but when you break it down to each individual part if you kind of just work on learning those parts and you start plugging it all together next thing you know you're making nice renders okay let's shift gears we'll look at something that's more on the look development side so what I have here is a car model kindly provided by turbosquid so what we'll do is you can see that we're gonna load it in and do a bunch of things to it both actually do a quick render of it we've got one that up and running low and behold up actually a lot of returns in the background so this car is brought together by these nodes and there are some unique workflow so I'm not going to focus on like every little nitty gritty I just want to try and touch on like the points that are different about katana that provides you opportunities okay I'll also show you some of the live rendering that all sort of dovetail with what a good Lee's has to say about the three life philosophy all right so let's take a look at how this actually comes together so I have an Olympic node that loads the car model I decided that it should not really face down the line there so I just quickly rotate it with a transform tool I then have a bunch of nodes that I'll show you in a second that prepare for the viewer so this is our new hydropower doer it's from the pixar USD open source project powering it we built this on top of our viewer API so if you're working at a company or ever work at a company that has a custom viewer technology you can just plug it in on top of katana a few of our clients have done that so there's a few tricks that you can use to get that ready now the other part of it is that it comes together with we've loaded a background sweep now if we actually look at this we can see that if I were to open it up here you'll see that I actually have a different model where I had sort of brought that soon so to actually make use of the background sweep I use this isolate node so a lot of tools in katana do exactly what they are marked as isolate well basically say take the thing you've given me which is this and then isolate it so let me take a step back give you a quick UI overview so we've got the monitor we have the viewer pretty simple we're pixels go where you look at 3d things what's happening in the node graph is like I had said before it see 3d scene compassing so I've got the car model okay and I want to put it together with the background and so literally I load the two Olympics I can merge them together what's happening is that like nuke when you look at any of these nodes you're looking at a different scene or scene state just like the same way that when you're working in nuke you're looking at a different image state throughout the whole chain of nodes which is really cool when you think about it because if you're trying to debug what's going wrong in your 3d scene you can step back through the nodes the way you know what's actually in the 3d scene is this outliner over here okay so we've got the monitor the viewer the node graph which is then create a 3d scene we've got the outliner over the scene graph we then have for every node it has parameters which are controlled up here okay so what you're seeing here let me actually based on this people squinting we could probably do not that big well dial it back alright that's a little bit better can everybody read that a little bit easier go all right so on the parameter pane what you can see there is that I am actually telling it which piece of geometry in that scene graph everything's laid out like a a path or a directory so the way you interact with things in katana is by telling the node which scene graph path you want to operate on the cool thing is you can drag and drop you can use expressions or you can use collections so Maya selection set type technology but you can also then define those by rules so you can see as this starts to like if you think about you know to basically make a container called a collection which is then fed by rule which is then used in an operator you start to be able to make a node graph that is completely flexible and malleable to what you give it so the whole idea is as much as possible work in ways that actually allow you to reuse this template because then if you put new things in the top if I change the car to a different model the same processing is still going to take place so if I have production standards on what things are called then you'll see why that goes through and you'll see some other neat tricks in a minute everybody follow me so far cool all right so all this is coming together we merge various things together we've got some shaders and again we're still running a live render now two things you need to keep in mind there are two flags one for viewing one for editing okay so what happens is the purple flag which you set with V will then tell katana which scene graph which 3d scene are you processing okay I want to create a 3d scene from the render settings node therefore it gives me that one if I work with the green one it tells me which controls so just like nuke you can view from one node edit on the other so if you need to see the cumulative fact but up I did an upstream node you can do so okay alright so and then let's put this all together here and we've got our piece together now one thing you'll see not in the katana 3.0 but in future updates is the quality of the GL rendering is just gonna go up and up but nothing up but at the same time what we're actually doing is adding a ray traced buffer to the viewer as well so it just means that whether you're working with three light render man redshift Arnold doesn't matter you will have a ray traced viewer so that's sort of added on top of everything that we're doing so far all right we're down to ten minutes so let's keep going through this all because like I told you I could keep going for a long time all right so let's take a look at some of the hooks that we're using here before we get into some of the three light specific material so do you guys wish that some of the steps that you do could be automated maybe you're working at Studios that have some scripts but there's ways that you can use Maya or moto and attributes on Alembic meshes to actually drive a lot of what happens in katana this plays into what I'm about to show you so you can see that this cart here in GL has a number of different colors on it and those are being derived by basically their procedural okay so what we could actually do is come into here and I'll show you what's going on right so what I have here is one of these expressions okay so remember every node always has this idea of what it what do I write on think of it like in Nuuk if you were doing the multi-channel here's our workflow and you had the multiple channels all being fed through the EXR stream that's what this is like most Kitana graphs are very narrow rather than being very wide and then collecting slowly they usually start off a little wider at the top go very narrow very quickly branch occasionally come back together you know so it's a different way of working because you do have this laser focus or very broad application that you can make with the cell all right so what's happened is that in modo when I exported this I actually tagged the parts of the geometry with attributes so what happens is that I actually added this ABC dot shader now in moto what this actually looks like is just a user channel and literally I decided something called shader and then I can give it a string in Maya this can be the extra attributes only difference is that the way that Maya exports then they go into a different header or group in the katana file so if we wanted to say that we wanted to make this red instead let's just do a quick export and if I've got my red hooked up so what should happen is if I come back here and you'll see this is the beautiful thing of having everything as a reference is that I can actually come in here I've changed nothing all my work is still the same and there we go right so you also have controls inside a katana that you can use to massage these attributes if they didn't come in the way you want you can bring them in as a sidecar file and apply them but if you think about this way you in a 3d application you'd be tagging your model with any shader any settings you want to use so if you literally we're told you know what I want this to be a back into background asset and I want this to be metal I want this to be glass I want this to be plastic go go go go you could literally in your 3d application be just tagging those things and then bring them in the katana and have all this work be applied automatically and then you can still make updates so I mean it's when it comes to the look development high quality but high volume that's the real key that's where katana like really stands apart from everybody else is because of these little tricks and these little tools you can literally just blast through so many things and you can see that my live render is still going so I can keep updating alright so let's get into some more fun things along the way so what has actually happened along here is that we've had all that those attributes tagged on and setting up to GL so this in the later will be PBR shaders we have a set of gray shaders so if we take it back let's do this one right so here's our car with just basic gray shade errs applied to it so where do those come from there's two types of materials inside a katana a basic monolithic material and a network material guys mainly working with Maya Mac's Houdini oh yeah all of them yeah all right so think of network materials as like Tamiya hypershade we'll just focus on one the big one so it's where you start chaining your you know your file textures with your fractals and you put all the stuff together the difference is it's all in the one node graph so it's the unified node graph which allows you to do it all in one space which is pretty cool and then what you that gives you those that you can do little things like okay well here I've got the basic gray shader which then assigned to everything so I take it from the geometry level down so it doesn't matter I can start working right away I could be going you know what what kind of lighting do I want to work with today let's see you know I will say that I want to just work with an area light okay so you can work out your lighting you can do whatever you want get that all set up but what I want to be able to say or do in this case is a right well that's all well and good but I want to start working on the car now here's the first pass of the shaders or a single shooter with the texture map applied to it texture was done in Mari by greg greg brown one of our CS team and what that looks like is it's pretty simple and straightforward it's directly picking the car model and saying okay apply that one shader no problem we can get into something a little bit more elaborate in a minute if we have enough time we're down with three minutes so I got a motor right so let's take a look at what we have in here pretty easy straightforward workflow again live renders been going the whole time I've got a color texture map I've got a roughness texture map I'm simply going to take the roughness and apply it to the reflect there we go no wrong roughness okay get a little bit more detail in there you can see this all grouped up now one of the things that comes to mind is that well I don't really like the fact that the glass doesn't look the way it should so I want everything that has glass to look the way it should so how do I get about in doing that well let's come in and we'll just sort of pull this down for a sec we're gonna add a material sign in here I happen to have pre-made a glass shader here so I can easily just do this so this network material I can drag and drop it on to this material assign which will then link it by an expression now let's do what we did with the things over here so what I want to show you how we used it for GL based applications so what we'll do here is actually copy that expression and I'm going to bring it down to this point here and I'm going to add a custom at that expression and I'm going to say everything that has the glass tag gets the glass shader and again if you've set this up as a template because you know you don't really want to work you know from scratch all the time so even when you have a look development you get going on the template and literally you can just come in and start dialing in on this alright so when it comes to some of the live rendering and the fun things what we can do is let's say that we want to I will mute the skylight let's add in a couple more area lights okay so getting a little crazy with that now the cool thing is what I can do with these is I can actually come into the viewport here and if I'm actually looking at the right level I will see them all I can come in and say okay let's look at the target for these so let's move the pivot down to about there and that lets go one by one and say that one to tip that one that way tip this one as a rim light I promise you I'm much better lighting if I give myself the time all right we'll move this one back all right so we've got all those three done now what I wanted to do is I actually work with some of the tools that come with three delight to actually shape this up so I'm just going to cancel the live render come in quickly go to the image layers and then I'm going to turn on multi light so it's pretty straightforward you basically tell it which lights you want to work with and that should be it okay now what I do is I can set up a preview render I'm gonna bring up a three light display which you guys might have seen before so what's cool is happening is that that was the very easy way for three delight to then generate a light aov per light and so we can see that they're all quickly rendering here all right now what I want to do real quick is I can say I want to start bringing things down as it's you and rendering I can also bring up the mixer panel where as my mixer panel there we go it's probably hiding on me on some GL yeah all right so the big thing I wanted you guys to see is that in terms of innovations in the 3d rendering space what we have here is the ability to actually come in and control the various light contributions on just by pulling on the image itself the light intensities are then being fed back into Gitana itself and if I had you can see if I turn this one off what each of us then doing and that's just a nice alternative to life rendering when you actually want to sit there with the art director okay so just push that to the side I'm just running out of time one thing I did want to show you guys very quickly though and is how this all comes together okay so we didn't get into doing this much look dev it all works in live rendering this is based on the API I expect you know the other rendering inventors you know render man's teams got exciting work three legged guys been working their asses off everybody's being sort of advancing it but three light and render man twenty two will be sort of the pinnacle of that what we'd like you to see though is what you do with it afterwards so I said everything comes separate so we've got the car we've done all this work we've used the rules we've done all the lighting we then want to actually be able to say hey I want to use this elsewhere okay so let's set up that scenario so we have a thing called the look file so the look file basically says okay what's your finished product and what did it start like let me look at the two things and I'm gonna write out a file that says here's all that changed okay so in this case I can write this look file alright so I've now very quickly exported all might look development work let's come to the other half of the graph where I can actually say you know what I'm going to make a synthetic copy so I now have through this one I've literally duplicated the car okay I can then come down here and I can say you know what for those two cars apply that shader or that look file so remember to look file will contain attribute changes content changes material changes everything so if you have the perfect look that the art director is just giving you the high-five for you look file it you can hand it out to everybody if it's used a thousand times and shot its you've got you know pixel perfect representation of it okay now I can come here I can unhide this one and if I look view from that node what we'll see is that we will have two cars if I actually then go from the look file right so what we just need to do is expand that whole branch there we go so two cars with the exact GL settings with the exact shaders on it so if I then I can come back down here and what I've done here is I've used what we call a variable switch there's literally so much to tell you about katana that I wish we we had the full hour but literally I have a control panel here that allows me to switch between what's live and what's being baked out and literally I can now come in and what we'll do is we'll just get rid of these area lights leave it just these two so if an answer camera angle and then let's do the light right there so they're exactly the same wonderful thing about katana you can now even add nodes and start making variations so think about this you make an asset that gets used a thousand times and seen our director asks you for one out of 1,000 to make it tweak you can do it but because it's procedural because it's hierarchical if he then changes his mind across all 1,000 you can go back to the source update the look file and move on and without further ado I would like to introduce the one and only alright thank you very much everybody [Applause] hello everyone my name is Ari les I'm a CTO of 3d light 3d light we have been around for a long time now twenty years almost and I was there all the twenty years so same job for 20 years and also my team actually have the same team we have the same team since 20 years which is very we're working on same product so through those 20 years you know you go through many many phases and in you know in development you realize many things and today I want to focus on one particular focus point that we have right now and should the light that drives the entire development of the render engine okay what do we concentrate on and we have less than 20 minutes I'll try to make it fast but I will also try to leave a couple of minutes at the end for questions if you have some so as you see we we introduced a plugin for for katana and why did we do why we wanted to do a plugin for katana is that we find that katana is an interesting product it's focused on lighting and rendering and when a product is focused on one particular thing there is a you know it's a stood a streamlined process and it's very good for us to be exactly at that point where we are concentrating on what matters for rendering also the katana needed to to cater to smaller studios as Jordan mentioned and we have a good compatibility on that on that front as we understand our clients we have we have a history of providing very well do is a very good support all clients we're experts in support and supporting clients we always believed that software industry is there is no such thing as software industry we have a service industry so basically you're serving a client all the time it's the same thing as a clerk at a bank okay let's not get our heads inflated because our programmers and stuff like that we're here to serve someone okay and you might have heard about 3d light as being a renderman compliant render that was the old days we don't do that anymore okay we're switching off to a new technology that we built from the ground up it's called an SI okay and it's an open also an open standard the specifications are available anyone can use it and n si what is in Si and si we caught then it's an SI 4 stands for knodel scene interface and it's the simplest how do you say interface we could find to communicate from any software to a rendering software and our entire 50 20 years of experiences behind this interface okay so we reduced it to 11 API calls 10 or 11 API calls okay compared to the many many tens that you have in render man so it's basically very very small interface with some very clear rules and it allows you to describe scenes in a very easy manner we're also based on OS l open shading language so we switched some random and shading language or cell to a cell for its ease of use flexibility many reasons within inner Cyprus or cell now in katana is is a very good for for small and biggest you Jews alike okay so the other thing about NSI is that it was built for the ground up to provide live rendering experience okay there is no non live and live molding in in scene description inside if you want it all all live no problem you can do any manipulation to the to your scene or to your parameters and you stay in your live rendering mode okay and as Jordan demonstrated in his in his in his 20 minutes it was it adds to the experience in katana like not any other plugin can do right now in katana we are the most advanced plugin on that front on the live rendering front so I was talking about our what are we focusing on when we are focusing on the artist okay we removed all the clutter from around from a rendering parameter set okay and to remove all the clutter you need a lot of research okay for example we remove removed all the sampling parameters yeah all the samples we have only one quality slider for shading which each which is very scary for technical people yeah it's like what you know what did you do well we don't really need them okay those parameters having been creating an area where there was not enough research and most of those parameters come from I think a bit of intellectual laziness okay yeah how a parameter is created usually is that a programmer is tasked to the some task and the the the work unit of a part of a programmer is to expose a parameter okay this is his work unit I did this here is my you know here is my proof checked in you know that my tasks advancing and the programmer doesn't ask any questions about you know he a programmer would would prefer expose a set of parameters instead of thinking oh how could they simplify this to my user okay it's much easier to go that route and on the rendering side we found ourselves cluttered with you such users parameters so we did a lot of research try to scale that down okay and it brought us to places that we didn't expect there's a lot of mathematics in there a lot of physics you know we started to you know we read all the literature and it's it's a very hard task to simplify something ok Jordan show you the multi light output okay and I wanna just to show it quickly again here in I display I don't know if you see this actually does this work here yeah okay so my mouse is there perfect exactly what I wanted so when we say we wanted to simplify things we also reinvented the frame buffer okay now the frame buffer is a bi-directional thing okay now you don't only put pixels in it but you interact with it okay so this is great for artists okay you can you can go and adjust your lighting straight straight on your on your final frame buffer okay you can cycle between your lights simply using tab see and you know and work with your light like this okay you have you have a contact sheet mode that shows you all your rendered a light sources separate and rendering rendering them separately takes exactly the same time as rendering the final frame buffer okay the all output at the same time there is no penalty we're talking about less than a two percent penalty okay so that's something we did to kind of go that route of simplification for the afore the artists open VD B's can be used as light sources and kenderson channel in an open V DB can be output output as a as an LV as we saw there okay and you can control it too okay no tessellation controls subdivision surfaces always smooth you can treat and condition surfaces as light sources there is no more non sampled or sampled incandescent it's all sample that all very nicely sample to okay and we move to perception based parameterize ation this effects volumes okay for example if you work with volumes and you have those scattering and absorption controls that are very very very difficult to to control okay and it's not control that I needed for VFX and those are control I needed for or in other tasks but not in VFX okay you can you can live with just colors and what you see is what you get kind of controls this image has been rendered we asked we asked an artist to make an image for a previous presentation and it was nice to work with atmosphere so many lights and you the artist used only one parameter to control all this you know all and one quality parameter of course he used many parameters which are artistic parameters but in the end at the end only one quality parameter was sorry to achieve the look he wanted okay so the focus on artist is about usability in the end of the day okay usability is one thing that doesn't get enough intention in our field anymore and compared to all all other fields you know we are really really lucky in behind like I remember when I started working VFX in the 90s you know we were pretty much on the edge of things you know if you think about Softimage 3d and compare it to what kind of browser we had by then you know of course were much more advanced in terms of usability and how the UI works and all those ideas okay where we are really not behind now and usability is Drive of innovation okay and how does it drive the innovation it's very easy usability drives to understanding what the artist wants okay and this is yeah and then it leads to probably some simplification because the artist wants to achieve things faster and simpler without without you know without using so many parameters and then lead easily leads to innovation and you can transpose this idea to other fields like for example the automotive industry oh the telephone industry like when you want to simplify the car that it has it's so simple that there is an autopilot in it okay well it takes a lot of innovation to simplify to that amount okay this is the simplification drives the innovation so we don't have enough of that in our field and we have a lack of risk total lack of research in usability all other fields have have researched yeah five minutes okay well you took a lot of time : so let me okay what can we talk about yeah one thing that I find important I will skip some slide sorry I don't have much time but one thing that it's important here is that the tools that we were making not were using the people from school here forever from a younger generation they are falling into a field where we are using dinosaur software you know compared to what they use with what they know about you know what you know in your life the iPad you know the iPads all the tools that you use are so advanced and when you come to our field you are using dinosaur software still ok does the software were invented in the 90s and they look almost the same many of them ok there was no change and this is because because of lack of research in usability ok and we risk a problem which is attracting new talents so this is a problem that we are facing when I went out of university going to VFX was you know was amazing now you get out of university you totally learn touch a wider technological field if you go to IT a Google Internet or whatever you know it's it changed a lot so why am i why am I talking about all this ok is that I want to bring your attention that it we feel that is ruled about by technical people it's important to focus more on the artists and that's how we started that's how VFX started it's focusing on the artists we wanted to provide tools to the artists and I'll skip some points here because I don't have enough time but why am I talking about this is that we have a role as a rendering a technology provider in this usability field because there is a lot of money time and money that is spent on in rendering ok and we're at the end of the cycle we're at the end of the the pipeline and we receive all this data so how can we affect you know the embedding software well depending on that on the power that we expose who can make that software easier I can feel that we are already affecting katana bit in terms of usability you know so we cannot affect other pipelines like animation and modeling but we can affect lighting and look there and that's what we are trying to do with this with this very very tight integration and good integration means good supports are working on that frontal with the with our partners at at foundry so what's coming next entry guide for katana will work on a richer material library ok so we can have more you know nicer materials we want to bring we want to bring no photo real rendering into katana ok because we have a very rich tradition of tuned rendering in Japan ok treaty light is used a lot in Japan to make a lot of anime style things and we have a good experience with the techniques they use in Japan to do those kind of styles and we want to bring it into into katana for a wider exposure ok and we work also with our partners to continue improving the user experience so that's you know that's a quick summary and if you have a question where maybe one or two minutes yep yeah yeah yeah that's a good question let's try so well if I go back here it's difficult I think to a my guess is that it will take you have to find a situation where this happens you know if I have to specular highlights but I don't I'm not sure what will happen actually John I think it basically works on what sparked isness yeah but you have the the mischievous little mixer gives you the control to bail oh the mischievous mixer just appeared here why you guys yeah yeah I don't know he appeared crazily so yeah you have this mute thing to where you can you know mono the mono is basically as at a as a sound mixer you know you have the mono if you click again you get them back and you can just work you know with as a usual with a usual mixer instead of going and working with the with the thing yeah yeah exactly but we spent we spent so much time on this thing I think if you use it you'll like it and it's it has been built to be used in without the mixer used to be like you own full screen with dark you know so you don't have any the idea between a baby behind this was as you paint something you know so a pure experience of lighting without any only noise around that's where it came from so that's philosophically where we go you know when we design tools like this now when I spoke about the ray tracing to the viewer you know philosophically katana is going in that direction with through the light and with render man and with Arnold and to basically put you back on top of the image

Channel: Foundry, imagination engineered

Views: 13,528

Rating: 4.7741938 out of 5

Keywords: FMX, Foundry, Katana, Rendering, Lighting, LookDev

Id: LJriNrptrXA

Length: 52min 4sec (3124 seconds)

Published: Mon May 14 2018