What is new in Renderman 24 | In depth

okay so let's take a look here what's new in the new renault 24 release so i'm recording this and it's in still in beta here so i'm not sure if the documentation might have changed a bit uh when it's now released but yeah so the main thing here is random and xpu so that's a xpu means that it's gonna use gpu and cpu we have the the llama system so that this layer materials that was developed by ilm stylized looks interactive diagnostics and open color i o and then we have a bunch of patterns and other bits and bobs that's been added so i'm going to take a look at some of these now here in this overview and we can start with the renderman xpu and see what that's all about okay so here we have a traditional progressive rendering here using the like the ris mode the traditional way to use uh rendering here and let's now see where we can find the xpu so if i go here to my render globals run the settings here and go to my renderman tab and go here to my features so then we have the renderer here so if you have a supporting uh then you can be able here to switch over to xpu for example here so let's let's do that and i think actually this mode i need to actually pause this render and restart and then we can see here go to my renderman and enable the viewport rendering here and there we see it and we can see here now instead of everything spiral it's essentially blast the whole frame at once so it's it's a bit quicker here and uh and more responsive you kind of get the feeling and it cleans up a lot faster than if i would have the and i'm now gonna switch over to some comparisons where i'm gonna have uh split this uh left and right okay so the test was when i hit the render on the viewport then i synced these two videos together and and uh swapped it here in the middle so we can see here that the cpu ris is actually faster to first pixel in in essence but the xpu is gonna catch up because now it just blasts everything and you can see it's less noisy the first pass here and i actually asked on on the beta forum uh about this because uh the the first pixel on xpu was a bit slower the first time i think and that's something that they're working on is going to come in later releases like faster first pixel experience but once you have this first pixel it's you know it cleans up a lot faster and the interaction is a lot faster so yeah it's just when you hit the render for the first time i guess it has to load it to the gpu and and do a lot of things under the hood that's a bit more complicated than yesterday res performance okay so here in my second test i have the same scene here and i'm just tumbling the scene here just to see how that would work with xp and we can see here the xpu kind of feels like it just blows the whole scene at once while the rs version we will constantly see this kind of spiral in the middle of depending on what order you have while the xpu is just kind of blast the whole image and it cleans up a lot faster here so when i let go it kind of just auto updates the scene while the res side still has to then go in this spiral order and start to render and you can see takes a few times before they come to the same convergence and here we can see my xp on its own here just working on the like the single asset and this is kind of how it updates um yeah it's kind of uh nice to be able to work like this and this xpu is meant for a lockdev at this stage because it's not going to have exactly the same behavior as the ris so you still have to render using res for production and this is the same yes tumbling using the ras and you can see here it's more or less spiral that you constantly see in the picture if you do something like navigating a scene it's a bit uh more like craziness happening here with all of these spiral updates happening there okay so next up here is llama and we're gonna do this in maya so llama is this new layer material that ships here and it's developed by ilm and you layer kind of kind of shaders rather than like an ubu shader so you you have diffuse conductors dielectrics and all of these kind of individual shaders that you then have layering nodes to layer and the layering nodes is add layer and mix and you mix this diffuse conductor dielectric gene emission subsurface tri-color sss translucence and yeah you can see you can layer all of these using this layering nodes so let's take a look here in maya how we can do and deal with that okay so here in hypershade in maya so yeah let's take a look here so we have the renderman here and let's go to bxcf and the llama and the the nodes so this is uh the the nodes that's currently available so yeah how do we do this so there is um let's talk take now here and do a llama surface first this is kind of the one that you attach to the object so let's do that design material and now we can here start to play here with a different uh and this different shader so we have the the diffuse and the speculars and all of that so let's start just to render here and and just gonna make sure here i have it set to this one renderman and i wanna have my ris going because llama is currently only available for i ris mode okay so let's go back to hypershade here and we can see here off the bat nothing happens so let's add now a let's take a llama diffuse here and see what happens so i'm gonna take my out color here and attach it to the material front so the basic here is just to take the the front and you see here now we get our diffuse shading going here and we can see here so yeah in regular fashion this is kind of the same as in pixel surface i guess like the the color and all of that depends here what you want to do and the roughness as well roughness over the diffuse so yeah this is this is the basic here so let's say that we want to add like a specular on top here so how do we do that we can for example make a llama add if you want to do that so let's try that llama add okay we're gonna have material one it's gonna be the diffuse and then we wanna then pipe a llama dielectric for a sampler or a global conductor i mean llama conductor and let's take this one material two and pipe this one so yeah this as this is a modular system you can essentially just try out here let's say that you want to look at this individual here connect this like this material front and you see now it renders here as this kind of metallic gold or something like that and the settings for that is this reflectivity so you have here as in the pixel surface had you have artistic and scientific where the artistic is this uh these two reflectivity and edge color and scientific and you will actually blend the ir values that you get from like an index or refraction database and i already covered that in other tutorials how to get those index or refraction but i can link to it in the video description and now in the corner as well and you can see here we can set the roughness and something here that's kind of um interesting with this llama new llama notes is this tail parameter that then you can fudge like if i go in here and and take this zoom in here we have this tail parameter that's kind of a secondary uh specular fudge or roughness value that you add so when this is mixed is set to zero nothing's gonna be and if you set this it's gonna start to fudge the the contribution here you can see here now it starts to kind of add a bit of haziness around the reflections and i think this one gives a more realism it's a bit like the the pixel surface had this ggx that also gave this but now you can actually art direct this and you can say here how much so these two settings essentially i would think it's a bit like combining the the traditional specular and the rough specular but you now have it in one lobe here and and you also have a bit more user friendly way to interact with this and yeah i'm not gonna go through everything because to be honest i haven't had time to dive into each of these into every knock and cranny so yeah but you can do anisotropic you can do iridescence and with like thickness values and and stuff like this um yeah so but let's say that we want to make a plastic and you need diffuse and a specular so i'm just gonna take this over here to let's take it back to artistic let's take reflectivity just style this down something um less reflective here and edge color yeah so that's kind of uh the base for uh this but you see if we're going to make a plastic you might want to have some color so then we can add this so this is where the llama ad comes into play so let's hook this one up now and we will get the diffuse and hopefully this specular and we can see here now i only get a diffuse so let's take a look here and that's because my weight here of this component the llama conductor here is set to zero so it's not going to be using that one so let's now this is kind of the order and if i now add the weight here now we can see here that we start to get this specular reflection here and now it starts to look like a plastic so yeah uh let's take a look at that and let's say that we want to add like like a logo using a metallic on top of this let's take a look at how we can do that so we can now we can say llama layer for example i want to layer something else on top here so we can we can say that we want to use this uh portion here in the base and hook up into here material base and i want to hook something on top here using a mask so let's take this first and just hook this up so now we have a cemetery prepared to add another type of layering or another type of effect on top here uh so yeah let's say llama conductor or yeah like another llama conductor and we want to set this material top so now we here have a like metallic on top here so let's take a pixar pixar texture and hook up a uh an old or a mask that i have exported for this geometry or we can do it simple here let's take a pic pixar checker or something and take this into uh mix and let's take a manifold i want to repeat this checker here a few times so we can see sore manifold 2d and result into the manifold and let's see here i want to repeat this like eight times and now we can see here now we are mixing between this plastic and this metallic using this mask but now let's hook up a texture instead of this checker here so we can see what happens when we have something more realistic like a production stuff um yeah let's do that i'm gonna browse here to my source images okay i wanna convert this okay so there we have this uh now the logo here with 24 on top okay so let's now uh spice this up a bit here and add another type of effect on top so let's say they want to do something like a varnish on top here so we can do that as well so i'm gonna make another layer so i want to have like a glass that totally covers everything with some kind of thickness so let's take a look at that i'm just gonna scoot this over here a bit and make another llama layer okay so i'm setting the base material and bypassing this one here again so let's take this uh where is it and my dielectric i'm just gonna tune this here first so let's pipe it in there and take a look here so we can see here now it doesn't render correctly here and that's kind of because of this uh compute opacity and that's something i set here on my surface node uh so yeah if you have a opacity uh you have to set this i guess it's uh like an optimization if you don't need opacity in your material it will probably be a bit faster so yeah and same here goes to interior so that would be like um like absorption i know this type of thing so i'm gonna use absorption so i need to set this as well i'm not gonna use subsurface so yeah i'm going to not now make like a like a colored glass using my interior here so let's take absorption color i'm gonna take something here like so yeah there we have like a tint to the glass so now i wanna layer this on top of my previous i'm just gonna hook this up here again i'm gonna take this one and i'm gonna take my out color here to my material top and we can see here nothing happens really now because i don't have any thickness of this so this thickness is something in llama layer you can add and we can see a top mix uh so now it's actually adding uh like a this glass on top of everything but we can't really see the the color but this top thickness is gonna only apply when you have if i look here when you have a like absorption or interior effects otherwise it will only use this value so if i now start here to dial up the the top thickness here we can see here a bit now it's one let's take the ten we're gonna see here now it starts to behave more like a colored clear coat varnish on top here yeah so this is kind of uh how i currently use the the llama system and it's going to be very interesting to see how this new shader system will evolve and what other type of knowledge we get so i guess it's easier to build new lobes and you can extend and add like these shaders rather than having the pixel surface where you have like one the the block of uh code now you can say okay i wanna have a different some other type of effect and you can just build this llama node and add it later on so i guess it's more flexible and more modular in that way so yeah it's going to be very interesting uh to see here how this system will evolve and i will come back later on using this llama nodes in future tutorials as well here on the my channel and see how i can integrate uh texturing against this llama system as well so that's gonna be very interesting next up here is the stylus looks and i have little knowledge in in this section to be honest because yeah it's it's kind of uh the topic seems like but if you want to explore this i encourage you to go to into the examples here in maya and go to the bottom here and you actually have a demo scene here that's uh set up here to use stylized looks and i applied it onto a teapot in maya and played a bit because here if i go back to my maya here we have this stylist looks swatch here where you can add the lines and the hatching and tune lines and all of these stuff here so i'm just taking this scene here that i opened let's see here if i render it i think uh missing some textures or something but uh we should get some two lines here but in essence to use uh these stylized looks you need a few ingredients you need uh some aovs uh let's go to that and the aovs you can see here we have this if i go here we can say here add the stylized outputs and you add these you need to go into if you haven't set it up enable stylus looks and then this display filters is heavily involved also in the look and it's kind of i guess what it does under hood is to add like a mini comp here in the order let's go into uh lines here and go and see here if i can do something here to my lines let's close this outliner here and we can see here if we can start to mess here with the with some of these settings here if i now go and tweak here we can see here you can see here that it's actually starting to tweak the lines there a bit yeah so i haven't dived in to the stylized looks at all because yeah it's it's a lot of things here to test and look at so i would encourage uh download the scenes here and start to dissect these here and see what happens uh so yeah that's a bit of stylus looks and i'm sorry i haven't uh that much knowledge in this because yeah it's it's very deep here and so many configuration possibilities so i don't even know where to start to be honest so let's uh jump over and take a look at the other things we can find here and actually one of them out of the bath here is this live statistics so we can see here we can see here now when i rendering here we can see here what is happening live here and that's one of the new features we can see how many percent and how many iterations and memory usage and all of these things here so that's something that's uh interesting when you're tweaking to see here how many percent is going for shading reporting ray tracing and lighting so yeah if you someone is predominantly maybe you need to go in and tweak something here if you spend a lot of time shading for example or ray tracing and yeah so that's something that's good to have a uh an eye on when you're tweaking your scenes to have a look here at the live statistics another really good thing is that renderman final now have a native support for ocio and asus and all of that jazz and yeah some people are like oh that's not so fun but yeah it's really good in the production pipeline to have a ocio proper ocio support and we have it here on the features you have to configure here you can say oh asus 1.2 and you have a few others that i haven't tested so i'm using aces 1.2 or if you have a defined ocio profile you can use this ocio here and it picks up i guess from your environment variable instead and yeah there's a few things here and that's uh then supported for example if you go to here to it and open this one up and go to preferences we can see here make sure that you have your preferences set for uh proper oco so let's go to preferences let's see where it is it's behind here and go to color management this is new here and now it looks here that is using my asus 1.2 and you then guess here you get input and outputs so view input color space and let's see here image and yeah i don't i'm not let's render to it or rather go here and take it and see here view image color space so it's scene linear and in my case that's accg okay and the view transforms you have a few here srgb and rec 709 okay but uh that's just one part of it and now color management is also supported in the when you convert your texture so you if you go to your tx convert here you can go in here and you have to have a few color space names in your files otherwise it will assume that your color space is either srgb or linear srgb but you can override it for example here if i take my tag ids here uh you can go in here and specifically override the color space rules and say okay i know that these files were supposed to be data channels so i set them to be data and converted them like this you can also say rendering space that would be in my case if i say rendering i would assume that it would be accg you can say if the texture is srgb texture for example if you get the file coming from mega scans that you know is srgb texture in the color you would set it to srb texture srgb linear if for example if you have a hdr that is linearized i would set it to srgb linear or i guess data would also work in essence but srgb linear is probably more appropriate for an hdr so yeah there's a possibility to now to use a proper asus configs and uh ocio profiles and all of that and the texture is gonna be converted into the right color space and you can see here data interface cg so yeah that's really good and i'm looking forward to start using better ocio profiles okay so let's wrap this now and take a look at some of the other things here so pump the roughness is one of them and also some of the new patterns the rest here i blender yes therefore blender i haven't used blender but yeah it's cool it's there the community is big in blender so that's real fun that they can play with runnerman as well and use the yeah has better further improvements osl it's good that uh the the patterns and everything is migrated over sl and that's i guess that's a requirement for the new llama stuff i think yeah it's a lot of uh overselling that and so let's take a look at bumped roughness and some of the new patterns uh mainly hex tiling that's really cool when it comes to tiling so you don't get repetition and the face and noise so let's take a look at that as well okay so let's take a look at bumped roughness and uh let's see bump pixel bump to roughness so yeah you you use this node and uh you insert your bump texture here so you browse for it i've done it here on this sphere here and we can see it here and you calculate this one using it it needs to produce a lot of things under the hood so this needs to go through takes convert to calculate and make some specialized textures that it generates for you and you also need to hook up this node here to the the normal the the roughness and anisotropic and anisotropic direction for this to work so you can see here all of this going from the bump you need to connect it to all of those four places and we can see here on on this side here we have like this bump the same texture and on this one this one is bumped roughness and this one is is a bump and let's see if i zoom out here a bit and i guess it converge it reads a bit better here on the distance because here now this one starts to look like kind of like it's doesn't really have any bump this one's still you can still read like the details on the distance and it's it's mainly on the distance you're gonna start to see this and uh you can see here now when i zoom out now it push all of the bump into the roughness and this one just goes totally blank here it's just when you go really close you can start to see uh the bump here in a traditional just using a bump here so yeah that's kind of in essence this bump will show up in the roughness channel and give details on a distance and that in turn will also make this converge faster and uh yeah render faster in the end i guess so yeah that's really good to see that we have it will work for that okay so yeah so let's take a look here at uh the hex styling next so i have this ground plane here and we can see here it's set up here with uh just a texture here going into my layered surface here and i'm mixing this let's take a look here the hex styling there's a few ways to do this i'm using the pixar multi texture and round cube and now instead of having this um you know you have the regular before now you have a hexagonal and that's hex styling so let's swap between uh regular and hex styling and see here you see here when i have hex tiling let's go in frequency and increase this a few times here you can see here start to see like a repeating pattern here when i do this a few times you can kind of see rows and repeating pattern here you can see there's like a row going there i swapped this over to hexagonal now it's applied in a more randomized way and you won't see this repeating pattern as easily so that's kind of a good thing and you can start to tweak now here as well you have a more tweaking uh jitter and stuff that you can play around with rotate it there let's see here what happens okay so lastly here before we wrap this let's take a look at the phaser noise so let's face a noise let's take a look yes pump this in here and say oh that looks cool uh yeah it's a bit like sand dunes and uh and also i'm not sure if you have seen there's a lot of videos on instagram uh if you're into math and stuff that's called like like a reaction diffusion and i think this kind of assembles a bit about that or sand dunes and yeah it's very organic and noise that can be cool for environments and this type of effects let's just go in here see here see what we can do there's a ton here of the settings i have to play with so it's going to be interesting i guess the endless possibilities here really and to see here let's see 2d what happens that's more like a 2d 3d yeah so yeah that's another type of noise that's added and uh i think that has to conclude this uh introduction here to the new features of runnerman 204 because we're already up to half an hour and that's way too long for a youtube video and to mitigate that if you have seen this to the end and haven't subscribed so yeah then why don't you subscribe because you clearly made it to the end and yeah see you in the channel bye-bye

Channel: Meshmen Studio

Views: 6,204

Keywords: meshmen studio, VFX, Tutorials, CGI, Peter Aversten, Renderman 24, What is new in Renderman 24, New features in Renderman 24, Renderman XPU, Renderman LAMA shader, Renderman ACEScg, Renderman patterns in 24, Renderman Live statistics, renderman stylized looks, How to Renderman 24, In depth look at the new Renderman 24, Renderman 24 tutorials, Renderman 24 maya, Reenderman for CGI, how to, Renderman hex tiling, Renderman bump to roughness, renderman phasor noise

Id: y82OdZ6X05Y

Length: 32min 40sec (1960 seconds)

Published: Tue Jun 29 2021