![]() Other people from the list past and present who make an appearance are Sebastian Read, Olly Nash, Maarten Heinstra and Keith Fallon.Īnd from a news release, here’s some more background on the project:ĭIGITAL effects company Skaramoosh have created over 23 minutes of computer animation for Discovery’s flagship documentary ‘Land of the Mammoth’, a two-hour programme. I’m the guy in the grey shirt, studiously taking notes at 2:13. It was featured in the first edition of the XSI magazine (I say first edition, I think it was the only edition!) which I still have kicking about somewhere. I don’t know if Stefano will remember, but we looked into PhoenixTools fur for Mental Ray (which he wrote iirc) at the time and I had some direct conversations with him while I tried to get to grips with it. It was summer and everyone had to work with an rendering Octane between their legs so the office was toasty to say the least! The fur renders were OpenGL in Fur Designer so there was LOTS of post fudgery, but damn it was fast! Despite the speed, we still had to rent in a ton of Octanes to push it through. We did all the animation in XSI v1 and transferred actions back to Soft 3D (can’t remember the exact version, the last before v4 iirc) for rendering due to the fact that we created the fur using Nordisk Film Fur Designer (my responsibility on the project). I recently found a Quicktime of the behind-the-scenes film for a project we did at Skaramoosh for The Discovery Channel back in 2001. The Alembic Procedural has received fixes for rendering objects with fewer deformation samples than scene motion blur steps, a problem with displacement auto bumpmap, and added support for tangents-based shading effects.Some screenshots of Softimage software from the video: ![]() Blender users will benefit from the fix for an issue with Physical Sky linked Sunlight and the addition of support for Deformation Blur. Additionally, a material preset for Principled Hair has been added. The material preview scheduling has been improved, giving IPR more time to start rendering before servicing previews. Certain MoGraph objects triggering unnecessary IPR refreshes and slow extraction with a cloner in the in/exclusion list of an RSLight have also been addressed. A rare crash when closing a scene while viewport previews were being prepared has been fixed. ![]() Cinema 4D improvements include addressing issues that led to fatal assertion/crash during material previews under certain conditions, as well as reduced interactivity in IPR when using procedural projections. The update allows Fisheye FOV beyond 180 degrees, extending up to 360 degrees. Maya users will now find support for Maya 2024 (Windows only, macOS and Linux support to follow in 3.5.17). Unwanted material name prefixes when exporting proxies have also been resolved. Furthermore, a bug in the 3ds Max 2024 plugin has been fixed, which previously prevented editing of the alpha channel in Redshift Color Picker. Deprecated features include Redshift Bokeh and Redshift Lens Distortion global effects, as well as the Redshift Camera Effects modifier. Additionally, there are fewer unwanted IPR restarts when modifying camera settings. Here are the highlights: In 3ds Max, the Redshift Camera Attributes modifier now supports camera effects and backplates, while the Redshift globals in Environment & Effects provide a scene upgrade utility for converting to new camera options. The latest Redshift update brings a range of enhancements and bug fixes for different software platforms, including 3ds Max, Maya, Cinema 4D, Houdini, Hydra, and Blender. Please note, all jobs that use Redshift release 3.5 will now use release 3.5.16. The Rebus Redshift Render Farm updated its Redshift version for release 3.5.16.
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