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Well poo poo you guys, just got nominated for a VES award! Studio submitted my name without my knowledge, lol, so I woke up today to a bunch of messages congratulating me and I had no idea wtf. Our studio got 3 nominations total (two for one show, one for the other). I'm only on one nom, but it's my first nomination and first awards ceremony so it's wild regardless. The show was nominated in 2017 for a season I worked on, but I was still pretty green so my name didn't go up. Was a bit nervous at first since I don't have the requisite VES experience (I'm only a little over 3 years in the industry, my god), but I guess I can be nominated without it - just needs to be nominated by a VES member supe iirc.
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Jan 15, 2019 18:23
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BonoMan posted:Great job! What was it for? Mine is Outstanding Created Environment in an Episode, Commercial, or Real-Time Project, the other two we got were Outstanding Effects Simulations in an Episode, Commercial, or Real-Time Project and Outstanding Compositing in a Photoreal Episode High Castle, if you haven't guessed! (Due to the nature of the show and the direction real life is going, I've burned my old accounts - had some uncomfortable encounters with people who took the wrong message, and got worried about real-life impact)
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Jan 15, 2019 19:22
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Frankenfinger, I think your stuff looks fine as well - maybe could use a little more love with lighting, but that's getting nit picky somewhat for the archvis style. Have you looked at architectural and land surveying firms? I was a land surveyor for six years before VFX, and I got questions all the time if I could do renders of proposed additions or whatever. Stuff that normally would be too expensive/small scale to go to an architectural firm, but that people would love to see ahead of time. It would probably end up being a stepping stone if you could pull it off, but it would give some additional inroads/networking so you have backups if work falls through. You may already know this based on your work, but like VFX, architecture is very much an old boys (ingroup) club. Surveying even more so - in my area, the average age of a licensed surveyor is 60 I believe. Young talent is not going into these fields, so they're desperate to pivot but don't know how.
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Jan 16, 2019 18:14
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Thirding that. When I realized I needed a portfolio, I was about to do it by hand since that's what I knew, but I gave ArtStation a shot and it's been great! There's also Adobe Portfolio for a slightly different look, and it's free if you have creative cloud (maybe just the full package? Not sure).
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Jan 16, 2019 19:32
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Synthbuttrange posted:Work situation: Yay everyone gets updated Substance The reaction at work was pretty wild, nearly every artist that uses Substance was morose, like they got a whiff of a bad breakup coming down the line but won't let go. Whole day on Slack was constant "omg did you all see the news, adobe bought Allegorithmic, fuuuuuuuck!" I'm not exactly pleased with it, myself. My main concern is adobe seeing Painter as a photoshop competitor, and this reeks of them deciding "painter has hurt photoshop too much, we need that money". They don't have the best track record with support either (I mean neither does allego lol), so I can't see that getting better either. I have the skills to learn Mari if needed, and I can still shade in photoshop/blender/whatever else, but I really like the substance suite 
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Jan 24, 2019 13:54
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EoinCannon posted:I don't work in games but that's my understanding. I just looked up when it got UDIM support (June 2016), and I realize how much we lucked out with our adoption of it. Right as MHC s2 finished we started prepro for s3, and I got to R&D the hell out of UDIM support in Painter and Blender. At first we had a little trouble figuring out best use case and optimal workflows, but by midpoint of production we had it down pretty good. If it had come later, the shading process would've been unbearable. IIRC one of the ships has something like 70+ UDIM tiles, Rest have between 10 and 40. Imagine having to hook up around 800 individual image map nodes for a single scenes worth of assets....
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Jan 25, 2019 01:29
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Be realistic about it, the last thing you want is to undervalue your work, as employers need the real time to bill properly. 20 doesn't seem unreasonable for modeling an asset based on reference for 3D printing - while it's not a super complex mesh, that's sort of irrelevant with 3D printing, as it has different concerns than in-box modeling that you need to work around. I had the same issue as you at first, where I was too concerned that I wasn't working fast enough/might lose work to other artists. But after doing this for a while, I've realized asset time is a total crapshoot, because there are always unforeseen issues. And the fastest artists are usually the sloppiest - their work may look incredible and you're like "how did you do that in 5 hours", but then you get the mesh and it's geo and UVs are garbage, it's using nonsense for shading that only looks good at a certain angle, etc.
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Jan 25, 2019 19:42
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Harvey Baldman posted:I appreciate that perspective. I'm definitely worried about striking that right balance of 'not to slow as to be unhireable but not too fast as to be unrealistic'. I was thinking of saying 10-15 hours, because I think if I did this as a day job, it'd take me two days of sitting down and working on it, whereas I did this in between my 9-to-5 over the last 4 days. If you think 20 hours isn't unrealistic, I think that helps me have at least some footing to work from. That sounds pretty good! Nothing wrong with estimating a little based on what you feel you could manage doing it as a day job, and 10-15 (at least to me) seems way more realistic than 5. There's also the skill nature of the job - you'll get better and faster the more you do it, and I think most studios are aware that the artists they're looking at will be growing during their time there. E: this just reminded me of the artist who took 90 hours to make a couple of stacked cubes with some roughly and poorly arrayed windows floating on top. That's the polar opposite, someone who claimed they could work fast (I'm sure they lied about art test time) and when it came to do real work, they had no idea what they were doing. Slothful Bong fucked around with this message at 03:47 on Jan 26, 2019 |
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Jan 26, 2019 03:44
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Haha I love this! Gets better with each iteration! E: wow, I just went back and the first scan of the wheel you posted was my first introduction into Keyshot. That was like four years ago, man how time flies. Slothful Bong fucked around with this message at 23:01 on Feb 3, 2019 |
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Feb 3, 2019 22:58
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Phew, VES is over. What an experience! Didn't win, Lost in Space absolutely swept us in every category we were in, but it was well deserved for them. Super proud of the nom and the team, and all the other incredible artists there. Patton Oswalt was an amazing host (he has some barbs about industry stuff, goddamn) Roger Corman gave an award(!), and Steve Carrell did as well. I'm freaking shot, have a flight to catch back in a few hours, and am walking around Burbank in some weird state, lol. Can't wait to be home in my bed. E: Burbank wind delayed my flight FOUR goddamn hours. Two hours on the tarmac, one back in terminal, one on tarmac again. Was supposed to get into JFK at 10:50pm, not 2:30am lol. gently caress my life hahah. Won't be home until about 5am now. Guess work can pound sand tomorrow lol cos I ain't doing poo poo. Slothful Bong fucked around with this message at 08:27 on Feb 7, 2019 |
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Feb 6, 2019 20:16
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Synthbuttrange posted:You left it too long, its about nuns on monowheels now Wtf, is this a genre I've never heard of? Various animals and humans on monowheels in rocky desert space scenes?
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Feb 12, 2019 14:39
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My boss was one of the R&H employees at the end, he helped do that BTS mini doc about the closing. Really sad to watch, especially with hindsight about how the industry went afterwards. It's an overall crap situation for artists all around. I've never done film VFX, but I've been doing TV for a bit now, and a lot of the same issues are present. Layers upon layers of vendors working on a single show, all taking on too much piecemeal work just to stay solvent, artists crunching far more than necessary because of fixed deadlines on multiple shows at once, tons of freelancers/contractors, and infinite revisions/pixelfucking. I'm treated well by the two places I do work for, especially as I'm remote and normally wouldn't be able to do this, but there's still so much industry nonsense that if this wasn't my passion I'd have bailed after the first year. I'd like to pivot to game work, whether doing modeling/shading or game soundtracks, but the stuff I read about games is often just as bad, so it seems like a "six of one, half dozen of the other" situation.
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Mar 29, 2019 19:37
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Comfy Fleece Sweater posted:What do you mean by this? I'm guessing it just got worse? It's not that it got worse, it's more that no amount of drive from individual artists for unionization can compete against the power of the studios, and no vendors are willing to stick their necks out. So no lessons learned, industry is doomed to repeat itself. Don't give up on the idea of freelance/contract though. A huuuuuge amount of the whole of VFX at least is done by those groups. I can't find it now, but when I was going through VES info, they stated their membership was something like 70% freelancers and contractors. Its probably not a good idea as the only work you do though, unless you have multiple clients, in which case get ready for nonstop conflicting deadlines and having to turn down work or crunch. Not that it's a good thing, contractors at the very least should have access to the same "perks" (health insurance, retirement, PTO/sick leave) as regular employees, and they don't.
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Mar 29, 2019 21:56
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Glad some of you are loving Rizom! They're friends of the studio, I'm trying to pimp it out to as many people as possible because it was such a nice addition to my workflow (and Remi+team are good people). I've been using it at work for a couple months now, and it's made unwrapping as a whole a lot easier. They tried to get me to use it in late 2017 iirc, but the interface confused me, and now I'm kicking myself for not digging in sooner, could've saved me some serious time. Some tricks: - alt+c will choose similar topological loops when you're in edge mode; so if you have something with a million identical bolts and want to cut all them at once without stacking, you select the loop, alt+c, then c for cut. On the right side there's a loop similarity slider, so you can set sameness to fine tune. - in face mode, theres a magic wand selection that uses mousewheel to increase/decrease face selection based on edge angle. Needs to be enabled with right hand panel magic wand button things. - its worth doing like a 50-pass optimization when unwrapping, then setting packing to gold and at least 10 iterations. Will greatly clean up stretching and packs things pretty drat well. You can do this as you go with U and O, if you're unwrapping piece by piece. - Shift+arrow keys will move selected islands to the next UDIM tile in whatever direction you press, while ctrl+arrow keys will move the islands over a tiny amount. - Symmetry is good for setting seams, but causes unwraps to mirror based on the 1:1 space by default, meaning you can have islands at like -10 UDIM. I always double check by pressing F to fill screen, which will show me if I've missed anything off-tile
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Apr 15, 2019 19:58
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forelle posted:Thanks! Holy poo poo! Congrats on creating a major game changer for insane VFX work! A few of my coworkers use it, seem to really love it's projection painting features, as they absolutely destroy Painter's from what I've heard.
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Apr 25, 2019 22:08
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Thats goddamn amazing, nice work! Can't believe how much of the best looking stuff is photogrammetry nowadays, but it makes way more sense to scan foliage/props/etc than have an artist painstakingly sculpt it when time is of the essence. Sure, cleanup and all that, but the end result usually hits a level that would just be daunting to do by hand. Wish I had the time to explore that more . Did some PG stuff for the Korn music video I did but it ended up being unusable due to budget purposes.Non-photogrammetry related, but I need to sing the praise of anchor points in Painter. In terms of both speeding up workflow and allowing for a single tweak driving a dozen or so layers, it's made my job easier and the work I do look better. I'm pretty sure almost every smart mat I've created in the past six months has used them. Between that and Rizom, my workflow's changing in a good way. Now I just need to try Painter 2019, but show version lock means I'm stuck on 2018.3 for at least a couple more months.
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May 11, 2019 15:17
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SubNat posted:I love how Adobe sucks so much that they turn a patent troll trolling them into another excuse to stomp on their customer base. I feel bad for all the studios that are version-locked to older builds - it's gonna wreak havoc when workflows break, plugins stop working, etc, and they have to spend boatloads of money and time to rebuild everything at the last second. Or just say gently caress it, but is that even possible? Is CC forcing updates if you use old versions?
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May 15, 2019 14:34
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Gearman, that stuff looks incredible! My roommate just finished up with RDR2, and I've been working through Max Payne 3 myself, so it's pretty awesome to find out you've worked on them! I'm personally curious about the performance optimizations, if you can talk about them? Is it on the texture/shader side, or model side, or something else? I've been slowly trying to get better at quickly optimizing assets/shaders for the VFX stuff I do, but since it's all TV and short timelines (and I always seem to get super complex hero stuff), I'm afraid to experiment too much unless I can have some useful info to bring to the team (i.e. give a reason why x technique will benefit us in case it takes longer than expected at first). Slothful Bong fucked around with this message at 14:25 on May 24, 2019 |
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May 24, 2019 14:22
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BonoMan posted:However this one is a single OBJ with *none* of the faces attached to each other. The 8 trillion faces all try to break out to their own object. Cant speak for that specific workflow of joining and separating, but I hit this a ton with client models from CAD packages. For some reason certain CAD programs will export every single face as its own thing, so the mesh is a disaster of broken edge loops and overlapping vertices. I have no idea wtf this happens, but it causes an immense amount of headaches, and I feel your pain here. There's gotta be some export setting on the client's end that they're ignoring, or they're just maniacs? I've had semi-passable luck doing merge vertices in Blender and setting the range to be super small, but that still requires tons of cleanup to get ready for shading, and doesn't fix the randomly terminating edge loop problems.
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May 29, 2019 14:30
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Random q: Any Amsterdam/netherlands based CG dudes here? I'm in Amsterdam until July 10th, and while I'm somewhat busy (gonna go yell at Ton since the BF is nearby, lol), would love to meet up with any local art goons.
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Jun 7, 2019 14:05
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There are def studios which have virtually the sole purpose of emergency shots. Likely cost big bucks, but when you need poo poo done NOW they're who you call.
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Jun 13, 2019 07:54
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On top of what Mutata said, I'd add that unless you're delivering it piecemeal, you should iterate across the whole scene if possible. If you can build out everything to like 40%-60% complete, then you can see what needs work in comparison to the other pieces, what might be over-detailed, and what is good as is. In practice I've found the first 70% of the work goes the quickest, then it's that last 30% that starts to take exponentially longer.
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Jun 17, 2019 09:19
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Hah, I saw the wrong loving question guys at a thing I was at earlier this month! Liked what they went over, and they brought up some good points about teaching younger/newbie artists.
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Jun 28, 2019 19:39
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While I get equally annoyed at people who break workflow for entrenched reasons (don't want to learn new tools), I don't think it's bad to use different tools when the existing pipeline can't nail it easily. To use the Painter example, there are reasons an artist might use photoshop alongside. Making masks/alphas/stamps, quickly batch-modifying textures when something like a minor grade or level adjustment is needed, doing more complex handpainted work than Painter can handle live (ie very layer-heavy high res meshes). To avoid the contrarian nature of the above, any outside work should be re-integrated into Painter if possible though. Grading textures after the fact? Write those values down so if the asset is revisited, it can be cloned easily. Handpainted work? Keep on its own layers and bring back into Painter. Designer has replaced a chunk of my PS use though. I used it to generate masks based on handpainted grout lines from Painter, for tinting individual blocks and having control over grout thickness on a massive (100+m tall) hero asset. It was messy to integrate, but leagues quicker than either Painter or PS, and let the supervisor art direct the blocks and grout while still giving quick iteration on broad notes.
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Aug 23, 2019 16:54
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I've officially made the plunge into Houdini! One client uses it as their main layout/rendering tool, another wants to start using it for sims, so I wanted to position myself in a good place to help 'em both out. Took me about a week to get comfortable enough to recreate smaller scenes, and I've started to move into simming. I'm learning as I go too, which is working well enough. I have goals (make a halloween-themed scene, make something coming out of a sand sim), so it's been a million times easier than "okay, here's a new program, now what?". And as I'm figuring out the power of nodes for modeling/layout stuff, I'm pretty impressed. It's right in line with the depth I see using Designer, just wayyy more complex. Kanine posted:memecg is a pretty good twitter account Hah! Memes like this always give me a chuckle, thanks!
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Sep 17, 2019 15:18
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https://twitter.com/memescg/status/1167400621919653888 Lolll okay, that meme page is even more up my alley than I realized
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Sep 17, 2019 23:25
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Here's some spoopy renders I did for a studio halloween contest. Would've liked to have another 5-10 hours to work on it, but ran out of time and had to submit. Think I spent around 8-10 hours total on the scene. Also used this as a chance to get more familiar with Houdini, and to mess with Arnold further. Nowhere near as crazy or complex as my client work, but was a nice change of pace. Software used: Modeling - Blender Unwrapping - RizomUV Texturing - Substance Painter Layout/Lighting - Houdini Rendering - Arnold Compositing - Fusion Editing - Photoshop Things I would've done with that extra time: - figure out why displacement wasn't effecting the flat porch railing boards like I wanted - More props inside - skeleton hands going over the two pumpkins - leaves on the deck and vines on the railings/house - some additional rim lighting - ground fog pass - Higher res/sample render First image is my submission, second image is an earlier version I decided wasn't working as well.  
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Oct 4, 2019 20:14
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Grey Hunter posted:Thanks. I got another comment to light the face a bit more, so this is the current set - I'll try the rim lighting tonight. Besides the subsurface mentioned above, if you're using an ubershader (Principled BSDF, disney shader, AiStandardSurface, etc depending on program), the sheen setting can help greatly with a rim effect. It generally mimics the fresnel effect caused by tiny hairs in fabric/skin, where the IOR is changed based on surface angle to camera angle (iirc). Here's the arnold doc on it, principles/look should be similar (though not as crisp) in Cycles: https://docs.arnoldrenderer.com/display/A5AFMUG/Sheen?desktop=true¯oName=center
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Nov 4, 2019 18:26
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Double post, but wanted to keep stuff separate. High Castle season 4 trailer dropped last month, has a bit of my shading work in it. And this was my first foray into using Arnold directly in production (instead of Cycles which another artist would then convert). Once the show is out I'm sure there will be some BTS deep dives as it's the last season and I'll hopefully be able to share some of my own stuff. Besides my s2/s3 work at the beginning, I have the following assets in there (mostly texturing/shading, with some modeling as needed). And as always, this was all made possible through the awesome teams we have: - bullet train + track/pylons - attack helicopter - Volkshalle - the big man/woman statue https://www.youtube.com/watch?v=sIT2JD4BJ9M And on top of that, the Silicon Valley episode I worked on aired last night! My stuff was pretty simple and only in about a dozen shots, but still fun to see! It's been quite a while since I've had any client work I can publicly share, feels good.
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Nov 4, 2019 18:42
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Ccs posted:jump to a tv studio as a mid/senior animator and make more but be out of the world of big budget vfx/feature. I've been working in TV for almost four years now, and it's definitely an interesting/complex gig. Likely not as in-depth as feature work, but I constantly come across challenges that require a bit of forethought and experimentation to solve. Compared to features though (afaik, only have coworker experience to go on), there are some big differences: - gigs will be in the span of weeks to months, occasionally 7-8 months if it's a prestige show. That means if you're contracting, you have to hope you made enough of an impact to be recommended for work in the down time. I'm very lucky to have been with both my studios since they were still pretty new, and I'm on indefinite contracts for both. Still have weeks here and there with no work, but I can plan for those and don't have to sell myself constantly like I would otherwise. - You'll need to be able to solve issues quickly or know someone who can. Sometimes you'll get a shot with a drop-dead of the next day (or worse, EOD), with no leeway. Then it's a matter of hitting the broad supe/client notes asap, getting feedback, and doing one extra pass if time. This can suck, obviously, but can also be immensely rewarding when you pull it off. - it's not features, but you'll be working with people (artists, actors, directors) who've done features. This is more on the prestige side of things, but the divide between film and TV is shrinking. I can't say what direction would be best for you, but it seems like you've got some decent options with the "games" goal at the end. Both paths (current studio, TV VFX) should be able to get you there, though feature work may offer a leg up in the hiring process (not fully sure though). It's mainly about the kind of work you want to do to get there. Longer schedules, more R&D, (potentially) more prestige? Features. Shorter schedules, more dynamic work, and less longterm pixel loving? TV. (Tbh I'd prob recommend staying in features and doing CFX as I think that's super cool, but that's only because I've never done a feature and have a starry-eyed view of it)
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Nov 12, 2019 15:31
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Or for way less prestige but also way more fun, do AR/VR work as a stopgap. It's a nice introduction to the game engine work, very unsexy, but clients will range from ad agencies to museums to theme parks. Animation is usually simpler with those, too, due to device limitations.
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Nov 12, 2019 15:36
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Another year, another VES nomination! While I wasn't caught 100% by surprise like last year, it's still put me in a state and all I can do is pace like crazy, lol. So proud of the team, everyone busted their asses and we've got at least one first-timer nominated as well! And to cap it off, I finally took the plunge to Blender 2.8! Can't say it's been easy, I've had years of old UI to unlearn... but 2.82 seems to solve some of my UI/UX concerns, and drat Cycles seems faster than 2.79! Been working on converting my skin/hair shaders to eevee too, and I'm decently pleased with it. Hair is still a little convoluted with no Principled Hair BSDF, but I figured out a method that's passable, though not as photoreal as I want (can't seem to nail down good translucency via eevee). Ccs posted:Well that was an exciting year in the vfx industry. Thought I was just gonna be doing animation, ended up doing animation, matchmove, roto, mo-cap editing, and sculpting and was an unofficial lead for a little while. Also worked the craziest hours I've ever done and drank more free alcohol than ever before. Congrats on the exciting year! I do kinda love that about this industry, I always end up filling in roles I wouldn't expect. How did you like the lead work? It's a different skill than just an artist for sure. Do you think it's something you'll pursue?
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Jan 7, 2020 21:29
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Argh I’m so infuriated with Windows 10 right now. Been R&Ding a moderately heavy grain sim in Houdini - 912 frames, currently with ~13mil particles. Takes roughly 36 hours to simulate+render the full range. I had some crashes on 17.5 this week, lost a good 25 hours of sim time, so I updated to 18 and it seemed to work fine. Of course, windows decided it wanted to update itself last night, literally 15 minutes after I’d stepped away from the machine for the night. That lost me another 8 hours of sim time, and holy gently caress am I annoyed. How in gods name do I work around this? Anyone have any luck disabling the auto restart? Task scheduler restart task just tells me my admin account isn’t allowed to disable it, and I don’t know how to tell windows my machines working hours are 24/7, not whatever hidden schedule it’s decided for me. I just want to be able to say “hey, don’t update unless I manually restart”, or even have it say “windows will update at 2am”, not “windows will update outside of active hours”, which could be that night or four nights from then.
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Jan 26, 2020 14:35
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You guys all rock  I have 10 pro, but never delved into the GPE stuff, so I wasn’t aware it could do all that. I definitely want the updates, so being able to install them on log off is perfect. I was able to do this via task scheduler for auto shutdown, so that not working with the update system threw me for a loop.
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Jan 26, 2020 22:00
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Oldstench posted:I made a chair to practice texturing a bit. Blender/Cycles. Buuuut, if you haven’t thought so already, I’d suggest doing some variants. Different color/types of leather, varying wear levels, maybe even metal instead of leather to make a dramatically uncomfortable chair! What was this shaded in, btw? I’d guess Painter, but you didn’t mention that so is it fully Blender procedural?
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Feb 21, 2020 14:43
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My VFX studio has transitioned to mostly WFH, but I think today they all might have to due to Newsom’s shelter in home command for California. They’re a boutique shop though, so there’s definitely a bit more concern and care about the artists. Everyone has been working together to make it as smooth as possible. And the weirdest thing happened last night... 6pm rolled around, and all the WFH artists logged off from slack. I’ve never seen the group of them end on time, people always work until 8 at the earliest. Don’t want to read too much into it, but I’m hoping the work/life balance just got a big boost as people realize “huh, I don’t have to kill myself on a daily basis?!” My animation studio on the other hand, has been fully virtual since the beginning, so no changes there.
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Mar 20, 2020 13:25
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I’m assuming there’s no AOVs or anything that aren’t supported/erroring out? I usually use the Mplay render to check for bad textures/AOV issues, as it’ll make the red warning on the ROP (unlike IPR/render to disk, at least with Arnold) but if it’s causing a full crash after one frame, that wouldn’t help... Have you enabled logging in the ROP? Could be a decent way to at least narrow down exactly what step it’s crashing on. E: this def isn’t your problem, but this morning I accidentally pasted my sim file name into the ROP output, lol. Luckily only got 3 frames in before I went to check, found a single .sim file in the output folder. Wish it enforced extensions a little better, but in the end that one was on me. Slothful Bong fucked around with this message at 21:18 on May 27, 2020 |
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May 27, 2020 21:14
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Huh nice! I enjoyed Sculptris back in the day, curious to see how ZBrush Core Mini handles.
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Jun 11, 2020 16:05
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TooMuchAbstraction posted:I think that's a seam or crease? Not something I use much, so I forget exactly what they do. It's either for cutting up UVs or for controlling how much a subsurf modifier can soften the edge or something like that. You’re correct on what both those do! Seams are UV island edges - it’s how you split and unwrap your mesh. Nice way to manually control an unwrap, though I prefer the actual flattening and packing algorithms of Rizom. Creases are a cheap way to avoid extra edge loops when working with subdiv meshes. A crease will have a value of 0-1, with 0 being no sharpness, 1 being full. Here’s an older Pixar video showing some of the workflow they use with creases: https://vimeo.com/70600180
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Jul 20, 2020 15:16
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Here's a personal thing I started over the weekend. Probably gonna end up either a cover or artwork for my electronic music project YOUNG JAGUAR. Pretty basic overall; took a 3d scanned fox skull, retopo'd it, unwrapped/painted in Painter (first time using painter autounwrap, was 10x better than expected lol), made some curves in Blender which I then sculpted and procedurally shaded, used ivygen for vines, added world volumetrics for fog, a smoke sim with procedural density for up close fog variation, lit and rendered in eevee. Not really sure where to take it from here... hitting that personal project roadblock like always! But I'm decently happy with the results so far, it's currently at "album cover" quality level lol, though I'd like to push it further if I can figure out how. It's already feeling pretty "blocked out", filling the empty space would make it too busy imo, so it's a matter of somehow pushing the profiles or materials more. 
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Oct 26, 2020 18:26
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