Thanks so much! Yeah I think it can add some nice spatial and color variations. Real light is really complex so the more ways we can grunge up our 3D lighting the better.

Thanks! Glad you found it helpful!

Ahh!! Thank you so much for the kind words! I appreciate your support!

Thanks so much! Yeah, I was super happy with how that looked. Really cool gradients.

Glad you found it helpful!

Thanks for watching!

Thanks so much for the kind words! Appreciate it!

Thanks so much!

yap. same thought. thanks man! 😌

Thanks so much! And thanks for watching!

Thanks so much for watching!

Thanks so much! I gotta admit I was pretty excited about that portal light trick. 🙌

@@igobyzak also the reflective caustics gived a powerup to the scene. Is a bit tricky to setup but i will try next project. 🙏👍

@@user-vr9dj4eo8v yeah but you can tweak the blur and contrast to have less sharp edge i think

Appreciate you watching!

Thanks so much! Thanks for watching!

Thanks so much! 🙏

Thanks for checking it out!

gonzzzalo! Thanks so much for watching! Honored to have you take a look.

Max! Thanks so much! Hope you're doing well my friend. Thanks for watching!

Thanks so much!

Thanks so much! Glad it helped!

Thanks so much for watching! I'm not an Octane user but I hope the concepts carry over.

You're welcome!!

Thanks so much!! 🙌

Thanks for watching!

Shebbe! Thanks so much! Hope you're doing well!

@@igobyzak doing great tnx:) hope you too. Have you jumped from AE to Fusion for finishing? Or bit of back n forth depending on project? I can imagine it's a lot cleaner to set up rather than layers. Curious though... you mention 'cranking values' because of tone mapping. I think that's true for the most part. Do you ever think about trying to emulate plausible real values? Apart from specular most cameras can capture most scenes 'entirely' and their range is roughly 13 stops. I recall Blender using Watts for light values which gives more context. I also wonder how accurate the data remains if you go to a log space for grading despite remaining 32bit float processing.

@shebbe5510! Not sure how I missed this comment! Yeah, I'm pretty much all in Davinci Resolve now. I just now released a tutorial on the workflow I've been using. I should look into setting up a scene and use "real world" values for the lights and see if that changes the workflow at all. Redshift does have options for different light energies, like lumens and watts. But really, in my experience, 13 stops is only sufficient some of the times. For architectural photography in the real world, I'm constantly bracketing my exposures to increase my dynamic range. But other instances, 13 is plenty; it just depends on the scene. An aspect I think is missing from the ACES transforms, is deciding on dynamic range. I would love to have an option to clip above 13 stops! That would be amazing. Like, how many stops of dynamic range does an ARRI Alexa give you? Maybe 15? It would be great to say, "OK ACES, I'm trying to comp CG into my ARRI Alexa scene, I want 14.5 stops of dynamic range." This would be especially helpful if I had my CG scene setup the way you described, using real world values for my lights. It's great that we get like 30 stops of dynamic range in our RAW renders, but what if I don't want that HDR look? Unless I'm missing some aspect of the ODTs that account for this. That's why I like the opportunity to do some color correction after the ODT. I can go in and clip some highlights if they were tonemapped down to grey. I have been converting my ACEScg EXRs to ACEScct for grading in Resolve. I'd be curious about the accuracy of doing that as well. I haven't noticed any issues, but I haven't really done a full on stress test to say for sure.

Thanks! Yeah it's a nice effect!

Thanks so much for watching!!

Hey! Thanks so much!!

Thanks so much!

Thanks so much!!

Oof, yeah I watched a tutorial on light projections in Octane. Octane does some things so well, other things, not as much. Hopefully soon they'll make this easier.

@@igobyzak I'm pretty sure the request for light spread has been asked everyday since I can remember. lol. ;) It is a powerful engine and I hope they find a way to implement it soon!

I'm planning on doing a comping and color grading tutorial with Davinci Resolve very soon. Stay tuned!

You're right. I exported these out of Davinci Resolve and liked the idea of keeping these files linear gamma. But yeah, they're not high dynamic range or anything, they just don't have an sRGB gamma curve applied. But that really doesn't matter. I used the DWAA compression which brought the file size way down, so was happy enough with the results. But I could have used a custom Saver node from Fusion instead of the Deliver tab to get access to a regular .jpg sequence and brought the file sizes down even more. Sorry about the extra bulk of these.

I've swapped all these EXR sequences out for JPG sequences. This really cut down on file size and should help with memory. The new versions are uploaded at the same link. Thanks again for the comment!

@@igobyzak Will the JPG sequences have the same latitude when playing with the gamma slider, though? Does the fact they weren't HDR to begin with make that irrelevant?

I think placing the portal light just inside the glass of the window is the way to go, but I could be mistaken. When I've used a dome light or an environment light with the sunlight coming through my windows, I haven't used the portal light. I found it looked strange, but maybe I'm not understanding it. I think it works best for outdoor light where there's no direct light, just GI bounced light. That seems to be where the portal light really excels. The render is much cleaner with the portal light than with just the dome light or environment map in these GI bounced light scenes. But if my environment sunlight is coming through the window, no portal light for me.

@@igobyzak I had the same feeling. It always looked strange to me as well. Thanks

Thanks so much! Yeah! Definitely stay tuned for that one. It's in the works ;)

Thanks so much! I'm still experimenting with the best method to make these. For this pack, I just recorded the shadows that were on my walls around my house with a Black Magic camera. I recorded these RAW, desaturated them, and adjusted the contrast to my liking; mostly looking at crushing the large areas of shadow to black but leaving enough leaf detail around the transitions to white. I was excited about keeping the whole process in linear gamma (I set my Davinci timeline to linear gamma) and exported as linear DWAA compressed EXRs. But as someone else pointed out, that probably wasn't the best way to go. I could have just as well exported a .jpg sequence and cut down on the file size of these. I was allured by the linear files! But really it doesn't matter. They're just standard dynamic range and I could have just exported them as .jpgs.

@@igobyzak awww man!😁😁Thanks for the insight! I appreciate you taking the time to break down the process!!!

There is no difference between the exr and jpg sequence when you change the gamma ?🙌🙌 @@igobyzak

Yeah, once a shader graph is added, that shader controls the exposure. In these cases I duplicate the shader and apply it to the new light. For scaling the gobo on both at the same time, you can use the xpresso "set driver" "set driven" function on the scale from one shader to another.

yeah that took me quite a few minutes before I realised what was going on :D First I was thinking maybe I hit ctrl z a few time to often