OTOY Forums

Have you tried those settings? One of the big things to remember is that Octane doesn't like spaces in the material names and Rhino wants to name materials 'Material 001' ect. I haven't figured out how to get Octane to recognize Brazil mats so just use Rhino Basic mats and it is sort of hit or miss whether they come in as specular, glossy, or diffuse. If you group stuff then select the material in Octane and you can fine tune all surfaces that have that material name at the same time. You can go back to Rhino to re-assign mats or edit geometry and then re-load that saved obj in an open instance of Octane and it all refreshes with the Octane tweaks preserved. Just be sure to stop the current render before the obj file refresh as that can cause a crash. Good luck, Jody

Still exploring the possibities and have done some night scenes with an emitter in this scene. I'm now using the 2.3.4 or whatever the latest is called, seems that the fireflies are reduced but I'm still now worrying abot them as I;m confident that the team will deal with that in a later release.

settings was not to me, hope they work
'd like to see your catamaran in a storm:)

Thanks to Sam Page for his latest Rhino/Octane exporter. It seems to be working well even in V5 although I got an error message when I first tried loading it by dropping into an open V5 window. I dragged it into the V5 plugins window and it working now. New project, maybe a faster boat than the catamaran! This one is for a client and I'm hoping he takes the hook. These Octane renders are the best chum for getting the big fish into the action!

Jody

C3Design
c111design.com

Your renders are very nice but to my eyes they look a bit underexposed or something...not sure.. you commented yourself about the weak lighting....dunno...push up the power slider some maybe?
This last one is set against a background with bright sunlight but somehow the boat doesnt look like it is in it.

I hear you pixel on the lighting issue. I'm using a HDRI image for lighting and can't seem to get enough power on the boat without blowing out the image in the background. Sometimes I was there was a way to remove the HDRI from the background yet still have it provide the lighting on the model. I've tried mapping the HDRI to a backdrop plane and light it accordingly and then crank up the power on the same HDRI serving as the lighting, but that can cause some odd results as well. Ideally would be to use a HDRI for lighting and an emitter to serve as a sunlight source to add highlights to the model. I'll try that and post but for now here an earlier render of the sportyacht with a sunlight environment. Would it be possible to use the physical sky with an HDRI for a backdrop and some additional light and reflection?

It is easy to solve your problem regarding over exposed hdr background.

1. You render your scene and dont care about the overexposed background
2. You render a mask of all geometry in octane with a solid black material and use that as mask on the mesh
3. Render a new image with background image in the exposure you want
4. use the negative mask from point 2 and comp that in

Aditionally you could add a drop plate in post directly and matte it in..

Im a brazil user on the max side, good to see other fish on here

If you dont understand point 1-4 just say so and I will provide a visual guide, its so easy..

I'm listening! I get most of what your saying and know this is how much of the yacht rendering compositing that I see in the mags is done, but if you would be so kind to elaborate, please! I've created an actual physical backdrop to map the same background that I was using as my HDRI light and switched to the Octane physical sky light model and can adjust that to suit and still have the 360 surround backdrop add to the environment and show in the background. Not sure if that is clear, but here is the result of this setup. I'll try your mask and composite as well. If you look at the latest issue of 'Showboats' magazine and compare the yacht ads from just a year ago, it is amazing how quickly the renderings being produced in that industry have advanced. A tough business to begin with, and the bar keeps being raised, but like I said earlier, drop dead gorgeous renderings of these potential playthings and objects of lust are in great demand! I appreciate everyones comments greatly and hope to hear more... Thanks GK!
I just now caught the refererence to Splutterfish! I'm still a big fan of Brazil, but am learning quickly in Octane due to the opportunity to see near realtime results of tweaks and the feedback loop is so much more responsive that I'm getting better results and am sure that the time spent in Octane will only make me better when (and if) I ever go back to Brazil.... If your familiar with a Rhino/Brazil guru named Paul Sherbitshof, he is the material master who convinced me to purchase Brazil. I posted some of these same yacht images on the Rhino group just to sort of see what sort of response I got there and Paul had nice things to say. He stays very busy and is a master of logo design with PAYING CUSTOMERS!, something I could use right now, and Paul is reporting that he is very pleased with Arion but has this to say about Octane/Brazil and things in general,
Those are great, Jody!

I love using both of the GPU renders I have - Octane and Arion. Arion gets
far, far more use as it really is a resolved product. Octane still has a
ways to go to be a version 1. Tremendous fun using either, to be sure!

The thing with either of these is to use them on the correct type of project.
A project where a client is constantly changing the model can be extremely
frustrating as one has to back up all the way to Rhino to make these changes....losing
all of the work in the renders.

But a project where the model is complete and one is working with lighting
to create mood and feel, there is nothing like them! Very inspiring to work
with.

Once you taste these renders...it's hard to use anything else for certain
work.

I still use Brazil for my meat and potatoes rendering...it gives me so many
tools and tricks to get just the right look I am after. It's the back-bone
of my daily production.

Paul

I'll dig up his gallery and post here, like a said a material ninja!

Still working on lighting setups! I mentioned earlier using an amphitheater shaped surface to project the image I had been using for a HDRI light environment and then using sunlight environment to great highlights and shadows on the model and still get the background to contribute to reflections. Direct lighting seems to work well in this scheme, and if I switch to path tracing I take a big time hit and have to deal with fireflies. Not sure if this is worth the effort, but I'll let the results speak for themselves.

If i may make a suggestion.Try adjusting the Gamma in Octaine. That should give the renders a bit more punch.Or render out and put the image into photoshop and tweek the Saturation and Gamma in there.