There seems to be a general confusion on linear workflows and how 3D/compositing packages work, what sRGB/gamma 2.2 is for and why it’s a good idea to render images in linear data throughout the pipeline. This is my take on a linear workflow with Maya and Nuke as well as a bit of history on the subject.
The production shader library contains a set of shaders aimed at production users of mental ray. The library contains a diverse collection of shaders, ranging from small utilities such as ray type switching and card opacity to large complex shaders such as the fast 2d motion blur shader.
Eleven years after the successful TV series “Kenny Starfighter”, galaxy hero Kenny returns in “Kenny Begins”. The ambitions of the film, shot with the Red One camera, was to become the biggest feature film of the action comedy genre ever made in Sweden, sporting more than 600 visual effects shots.
This is a showcase of some assorted hands-on work done by me at Filmgate. Besides working on the graphics (and generally running the company with my co-founders), I was responsible for script breakdowns and on-set supervision for many feature film productions. A full list of productions can be seen over at IMDB.
A MEL script that hooks your particle system up with a camera automatically, resulting in a z-depth/focus depth/height/age/etc shader, that can be used to render images meant to serve as an aid during compositing. This way you can e.g. render out hardware particles’ depth channel with motion blur.