Enabling Iray in Maya 2011
Mental images and/or Autodesk has intentionally not made Iray available in the latest release of Autodesk Maya; version 2011. But there is a workaround...
Posts
Linear workflow, part 1
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.
Enabling the mental ray production shaders
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.
Kenny Begins
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.
Digital visual effects showreel 2008
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.
Island of Lost Souls
Filmgate were offered the opportunity by Ghost A/S to work, as sub-contractors, on this exciting Zentropa production which at the time was the largest visual effects movie to be made in Scandinavia.
Pistvakt
One of my very first feature film visual effects projects, where I primarily performed compositing and blue screen keying in Shake as well as some minor 3D work in Maya while working at Farmland, Trollhättan.
Maya particle shading script
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.
Z composit with IFF in Shake
Utilizing the Z channel (depth information) of Maya’s IFF files in Shake is a bit tricky because of the way Maya stores depth information… here’s a quick tutorial to get you started.