I was always curious about its performance. How is the latency compared to alternatives like Parsec, HP Anywhere or NoMachine?
48 karma · joined November 21, 2017
You can get a good experience on a Windows or Linux machine with DaVinci Resolve, but that’s mostly because of the way better GPUs like the 4090/RTX series you’ve got at your disposal.
While I understand that not everyone gets to work on a John Carmack level codebase, is working on a C++ project really as challenging and unrewarding as it seems? Is the productivity that low, and do every step feel so difficult that they eventually drive developers away?
—— I'm still entirely unconvinced.
The thing is, wrap-around is not only well-defined, it's common, and EXPECTED.
Example:
static inline u32 __hash_32_generic(u32 val)
{
return val * GOLDEN_RATIO_32;
}
Full thread: https://lore.kernel.org/lkml/CAHk-=wi5YPwWA8f5RAf_Hi8iL0NhGJ...
For example, Niko doesn't seem to be aware of the IBK keyer (based on his comments in the VFX subreddit), which is the keyer used on almost every shot in high-budget movies. While it's not a single-click solution, it's the main tool to tackle thousands of shots with defocused edges, motion blur, and semitransparency every year.
Niko deserves credit for bringing Paul's incredible experiment, but Corridor is at its core a group of entertainers, and most of them have never had experience in a large production/VFX environment. Take everything they present with a grain of salt.
Perhaps what will happen is that we will have more time to play/watch more?
I eventually assembled a design with a few more keys, pretty similar to the Voyager.
I switch between this and the Microsoft Sculpt, and it definitely helped me with the constant discomfort.
There are videos showing the results with/without the AI detail pass.
I would expect some options to set constraints, like the first input staying always aligned with the previous node.
Here is one of these DAGs: https://cdnb.artstation.com/p/assets/images/images/026/099/2...
However, most people would be horrified to see how noisy and unsharp the images from top cinema cameras are when most post-processing is disabled.
Because that part of the film process can run offshore, VFX studios find themselves fighting for these contracts and/or accepting unadvantegeous terms. I remember him saying that film studios can strong arm a VFX facility to open in a place under heavy tax breaks, and they are expected to 'forward' the cost savings.
Also, this research is under the supervision of Paul Debevec, who spearheaded more than 20 years ago the image-based lighting and high dynamic range workflow used in virtually every single production now. If we see chrome balls in film sets, it is because of him!
That said, I don't think this will find its way on sets, mostly because DOPs/directors are very precious about the way they capture their images. The alternative they offer in the paper, using a reduced shutter speed and adding synthetic motion blur, is also a big ask - with the added problem of syncing the cameras to the lights, which would slow production.
In my experience, extracting the alpha is not an issue - compositors can get close to the GT using old tools/algorithms. However, getting the original colour around the semitransparent areas is the biggest hurdle - and each artist uses a bunch of approximations and local fixes, which are very time-consuming. Recoloring the edges would be enough to revolutionize this workflow. Given their virtual stage + deep learning technology, they are in a good position to make this happen.