Reality 4.1 Review

I’ve written, rewritten, performed delicate surgery, and ultimately torn up this review a number of times now. I don’t want to be the negative reviewer guy, but what it comes down to is that I’m just not very impressed with Reality 4. Sure, we have some nice features introduced since Reality 2, such as procedural textures, and SSS, but I’m just not sold (more on that later). There are many happy Reality users out there, but then there are the others like me, skeptical, on the fence, indifferent. So, I’m not saying Reality is bad, just that it’s not my beverage of choice.

Metropolis CPU 20 mins

Metropolis CPU 20 mins

Before moving on I should point out now that I’m writing this review for the DAZ Studio (Windows 7) version using a i7 4770 and two GTX 780ti cards (not AMD cards). For most GPU renders I stuck with using the 780 in the secondary slot as using the first or both resulted in slow system response. All renders in this review are raw from Reality for the purposes of test (sorry, no pretty ones here).

LuxRender Speed Increases

Given my outlook of Reality I was still quite excited by the news of Reality 4.1 and all the talk of speed. Speed increases are a huge selling point for me when it comes to LuxRender, and in this regard Reality 4.1 is a solid point release. 4.1 gives access to some of the latest advances of LuxRender 1.5, which is great. We see some nice acceleration on many recent CPUs, and we get a greatly updated OpenCL based engine, which is now well on the way to containing all the features of CPU LuxRender.

CPU Extra Boost 19 min A close examination of shows the stark differences between bidirectional and standard path tracing.

CPU Extra Boost 19 min
A close examination shows the stark differences between bidirectional and standard path tracing.

There are a number of caveats with these speed increases. First: CPU and GPU “boost” modes only support Path “mono-directional” renderer (depending on the type of scene being rendered this may or may not be an issue). Boost seems to be one of Paolo’s own “homebrew” tweaks to Lux render settings. Two: There are slight (and sometimes not so slight) render difference between OpenCL and standard CPU modes. I’ve noticed this with glossytranslucent materials, particularly when coupled with the homogenous volume for SSS. More importantly, there are issues with geometry artefacts at lower levels of subdivision. These issues appear to be particularly noticeable on models that heavily rely on subd methods for controlling shape, such as the Genesis figures (fixed as of 4.1.1).

Reality 4: A Mix of Good and Bad

Reality was my introduction to physically based rendering, which completely spoiled me for biased options. Even the pretty Monte Carlo GI in LightWave felt like slumming it afterwards. What spoiled my interest in Reality, as a bridge to LuxRender, was Luxus. Luxus is a huge ‘effing mess in its implementation (in to DAZ Studio’s user interface), but it has a number of points that, in my mind, and to a good number of others users, makes it superior. Probably the most significant of these points is that it exposes the controls for just about every feature of LuxRender.

CPU left, OpenCL right. Both metropolis. Again we see that CPU is still king in terms of quality.

CPU left, OpenCL right. Both metropolis, and both with identical material settings. We see that CPU is still king in terms of quality.

Luxus beat Reality (3, Poser) to the punch when it came to offering options for subsurface scattering, and with all the extra render and material features I could forgive that Luxus was spread all over the place with huge ugly lists of options (some of which even the hardest core of the hardcore would rarely touch). It’s a raw, barebones sort of plugin, but it makes up for it in power. I had hoped that Luxus would shake up the Reality trajectory, but every release of Reality has been an evolution of the earlier product (which, depending on perspective is either good or less good). Maybe Luxus didn’t hurt Reality, maybe Paolo (Mr Reality) never saw the endless blog and forum posts that pointed out the power aspects of Luxus. Maybe these “elite users” aren’t a big enough porting of Reality users. Whatever the reason, Paolo is happy to tell us how we should be using LuxRender.

Reality on Right, Luxus on left. Both are flawed renders but Luxus gives many more options when setting up glossy translucent materials. Texture control maps are great for subtle tweaks.

Reality on Right, Luxus on left. Both are flawed renders but Luxus gives many more options when setting up glossy translucent materials. Texture control maps are great for subtle tweaks.

I love that Luxus lets us tweak render settings, access multiple subsets of rendering engines. I love that it gives us sensible access to the basics such as glossy translucent surfaces and volumes. Yes, I know Reality has these surfaces and volumes, but even then Reality gives us the “light version”. Why, in this wondrous modern day and age, or we not given the option to input textures in to our absorption and scattering slots? Why is Reality lingo inconsistent with LuxRender lingo? Why does it require google to learn how to setup a glossy translucent surface specifically for Reality? The manual is obscenely vague on this process.

One would assume the glossy trans would be sitting right next to glossy and matt materials, but nuh-uh. We unlock this obscure material via volumes. Why? And why is there a separate tab for volumes in the first place? Yes, I guess it might make it easier to share volumes between different surfaces, but what about good old copy past? After all, we are probably going to have to tweak those volume settings from one model or character set to the next.

OpenCL having a fit on left. CPU doing weird stuff on right. Presumably the patchy areas in the CPU image is working to clear noise.

OpenCL having a fit on left. CPU doing weird stuff on right. Presumably the patchy areas in the CPU image is working to clear noise (noise aware).

Reality has gone a good distance on squashing some strange idiosyncrasies and quirks, but these seem to be rooted in Paolo’s design process and ideas about how things should be, both in terms of design and how users should relate to LuxRender

To cut through it all, and paraphrase so many posts I’ve seen on the subject, Reality is great for novices and those that just want to get on with the business of rendering. If Reality were a book it would be “LuxRender for Dummies”. This is certainly not a bad thing. Many of the render settings are superfluous for many users, as are texture control maps, but for hardcore render geeks and artists that really want to push their work to the next level, it is limited. There, that’s it! Reality is limited.

Final Thoughts: Reality 4/4.1 and LuxRender

Reality’s Good Points
  • Reality is great for new users, and those that want to render without having to worry about a huge list of engine configurations.
  • It supports a good chunk of what LuxRender has to offer
  • It is relatively easy to work with (though with some frustrating quirks)
  • Some love the Reality GUI
  • Speed increases
  • Procedural goodies
Reality’s Bad Points
  • The first point on the list isn’t about the program so much, but this seems rather big to me. On the Reality “Details” page there is one mention of LuxRender, and it’s all the way down the bottom of the page. This seems to be a systematic tactic taken on other pages on Preta3D.

“Reality is a rendering solution that extends DAZ Studio and Poser providing the most advanced Physics-Based Rendering system in the market.”

Is it just me, or are we correctly attributing the awesome rendering power here? Let’s give Paolo the benefit of the doubt and say he’s concerned making too much out of the external render engine (which Preta3D has little to do with) will unnecessarily scare people away. Something like that?

  • Reality hides many of LuxRender’s rendering and material features (more so the former). Some of these would be very beneficial to intermediate and advanced users.
  • Reasonable manual
  • Reality GUI – though considerably improved since Reality 2 (first version I used)
  • Convoluted glossy translucent and volume setup
  • Would love to see more of the procedural options available for use in the diffuse channels (as opposed to being strictly for displacement).
  • Manual has some serious limitations and oversites
  • Reality lingo is not always consistent with LuxRender spec
  • Does not include the LuxRender environment camera (why?)
On LuxRender Speed Increases

Metropolis CPU is still by far the sharpest tool in the LuxRender arsenal. Comparing OpenCL, accelerated, and “Extra Boost” render side-by-side with CPU renders will often be as day is to night. Sometimes speed just isn’t worth it. OpenCL just isn’t there yet, but we are so close!

If you have a reasonable NVIDIA card LuxRender might not be the best option, certainly not in all situations. See the next post for a head-to=head LuxRender vs Iray.

On Luxus vs Reality

For the sake of final balance it is necessary to make a notes on Luxus in its current state.

  • Has not been updated in quite some time. As a result it doesn’t support all LuxRender’s latest features, though it does include text boxes to input code.
  • Its incorporation into DAZ Studio makes an art of mess.
  • Poor documentation.
  • Bug where Luxus somehow fails to export materials. A very frustrating bug.
  • Exports scenes to a temp folder (that wipes on closing DAZ Studio). However, this can be changed.
  • No environment camera (why?).

In short, I would love to see this plugin updated and tidied up. In its current state Reality is the better plugin for most users. You can pickup Reality 4 for DAZ Studio and Poser from most DAZ/Poser community brokerages including DAZ and directly from Pret-a-3D.

RWBY Season 2 – Poser Powered Animation

 

The butt-kicking warrior students from Beacon Academy are back! RWBY season 2 is just around the corner (online premiere 24th July). Just yesterday the trailer for the 3D, beat ‘em up and RPG inspired anime premiered at Rooster Teeth’s very own convention (RTX). Obviously, as posted above, the trailer is now available online. The second seasons boasts better visuals – gone are the black silhouettes that constituted character extras. This in itself will please many, but visuals have been improved in many other areas including shadows and greater utilisation of Poser’s physics engine for hair and cloth (perhaps other stuff too – not sure).

RWBY Production Diaries – Interesting Tidbits

During development a number of “Production Diaries” were filmed and offer some interesting insights into how the anime is put together. Areas covered (albeit far too briefly) include: modelling, uv mapping, texturing, motion capture and animation, voice acting and sound effects. Though us 3D nerds would have sunk our teeth into deeper production diaries, there were some areas clarified from earlier technical discussion that took place at the previous RTX and elsewhere online.

I found the section on animation particularly interesting. It has been known that the RWBY team use a mix of motion capture and keyframing, but it was never clear how much of either was used. As it turns out much of the fight sequences are animated with traditional methods. Motion capture, on the other hand, seems to be heavily used for scenes that are heavy on character interaction, where emotion and subtle nuances are more important. Given Monty Oum’s previous projects this approach is not so surprising. This guy has built a cult following with his rapid paced hand-animated fight scenes.

RWBY: Inspiring and Guilty Pleasure

The work Rooster Teeth do with Poser on RWBY and Red Vs Blue continues to be inspirational, and I have to admit I have become a little intrigued with the plot. What are The White Fan up to, and is going to what about them? Any bets the young women with their male sidekicks (makes for an interesting change of pace, doesn’t it?) won’t be pushed to the fore of the coming conflict? No, I thought not. Of course a bunch of children with insane weaponry and magic will once again save the world. And why not? Adults are far too busy playing Politics and Tycoons™ to get involved with such noble endeavours.

Catch up

If you haven’t yet seen RWBY season 1 you can catch up at Rooster Teeth’s website and on their YouTube channel. You can also pick up RWBY season 1 on DVD/Blue-ray at Amazon.

Rooster Teeth/RWBY Animation Pannel

Just a quick post here. I came across this Rooster Teeth animation panel filmed in Melbourne Australia. There is a lot of RT waffle and banter, but for those interested in 3D animation from about 35 mins in to about 55 mins there is some really good stuff about the animation process of RWBY. Monty talks about working with Poser, time saving trickery, using 2D assets, quick and cheap particle effects, and demonstrates some technique in Maya. Monty also demonstrates how Poser 2014’s bullet physics will be implemented in future episodes of the show for elements such as hair, clothes, and of course, the all important bouncing of breasts.

All-in-all there is a lot more meat on the bones of this panel in terms of Poser related stuff than the RTX panel, but again most of the audience were happy to ask questions about weapons and characters, so other than that 20 min window there are only a few little sound bites here and there for the 3D crowd.

RWBY Series 1 Wraps Up

The first series of Rooster Teeth’s Poser Pro powered anime, RWBY. wrapped up on the 5th of this month (November 2014). Production continues on the project, but there is little official word on what comes next and when. The series has been released on DVD and Blu-ray, and the soundtrack is also out.

It has to be said that Monty Oum is one stylish devil and I must further admit to having become something of a fan of his work since a press release from Smith Micro popped up in my inbox. To be 100% honest I’d never heard the name Monty Oum till I started digging into just who was behind RWBY. I’d seen a snippet of the Haloid (Halo/Metroid) fan animation, so I had at least had a run-in with his work. I’d also seen a couple of episodes of Red VS Blue but hadn’t relised that seasons 8+ of the show were made with Poser. It was only after hunting down all Monty’s low-fi but incredibly produced and choreographed action animations (Dead Fantasy, Haloid), that I developed an appreciation of the mad skillz (as the kids say) this guy has as a director, editor and animator. This work also gave me a deeper respect for the animation potential of Poser.

It’s hard to write about RWBY without being all Oum be a god. It’s his baby. He’s responsible for the concept, directing, and large parts of writing, animation, and character design – basically all the stuff that us 3D people are interested in. But let’s not forget the awesome talent of Shane Newille too. For a look at what he can do just check out his awesome Megaman X Fanimation, for which he also did the soundtrack. It is great to see what creative, ambitious people can accomplish with a budget (though apparently with no official figures out there who knows what the budget really looks like), and basic tools.

RWBY certainly isn’t to the tastes of everyone. First and foremost anime is one of those things you either love or “can’t get”. Some are weary or outright snobish about westernised anime, and then there are the clipping and other minor animation flaws. For the most part animation shortcomings didn’t bother me, but every now and then there were instances where hair would phase through apparel and weapons sheathed on the back, or feet would slide. …but I’m not really writing a review here.

So, lets just cut to the chase. Watching RWBY has been entertaining, with some of Oum’s signature intricately choreographed fight sequences, and for me it has all been about the seeing Poser in action for a relatively high profile project. Oum’s work with Poser is inspiring, and his message of working with the tools you know and have at hand (not worrying about the tools and wiz-bang you want or think you should have) is refreshing.

RWBY is now part of Poser history. It is a rallying call to all of us that use inexpensive “hobbyist” software. The success of Rooster Teeth Productions should be equally inspiring – a production house that has its roots in no/low budget, but innovative Machinima. It really is a whole new world here on the internet. If you’re smart and you are driven you can accomplish anything with virtually whatever comes to hand.

I am looking forward to getting a copy of the RWBY DVD, watching all the episodes back to back without the distraction of ads. Most of all, I’m looking forward to Oum’s commentary. You can watch all the episodes for free at Rooster Teeth’s website and on their YouTube channel.


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