We’ve built a better mousetrap and it is fair to say we are getting an incredible response from the market. In general, though, I think a huge testament to our tech approach is that we haven’t even released a full-fledged product yet and many leaders in the scanning space have already found ways to use us regardless. can’t find enough redundancy to learn the key aspects of that texture. This can happen when a scan isn’t a texture, it’s just a few very unique features and the A.I. can sometimes struggle is when there’s very little data to extrapolate out. can be a one size fits all solution that can produce great results on a wide variety of scans. you start with data and the algorithm tailors itself. When you do procedural, you start with a fixed algorithm and you have to tailor your data to it. General purpose procedures can never create anything new. This is difficult using the Graph Cuts method without resizing the scans, losing both unique features and high fidelity details. (2) Getting the best cut makes it difficult to get the size you want, typically a games artist will want their final texture to be a power of two. (1) They don’t fully remove seam artifacts, rather they reduce and redistribute seams. This second approach is less about blending patches together and more about finding ideal cuts between patches which minimize seams. The other general purpose strategy is known as Graph Cuts. This can sometimes work with very simple textures that don’t have a structure or unique features. One such strategy is known as Texture Bombing, which takes image data as input and randomly mixes patches around, blending them together. The ones typically in use today suffer from artifacts and general quality issues. Consequently, there’s no one general purpose procedure that works well on what is arbitrary data. Procedural tools present a number of challenges when applied to a scan-based workflow as they don’t have any analysis or understanding of the content they’re grooming. These scripts need to be manually tailored to a specific piece of art, and it’s very labor intensive. Procedures, on the other hand, are handmade scripts that use math and random numbers (noise) to make art. Our approach is to actually automate large parts of this workflow and cut down on the time it takes dramatically. It is based on Artificial Intelligence which makes a big difference and has implications for the end user experience when working on scanned materials. It’s important to note that our tech is not procedural. We’ve even created a single node called “Material Generation” that offers a comparable feature set to other software packages such as Substance B2M, Knald or Crazy Bump. We’ve also developed a ton of other powerful nodes such automatic seam removal, compression artifact removal, light gradient removal. We’re really happy to introduce the next generation of material authoring software which we believe will quickly become an essential part of every texture artists toolbox. It’s been in alpha for the last two months and we’re thrilled to see the excitement and praise it’s quickly gathered. Under the surface, it contains the world’s most advanced Creative Artificial Intelligence capable of taking the least valuable but time-consuming work from an artist’s plate without them having to compromise on quality.įor the last six months, we’ve been really focused on putting the finishing touches on a full-featured professional grade tool. On the surface, it resembles the tried and trusted tools that artists are already familiar with: Photoshop, Substance Suite, 3D Studio Max, etc. It automates the most time consuming, mundane jobs that artists are currently doing manually with other tools. About the toolĪrtomatix is a tool designed for texture, character and environment artists. The developers of Artomatix showed what the future of material production might look.
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