5 TIPS TO USE THE DENOISER IN MAXWELL 4

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5 TIPS TO USE THE DENOISER IN MAXWELL 4

August 4, 2017 Technology, Tips 0 Comments

Hello everyone,

We are back with some valuable tips by our very own Product Specialist, Fernando Tella. Fer is long-time Maxwell user, ever since the alpha version in 2005! Ten years later he joined the Maxwell team. Now he helps customers with technical issues, and also does product demos, tutorials, trainings and helps with product development. In this blogpost he will help you grasp Maxwell 4’s new top feature – the Denoiser, so you can take advantage of its full potential. Here we go 🙂

THE BASICS

As a start, it’s important to understand some basic concepts:

  • When using the Denoiser, Maxwell launches two renders.
  • It also automatically activates some extra channels that help preserve the details of the image, such as texture details, the shapes of the objects, materials, etc.
  • All this is done automatically when launching a render with the Denoiser

A DIFFERENT KIND OF NOISE (A CLEAN ONE)

The new Denoiser integration gives you usable denoised images as the render progresses. In a similar way as Maxwell progressively cleans the image, the denoised image evolves with the render. At the beginning, when the sampling level is very low, the render will look blurry, and as the render gets more defined you’ll start noticing it starts to “learn” where are the limits of the objects, materials, the features of the textures, etc. As the sampling level goes up, the denoised image and the original render will get closer and closer, so we can say the denoised image also converges to the natural solution with time, as well as the original render, but instead of noise, you get usable images (or even perfect ones) in the meantime.

The following video shows how the denoised and render image evolves as the render goes on, from sampling level 4 to 13 (Scene by Maxwell Xpert David de las Casas).

So, in the worse scenario, it will take the same time as the not-denoised image, and in the best, you will save a lot of time.

COMBINING TECHNIQUES

TIP 2: Use the Denoiser and Extra Sampling combo

If you find that some particular materials get too blurred when using the Denoiser (for example, in the case of grainy textures), but most of the image looks good at some particular SL, you can combine two different techniques: Denoiser and Extra Sampling.

The idea you have to keep in mind is that the longer the render goes on, the less information the Denoiser will have to guess and the more it will be based on the true render, so if one particular texture is problematic, usually you only have to render it longer.

Based on this, if you have a particularly problematic material were the texture itself is grainy, like sand, sugar or the towel in this case, you only have to render the whole image until the needed SL and then use Extra Sampling for that material or object to render to a higher SL only in that part.

Please note that, for the moment, when using Extra Sampling, the Denoiser will only be calculated at the end of the render, not at each SL, so you’ll have to wait until the end to see the denoised result.

OBJECTS BEHIND TRANSPARENT GEOMETRIES

TIP 3: For objetcs behind transparent geometries use the Shadow Channel

When an important part of your scene contains objects behind transparent ones, you’ll notice the extra channels used in Fast mode (Normals, Position and Reflectance) won’t give information about what’s behind the glass.

In these cases, you could consider using Accurate mode, which adds Shadow channel, as it will give information about what’s behind the glass and this will improve the Denoiser result.

In this case the render will take more time (around 1.5 the time without shadow channel), so it will be wise to test which will be better: render with the Shadow channel or let the render reach a higher SL without the Shadow channel. The result in terms of time can be very similar.

RE-DENOISE AFTER CLOSING MAXWELL

TIP 4: Use saved MXI files to denoise after closing Maxwell

For the moment, once Maxwell is closed after rendering an image with the Denoiser, the two passes cannot be loaded again into the interface to resume them or make changes and Re-Denoise. Nevertheless, if you have at least a couple of mxi files of the same frame (and with the required channels), you can make Maxwell denoise them by running the following commands through command line:

mximerge -folder:“folder containing the mxi files of the same frame” -coopdenoiser:“output path and name of the denoised image” -target:“path of the merged mxi files”

Then you ask – “But where can I find the two mxi files saved while rendering with Denoiser?”

See below the paths where they are stored depending on the OS. You will find two files named as your current scene and ending with _render1.mxi and _render2.mxi:

In Windows they are stored under: C:\Users\<username>\AppData\Local\Temp\maxwellrendertmp

In MacOS they are stored in a random folder under: private/var/folders/…../T/maxwellrendertmp/

MACRO IN DENOISED IMAGE NAME

TIP 5: Use a macro for the denoised image name

When setting the denoised image name, instead of setting a specific name, it might be better to use a macro like %scenename% (including the %)

It creates the perfect name, as the macro is replaced by the scene name when saving the file and avoids having to rename the denoised image file when you want to make different versions of your rendered files.

For example, if you are rendering a scene named cool_render.mxs, you can set the Denoiser output path as Denoised_%scenename%.png 

Once the render is finished, you will get a file called Denoised_cool_render.png.

Another useful macro could be %camera%, which is replaced by the name of the active camera.

Here is the list of all the supported macros, in case you find this convenient.

I hope you’ll find these tips useful and help you master the use of the Denoiser! 🙂

Cheers!

Fernando

Maxwell Render 4.1 Denoiser Usage

Maxwell Render 4.1
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Maxwell Render 4.1 Denoiser Usage

Post on Maxwell Forum June 19 2017

 

This is an interesting post on the usage and effects of using the DeNoiser functionality inside Maxwell Render 4.1 and based on a render made at

SL : 12
Image
Image

 

Re: Maxwell Render 4.1

Unread post by Mihai » Fri Jun 09, 2017 7:10 am

If you turn denoise on, what happens is Maxwell actually renders two renders at the SL you specified in render options. Besides these two renders it also renders reflectance, normals and position channels which it will use to decide what is detail in textures/materials that should be kept and what is noise. It also compares the noise in those two renders to further help with the accurate noise reduction, without removing details like normal noise reduction can do.

The difference between the “fast” and “accurate” presets is that the accurate one also renders a shadow channel (in addition to all the others) and this might be of help to determine where to apply NR. But so far I haven’t found much difference and the thing is the shadow channel takes a long time to render. So far I’m using the fast preset so it skips the shadow channel.

I also set the scenes SL to about SL11, because remember you get two renders with NR, so the two merged ones is more like SL12. It depends on the scene how high your initial SL should be, but I think it will be pretty rare to go above SL 12. Maybe only in very difficult scenes where the noise is still very course also at SL 13 or so.

form•Z Fundamentals Online Training Course

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form•Z Fundamentals Training Course

Learn the best 3d modeling program for architecture and design.
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This course has more than 6 hours of form•Z video training. Unlimited viewing allows you to watch the videos at your own pace and use them as reference for years to come.
As a special introductory offer Evan is offering $100.00 off the course thorough April 21st. Click here for details and to view a few sample lessons.

HOW TO GET THE BEST 3D PRINTED ARCHITECTURAL MODELS

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HOW TO GET THE BEST 3D PRINTED ARCHITECTURAL MODELS

On a regular basis we have people and companies from around Australia approach us to 3D print scale models of their buildings, developments and projects. The results are very impressive and we often get positive feedback from our clients including hotel developers in Brisbane pitching to investors, apartment planners in Sydney looking to better understand their space and an Architect in Melbourne who uses 3D Printing to show clients his plans and drawings. However there is usually more preparation that goes into these models than most but done properly you’ll be wowing your audience and giving them a real foundation to see the projects potential .

Below we’ll run through common issues and how to get a well priced robust model from your current full scale (1:1) CAD models.

BASIC REQUIREMENTS FOR ADDITIVE MANUFACTURE

COST

The first step taken is usually for you to internally decide on a budget, as downstream this will affect the size of the models and therefore to what degree the files may need to be adjusted to account for small details.

As a guideline on 3D Printing costs:

  • A building printed at a size of 360 x 300 x 300mm will cost between $2,400 to $8,900 + GST
  • A building printed at a size 0f 250 x 200 x 200mm will cost between $1,200 to $2,700 + GST
  • A building printed at a size 0f 150 x 100 x 100mm will cost between $180 and $420 + GST

The reason for the variation in cost depends mainly on how much material your part will use, how much machine space it occupies and how risky it is to print. The larger the part the more this has an effect.

You can optimise the cost with the following techniques :

  • Hollow your building and any other thick enclosed parts out and remove the base, so you end up with a ‘shell’ of the buildings. This significantly reduces the amount of material used and therefore the cost.
  • Nest parts of the building in your file if possible.
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3
Large ISO
Large ISO Shell

SIZE/SCALE

With a budget in mind we can work out how to get the largest scale for your structure whilst coming in at/under cost. The size is one of the most important factors and is influenced by price, however other considerations are detail sizes, maximum printable size, orientation and likeliness to warp/deform due to thermal stress.

Min. Detail Sizes

In almost all architectural jobs we’ve done the original files need to be modified to account for details that become too small to print when scaled down from the full size. Anything under 1mm at printed size has a risk of being broken during the cleaning of the parts, so if something is 10mm thick full scale then at 1:10 scale it will be 1mm which is fine, though at 1:20, 1:100, 1:200 etc scale then this becomes undersize. The common workarounds to this are either to remove it all-together if they are ‘nice to have’ but not ‘need to have’ details, or to thicken/exaggerate the details at full size so that when they are scaled down they are thick enough to print.

Particular features to keep an eye on are stairs, balustrades and railings, pipes, windows etc.

Max. Printable Size

The largest we can print in one go is 340 x 340 x 580mm so the model will either need to be smaller than that or split into sections. If you are wanting to do a development for example try splitting it into lots.

 

SECTIONING AND SHELLING BUILDINGS AND STRUCTURES

If a part is too large to print in one piece it’ll need to be sectioned into smaller pieces which can be printed and assembled afterwards.

It’s best to try avoid cutting the part on a uniform section where a join line will be obvious, aim to cut it somewhere more obscure or somewhere that will be covered by something else.

Shelling a model is an important step in aiding it’s printability, it will also help reduce cost. The idea of shelling something is basically to preserve the outward appearance of the building etc, though inside is completely hollow and featureless. If you do want interior detail like rooms, fittings, furniture etc then you can include this and an alternative is to have the roof separate so that you are not trapping large quantities of loose powder inside.

House Seperated

Creating a Padded Chair in formZ

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Creating a Padded Chair in formZ

The following was a tutorial is about creating a padded chair in formZ that was recently uploaded on the formZ forum/Tutorials page in response to a question raised on how to model this particular type of chair.

So one of the formZ forum members (FZnoob) took up the challenge and he said it was best to use the Sub-D’s toolset. So If you go through these instructions any user of formZ PRO 8.5 will be able to see the power of these tools to generate a very close likeness.

 

What do you think?

 

Chair tutorial pt1

 

The next phase is completing the padded back cushions.

 

Chair tutorial pt2

 

Final Part 3 fitting the curved cushioned back rest and rendering formZ PRO RenderZone 8.5

Chair tutorial pt3

 

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DOUBLE UP

TWO AWESOME UP 3D PRINTERS FOR ONE

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We’ve pulled out all stops to bring you this news.

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So, when you buy an UP BOX today, you can get the UP Mini 2 FREE. Double the muscle!

Read on to find out more.

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One of the biggest head-turning new features the UP Mini 2 has to offer is the touch screenand WIFI capabilities.

It gives you as the user more flexibility to control and print with your printer. From changing filaments to reprinting any of your 10 most recent files, you won’t have to be connected to a computer!

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Both the UP BOX and the UP Mini 2 are fully enclosed 3D printers, equipped with HEPA filters, making it office and classroom-friendly equipment.

Why is this important? 3D printers have been characterised as high emitters of Ultra Fine Particles. So, the HEPA filters work to help reduce your exposure to these particle emissions. Choice!

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Maxwell Render 4 to offer GPU rendering

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Next Limit has announced the upcoming release of v4 of its renderer. New features include: 

  • GPU rendering – the new engine runs on NVidia graphic cards. All the technology under the hood is identical to the classic CPU engine – which means your images are exactly the same.
  • Maxwell Multilight Standalone – save infinite lighting variations from one single render
    • Lighting setups in real time
    • Work faster by editing lights before and after the render finishes
    • Create a lighting catalog for your client
    • Automatically update your catalog with different lighting positions or geometry
  • New materials gallery – the renovated gallery features a hand-picked selection of high-quality, optimized Maxwell materials ready to use in your scenes. You can search using the usual tags, such as wood, plastic or metal, but also by performance level – so that you can filter materials depending on your exact needs.
  • Rhino for Mac support – new Rhino for Mac plugin workflow, providing a live-link between Rhino and Maxwell Studio
  • Significantly improved Revit integration

Maxwell Render v4 is scheduled to be released in September. A pre-release promotion is available with a 30% discount. More here for Australia & NZ on Maxwell Render Special Offer

Archicad 20 Visualisation uses CineRender Engine Upgrade a subset of Cinema 4D renderer

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Archicad 20 Visualisation uses CineRender Engine Upgrade a subset of Cinema 4D renderer

beach int 3000

When CineRender was first introduced in ARCHICAD 18 the CineRender Rendering Engine took “out of the box” renderings to a new level by replacing the older Artlantis based rendering engine.

With the release of ARCHICAD 20 it now runs the latest CineRender engine based on the Cinema 4D R16 engine. ARCHICAD 20 also allows full export of its models in Cinema 4D file format to the newest version of Cinema 4D Studio R18 that supports even higher capabilities, realism and faster animation.

Cinema 4D Studio Visualization


 

This Upgraded Engine in conjunction with a number of Improvements is sure to improve ARCHICAD’s already impressive rendering capabilities while still allowing easy transition to using Cinema 4D Studio R18 as above.

See below here for the added new rendering features in ArchiCAD 20 and its CineRender.

New Surface Channel: Reflectance

The new Reflectance Channel (replacing Reflection and Specular) allows for multiple reflection layers, each with its own bump map and reflection model. You can use “masks” to control reflection parameters, such as blurriness, and the Distance Dim mode to fade them out.

Other new Reflectance options:

  • Conductor Fresnel mode, optimized for metallic surfaces
  • Anisotropic mode for reflection distortions, e.g. for brushed/scratched metal
  • A special cloth shading model (Irwan) with presets, for realistic‐looking cloth surfaces

Improved Shaders

  • Brick Shader: new Displacement mode for more realistic brick walls
  • Filter Shader: Gradation Curves, to precisely set brightness/color regions of an image
  • Backlight Shader: New shading algorithms

Improved Global Illumination (GI) for Renderings

Use the new, faster Irradiance Cache to enjoy incredible contact shadows. The Irradiance Cache includes presets for specific types of Project lighting, both internal and external.

If needed, select separate GI settings ‐ including separate Saturation and Intensity settings ‐ for the two GI calculation methods (primary and secondary).

With the Show Samples option, you can disable display of shading points, if they are not needed during prepasses.

Improved Physical Renderer

“Turbo Boost” your rendering times, with no quality loss, using the new Intel Embree raytracing engine for the Physical Renderer.

Faster grass renderings and a quick preview also enhance the Physical Renderer experience.

Other Rendering Improvements

  • Updated scenes using the new settings for faster and even more realistic renderings
  • Set Noise Distribution as a single, global setting (General CineRender Option)
  • Faster Ambient Occlusion calculation via cache