Newtek Announces Lightwave3d Version 11

http://www.newtek.com/features-lightwave-menu.html

 The following list is from the included link.  

Instancing

Instancing lets you create mass duplication of objects in a scene, with very little overhead. Previously, you would simply run out of memory. Now, with the ability to have huge ‘virtual’ polygon counts, artists can populate their scenes with incredible detail, and yet retain reasonable render times.

While instances can be thought of as clones of the original source objects, they don't need to look identical. They can be randomly scaled, positioned, rotated and even surfaced completely different from the source. This means you can use instancing for any number of uses.

Flocking

Use the Flock controller, which calculates crowd avoidance of neighbors, target alignment, and cohesive attractions, to create realistic natural motions, with ease.These are the three elements of any flocking system.

Classic examples of flocking motion are:

  • Flocks of Birds
  • Schools of Fish
  • Swarms of Insects
  • Animal Herd Behaviors
  • Craft Maneuvers (planes, alien ships, etc)

 

Fracture

This new Modeler tool was designed specifically to compliment Bullet dynamics in LightWave Layout. It allows the artist to pre-fracture objects ready for destruction.

There are a number of different methods and associated settings to fine tune the look of the pieces as they are broken up. You also have the ability to create an Endomorph of the resulting fracture, which means you can animate the explosion, with or without using dynamics.

Weight maps can also be applied to the source object to control the density of where the fracturing takes place, making Fracture a flexible tool for creating breaking objects in LightWave.

Bullet Dynamics

Bullet is a fast, production proven, open source physics engine that is used in many high profile, effects-driven films and real-time game engines. Bullet features 3D rigid body dynamics originally created by Erwin Coumans.

LightWave 11 features the Bullet dynamics engine directly in Layout so that it can be used with the new Fracture tool in Modeler to create compelling physics-based animation. Things like collapsing buildings, explosions, and even natural placement of items in a random pattern, would otherwise be difficult to do by hand.

Virtual Studio Tools

The Virtual Studio Tools first made an appearance in LightWave 10, as a way of using third party controllers to animate items in your scene.

LightWave 11 continues to expand on this concept by allowing more controller types, such as the affordable Playstation® Move. These third party controllers use the new SDK available for the Virtual Studio Tools, which now allows developers to hook into the system directly.

Using the new Control Booth and Device Managers in VST, users can now manage every aspect of how their controllers are configured, and how they are used within LightWave. Essentially, anything that can be animated in LightWave can be controlled, using any device.

It is also now possible to modify how the data input is manipulated as it is captured into LightWave, using the Node Editor. This allows for complex logic to affect the input. Once a virtual performance is captured, the data can be edited in the Graph Editor, letting you hand edit any live-captured performances.

Virtual Studio Tools in LightWave 11 is a significant evolution of this technology, and with the new SDK, third party developers can extend and enhance it even further.

Interchange Tools

GoZ™

GoZ™ is an interchange technology from Pixologic®, that allows applications to send model and texture data to and from ZBrush™ for sculpting detail on a base mesh. It has proved incredibly popular among many 3D artists. Now, LightWave 11 brings that technology to you.

The GoZ implementation in LightWave Layout and Modeler is robust and fully featured. It allows you to exchange model data, along with all the associated texture maps. The Modeler implementation even lets you use ZBrush for sculpting Endomorphs for things like facial morphs.

GoZ now allows LightWave to be even more integrated within studio pipelines, making it a great addition to the LightWave 11 toolset.

Render Buffer Enhancements

Saving and viewing the various buffers produced by the render engine to make up an image, is now more powerful and much easier in LightWave 11.

The new Compositing Buffer Export panel now makes it possible to select which objects are to be included with the buffers you specify, and easier to select which buffers are to be exposed for saving or viewing.

This makes rendering out for compositing much more streamlined, as it combines and extends the functionality of two different panels you had to visit in previous versions of LightWave. It also allows saving of presets for the commonly used buffers to aid in setting up for output, something that was not possible before.

Python Scripting
Python is an industry standard programming language prevalent in most CG pipelines. The inclusion of Python in LightWave 11 allows even further integration of LightWave into studio pipelines, as those familiar with Python can quickly begin writing tools for LightWave.
FiberFX Enhancements

FiberFX now has a new volume rendering mode. “Stroke” is the original shading method for volumetric rendering. When set to “Solid,” the user can apply shading and material like any normal surface. This lets you create very complex looking fibers, easily, and perform parametric cylinder rendering of the fibers.

FiberFX volumetric rendering has also been enhanced with smooth line rendering to match the pixel filter look, as well as render buffer support for all fiber types.

New optimizations that make the building and relaxed distribution of fibers multi-threaded, give you faster render times and interactivity when working with fiber setup and styling. Additionally, the FiberFX instance accelerator demonstrates benchmarked rendering improvements of 2x for complex situations.

FiberFX has also benefited from the new instancing system in LightWave 11. Volume mode now uses the new built-in instancing system. The old FiberFX Instancing Tab is no longer needed and has been removed.

FiberFX has also been given enhanced nodal support in the following areas:

  • Instance Info node now works to change color on FiberFX instances in Solid volume type
  • Added support for nodal color input to the stroke or ribbon type of volume rendering
  • Add nodal color UV texture mapping support for volume stroke rendering, including smoothing
  • Add nodal color UV texture mapping support for rasterized fibers, including smoothing
  • Add alpha input into FiberFX node editor
  • Add alpha mapping support for texture mapping
User Interface Enhancements

Workflow Additions and Changes
Features are nothing without good workflow. That's why LightWave 11 has a number of improvements to areas of the workflow, no matter how small they may be, it all adds up to a better user experience and faster working environment.

NODE EDITOR

Search
The list of available nodes can now be searched to find a specific node more quickly. There are also options for case-sensitive searching and flat list results (the matched nodes will appear in a flat list as opposed to a hierarchal list showing the node group they are located in). There is also a quick option to clear out a search and get back to the full list. All of these options are found in the popup menu to the right of the search field.


Adding Multiple Nodes
The addition of the node tree list means that multiple nodes can be added all at once, rather than one at a time. Simply select the nodes you need and click the Add Node button. Alternatively, click the first node, hold the Shift or Ctrl key (depending on the type of selection you are doing - contiguous/non-contiguous), and double-click the last node. The previous way of adding nodes via the popup menu, is also still available. The small drop down arrow next to the Add Node button is where the original node menu is located.

Many options that affect the final render are located in a number of panels. Previously the user had to switch panels often to check all of these settings. In LightWave 11, the main panels have been grouped together for quick access within the same panel.

The Render Properties panel now hosts the Camera and Light options. The shortcuts for opening these panels are still the same as previous versions of LightWave, so it will not disrupt your workflow. It just means that checking your render settings is now much easier with all these items in one panel, under their respective tabs. The Render Properties panel can now also be accessed by the shortcut Ctrl p.


Faster Access to the Morph Mixer Interface
The Morph Mixer plug-in is especially important for character animators, but was buried away in a large list of plug-ins. On the Object Properties panel under the ‘Deform’ tab, there is now a button to quickly add and access the Morph Mixer interface.

Further Enhancements & Optimizations

IK Evaluation Optimizations
Performance has been improved for the IK rigs to speed up character animation, allowing for easier and smoother posing while working. Also GLSL speed in Layout is improved.

Scene Loading Speed Optimizations
A huge speed boost has been added to Scene and Object loading, in some cases - 7x faster.

Modeler Optimizations & Enhancements
Multi-Layered Object is now much faster to work with than previous versions of Modeler.

Off-Axis Alignment
Items can now be modeled off-axis and automatically aligned to the origin. This allows details to be added, such as bolts or nurnies to be placed and aligned to a complex surface.

Shadow Catcher Node Material
Shadow Catcher allows comping of shadows and even reflections onto a background plate by rendering to an object that is modeled to match the ‘real’ ground in the background. The Shadow Catcher node then only renders the shadows and reflections of other scene items, while ignoring the ground model surface. The result is believable, perfectly blended shadows and reflections in the background plate, just as if the CG elements were actually in the original photo.

Print Render Utility
Working out how big to make your camera frame size for print has long been a question asked by many. And while the math is simple, it’s process is ripe for automation. The ‘Print Assistant’ utility in LightWave has been replaced with a much more fully featured version. This version supports all major print units and has a large list of preset standard paper sizes, making it a useful update for those working with LightWave for print.

Unified Sampling
The sampling of anti-aliasing, shaders, and lights has undergone a significant change to a more advanced unified sampling system. The result means better quality sampling, often at lower render times.

The new system results in changes to the anti-aliasing, with ‘Samples’ and ‘Quality’ settings located around the interface. They are all now using absolute samples and are located in only two places: the Camera and Render Globals panels. Previously light quality was calculated as a squared value. For example, if the user entered a value of 4, the actual number of samples taken would be 4x4, which equals 16.

Nodes handled things slightly different, they would try to get as close to the absolute number of samples entered, but sometimes might not be able to. These areas are now on equal footing, which means they work together for a better image quality. 

VPR Enhancements
VPR now allows the ability to select a surface by clicking on the object in the viewport, which then brings up the surface editor with the surface highlighted. This new functionality makes it much easier to make modifications to surfaces. Lens Flares are now supported directly in the VPR, also the unified sampling updates are also present in the VPR which give improved quality.

HyperVoxels™ Blending
The team investigated and re-implemented the blending mode for Surface mode HyperVoxels.

The feature had been disabled due to the fact that it was not working. After first fixing the issue, the operation was reviewed and rather than just retaining the two former preset choices (Metaballs 1 and Metaballs 2), the implementation was revised to allow for control of the algorithm, via a percentage entry field and animation of the value, via an envelope.

To enable Blending, first check on the Blending toggle. The Blending Scale field then allows for control of the blending algorithm. The former Metaballs 1 option would be matched with a setting of 75%, and the Metaballs 2 option would be matched by a setting of 100%. Full range in the entry field is available now, and includes exceeding 100%. This provides quite a range of looks, like more fluid-like for some HyperVoxels setups.

OBJ I/O Enhancements
The OBJ file format is now more robust, supports a wider range of material tags, and loads faster to optimize I/O with other external applications.

Conclusion

LightWave 11 is the most advanced and feature-rich version of LightWave ever. As we move forward, the LightWave mantra is “Technology Serves the Artist” and every new feature further proves that mission.

LightWave 11 has been developed by working closely with our users, designers, and key studios to establish the most artist-friendly and production-centric workflows possible, to enable more flexible creative options, faster turn-around times, and ultimately more successful project completions for teams and individuals. We are delighted to have you as a member of the LightWave team and look forward to seeing the amazing imagery that you create with NewTek LightWave.

LightWave ... VFX and Animation with a Proven, Award-Winning Track Record.

Newtek Hosting VFX Minds Event 11-10-11

Join NewTek on November 10th, 2011 for a very special evening hosted by actress, Jeri Ryan with special guest, Mark Rydell at the Academy of Television Arts & Sciences - Leonard H. Goldenson Theater. The evening will celebrate the achievements of Emmy® Award-winning artists, supervisors, designers, actors, and producers in the television industry.

Included will be an informative "VFX Minds" panel of industry insiders, moderated by David Cohen, features editor for Variety magazine. The discussion will cover the current challenges of producing high-end, award-winning visual effects for television, under the constraints of increasingly limited budgets and reduced production schedules.

Top level participants on the panel include industry legend, Ron Thornton, the "godfather" of contemporary television VFX; Chuck Comisky, visual effects supervisor and stereoscopic expert and stereo supervisor for AvatarDoug Drexler, visual effects artist, designer, sculptor, illustrator, and academy award-winning makeup artist, along with Eric Hance, supervising artist on the hit Steven Spielberg series Terra Nova. The panel will share advice on how they create award-winning shows that entertain millions of viewers every week, as well as discuss the latest workflows and trends that allow them to complete projects, on time and on budget.

For over 20 years, LightWave artists, supervisors, producers, and studios have won more Emmy® Awards for animation and visual effects than any other, and we are pleased to host this event honoring those individuals who have created the work that has inspired and entertained us all. The evening will also feature a special LightWave product announcement.

Lite bites, cocktails, beer and wine will be served.

RSVP today. Seats are limited.

  • Event: VFX Minds and special LightWave product announcement
  • Place: Academy of Television Arts & Sciences/Leonard H. Goldenson Theatre
    5220 Lankershim Blvd.
    North Hollywood, CA 91601
  • Date: Thursday, November 10, 2011
  • Time: 6:30pm – 9:00pm PT

Host:

jeriryan-thJeri Ryan
Jeri Ryan, one of Hollywood's hardest working actors, has performed a wide range of roles across a multitude of genres. Ryan attained cult status early in her career as the character Seven of Nine in the hit series Star Trek: Voyager. Currently, she stars in ABC's Body of Proof opposite Dana Delany and also recurs on TNT's Leverage and on the hit CBS sitcom Two and a Half Men.

After graduating from Northwestern University, Ryan soon landed her first series regular role on the short-lived, but iconic Dark Skies. She continued her sci-fi run on Star Trek: Voyager, becoming a fan favorite when she joined the cast in the show's fourth season.

David E. Kelly would create Ryan's next role specifically for her, that of frustrated lawyer-turned teacher Ronnie Cook of Boston Public fame. Ryan would continue her working relationship with Kelly in a recurring part on Boston Legal. Her next project, CBS's critically acclaimed legal drama Shark, would team her with Oscar winner James Woods. This and a string of noteworthy performances on a variety of shows has made Jeri Ryan one of the most recognized actors on television today.

On the big screen, Ryan appeared opposite Rene Zellweger and Ewan McGregor in the 2003 comedy Down with Love, and with Gerard Butler inDracula 2000.

A gourmet-cooking enthusiast herself, Ryan met renowned French chef Christophe Eme at a charity event in 2003. The couple married in 2007 and reside in Los Angeles with their children.

Follow Jeri Ryan on twitter: @JeriLRryan


Special Guest:

altMark Rydell
Mark Rydell serves as president of the Actor's Studio in Hollywood and is renound in the entertainment industry as an Actor's Director.  Rydell has directed eight actors to Academy Award nominations, two of whom, Katharine Hepburn and Henry Fonda, won for On Golden Pond.

As a director, Rydell's credits include The Rose (1979), On Golden Pond (1981, for which he received an Oscar nomination as Best Director), The River (1984), For the Boys (1991) and Intersection (1994). In 2006, Rydell directed the movie Even Money which starred Kim Basinger, Forest Whitaker, and Danny DeVito.

Rydell was also director of the TV bio-pic James Dean (2001), which earned actor James Franco a Golden Globe award. Rydell also acted in the movie, playing Jack Warner (head of Warner Bros).


Panel Moderator:

altDavid Cohen
David S. Cohen is a journalist, editor and photographer who has covered entertainment, arts, science and global business for publications around the world, from the South China Morning Post to Discover Magazine. He covers movies and technology for the entertainment bible-Variety since 1999, joining the newsroom as a copy editor in 2002, becoming a film reporter in 2004 and a V Plus features editor two years later.

Besides his V Plus duties, he covers visual effects and post-production as a news reporter. Before turning to journalism, he worked in show business for more than twenty years, as everything from casting agent to off-off-broadway stage director and even as a writer forStar Trek: Deep Space Nine. He is the author of two books, Screen Plays: How 25 Scripts Made It To a Theater Near You – For Better or Worse andThe Ballad of Rango: The Art & Making of an Outlaw Film. He lives in Los Angeles.


Panelists:

altRon Thornton
Ron is an Emmy Award-winning VFX producer and studio owner who has had an extraordinary impact on television visual effects. Ron launched the new era of television CGI visual effects with the groundbreaking show Babylon 5 in 1993. Throughout his career Ron has supervised an impressive list of television and film projects including Star Trek: The Motion PictureStar Trek:Voyager,Buffy the Vampire Slayer, and the upcoming Red Tails.


altChuck Comisky
Chuck's impressive resume includes roles as VFX supervisor and film producer on Terminator 2 3D, and Aliens of the Deep, along with stereoscopic and VFX supervisor for Avatar. An expert on stereoscopic 3D production, he provided on set stereo supervision for Sanctum 3D and Final Destination 5 3D.


altDoug Drexler
Doug Drexler is a visual effects artist, designer, sculptor, illustrator, and academy award-winning makeup artist. His credits includeDick TracyThe HungerStarman, and Emmy Award winning nominations on Star Trek: The Next GenerationStar Trek: Deep Space Nine, and Star Trek: Voyager. Other recent projects include Battlestar Galactica: Blood and ChromeDrive Angry,Virtuality, and Caprica. Working closely with Visual Effects Supervisor Gary Hutzel, Doug has served as key team member and CG Supervisor on the Battlestar Galactica Television Series for which he was awarded two Emmy Awards and a Visual Effects Society Award.


altEric Hance
Eric is an Emmy Award-winning animator and supervisor with an impressive list of television visual effects credits. Currently serving as Supervising Artist on the hit Steven Spielberg series Terra Nova at Pixomondo, Eric and his team are pushing the boundaries with each new episode of this epic new television series. Past credits include Star Trek: EnterpriseSurfaceHellboy,NCIS: Los AngelesRoughnecks: The Starship Troopers ChroniclesLife After People and Ghost Whisperer.

Hot today

 

although I might say its hot today . I have to say it's kind of okay in the .shade. I'm dictating this post with android app. its ok but slow. Only because I have to speak a few sentences at a time. I don't find problems right now except when I continue to speak for long periods of time. last few weeks it's been productive um I did kind of hit a road block in my production. I had been working on my script and then decide it's work on my 3 d assets. Where I lost some motivation. So I've been having trouble getting back into the flow of things.

 

what A day

As this week ends the weekend begin. The endless cycle of the working class. Through out the week silly discussions over Iphones  and ipads. It’s very insane/ludicrous that the fan boys/user-base  seem to make up excuses for ever little thing that an Apple product is missing  from any other consumer product.  These people seem to believe what their feed. or have already been brainwashed to think they are fine with out  features , found in other top of line items.

As the week ends I find my self noticing that the year is about to end. Yes I am aware that its about 6  months away , yet  it still feels so close.  Taking into account so much that has to be done. But also so little of it even completed.

As I attempt to finish one story , I feel bored and begin to wonder off  and start off on a different path. I f not I just find my self watching movies on Netflix.

Well Since I’m far from completion  I guess I wont bother post any info on my current projects.

Organization

Slowly working on building this site.  I decided t build it on SquareSpace. Although i read and hear that it's easy to be up and running, it's taking me some time. I'm still trying to figure out the best way to push this website out.  Well In the coming weeks i hope to have my work or post pointing here.