Eric Undersander

The Two Sided Sign node returns a surface orientation value of 1.0 for the front and -1.0 for the back. This enables per-face material control in two-sided rendering, facilitating effects like back face color variation and text reversal. It's particularly useful for optimizing simulations of objects like flags. #UE5 #UE5Study

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Radiance field like NeRF and 3DGS are amazing to capture a specific moment in time with a given geometry, lighting and context (static but now also dynamic). What if the lighting context could be changed post training? Carnegie Mellon University presents "💡LightSwitch💡: Multi-view Relighting with Material-guided Diffusion" They propose Lightswitch, a novel finetuned material-relighting diffusion framework that efficiently relights an arbitrary number of input images to a target lighting condition while incorporating cues from inferred intrinsic properties. By using multi-view and material information cues together with a scalable denoising scheme, our method consistently and efficiently relights dense multi-view data of objects with diverse material compositions. They show that our 2D relighting prediction quality exceeds previous state-of-the-art relighting priors that directly relight from images. They further demonstrate that LightSwitch matches or outperforms state-of-the-art diffusion inverse rendering methods in relighting synthetic and real objects in as little as 2 minutes. We will publicly release our model and code. #gaussiansplatting #3DGS #relighting #reflectance #highdynamicrange #HDR #vfx #light #radiancefield #multiviewgeometry #futurism

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Need unique liquid splatter effects? Simulate them in real-time with LiquiGen & generate variations in seconds, including render passes, 3D mesh and particle exports. This particular setup takes about 5 seconds per variant on an RTX 4090 (so hundreds could be created in less than an hour).

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As a freelance rigger, I need to make sure my builds have a lot of flexibility. So I've recently reworked my lid modules to add variable joint counts. By utilizing a curve-based output I can changed the amount of joints used based on the needs of the project. Higher joint counts for fidelity and control, lower counts for simplicity and optimization. Or I can test and iterate to find a happy middle ground. So animators using my rigs on film or game projects can enjoy the same features, such as: - Automated lid follow with eye movement - Main controls to position the lids through translation and sculpt the curvature with rotation/scale  - Secondary controls for finer detail (If there are enough joints to support it) - Manual or automated blinking. Animate controls, or activate the automated meet point between your posed lids for a perfect seal I've been using iterations of this system over my last few projects, both commercials and games. The core elements of this system have been floating around in my head since 2018, so it's been great to finally put it to the test. 

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There is no magic bullet for rendering in Unreal Engine... Can I get a 🙌?? If you've ever rendered anything out of Unreal Engine, then you know exactly what I'm talking about. That's why today's episode is a deep dive into the tricky, sometimes hair-pulling process of rendering cinematics out of Unreal, with some bonus tips for best practices and pitfalls to avoid. Check out the full episode here: https://lnkd.in/eEgMTrb7

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Excited to share a new pipeline tool I’ve released: Likesyrup Batch Exporter v2.5 🎉 This Maya tool simplifies asset delivery by batch-exporting to FBX, OBJ, MA, and STL. It’s built with production workflows in mind: • Smart naming (prefix/suffix, short vs. hierarchy, collision-safe) • Freeze transforms, center pivots, and move-to-origin toggles • Live filename preview for confidence before you hit export • STL export that works even when Autodesk’s translator doesn’t (Python fallback) Whether you’re exporting for games, VFX, or 3D printing, it’s designed to save time and reduce repetitive errors. https://lnkd.in/e3D-MMN2 Available now on Gumroad 👉 [Gumroad link] #Maya #3D #PipelineTools #Automation #BatchExport #Likesyrup

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📣 Let’s Be Real About Unreal. I’ve been noticing job posts asking for “5–10 years of experience with Unreal Engine 5.” 😅 Quick reminder: UE5’s production-ready version launched on April 5, 2022. At most, we’re talking about a little over 3 years of real-world availability — assuming someone adopted it day one in a serious production environment. So unless you’re hiring from a parallel timeline 🕰️ or expect candidates to have reverse-engineered Lumen in their sleep, maybe it’s time to reconsider what those requirements actually reflect. 🔍 What really matters: ✔️ Hands-on experience with real UE5 projects ✔️ Strong fundamentals in UE4 or equivalent engines ✔️ Adaptability and deep engine understanding You’ll get better teams when your expectations are based on reality — not science fiction. 🚀 If your JD needs a time machine to qualify, it's probably not attracting the talent you’re really after. 😉 #UnrealEngine5 #GameDev #IndieGameDev #UnrealEngine #GameDevelopmentServices #TechArt #UE5 #GamedevCommunity #Outsourcing #GameStudio #IndieDev #RemoteDevelopment #GameProgramming #GameDesign #UnrealEngine4 #GamingIndustry

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One of the main reasons many people hesitate to use Resolve in a semi-professional restoration context is the lack of control over its automatic tools. To address this, I introduced an enhanced version of the automatic dirt removal tool at the IASA/SEAPAVAA Conference in Hawai‘i, now called Advanced Dirt Removal. This version introduces three key improvements: Recovery Brush : By combining the tool with a Mask Paint node, you can restore any artifacts introduced by the automatic process. Motion Mask Protection : Using motion vectors, the motion mask safeguards high-motion areas from being over-processed, preserving detail where it matters most. Transparent Difference Mode : The image can be displayed in a semi-transparent difference view, clearly showing what has been removed and allowing for quick and precise recovery when needed. Additionally, with a simple toggle you can switch Advanced Dirt Removal into “Spanish Mode.” In this mode, the effect applies only to your brush strokes, ensuring maximum quality with no wasted time hunting for the correct frame to paint, and minimizing artifacts by giving you complete control over the process. I will be presenting this tool again at the AMIA Conference in Baltimore as part of the updated version of my workshop. I would love to hear your suggestions or feedback, as with my other projects I am always looking for ways to refine and improve functionality. #FilmRestoration #ArchivalHeritage #MediaPreservation #PostProductionTools #AMIA2025 https://lnkd.in/e83WmiNm

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When a misplaced character turns flawless code into a head-scratcher, it’s a stark reminder that brilliance isn’t just in flashy new tools—it’s in sound engineering. In today’s fast-paced tech arena, a new breed of code partner is emerging, one that reimagines AI assistance by weaving together time-tested software principles with cutting-edge language models. Picture algorithms that transform prompts into skeletal abstract syntax trees, run brisk simulations to weed out errors, and refine outputs until your code compiles like clockwork. While lateral leaps in AI might steal the spotlight, they still depend on your seasoned eye to spot anomalies and sneaky pitfalls invisible to brute token guessing. It’s that blend of disciplined fundamentals and relentless innovation that transforms mere drafts into robust, production-ready code. The journey isn’t about being first—it’s about building systems that mirror the precision of a well-tuned engine, where every component interacts seamlessly from static inference to dynamic test cycles. True mastery comes when you let AI handle the initial heavy lifting, then step in with your cross-disciplinary savvy to polish and integrate the work. When your automated assistant pairs with your engineering instincts, you’re not just generating code; you’re crafting resilient, scalable systems that endure beyond any meme-worthy mischief. Ready to evolve beyond the hype and build lasting software? Follow @LunarTech for blueprints that turn innovative ideas into enduring engineering excellence.

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I spent the past 3 months working on AI agent development - but I'm back for now - and integrated Unreal 5.6 into my local Unreal codebase today.    Integration of new Unreal Engine versions is significantly easier with a proper integration pipeline set up. The attached image illustrates the method I've found works best, from almost 2 decades of working with Unreal and Perforce.   It trades adding a few extra steps in exchange for avoiding the "Reconcile offline work" operation - which can take many hours to days to run on the complete Engine folder, if it doesn't fail - and reducing the amount of manual integration work to the bare minimum required, while still ensuring any actual conflicts will get looked at/engine changes don't get stomped.   For this to work properly, the engine release streams should be filtered to include the Engine folder and related files only, and only vendor code/data should ever exist in the vendor folder or streams below the engine integration stream.   If main is being worked in during integration, you may have to do step #4 again one or more additional times before step #6 can be completed, as the integration needs to be fully up-to-date before the copy to main.   Special note about UE 5.6 - This has come up before with a different engine version upgrade, but UE 5.6 replaces a Unix file named "__tuple" with a directory of the same name. To deal with that in Perforce, first rename the __tuple file to something like __tuple_DELETED, and then you can go ahead and delete it. Integrate that change up the integration hierarchy before copying/integrating in the new version to avoid conflicts. Doing the rename before deleting prevents the deleted file from blocking re-use of its name as a folder.

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