When Spanish invaders eventually settled down in Mexico, they reached Cholula and built a symbol of their conquest there known as Iglesia de Nuestra Señora de los Ramidosa. The Spanish built this atop of what they thought was a large hill with the best vantage point. They hadn't realized that the hill on which they built this church atop was in fact the Old Miley Cholula Pyramid. How this never dawn on the Spanish is just astonishing. Standing 450 meters wide and 66 meters tall from end to end, the Great Pyramid of Cholula is equivalent to nine Olympic-sized swimming pools. For an obscure temple no one's heard of, Cholula holds an impressive array of records. It's the largest pyramid on the planet with a base four times larger than the Great Pyramid at Giza and nearly twice the volume. Never mind the largest pyramid, it's the largest monument ever constructed anywhere by any civilization to this day. To locals it's aptly known as Tila Chilopetit, man-made mountain. Thanks to the church on top, it's also the oldest continuously occupied building on the continent. The story goes that until the locals began construction of an insane asylum in 1910, nobody knew it was a pyramid. Despite its enormous size, very little is known about the pyramid's early history. Its thought construction began around 300 BC by who exactly remains a mystery. According to myth, it was built by a giant. Most likely the city's inhabitants known as the Chuloteka were a cosmopolitan mix. The pyramid is described as the Russian doll of a construction consisting of no less than six pyramids, one atop the other, and it just so happens that it's conveniently located in the Mexican highlands and was an important trading post for thousands of years, linking the Chuloteka Chichi Mecca Kingdom in the north with the Mayan in the south. The huge construction is still covered with soil and vegetation today, and nobody really knows why it fell so far out of favor with people and even with the memories of people. But it can be hypothesized that this was due to an ancient cataclysmic event that affected the entire planet's cultures causing floods, earthquakes, and scenes of utter devastation across the globe. To understand what was going on in ancient times, why pyramids? Why everywhere? A new study of pyramids and their relationship with volcanoes has been proposed by our friend in academia, Stingen Vandenhoven, and we will of course link his paper below, so please check that out after the video. With this idea, Mr. Vandenhoven tries to understand why a whole world started building similar structures, ignoring the obvious most given answers and looking for a possible deeper meaning behind this worldwide phenomena. It starts with a first clue, Clue, Pira, Mid, which translates as fire in the middle. Ben-Bin was symbolic for primeval mound. The author struck on the idea while looking at a photo of the Chilula pyramid in Mexico, known as the largest Meso-American pyramid with the volcano in the backdrop. This sparked a quest to find out if that might have been of significance and it has proven to be so. Even though earlier researchers have suspected the pyramid to be related to the primordial mountain, as far as the author knows, no specific correlations have been put in paper in relation to volcanoes. According to Steven Meller, the word pyramid is derived from the Greek words Pyramidus and Pyramidus. The meaning of the word Pyramidus is obscure and may relate to the shape of a pyramid. The word Pyramidus has been translated as fire in the middle. In alignment with the indigenous tradition, we use the interpretation House of Nature, House of Energy, Per Netter. We know the ancients revere the primordial mountain as per Egyptian religion. The mountain reoccurs in many religions worldwide, often depicted with the pole star on top or a bird on top, like the bin bin bird or the winged sun disk seen on top of a tree. According to the Thunderbolts project, it was given different names in different cultures. The Egyptians knew it as the primordial mound, the Israelites as Sinai and Zion, and the Greeks as Olympus and Parnassus. Further afield, the Indians call the divine peak Meru or Su Meru. Mr. Vandenhoeven states that there is one very important link researchers and academics worldwide might have missed, which is the relation to the volcano. The pyramid, temples, temple mounds, and platforms that are linked and aligned to volcanoes across the globe. Why volcanoes? Well, this is the primordial mount, the joining of alchemyl fire and water to create new land or a possible destruction and deluge by volcanoes. Could it be that the deluge or destruction is commemorated with pyramids as centiphas and monuments such as a possible deluge or destruction of homeland? Or did the ancients see the phenomenon of death and destruction as the most powerful of nature's forces? Not only is the pyramid a representation of that primordial mount that rises from the sea, water and fire combined, it is also directly related to some of the world's largest pyramids. So obvious in plain sight as a background to the building, but not explicitly mentioned as related to it by any researcher. Not in relation to this subject in Mesoamerica and also not in a global relation in different countries worldwide like Bali, that was the volcano that caused the temple or pyramid to be built. Some pyramids and temples are directly positioned on or near such volcanoes, making it a small copy of the large mountain behind it, as seen in Mexico and Bali. An ocean apart with no culture links whatsoever according to conventional academic research. It definitely cannot be brushed aside and merely sneered to as just a coincidence. The Aztecs gave the name Micoculti, Street of the Dead, or Calzada de los Muertes in Spanish, to the broad street-like series of connected plazas in Teotihuacán. It points directly at the nearby sacred peak of Cielo Gordo, not any mountain, again, a volcano. The Street of the Dead was once erroneously thought to have been lined with tombs, but the low buildings that flank it probably were palace residents, and the author of this particular research does not believe the pyramids are the pyramids of the Sun and Moon. He suspects they represent the two large volcanoes southwest of Mexico City, and that the reason that the Street of the Dead connects to one pyramid is exactly that, because the volcanoes potentially could have caused massive death to a pre-civilization. The old Toltec city of Tula was on the other side of Mexico City, much closer to the volcanoes, and that the newer cities are deliberately further on the other side. Could Tijuana and Chilula be cities that came from Tula that was abandoned and destroyed by volcanic eruptions during a cataclysm? Could it be asserted that the true meaning of the pyramid shape is the volcanic mountain? Could that be the reason why they mimicked the two mountains as pyramids in Tijuana and linked the Street of the Dead directly to one pyramid? That thesis would require more proof to be validated and hold any academic grounds. The Salar de Arzarrio is home to one of the most spectacular natural formations, Cono de Arita. At first glance it looks like a pyramid, but it is in fact all natural volcano, which sits on a bed of salt. The cone stands over 400 feet above the sea of salt. There are many questions regarding the cone's origin, but some legends and archaeological clues indicate the natural formation could have been used as a ceremonial center prior to the arrival of the Inca civilization. Izapa is just another example where the site perfectly aligns to a nearby volcano and it is also laid out just east of true north with the exact alignment being 21 degrees east of north. It is aligned with the volcano Tacana and also seems to be situated to the December Solstice horizon. In Aztec mythology, E. Stax Iwato was a princess who fell in love with one of her father's warrior Popolkati Teppel. The emperor sent Popolkati Teppel to war in Oaxaca, promising him E. Stax Iwato as his wife when he returned. E. Stax Iwato was falsely told that Popolkati Teppel had died in battle and believing the news, she died of grief. When Popolkati Teppel returned to find his love dead, he took her body to a spot outside of Tenochtitlan and kneeled by her grave. The gods covered them with snow and changed them into mountains. E. Stax Iwato mountain is called White Woman because it resembles a woman lying on her back and is often covered with snow. The peak is sometimes nicknamed La Mujer Dormida, the sleeping woman. Popolkati Teppel became an active volcano, raining fire on earth in blind rage at the loss of his beloved. There is a sanctuary found atop Mount Tilaloc, dedicated to the god of the same name, and it is thought that the location of this sanctuary, in relation to other temples surrounding it, may have been a way for the Aztecs to mark the time of year and keep track of important ceremonial dates. Research has shown that different orientations linked to Mount Tilaloc revealed a grouping of dates at the end of April and beginning of May, associated with certain astronomical and meteorological events. Archaeological, ethno-historic, and ethnographic data indicate that these phenomena coincided with the soaring of maize in dry lands associated with agricultural sites. The precinct on the summit of the mountain contains five stones, which are thought to represent Tilaloc and his four Tilaloke, who are responsible for providing rain for the land. It also features a structure that housed a statue of the god in addition to idols of many different religious regions. Mount Tilaloc is the highest peak of the part of the Sierra Nevada called Sierra del Río Frío, that separates the valleys of Mexico and Puebla. It rises over two different ecological zones, Alpine Meadows and Sub Alpine Forest. The rainy seasons start in May and last until October. The highest annual temperature occurs in April, the onset of the rainy season, and the lowest in December and January. Some 500 years ago, weather conditions were slightly more severe, but the best time to visit the mountain was practically the same as today, October through December and February until the beginning of May. The date of the Feast of Huey Tezatli celebrates atop Mount Tilaloc coincided with a period of the highest annual temperature, shortly before dangerous thunderstorms might block access to the summit. The first detailed account of Mount Tilaloc by Jim Rickards in 1929 was followed by visits or descriptions by other scholars. In 1953, Wick and Horocatistus carried out preliminary archaeological investigations at the site and their conclusions were repeated by Parsons in 1971. Archaeoastronomical research began in 1984, some of which remains unpublished. In 1989, excavation was undertaken at the site by Solace in Townsend. The current damage that is present at the top of Mount Tilaloc is thought to be likely of human destruction rather than natural forces. There also appears to have been a construction of a modern shrine that was built in the 1970s, which suggests that there was a recent present attempt to conduct rituals on the mountain top. Another weird find is this, a man-made mini-volcano named El Volcan, which in the 1960s archaeologists had noted the volcano-like mound and identified it as artificial. This volcano is astonishing, a mound built by human hands with a crater dug out of the top, which some archaeologists are trying to figure out just what it was used for exactly. A crazy undertaking which must have had a purpose, one which has long forgotten about in our time. If we move from the Americas to Bali, we see also here an interesting volcanic link relation on the existing temples. The reason for Bali's temples on the slope of volcanoes or Cholula in front of volcano predates Hinduism and relates to the pyramid, or perhaps we are better to call it volcanic worship. The most important temple on Bali, Purobosaki, is located on the slopes of the Gunglung Angung volcano, where the gates of Purolampuyang Temple in Bali, again a volcano is framed perfectly in its view, identical to the Cholula Pyramid in Mesoamerica. So what about Egypt, the place famous for the pyramid builders? Egypt has no volcanoes, correct? It is no secret as Mr. Vandenhoven points out, the Egyptian god Patah was an earlier form of Ephesus or Vulcan, and again the volcano link is obvious. If this is established we can then ask ourselves why can we see similar cultural links between temples and pyramids since these cultures are not related according to academic scholars and just the easiest way to build a tall structure, as a dead-end answer with no further explanation offered. To date, besides empty sarcophagus, no pharaohs were ever found in their pyramid tomb, at least not in Egypt. In Mesoamerica, the find of King Pakhal and the Red Queen, who were both found inside their pyramid tombs. The answer to why pyramids were built, besides tombs for pharaohs, was never given nor were relations found anywhere in the world. Mr. Vandenhoven has shown that on numerous different sites, not only in the Americas but also in Bali, the nearby volcano was the reason for the construction of the pyramid and temples nearby. In the Egyptian region, a symbolic memorial tomb as a message to the future might explain the effort made to build these ancient wonders. If millions had previously died in a catastrophic volcanic event in the past, in this sense, the pyramids are warnings of catastrophic volcanic events. Is this another coincidence, or does a picture start to appear? The author goes on to further propose the vulture and the snake on the Tutankhamen death mask are the constellations Vega, vulture Candens, and Draco, successive polar star constellations, relations to Vega that even in modern times are related in our times, in the American eagle for example. Questions arise, why was the worldwide bird cult so important? A global volcanic cataclysm occurred in human history that later gave rise to pyramid monuments worldwide, and perhaps the memorial on Easter Island as close to a mother continent perhaps. Perhaps further excavations reveal more as there is a lot of soil deposited on the statues and the island as a whole. Scientists have proven increased volcanic activity occurred due to less pressure on the mantle from melting ice in the last ice age. This would have triggered volcanic eruptions and tsunamis worldwide, destroying civilization and causing worldwide death. A vulture would be the right image for Vega and basis for the bird and pyramid cult worldwide. The bird on the mountain, Vega, vulture Candens, and killing people on Mayan pyramids might be what Mayan priest symbolically reenacted dressed in bird costumes doing sacrifices. It might be why the priestess of Mu Egypt wore feathers from vultures, Mu's the motherland. Perhaps Atlantis was the homeland of the Egyptians. Pyramids are volcano representations and a symbolic remnant of a destroyed motherland as memorialized to their ancestors. Since an Egypt pyramid is Mer, there is the Sudanese Miro culture, Meru. Su Meru means good Meru. There is even a volcano named Su Meru on Java, believe it or not, suggesting if Egypt was part of Atlantis, that Atlantis must have been a global empire. According to Will Durant, civilization exists by geological consent, subject to change without notice. The effects of the last great eruption that created the modern shape of Santorini, probably one of the most violent in European history, on people and society at the time, was and still is, debated. In 1930, the Greek archaeologist Spyridon Maranatus discovered the remains of the ancient port city of Santorini, referred as Akrotiri, burned under the volcanic deposits. The archaeological digs revealed that Akrotiri was an important outpost of the Minoan civilization, with its cultural center on the island of Crete, distance just 74 miles from Santorini. Like Pompeii, the volcanic deposits preserved the city, however unlike Pompeii, no bodies were found. The inhabitants apparently evacuated the city in time, never to return. Carbon dating of burned wood recovered from the ruins give a date from the eruption around 1600 to 1627 BC. The eruption was so violent that it generated a series of tsunami waves hitting the coast of the large island of Crete. Some authors have suggested that this widespread destruction caused by the eruption inspired also the myth of Atlantis. Greek philosopher Plato writes around 350 BC that 9,000 years earlier, there occurred violent earthquakes and floods, and in a single day and night of misfortune, all your warlike men in a body sank into the earth, and the island of Atlantis in like manner disappeared in the depths of the sea. Greek seismologist Angelos Gallinopoulos noted in 1956 that the surface area given by Plato for Atlantis is almost 10 times the surface of Santorini before the eruption. Supposedly, sometime in history, a zero too much was added to the story, so if we assume 900 years instead of 9,000, the real date of the eruption fits better, even if not exactly, with Plato's given date. However, there is no direct evidence to link the destruction of Santorini with the supposed tragic fate of Atlantis, and anyway, Plato's writings were of political philosophical nature and not meant as historical accounts. The Nile, Nila for blue and Sanskrit, the lotus flower, the cobra has led the author to suspect that Egypt was a Vedic colony. The oldest worship is Agni or fire altars, which would pretty much fit in with a volcano. What if the global pyramid cultures only started after leaving the Asian Vedic motherland as remnant of the volcanic deluge and dispersed in direction of Ireland, Europe, Greece, Egypt, Peru and India, and ceded the globe hints the similarities in culture and the globally seen staff deity for Ophiuchus, Orion's Hercules, exact 180-degree counterpart in the sky. Above him sits the real Hercules, again, but Hercules occurs in multiple places in the zodiac, for example, also one of the twin's Gemini. Vega the vulture and aquella the eagle are basis for the US eagle and the double-headed eagle of Freemason and Garuda. As you guys can see, a picture starts to form. Many names in Tiohuaku have Sanskrit links, Kala, Time and Vera Man, Kocha, Mix Ancestry are some of them. It would explain the similar reed boats found in Egypt, Indus Valley and Lake Titicaca, Peru. The Erosageta near Vega killed the Cyclops in Greek myth, the single eyes. Writer Richard Casero thought the Cyclops was the bendy wearers. This could then well be another reference to the Vedic Asian homeland destruction of the Magalithic pre-civilization. There are stories how a single arrow with fire at its end, referring to a comet, destroyed the three cities. Perhaps a comet impact triggered the volcanoes. The Danavas, including Maya, were present at the time Taipura was fuming. The torment caused by Taipura was unbearable that the Devas asked Shiva to kill him. He did by using a single arrow. The killing of Taipura by Shiva was described as Taipura Samahara. The exact process of killing is described in the Sengam Tamal text called Paratatl, which is an exact description of the destruction caused by a volcano. Shiva killed Taipura with the mountain as the arrow and the snakes, mantle, magma as the string. He blew the three fortresses of iron, silver and gold, molten material, by shooting a single arrow which has fire at its end. The snakes, as we told before, personify the magma trying to come out. This describes the sudden and powerful eruption of fire and mantle from inside the mountain volcano, which resulted in the complete collapse of the volcano. Of course, this is worth further research and considering the link between volcanoes and pyramids as a deep-rooted message to further mankind that was the basis for a cult that came after such a deluge. It might have been a basis for a global pyramid and Temple Mount culture. A Temple Mount culture that later had the gods on top in form of constellations and resulted in our modern age religion of one god. The original message and warning and the reasons of the pyramids and Marusha temples lost in time. The countdown at Giza of the astronomical clock, what do you guys think is going on? Are pyramids and volcanoes connected across the globe? Comments below and as always, thank you for watching.


shed seven talk of the town good morning to you if you just join and wave into the mary thinks i'm waving to her but i'm waving to the camera here good morning everybody talk of the town well the talk of the town is going to be roll call for really 2024 let me get me me yours right and i'm enjoying this year let me flip the cameras over here ash or to the two lovely ladies i'm glad i clean myself up this morning tracy mcbride and mary mcdormit you're most welcome come on a wee bit closer to the microphones there now who will the talk mary i'll thanks mary i was just saying to you this is the first morning i clean myself up because this is we'll be probably doing this on social media which we are now i'm a nice shirt and i was telling mary that i put some mousse in my hair you know to get the curls there and and you know thanks for making the effort and tracy thanks for being here thanks i didn't say about the effort ah tracy we'll start off with tracy tracy nice to be back again this year i can't believe it's a year already isn't it unbelievable unbelievable and we're absolutely delighted that yourself and radio are getting involved again with us this year so come on we have a close to that microphone because you've got lovely sweet tones and we need to hear them um so roll call for 2024 in may yes in may so do you know it kind of has a ring to it but anybody hasn't heard of roll call for really before what's it all about okay so i suppose it's a very simple contact or concept even um and what we're looking for is for schools and when we say schools we're using that as a broader term so we're looking for play schools or creches primary schools secondary schools um or any i suppose any type of organization that has maybe groups of children involved um and what we want to do is get them involved in really for life done it all um and the roll call for really i suppose it's taken in the schools challenge um so we ask schools to take part in a simple challenge and as myself and Mary keeps saying what we are we're really stressing the word simple here um we want schools to do something really simple and um as well as raising awareness we're looking to raise as both some funds for really for life done it all and we ask um children to bring in one euro each for their challenge so keeping it very simple and affordable i remember last year Mary and Tracy we had the most crack it you know we had the teachers on the radio with the boys and girls and it was a big deal because the whole school was listening to it and so we had a wildest crack and they were doing some very simple challenges and you were just saying to me as well Mary that one of them says oh can we just make cup of tea for everybody and biscuits and stuff like that there and that was a challenge on itself but it was like time out and it's all about having a bit of crack and it's not to put extra work on the teachers because teachers are very busy and do you know the enough on their plate you know coming up to wrapping up the end of the year school year and stuff so it's just all about having a bit of crack isn't it yep definitely Lee and 100 we don't want to add to the workload already teachers schools are busy places but it also can be an opportunity to have a bit of fun it's about support supporting those who are on the cancer journey or have been through it it's about the awareness and as Tracy said if you can raise a few euro um along the way and things like the one the one minute challenge so basically like we were chatting about there you know when they're lined up after lunch everybody doing star jumps teachers and all caretaker everybody that'd be tough and the children love it the love of the teachers and the school staff get involved as well and for the one minute last year some of the schools done amazing things they had bluebell walks and they had wee soccer tournaments and you know remember one school and they asked the children and the children wanted a whole day of stuff I wouldn't blame them and you know what the school done then is they tied it in with their active flag and doing the activities for the active flag so sometimes schools can do that and and that's okay as well yeah and we're happy to come out to schools um if they want us out and do photographs and we've some big we've like a big giant one-year-old that the children like to get their photograph with and we put the stuff on facebook and then at the really weekend we use photographs that the schools would give us our wee videos and it's all up on the big screen and the mummies and daddies can come in and see that and you know and it is it's all sort of a light hearted good fun but getting that awareness and support and there at the same time yeah it's a nice wee soft blend to the whole thing absolutely yeah and so if there are any schools or moochers or boys and girls now we'll be flagging it up as the time goes along um how do they find out more information that we'll be talking about it obviously yeah so um I suppose the best way is to go to the really for life donnie goll facebook page um and we will be putting stuff up there today uh for the roll call for really they can also email us and the email address is roll call for really at gmail.com and we can send them more information there um I suppose so I suppose that's the best way to get in contact with us so we had about 22 schools last year didn't we we did 22 schools on air last year 22 schools on and like like you're here now and I have to lay my cards out now we raised over about 10 grand which was nice and we'll talk about the monies now in a wee second but for me do you know having the boys and girls coming on and the moochers were there I loved cornering the moocher and saying moocher and the boys and girls just have to say to me then oh don't forget about the mask are we allowed for the homework can we push that out again today oh well I think we can push that out again today yeah and I think that was really um a great I suppose that was a nice reward for everybody that took part it's a big carrot isn't it it is it is but it was great for everybody that took part I suppose it was just another added bonus for the children as well I can't wait for it it's going to be beginning on May right so just on the monies Mary we raised our over 10 grand last year do you know 10 grand a lot of money which was amazing it really was an amazing amount of money um and lovely the fact that it has come from right throughout the county as well it was a great great spread and we did have play schools on and we had primary schools and we had a couple of secondary schools yeah it was mainly the primary school so we'd like to see secondary schools get up for the crack come on homework faster secondary school that's big stuff it is big stuff that's a big ask isn't it moon sure what about so what's big as well as I think getting on the radio with yourself Lee I should get that opportunity she's here now she's like the captain got the cream and tell us now just on the money set of 10 grand I so what happens to all this money that's raised for you know because people ask what happens all this money because last year's a good bit of money raised what happens where does this all money go yeah what happens last year as I say we raised through our roll call for really with yourself Lee we raised 10,000 that was part of almost 140,000 that was raised basically it's both over the really for life weekend and also it's both with teams doing events in the run up to really for life last year so almost 140,000 raised last year but there was 279,000 spent and that was on direct supports for people in Donegal so that's where the money is going to and it's both it's things like you know as both services that are really valuable and for for cancer patients things like ninth nursing in Donegal which allows people to stay in their own home and there would be a specialised nurses come in and support them at night time and their families and also counselling sessions and so there was 145 counselling sessions last year that were basically paid for by the money that was raised and really for life and it also supports things like the volunteer driver service which brings cancer patients to and from their treatments and also and then on top of all that as well there's a financial support service for families there's a program then also for people that have gone through a cancer journey and then as well research and that's local research that's happening that's great because you when you hear research you think that's in the States but that's the local research local research yeah as well yeah so um that's where the money is spent so roll roll call for really 2024 this is the official Kennewee soft launch for it isn't it absolutely Mary you're smiling away I know you're glad you put on your green top this morning you knew this was going on over social media now Tracy I have one last question for Tracy how do you get your hair so curly Tracy curly water curly water where can I buy it can I buy it in the something like that you're selling you could you imagine all the social friends and you would get the curly water drink the water and your hair turns curly anyway thanks very much for taking time out of your morning to come here now and did you just enjoy the tea that you got he was really amazing Tracy you're a great lad and you're one sip of nothing the curly water ladies Mary McDermott and Tracy McBride I'm looking forward to roll call for really 2024 and it all kicks off on me and we'll be spreading the good news thanks very much for coming in all right thank you again


Morning everyone. That's way more people than I expected Okay, welcome to this talk about a tech of gold and you might wonder what's gold and First of all, it's a working title of an upcoming Blender open movie project in case you missed announcement, we didn't make too much buzz about it, so We'll do I think yet with the with the past project out of the way we'll keep like posting much more So the story wise It goes into those explorational experience of how fragile we are and how resilient we can be through Transformation adaptation to the changes on a creative level this movie is about utilizing the pessimistic style and being a visual poetry type for thing So here just few examples from early concepts and early renders of how we think movie could like or should look like and World consists of several parts of it like underwater somehow Above the water part on the water part and you can already see that it's quite different from what we were doing so far with More photo realistic movies at Blender studio and if that's not enough Movie goes even deeper Something we call a beast I would not go into more details. Yes yet It will come back a bit later. But yeah, you can see how it could be challenging for the release a rendering pipeline So for us, it was clear. Okay, so we need to have more closer collaboration between developers and Our team which for previous project wasn't that close as we would hope so for this it We said, okay, we need to sit together so we did sit together with the all the creative people around with directors and render team and all the other Blender developers and I think we came up with a plan and it was literally called plan.txt out of that meeting So what it is about so we highlighted few topics which we would need to work on For in a couple of different areas So for cycles it the lighting and normal controls would be was requested like that was on a number one priority and Also something which came up later is the bright stroke rendering and there are few Topics for the compositor even though it's not really clear How exactly will break down like what's being around the time and what's being done in composer But we want to be ready for either of the choices And at this moment I bring My colleague who we work together a lot and Brecht Okay, so I'll talk about the cycles rendering parts first and so so one of the the feature requests Things that we thought we would need was the the light linking I mean this is not just like a request from the movie project We've known for a long time that this is a one of the the highest feature quest from users as well so, you know, we thought we can just solve both of those at the same time and So I mean the motivation for this particular movie is that you know, it's stylized And so you want to be able to do more tricks with lighting, you know, selectively apply it to certain things and And just sort of be more artistic than just trying to do like pure physics simulation So that's sort of motivation for this open movie and so what this feature is it's basically two things it's light linking and shadow linking and Light linking it means that you can say for this light. I won't affect just these objects in the scene And and nothing else because you might want to add like a rim light to like one character But you don't want like a rim light on the entire environment. You just want to make the character stand out For example And then shadow linking is kind of something that you need once you have light linking, you know So I also need shadow linking because if you're say adding a rim light to one character You generally don't want like the environments to block that rim light as you're like affecting that one character So you want to be able to exclude certain objects from casting shadows for certain lights and so the user interface for this is You know as in the screen shows basically on a light You can set a collection and that collection contains an arbitrary number of objects or an arbitrary number of collections and that you know That defines like these are the number these are the objects that The light effects or alternatively can just exclude once and say you don't affect these little like excludes just this one object And there's been like lots of discussion before unlike light linking. How should it work? We went with this way For two main reasons like one is it's sort of the industry standard way of doing things That we know works and that means you can like export it to USD potentially and like it's sort of compatible with other renders That might want to integrate with blender and the other reason is that the reason to put it on the lights rather than say on the Material as it used to be like with the old shadow linking in blender internal is that if you're setting up a shot Then generally it's more convenient to customize the lights and just add a bunch of stuff to them Rather than that a stuff bunch of stuff to your objects in the scene because then you need to do a bunch of overrides and gets really complicated And so that's that's sort of the motivation for that and this is sort of Then like a very simple programmer art example of light linking So there's like a white light that just affects like the entire scene and then there's a yellow light behind the ground that's Lighting like the the two monkeys from below and like the ground is not not casting shadows for that And then there's also like a red light on the one monkey and the Greenland and the other monkey I mean, this is just sort of what you can do And now we'll go into like the the implementation details more or less So there's two sides to this like there's one part on the blender side and there's a part on the cycle site And so on the blender side We involve the dependency graph to do a certain work so The way it's specified it's on the light object but for rendering you kind of want the data on the receiver object or the shadow blocker objects And so we kind of have to invert that relationship and that that's what the dependency graph is kind of good at And we want to make it into like a format that's Really efficient to evaluate that render time And I can work on a GPU and so the basic idea Is to use bit masks Do really quick comparisons and so For this what we do is we we find like All the unique sets of lights that Surfaces or shadow blockers in the in the scene might use So certain receivers might use this five set of lights and other receivers might use these seven lights I mean sort of try to figure out like all the unique sets that exist that that might affect the receiver or alternatively a shadow blocker And then we assign a bit A bit to each of these sets and that then becomes a bit mask And that's like a bit mask comparison. It's like a really simple operation very quick operation That we can then do in in the rendering So, yeah, that's that's a very quick way of just saying I'm on this shading point I have this light do they affect each other or just do comparison and then you know, you know Yes or no So that's easy to do a bit mask comparison, but it's not ideal yet because it's kind of inefficient Because you might pick a light for shading a certain shading point But it might not actually have any influence and if you trace the pad all the way up to that point and then you say Well, uh, there's no influence. It's kind of a waste, right? It's like it's just a wasted sample And so what we do is we have an optimization when you use the light tree where For every set of lights, uh, we build a specialized tree. So we first start by building Maybe I should explain what the light tree is because it's a relatively new feature But the light tree in cycles is basically it looks at all the lights in your scene and it puts them in like a big tree structure So I can quickly figure out like I'm here in the scene So like these lights that are nearby are likely to have an effect You know on the shading point so then we can quickly look them up And so in order to make the sampling efficient for this light tree Um, we first build like a light tree over all the lights in the entire scene And then for every set of lights, um We build a specialized tree. We build like we take just the subset of the tree. That's uh relevant for that particular type of light set for that set of receivers and uh Yeah, we we build a smaller tree from like the big one. Um, and we have some tricks because The point of light tree is sort of that you can have like millions of lights in the scene potentially and render them efficiently And so we don't want to like have if there's like only cell differences between certain surfaces We don't like want to have like one light tree with like a million objects for this one And then another for like this one with another million lights And so we have this trickery to like share certain sub trees of like the entire thing between like different, uh Between different lights that's when it's possible So that allows you to have like potentially like millions of lights in your scene and and dozens of like different, uh light linking configurations and still like have reasonable memory usage That's the idea behind that And then the shadow linking was actually the more challenging part. Um So conceptually it's pretty simple. You say I traced a ray from the shading point to this light And we're just going to filter out some objects.  And then you you know, you might just skip it. Um, but there's a complication in that in cycles we uh From the beginning we had sort of this assumption A physically based rendering which allows us to do a certain optimization Um, that a lot of other renders started doing as well. Um, but it doesn't really work when you do shadow linking So, um, so I should explain so for direct lighting, there's this thing called multiple important sampling. Um, It's very technical and I'm not going to go into the math But basically, uh, you have two strategies for sampling a light Like one is you're at a shading point.  Um, but then if you have like a very specular bstf Or like a large light it stops kind of working. Um And so we have a second strategy where Basically, if you do an indirect light bounce, you might incidentally also hit, you know, a light or I might just hit the beam And uh, like you might incidentally hit a light just like you might hit some geometry And that's sort of your second strategy and that second strategy is a problem for us because We kind of did the trick of like combining like indirect lighting and like the second light sampling strategy We just trace one ray because it's sort of the same thing physically But I mean, there's no difference in physics But when you start doing light linking tricks, you kind of have to make a distinction between this indirect light and this like Titan shadow linking and so, uh Basically what it means is instead of tracing two rays We now need to trace tree rays when you use shadow linking sometimes which is a bit more expensive And it adds a bunch of complexity to the kernel. Um, but uh Yeah, so so that's what we did. Um, how that works exactly is Uh, it's too long for this this talk, but basically, uh We had to do like a whole bunch of refactoring in the kernel and it was like a very complicated thing But we got there in the end And so now yeah, sometimes you trace tree rays instead of two if there's shadow linking Um So the the basic feature is there in blender 4.0, but there's still more work to be done. Um So the main one is the user interface I would say, uh So in other applications, you you have this few usually you have this interface where you can view things either from like The point of view of the receivers or the point of view of the emitters and you can sort of Have this specialized editor to set up the links. We currently just have this in the properties panel Which is okay, but it's not it's very flexible, but it's not like Uh necessarily the most intuitive. Um So we do want to still add like some sort of editor that gives you like a global overview of all light linking in the scene And then make the connections Another limitation is that there's no light linking for the world at the moment and we would like to solve this basically by Implementing another feature that people want which is adding like a dome light type So you can have basically multiple world lights in your scene and you can rotate them Which is usually there in other renders. Um And so if we add that we would automatically get kind of world light linking for worlds. Um Another thing that's been requested is that okay. This is for direct lighting for indirect lights There's this concept of trace sets in other renders, which is kind of similar, but you define collections for like For which objects are in the indirect lights. Um, so that would Be a good extension to this. Um The other thing is ev supports, of course The nice thing is that some of the stuff is on the blender side so that can be shared between Cycles and ev so hopefully that will make things faster And then the last point is like better integration with usd and external renders I mean, I know some external renders already have their own light linking Thing and they might continue to use it or they might switch over to the blender native thing. Um We'll see what happens there Um, so yeah, that's the It's the light linking. Um And then there's a second Uh cycles thing, um, which is a lot more vague Um, basically it's not it's normal control and sort of more general Um, you know stylized shading in a way, uh So this is an example render where, uh The normal isn't really just like, uh, or I don't know if this is a concept or a render it starts Sometimes it's hard to tell I think this is, uh um but uh Basically for like a painterly style like one thing you might want to do is sort of make your normals flatter Or make a more planar in certain areas. Um, so it's more like, you know brush strokes Which which tend to be flatter than having this like really smooth gradient um And so yeah, you might uh do all kinds of tricks or you might have at this sort of you know surface detail along the shadow edges that You know make it sort of jagged ears or apply some sort of texture pattern To make it look more interesting. Um, and normals are a big way of like controlling that kind of thing So Okay, so it's easy to set a different normal, but then for the renderer It's uh, it gets kind of tricky because you have your real geometry and you have your fig Your real geometry and your fake normals and they're not the same thing And if you just you know Use the fake normals you get all kinds of rendering artifacts. Um Like some of them, uh were much worse before. Um But we've solved like a bunch of them now But this was like more in the context of like realistic rendering And in stylized rendering it's a little different. Um Because there's not like one correct result necessarily. It's like you're doing Something that hasn't doesn't really have like a physical equivalent. So, um We kind of have to figure out a bit what what we want to do there or what it even has to look like exactly So i'll just briefly talk about like the existing stuff that we do to compensate for like this discrepancy between the fake normals and the real geometry this all this stuff is basically aimed at Uh trying to guess like this is what it would look like if your surface was actually that smooth or there was actually this like displacement detail there Um Well, well the surface world the geometry that we have is actually just flat. Um So there's there's three three tricks that we use. Um One is if you have smooth normals, uh along like a low low poly geometry Uh, we kind of pretend that uh the shading points is actually on some sort of virtual smooth geometry Like so we kind of compute look at the normals and then we compute like this is it's like the top image Like it's this green thing a surface or pretending the surface this and we kind of move the shading point to the fake smooth geometry and that avoids a bunch of like self intersections and things that um that don't look good the other two tricks are for bump mapping and so, uh We distinguish two cases One is the diffuse bump mapping. Um, where As you can see it's in second image like your hemispheres should be like fully above the surface But here it's bump map. So it's like tilt slightly below the surface, which means Like some of the rays might just go below the surface as well And this especially like where the cutoff point is you get these like really sharp um artifacts like the terminator problem Um, and the trick we do there is based on a paper from uh from disney, I think But it's a trick that goes back a long way in different variations. Um And basically what you do is you kind of pretend, okay, we're going below the surface Like we're probably like on on this incline and this means we'll probably have some extra shadowing anyway from all this Like detail on the surface So we just kind of like in this region add some extra artificial shadowing to sort of cover up The artifacts that you would otherwise have which in one way is a trick in other way You can like justify it like with microfacets shadowing theory And it looks and then it sort of looks like a real real surface with detail more or less And the second trick we have is for specular bump mapping And there you get the problem where okay if you're looking at the surface right on it's it's it works pretty well Because the rays just kind of come back But like if you look at a grazing angle the ray might actually like dip into the surface as well And so we do a little trick there where we kind of pull back the normal a bit So that the ray actually like stays above the surface And that works pretty well And so those are like the tricks we have now And then the question is what are the tricks for this realistic for the stylized stuff and we don't really know yet So we're still trying to figure out with our team like What exactly the look is what that they want which changes we need on the cycle site to accomplish this So it's still very much up in the air But we made some initial changes like way sanded some work on Improving the bump mapping correction that we have like the last two things that I mentioned Just to make it more correct and more consistent and it also fixed some cases for like realistic rendering case Which is nice And the other thing is that we have the control to disable all these bump mapping corrections in case you say like this stuff I don't care about this stuff. Um and so the vague ideas we have to To do to make it work better for stylized rendering if we even need to do them It's it's sort of unclear at the moment. Um one of them one of the ideas is to just say My normals locally they have no Like relation to local geometry. So I'm just going to like ignore local shelf shadowing And like only far away objects. I want those to cast a shadow and like the local stuff.  Another thing is that other renders have these things called light filters Uh, there's things you can do very similar to light filters and light shaders, but there's a few limitations So we're thinking, um, if necessary, we could improve the lights Shaders to add a few more features for artistic control. Um And then there's some things with ray tracing visibility that Where you want to do certain tricks and it's there's some limitations in the ray visibility That that currently make those tricks difficult and actually with like the shadow linking changes we can now Make those work better. Um so that's another thing that we're thinking about, uh Adding making the ray visibility work better for this case, but this is all very fake. So, uh, we'll see what we end up with But yeah, that's what we're thinking about currently And, uh, yeah, that's the end of my part So now we're going into even more fuzzy territory Because before it was like, yeah, okay, so there are some solutions. Um, so, uh, it's a The nature of the movie is that it should all be consisting of the pain stroke. No, no, that's the look we're looking for like trying to achieve so we need to render those strokes And here's the comparison of the concept art And the early render based on that concept art and in the Right hand corner can see zoomed in version on on the corral and the basically idea here is like, okay So all the surfaces get broken down into individual strokes and strokes gets from Atlas which was created based on actual making brushes and image and scanning them and putting them to blender magic from simon, I believe Works great. Um, so that's roughly idea of of how it could work. Um now the That's some challenges. So like all the surfaces gets broken down into those strokes, right? But we also want to give the control to the Animation department to give they need to add something Uh, the animations have to emphasize something. So it should be super easy for them to add extra strokes to the To the final frame and during animation And when we started having all those discussions, the only, uh, available Feature in cycle and blender was grease pencil grease pencil too, I believe it was back then and it had very limited control over shading so You could do some stuff, but not really and the idea which we had back then is to can be able to convert grease pencil strokes to meshes and then you can Benefit from all the features available for shading and distortion your geometry in outs and in cycles Luckily, there is a grease pencil free project going on It's already have some support of geometry nodes and for For that I would actually refer to the talk from folk from yesterday and Yeah, so with grease pencil free It's already possible to to achieve what was needed to to convert to meshes and more seamless integration into Cycles, there are still some topics open. I believe like how Like if you add strokes on top of existing geometry, we want to somehow more Easily transfer shadings to to to the stroke and go from there So you don't need to restart from scratch with the shading for every stroke you add Um So that's kind of brings us to the next step. So we really want to finish grease pencil free Make it available for everybody outside of experimental feature but it's also If all the surface is getting broken down into the strokes It's becoming a lot of a challenge for the memory consumption for rendering So one of the ongoing discussions like, okay, how can we make it more efficient for rendering can we bake something but Then baking and blender is very fun to use So there is someone going um development discussion about like what needs to be improved for for this specific case Because you can go very very deep just for improvement baking and blender and we want to Have enough room for the more important topics if they come for the for the movement for the regular development And the other aspect which keeps coming is the pigment based mixing and not just light based mixing and that's Simon did early prototypes with geometry knows, I would imagine it works pretty well Um For the technical demo type of a thing. It doesn't feel like it's sounding I would be really comfortable giving to all the animators So it feels like we could do much better integration with these tools there and maybe some Render or shading somehow. I don't know. It's it's ongoing. We'll see where that goes Um, and here we can see the results of the early pigment based mixing Okay, so now we go into more fuzzy territory. Well Maybe even more clear depends how you look at it So because it's still not really clear what what will be the exact breakdown of what is being rendered painterly and what we cheat as the post process painterly filters and compositor was one of the Topics we were looking into And it's basically to either remove details from the background or Give more like facet to look to to the shading as a post processing step because what if you know, all the rest doesn't really Get feasible because of render times or memory consumption other aspects So there are just a few examples of like where we think it could work So what we did is we added kohara filter to our compositor system And what it does it's quite so explanatory just convert something more realistic into more painterly It does it in a way that it preserves edges and overall shape of the objects in the in the scene and on a frame We also added variable control for the radius like how much painterly things become in a local area Which gives you ability to control Okay, so I want more painterly look in the background or foreground or vice versa. So that's all under artistic control and Surprisingly, it's mostly stable for animation If you give it a realistic video to convert it nicely, it's stable There's still someone going investigation about giving it more images. We want the color rendering noise There seems to be a bit of a challenge there, but we we look into it Um basic idea is that for each of the points of the image You you you get some neighborhood of the of the pixel and divide it in a number of zones and Um pick up the color of the smoothest area and just replace color of that area and area you align based on the edge orientation in in that area So That's the the basic idea and if you follow the original paper of the implementation, it gives a very beautiful result Very slow, but it looks beautiful And the other aspect is it's not really compatible with dp implementation. Luckily you There is this approach of some array tables, which is basically optimization structure which allows you to calculate the sum of of pixels in in in the specific region very efficiently So using that approach you can speed up the calculation flarians for the areas very very nicely It still has a downside that you need to calculate some basic essential for the entire image So you might run into a floating point precision issues on a gpu But there are other tricks of offsetting all the values by the mean value or Point five like there are all sorts of tricks you can do So that ends up working very very well And it's almost real-time ish on a gpu The next topic in in in the compositor is the procedural texturing So we want to give control Over artistic look in the in the post processing for example to be able to break the smooth edges of shadows On on the surface and some who recombined this broken broken shadows back to the image It's something that not so necessarily easy to do a render time But it felt like it should be easy to do in compositor with all those shadow linking shadow Accenture passing or not really prototype And okay, so how how could it be to just add some noise to the Essentially shadow pass well you can if you go and create the Brush and create texture for it open another editor and start for the Specifically texture now the editor and have it side by side with compositor. It's possible, but it's clearly cumbersome So it feels like okay So how it feels like we can make something which more which is much more straightforward for the artist So they don't need into all those cumbersome workflows so It turns out you can have a really prototype quite easily but It become apparent. There are some design challenges What was the biggest one? I would think is the fact that so far we were trying to convert the compositor system Into Strict left to right evaluation, which is the most easiest to understand for by artists. Okay, so I have this image That's what happens to it next. That's what happens to it's next and it's at any stage You know, it's your resolution and and and things like that with the procedural texture and kind of You can mimic the same behavior, but it's kind of goes against of what happens in other areas of nodes in blender And the other aspect is currently in compositor. It's only images which flow through the noodle So you don't really have easy access to the bounding boxes of them Of your canvas at specific stage of the compositor evaluation, which kind of gets in a way of getting the strict left Okay gravity works So, yeah, you don't For for modular implementation would wanted to have some Other data than floating values or the color And yeah, it's also on on a product level. It's like, okay So do we value more like easiest way for people who are already working the vfx software to drop into compositor and do certain things or do we go prioritize more to integration with the node other node A system in blender and borrow their ideology and things like that So I kind of bring us to the next steps, which would happen which we want to happen in in in this regard for the compositor is to finish the design of the procedural texturing in in in in compositor and like stuff I already mentioned And sound like I didn't talk before is like, okay We also probably want to be able to share node groups between different systems node systems in blender and that kind of adds extra constraint to how we approach the design of the procedural texturing in in compositor And one of the ideas like, okay So you can use the similar approach in the geometronals, which is called fields and for them It feels like you can also like other allow this For the fields go right to left for which we already have visualization tools So maybe that will be a answer to the confusion and making It's so that ours is always aware of what happens where But we can also add like some inputs and make it more like left to right things But it's all work in progress. So we are working on finalizing that design Which brings us to the next topic, okay GPU compositor which Basically, okay, potentially we're a heavy project on the compositing side. So more performance more better like You you can't go wrong if you if you make something like 10 times faster, right? So Okay currently in blender which I have three compositors One of them is the tile based it's What is available by default and it's implemented for cpu and that's what a lot of People using this like when the usf 12 render There was a lot of work done for the full frame Compositor, which is still cpu only which almost feature parties tile based But there are some differences and some missing features But the idea of it is that it's much more efficient for the From the performance perspective And we also have what is called real-time gpu accelerated compositor real-time compositor, which is currently only limited to the viewport so Yeah, why to have three compositor. So let's make GPU compositor the only way you are to sell a work because it's the fastest way and Okay, how do we go there? So yeah, as mentioned like we want the gpu compositor be also used for the ffl renders and there is some Initial work done for it under experimental options. So you can already benefit from it Now for the missing nodes a lot of work was done since the beginning of the project of the Like the meeting for the goal project In blender 4.0 this Like it's not that many missing nodes left to to tackle and probably they're not that important for this project But we still want to finish them Full float precision is required to have for the proper behavior of cryptomat passes and it's not sounding that was possible in a gpu before because of the member consumption of throughputs to the gpu perspectives and performance and whatnot, but Work being made to support full float on a gpu compositor Other aspect is that currently in the three and gpu compositor don't have access to pass us Okay well, you you you can current it's a bit hard because like um Some work was already done and it's like putting in perspective like what the timeline Anyway, so it wasn't possible before and it's now possible in the for the f12 Experimental feature of the gpu compositor, but it used imagesty, which is not necessarily most Efficient way because of all this round trips from the gpu to cpu back to the gpu So the idea we have is that allow render result to have Ability to have Pass data as gpu texture on a gpu While currently it's only possible to have it on a cpu so Then then we kind of have like more natural well, it's okay. So that's your render result Now you know what to do to feed it to the compositor it handles it and it doesn't really care where things is coming from and you can have good performance Without too much branching in the code The design is done Just need some time to finish and implement it and remaining the Another remaining aspect is the How the different compositor handle canvas for example when the alpha over two different images with different resolution what happens then Or what happens if you if you rotate something then blur then rotate back and before we started tackling the those points it was All the compositor would give different results. So now we kind of try to align their behavior so You can swap implementations much more transparent Because if you if artists can use gpu compositor on their workstations Unnecessary sound you can use on a on a render form because it might not have a gpu So it should be a way to swap the implementation without any regressions on the on the on the composition of the Of your frame so Yeah, the for the future fork is basically implement all the missing stuff which I mentioned above and For now only have like remove the tile base to limit us only two compositor It's already will be good and probably when she'll also go to a single like gpu based compositor And you keep working on the procedural aspect of the compositor as well so That's All we have from like, you know the tangible things that we've been working on and have something like other design docs or the Commits done in in blender There's still a lot of topics which are so to speak under development which also comes in Requirement that okay, we need to work with artistic because a lot of stuff is still Unknown like Is it a topic? Is it like how are we going to solve it? Do you have everything for it? Like do we put developer time on it? And it's just at least a few of them which is like you've seen the ocean Well, we need to simulate it right. Okay. So what do we do for it? Is it? Just to just do geometry node simulation thing. Is it fast enough? No, we'll figure out um other challenges the underwater Shots where you would need to have cloth and hair simulation. It's like, okay, so How that is going to work? um Other interesting aspect is this abyss which is so so before it has this alcohol ink effect Or like stuff like just puts on it's like spreads out and whatnot like That's an idea anyway So how do how how do we do that? Like is it simulation? Is it sounding needs to be supported in geometry node? Is it sounding rendering would need to support to do proper with our landing or something? We still don't really know but we keep working on it um and Some other like just random topic. I've overhead In the context of npr rendering is like, okay, so focus point control, right? Okay, so you want maybe Like if you just draw something you artist might decide, okay, so to remove detail from somewhere But then it's like, okay, like can this be done automatically or not? Is it required or not? Is it something which would be required for this movie? We'll figure it out. So for the updates you can stay tuned at the studio blender or that's where all those creative solutions Creative decision and progress will be shared and of course the project blender org is where like the blender development is happening And I would also like to give a lot of thanks to people listed on the slide I'm not sure if it's worth going by the names, but thanks for that contribution And yeah, I don't have anything else Okay, other questions Yes Okay, so the question is if there's uh Compositing notes that work on the cpu, but we cannot get working on the gpu and I think the current answer is no I think we can I think all of them can work on the gpu. There's A few where the implementation was done a bit different like the glare node. It looks different, but arguably it looks better as well So I mean at the moment it's None of the existing well I think none of the existing notes have this issue at the moment So, yeah Yes, I mean, I don't really know it's like I only Get to work with what simon gives to me It's like it's already like kind of ready geometry set up. It's like, hey, can we make this work or something? So probably but Yeah, simon says that's kind of what they're doing. Yeah More questions There's one on the back Yeah, uh, okay So the question is like is it possible to keep the implementation cpu and gpu compositor the same So I believe so There is some design investigation already being done. Okay, so how can you align it and from Initial thoughts is that okay, so the actual implementation of the nodes It can be quite easily ish shared asterisk On the but on the first like iteration of like the unifying thing So it's probably will still be two different ever scheduling mechanism because you might want to do stuff differently We do the same thing on on on cycles as well. They're scheduling is done differently for cpu on gpu and then Yeah, eventually it should be possible to unify even more It's not exactly the highest priority now to spend a lot of time unifying it because you want to have like Solve the artist side level first There's question over there No, I was mentioning I was mentioning a node texture editor because it's a different node system and blender for texture nodes Which is not integrated anywhere else So if you want to have procedural texturing and compositing the work law is that you add texture node into compositor And then you need to go to texture node editor And fill in the nodes there To create the texture. We probably also wanted to go to properties of a brush to create your new texture So it's it's it's a bit of a mess, but so it's kind of different story from the layer textures, but That's to my knowledge that project is still somewhere on the table. Just wait the developer time to be assigned to it Yeah Basically, all the question is if there will be better compatibility between cycles and ev for npr rendering like the shader to rgb node And the answer is basically no The Like there's different approaches to npr rendering right you can take like a more physically based render and then do Certain things in the shaders within that framework and then do a bunch of stuff in compositing and that's kind of the approach here We're not planning to do shader to rgb in cycles Um It's not really compatible with the architecture and implementing it would be like another whole big project So that's not really not really part of this Yes, we have I mean we have thoughts about this. We have many issues But I mean we have many ideas about this It's unclear if in the context of this project it will become a priority It might turn out that they're doing compositing and notice like it's you know It's not good enough and we have to improve it. Um, but yeah at the moment it's It's on our list, but it's not yet. You know, you know on our immediate list for this, I guess Yeah So the question is if it's the same effect as in the ninja turtle movie similar Well, I I don't really know how it's done in the ninja turtle movie. So I cannot really answer that Okay, um, I To be honest, I don't know like the normals are coming from the geometry No, it's I guess and maybe they they could do something like this, but I Uh, that would be more more for the artist Okay, that's according to Simon. It doesn't sound similar. I mean, yeah Okay, um, I don't know if there's any more questions. Okay. Yes Well, so What do you mean exactly by cash because there's like, okay, so you can cash Uh Like the image is coming in like if you do an animation playback You want to have like really quick loading of like your your frames from disc um so, uh We haven't really we haven't looked at that and then the other type of cash is like maybe some intermediate cash where you have like a big no graph and You know, you want to do some change here at the end that you don't want to like recompute the whole thing from the start I don't know like which Yeah for okay, um We haven't looked at it in the context of this but it's uh I mean, it would definitely be a good thing to do. Um Yeah, we'll see if the artists really ask uh Ask for it. Um, maybe we'll we'll work on that then in the context of this Or maybe we'll be worked on in the context of something else, but yeah, it sounds like Well, because I have a slightly different like no priorities in this Aspect is like, okay, so caching is like, okay, that's kind of for the performance, right? So And quite often people just add caching to solve some fundamental issues of the performance. So to me I would rather say, okay, so if you modify something at the very very beginning of the three make that Part real time And then for a lot of stuff, uh, you wouldn't probably need caching But then caching kind of to have like a second step So first step get the actual system more real time and then on top of that just implement it So it will come it's more like, you know matter of priorities and in which order you cash because if you start Talking, okay, so there is a caching when people need to wait for the cash to happen to see the result It's not that useful either. Okay. Well, thanks everybody


SCP-465-1 is a large two-piece cardboard box decorated with a faded confetti pattern popular in the 1970s. Other than a large printed label on the top of the lid marked Party in a Box, no indication of contents or manufacturer are found on any portion of the object. When any human subject completely removes the lid of SCP-465-1, an array of decorations, furniture, and a group of at least 20 people, collectively SCP-465-2, appear spontaneously in the room. These individuals proceed to celebrate rockously and actively attempt to include the subject in their festivities, primarily dancing in consumption of alcohol.