Post Your Renders like it's the year 2020!!!
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Oh, and this is all before I would add other VFX elements to the scene, like lens flares or other lighting auras, moving elements like sparks or smoke or moving fog, etc.,
Getting the dog food ready in anticipation of the HW3D dog release...
Cool render! Cool news!
Gorgeous work Chris, would have made a great entry in the pinup challenge as well
I believe you mentioned in another thread this character is using V4 textures, if so I want to add my opinion that M4/V4 textures can look every bit as good and realistic as the latest/greatest Gen4 textures. I myself use V4/M4 textures almost exclusively, with a little Gen1 textures here and there.
Dart I love it, looks terrific. What's funny is I thought the first render looked great, but then scrolled down and the 2nd would looked even better, really sharp nice details that make it pop. Very interesting description of how you are working the camera to mimic real-world lens focus. Does it involve a lot of math to get right? Sounds interesting but complex.
Thanks!
Jeremy Birn does explain the math and how Pro Photographer/Cinematographers work it out to get the results they're after, he also brings it hoem to easy-to-understand terms as far as setting up the affect/effect in our 3d software. So while I might not understand it all well enough to explain it, I at least am getting my head wrapped around how to go after certain, popular ways of shooting a scene now.
As for the lens angle thing, in Carrara we have the two lenses, wide (25mm) and normal (50mm) and then the zoom lens, which goes from 1mm to I don't know how high.
Lower #mm = wider lens = more of the background will be visible in the same aspect ratio - so the central foreground subject will now appear farther away unless we bring the camera closer. It's the opposite of Zooming.
50 - 60mm or so is considered 'normal' visual range. Kind of What-you-see-is-what-you-get sort of thing - as if we were loking with our own eyes.
While higher number mm will Zoom in on the figure from a greater distance, it will also bring the background closer - even great distances can look like they're directly behind the subject. Useful for many things - A popular one in cinema is to keep the focus above the feet (so we can't make out the illusion) and zoom in on the peoplle, who are acting naturally even though something amazing is happening right behind them - like tidal waves, massive explosions, trains flying by, etc., While it might appear like they're right next to something dangerous, they might be 50 yards or even more away.
We do have to be careful when using number higher or lower than normal range. Both extremes will distort the subject matter in the middle - the main subject matter.
An example that's still fresh to me is when Kylo Ren is telling his evil master that the scavenger has untrained power. The lens and camera placement exaggerates is facial features - makes them bigger in the center of his face, giving him the appearance of a whining underling trying to save his ass. Very well done camera work, I thought.
Which brings up those dizzying dolly zoom effect. We can actually change the (apparent) distance between the figure and the background by changing the zoom as we dolly the camera closer to or away from the figure. To do so we alter the zoom (in mm) of the camera as we move the camera to keep the figure taking up the exact same space in the frame. In doing so, going wide from a narrower aperture will make the background expand. We'll start without see a whole lot of the background spacially to being able to see a lot more of it as we widen the aperture (lower the mm). As we widen the aperture, we need to get closer to the subject to keep it the same size, etc.,
That's a little bit of it. He gets into how to properly set up and use motion blur and a ton of other stuff.
When I just tried Luxus for Carrara again, I couldn't help but notice that all of the things he talks about are available as settings for full, true photography mimicing... even the common lens distortions, aberations and the like. Very cool!
On that note (sorry for the length of it all! LOL), this is very cool stuff
Okay, this Pro explains what I just said above, much better than I ever could
I'd love to own this whole course!
hey Daniel, thanks for all the cool stuff and hints and great cyborg shot; I think substance shaders would be helpful in these cases; please more of everything asap
@ Chris: stunning character in every part, maybe too much "jawboned" for my taste but gorgeous and realistic indeed
The power staff that the cyborg wields is set invisible in his right hand right now, and the final version of him will also have another invisible staff on his back. I only mention that because I used some of the Kirk Saavedra Collection of shaders (Awesome stuff in there!!!) to create the look of the power shield that can be phased into the On position - or at least that's how I'll be animating it.
The (Skeletor Warrior) figure came with a veritable treasure trove of textures that would work for shaders for pretty much any model. Nice textures too. This version of him was just the initial "get things organized" pass of the optimiazation procedure. But I think he looks pretty cool already - he'll get better. For example, I barely worked on any of it after first doing the staff. I spent to much time on it, so I was in a rush for the rest. Funny thing is... I'm still not happy with the staff either.
Thanks a lot guys :)
When i first worked just with DazStudio i also thought the newer the model, the better the textures and render. But with Carrara and the shader room i've learned that the model itself tells nothing about how good the render can look or not, i saved nearly every textures (i like) externally on a special texture folder i've made, arranged that one into V3, V4, Genesis, Genesis 2, ... and the name of the textures for a fast access.
So i've got a closer look on the textures and found out that most of the V4 textures, even some of the V3 textures are very detailed, natural and realistic while other textures, some of the Genesis and Genesis 2 looks unnaturally, like a puppet but not like human skin.
Sure, the newer models have some nice aging morphs and so but that's nothing you can't do on the older models, thanks to bump and displacement :)
Dart, those Cyborg images you made were excellent! A little too complex for me to follow at this point, but you are certainly getting good results.
BTW - for participants in this thread, if you haven't voted in the Challenge yet, we've saved some space for you.
messing around with octane shaders.
Modelled in Carrara , rendered with OctaneRender for Carrara
all shaders made in carrara.
w,i,p, tuning up Janette skin to get a "cinematic" look; the render took less than 8 mins; not bad for an outdated biased engine
no postwork
I wanna remark one more time the incomparable work of Misty for her G3 figures easily exportable in fbx format including all the bones and above all applied morphs; more than a plugin imho
Excellent, 3DAGE! Always happy to see you post renders. Love the "Carrara" stovetop!
I agree, not bad at all.
Hopefully in a few more days I can play with your new techniques.
thanks UB,
2 more shots playing around with ambient light and cloudy fog, the # 1 has a bluish light hazedome switched on, to make a better fake DOF
Magaremoto, that's brilliantly, thank you for the screen shots!
Very impressive, Chris, 3DAge, and Magaremoto. And thank you for the descriptive information and screenshots. Always appreciated.
thanks Vyusur and Diomede,
the use of dark ambient light + AO anyway contains inside some issues and uncertainties due to dark shadows, very annoying on translucent materials like skin; you can diminish this effect by increasing the lighting quality or acting heavily on shaders; I'm working hard on that to find a quick way to preserve the render speed
0 Density fog... I like that! Very fast and even illumination too.
Wow 3DAGE, I had to blow this up - so nicely done. Bravo, Sir!
You're right Dart, my experiments and rendered animated scenes learned me that a spot light behind the "object" is necessary to keep this effect along the sequence.
If the camera move to much, I sometime use a target helper for this light.
I do that too - a lot. I'll set up a three-point light rig of spot lights and parent them to the target helper that they point to. Now I can move and/or rotate the whole rig as needed. If I'm moving lights like this, I always either have a practical reason for them to move or the lights are more subtle and are only used to highlight the figure against the rest of the scene lighting.
I'm certainly no expert in these things though. But I've had personal feelings of success with that strategy! ;)
here: dark brown ambient light and light blue cloudy fog color
9 mins render with a i7 6700
no postwork
Magaremoto - the most realistic yet! Terrific poses as well.
9 minutes. Dang.
Very nice, natural and subtle depth perception too. Nice render magaremoto!
thanks both, models picked up from human alloy (the gal) and cgtrader if I remember correctly
as for the depth of field, I usually put the focus at 1.5/3 cm when render at high resolutions to increase the natural DOF and avoid to have the scene too well-defined, for animation purpose of course
Really amazing, especially considering only 9 mins of rendering, that is a big, very detailed render.
thanks Jon,
well, carrara works fine with baked maps and a fast SSD + a lot of RAM can make the difference in terms of render speed
moreover my rig is AO based as you can see in the following wip, and carrara is very fast if you use it with low ambient and sky lighting, in my experience; if the baked maps are well-defined you can get a photorealistic render quickly
the following wip took less than 10 minutes at 4800x, many maps need to be adjusted in pre-work