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I know that a lot of folks don't really care for silent tutorial videos, but I really enjoy Marcelo's work. Aside from the great articles and amazing images, his tutorials were one of my big draws into Carrara Cafe. He has, like, a whole Carrara user manual worth of video tutorials... I'd love to meet that guy one day. He's helped me in many, many ways!
Sort of and not really.
The sunbeams introduced in C8 were the first real volumetric light effect in Carrara if I recall correctly.
To actually get a better looking light beam, try using real volumetric clouds. It may take a bit of tweaking to get the level of opacity correct, but I guarantee it will not blow out the background like the light cone will. It will also render faster than the light cone if you have shadows and light through transparency enabled.
All that being said, I do like the light cone for some things, but it's like the 3D aura, there are limitations, and once you figure out how to work around them, it can be very effective.
Here's an example of using volumetric clouds to simulate light rays in C7.2 Pro. Not sunbeams as in Godrays, but more of a light cone effect. This was not the best scene to do this with as there are to many bright areas, but I was working on it and wanted to test the scale of the scene.
The cloud is a cube shape with a brightness of 100 and a white color. The translucencey is set to 15%, the shadows are set to good and the shadow intensity is 100%.
I used a single sunlight set to 200% with soft shadows set at a radius of 25ft. I rendered using the Skylight GI function. Scene ambient light was set to 0%.
As I mentioned, I would have a more visible effect if I had more dark areas to contrast with the light shining through the cloud. However, the large center shadow creates a shadow in the cloud towards the center of the image. You can also see some subtle effects on the right side of the image in the darker areas.
This scene doesn't really benefit greatly from using volumetrics as opposed to the light cone, except for the more realistic light angle. The real advantage is when a light cone is shining through a transparent object. Those calculations can take forever.
NEVER!!!! :bug: :snake:
It's light cones. I was told they were volumetric, so that's what i was going by.
The problem is that I didn't want any fall off, since the light is basically coming through holes in the windows, so there's nothing to impede it (the remaining glass is so encrusted with grime that I just treated it as opaque, so turned light through transparency off). The light has come 96 million miles, it's not going to stop in the last 50 feet with no barriers! But having rays coming through all three windows was so intense that you could barely make out anything of the underlying image. Reducing the effect through drop off, just made it look weedy IMHO.
I reduced the fan effect, simply by playing with distance and spread angles. (okay, you can still see the beams are not parallel, but at one time it was much worse)
My latest attempt
i think fade is good for some things - light through water for instance. But after 96 million miles of space and 100 miles of oblique atmosphere, it's not going to be much bothered by 50ft of air inside a building. IMHO ;)
I wanted Gabi to be an outsider, intruding on a scene where she doesn't belong, if you like, and adding an element of tension/something not quite right. I kept her in the shadows, and used a small, focussed spot from off camera left. It could be that there's a second person, unseen, holding a torch... But I think the white light cutting across the main sunbeams serves to detach her from the rest of the scene, which is what I was after. Of course that may not work and I fully accept that (just trying stuff out and learning after all...) :)
If I'd used yellow light, it would have had to be congruent with the main lighting, which would effectively have put her in silhouette, and I don't think that would work particularly (I didn't actually try it though)
There's a story there, and I can't help feeling it has something to do with an illicit rendezvous and a hurried exit...
Nice touch with the DoF, and the strong contrast. And the skewed camera angle adds to the hurried feeling. I like it. :)
Here's a fun experiment with Refraction:
The orb is a simple primitive sphere and I simply added the Green Clear glass shader that comes with Carrara. I also have some lights linked specifically to just the orb, as I wanted it to really stand out. This render uses GC = 2.2, Good AA, 0.5 accuracy for both objects and shadow, Sun Light and IL turned on, Caustics turned on at default values.
Hi all :)
I don't normally do much in the way of rendering - this one has a bit of a story behind it. It tries to depict a fishing village down the coast, which is somewhat of a National Treasure; it is probably the most water-colour painted scene in the country and virtually every home has a print or two of it.
My friend has painted it a lot and challenged me to produce a version in CG. So, I'd really appreciate some c and c from you pro's before I show it to her :)
Technical details - 1 sky light at 170%, 2 light spots confined to the foreground group. Rendered with "good" soft shadows, "good" lighting, ambient occlusion. Rendered at 1600 X 900 and reduced to 800 X 450 for the forum. In the old Anim8or tradition, everything in the scene, bar the figures which are MakeHuman for the low poly count, was made by me:)
good job - but the clouds don't look right ( to 3d ) if you want a painting look
great job Roygee, wonderful how you modelled everything!
c and c?
you have great lead in with the boat,
Oh I read recently how you should crop until all you have is the interesting parts.
So with that in mind
With this one I would crop it quite a lot.
So a vertical line just to the rightt of the oars, take it to almost the rhs of that left hand chimeny
then on the rhs of the image I'd crop uot the right hand building all the way to that distant figure.
That buildling is not doing anything and there's a lot of nothing in the foreground near it.
If you do that then you will have the essence of your composition and all those bright colours will be more evenly scattered around the work
er maybe like this ?? apologies for working on your image if you go with this the woman will need to be moved to the left a bit as she is now dead centre
some smoke maybe in chimneys?
Oh wow I love those cottages. What did you make those in?
Thanks - I really appreciate the comment:)
Bigh - if you meant to say the clouds are TOO 3D, I'm happy that I got them to work! Yes, I'll be going for a water-colour look and am frantically studying up on how to do that in Gimp. That will blur out the clouds somewhat, which in retrospect I think tend to overwhelm the picture. So your comment is on the nail.
headwax - very insightful and you are correct. I never intended to make the family group the focal point, but now that you mention it...What I now intend doing is to make a separate pic of them by pulling in the focus, instead of cropping and take your advice on board. Maybe bring that one building closer and put something in front to take up the blank space?
Chohole - thank you:) All made in Hexagon, as always. I'll put a cottage up on my ShareCG account if anyone wants it.
I'm going to try to make a Bryce version of the pic, once I can get clear on some things that I find difficult to in Bryce - if only it had a split-screen function, it would make placing models so much simpler :)
Thank you for your help - I was more worried about the lighting, but seeing as no-one mentioned it, maybe it is OK?
Ooh please.
Edited to add BTW, where is that little village. looks sort of familiar but not sure.
I can't really offer any c&c to what's been given.
BTW, If you want to post larger images to the forum you can have a 2000 pixel max if you want. The file size is they allow is very large as well.
The name of the place is Arniston https://www.google.co.za/search?q=fisherman's+houses+-+arniston&sa=X&es_sm=122&tbm=isch&tbo=u&source=univ&ei=SztlU77gLIyf7AaK6YFo&ved=0CFoQ7Ak&biw=1024&bih=643
Unfortunately, most of the pictures you get to see on the net are upscaled imitation tourist accommodations a few K's from the actual village.
I'll upload first thing in the morning and post the link.
Thanks Dart - and for the tip, EP :)
Thanks for that link Roy. Completely the wrong part of the globe to the ones I was thinking off, but does show how similar they can be
http://fineartamerica.com/images-medium/irish-cottage-james-anderson.jpg
@Roygee
If you are looking for a quick way to turn your image into watercolour, I can recommend (the free) fotosketcher.
http://www.fotosketcher.com/
It can transform images in many other different ways and I have had a lot of fun with it - especially with some of the Bryce renders I've done.
To all: Great renders in the thread!
I spend a couple of hours getting this image setup and render. Victoria 6 with Dynamic Hair, Carrara Skin Shaders and the Sci-Fi Siren Outfit also with Carrara Shaders.
Looks really cool! Dogwaffle is also really good for this. There are some of the automated filter methods, but also a whole slew of particle brushes, the one's that I really like for turning renders into paintings are Bristle brushes set to add no new colors, but the bristle patterns work with the pixels already there to create a really nice 'painting' effect, which gives an enormous amount of control, since you can change all manner of parameters, and stroke only where you want with the brush currently set up. Man it was hard to word all of that! Then there's the Orbicles, which are orbiting 3d particles that grab the pixel that they hit, when their 3d motion comes into contact with the 2d image, completes it's three dimensional orbit and paints it down again wherever it hits again, as it picks up the pixel that it just replaced, and so on. Like all of the particle brushes, these have many parameters and patterns to choose from, as well as the ability to either add no additional color along the way, or to add a selected color according to such settings. The bristle brushes can also add color if you ask them to.
In Howler 9.2, which was recently released, many of the effects filters have now gained an "Animate" button, allowing us to add whatever effect across all frames of an animation, which is very sweet. When I first became a beta tester, one of the official releases was days away. I said that I'm not requesting this for the current development, but would love to see "Oilify" added to the timeline, which allows keyframed changes of its filters across animations. The next day Oilify was in the timeline, and the new beta version was released to us to try it! How sweet is that?!!!
Here's an example of a render that has been Oilified:
Love the hair, love the skin shaders, love the outfit, love the outfit shaders! Coffee and Cookies for you!!!
Love the hair, love the skin shaders, love the outfit, love the outfit shaders! Coffee and Cookies for you!!!
Dartanbeck,
I love coffee and Cookies!!!!
Thank you! ;-)
Thanks for the coffee and cookies, Dart - I've just woken up starving, so they''ll hit the spot:)
I have a demo copy of Dogwaffle - must install and try it out.
Thank you for the recommendation, Marcus Serverus - I did see it while searching, but am a bit leery of downloading freebies without a recommendation - some of them contain some ugly stuff.
Great render, Ringo - looks like a high-quality foto:)
Here is the link for the cottage - http://www.sharecg.com/v/75916/view/5/3D-Model/Fishermans-Cottage
Feel free to help yourself to my other models :)
Hmm that's a nice render Ringo, very nice, congrats.
reminds me a little of a pre raphaelite model ,
Looks really cool! Dogwaffle is also really good for this. There are some of the automated filter methods, but also a whole slew of particle brushes, the one's that I really like for turning renders into paintings are Bristle brushes set to add no new colors, but the bristle patterns work with the pixels already there to create a really nice 'painting' effect, which gives an enormous amount of control, since you can change all manner of parameters, and stroke only where you want with the brush currently set up. Man it was hard to word all of that! Then there's the Orbicles, which are orbiting 3d particles that grab the pixel that they hit, when their 3d motion comes into contact with the 2d image, completes it's three dimensional orbit and paints it down again wherever it hits again, as it picks up the pixel that it just replaced, and so on. Like all of the particle brushes, these have many parameters and patterns to choose from, as well as the ability to either add no additional color along the way, or to add a selected color according to such settings. The bristle brushes can also add color if you ask them to.
In Howler 9.2, which was recently released, many of the effects filters have now gained an "Animate" button, allowing us to add whatever effect across all frames of an animation, which is very sweet. When I first became a beta tester, one of the official releases was days away. I said that I'm not requesting this for the current development, but would love to see "Oilify" added to the timeline, which allows keyframed changes of its filters across animations. The next day Oilify was in the timeline, and the new beta version was released to us to try it! How sweet is that?!!!
Here's an example of a render that has been Oilified:
dart, you have more than one book in you, time to start and finish one eh?
@dartanbeck
Thanks for putting the fotosketcher link in the free software thread.
The render you showed with oilify is lovely. The whole look it has - the ground, vegetation, atmosphere ...
It always amazes me (when I see that and other people's brilliant renders) how anyone can start with the blue-grey Carrara Assembly Room and end up creating an outdoor world with late-summer lighting, etc.
@roygee
I understand your being wary - I've found no problems with the software and have had it for many months, so hopefully all OK.