Daz 3D is part of 
Connect
DAZ Productions, Inc.
7533 S Center View Ct #4664
West Jordan, UT 84084
Licensing Agreement | Terms of Service | Privacy Policy | EULA
© 2024 Daz Productions Inc. All Rights Reserved.
Comments
Which is why there will be big changes in that regard in the coming build. I've basically decide to retune the default (custom) AS ramp again. Now it sits somewhere between GGX and Cook-Torrance. Energy conservation (plus exposure) for diffuse have also been completely revamped.
Ah that's nice to hear:)
So I took the light set up from my AlKair scene, the sun emitter, a dual environment with a png, basically a one emitter set. Made the emitter even bigger for a really soft (evening)light. The mountainprop uses the environmental shader with a small amount of bluish ambience, shadows enabled, and is positioned to partly obscure the emitter. Also added a white primitive plane outside the camera for bounce light.
The skin is my take on Vanilla Sky with my default pale skin preset applied. No coat layer.
Sorry about the fireflies, no postwork, should have used 4.7:(
Same set, but turned on occlusion for the mountain and rotated it to obscure some more of the emitter, interesting difference:)
It's not; nobody's saying it is. It's all utility.
You won't be taking an artistic photo using a beauty blogger lighting rig, will you? It's all uniform, flat, in-your-face setup. But that unflattering rig works for minute detail control when applying makeup. And when you're done, you can move into the photo room and go on and create shape and contrast via well-aimed keylight, bounce cards etc.
Everything has a purpose.
As compared to a lot of guys out there in the DSverse, you do.
You're welcome.
Context is one thing; a model in a vacuum is another. It's all from the real world crafts: when you are making something, you use dedicated lighting so as to see what you're doing. And a different light setup to photograph the finished item in the best way.
Bouncing to RIB every time does eat at efficiency. But... You don't really need to test-render at hi-res though, do you? As-is, these renders seem to imply you're setting up your candlelit scene ambience (the final, artistic part), not the wall/glass/whatever materials. They're all in twilight basically. And far away from the camera.
If you used bright direct light and focused the camera so as to fill the view with like a 10x10 inch wall fragment, you could quickly iterate via under 1000 px renders. Just need to figure out where the different materials are in the room and concentrate on a sample patch of each at a time. Then you could copy and paste the results to wherever the same materials pop up.
Again, it's all the same as IRL. We choose paint, wallpaper, stucco, whatever, under controlled lights that help us see colour shades and textures. And then we select light fixtures to get the atmosphere we want.
...and lighting for living is vastly different than lighting for photos!
// signed: Kettu, the renovation demon
Played around with the polyshape settings on the emitter, placed it in front of the mountains and turned on camera visibility. Sorry just a quick progressive one...
...and The Great Educator
True
I sometimes run scripted render from Ds, for quick tests at about 900x900 size - as long as progressive is on, it's not too slow, maybe a third longer to render than standalone.
As is, the glass I started fiddling with while reshading the Gypsy caravans to save as an AWE sorted scene-subset - most have stained glass type windows, and I thought I had the glass sort of right across all material sets for both until I tried the same saved shader settings on the Ballroom glass and found them wanting on a larger canvas (or rather, window).
Ok I have to rant some...not awe related though. It's unbelievable how many sets I own that come with so called 3DL presets, meaning the vendor made a couple of sloppy diffuse textures with baked in AO, plopped them into the diffuse color slot of the Dz default shader, plopped the same textures into bump strength, set bump- and diffuse strength to 100 and called it a day.
Blaming nobody but myself though, I thought I always CAREFULLY read the description when considering buying something, will have to step up my game some more, obviously.
Houston, looks like we have some problems!
I spent hours and hours trying to make a wet beach with a smooth reflective gradient but no cigar, so made this simple test: A plane with no diffuse, just a black to white gradient in the metalness slot, works as expected. Same map also in the specular strength slot, not so much. What's going on here?
Lighting: one light emitter for the specular highlight and the environment with a png image.
Metalness:
Metalness and specular strength:
Only specular strength, no metalness:
Roughness works as expected:
The coat layer doesn't seem to accept gradients, just like the regular specular lobes. Base thinfilm thickness seems to totally ignore any kind of map.
Found a nice way to utilize those PBR AO maps
. Works well for coat thickness when inverted, with a dark coat color. Coat thickness 1.3, used a bit of rough coat reflection with a roughness map. Makes it more gritty.
Btw, I used displacement here on a 1 poly plane, amazing how 3DL handles microdisplacement;)
Re render at double size and samples, nonprogressive, still just one emitter and a diffuse plane, no postwork...
Back to the Gypsy content - Interiors
Romany Charms
V4 in Gypsy Love outfit is Sv7 Jenny skin with Vanilla Skye in coat - same config as last as loaded from skin preset - funny how she looks more dusky here - not at all intentional, but she looks so suitable I left her as is.
Wondering and pondering how to make the hands and fingers rougher. Can math be trusted? I use a roughness map on the face, based on a white main layer with darker areas being less rough. Would it work to start from a mid gray layer, paint lighter areas on the hands, and double the roughness slider value?
Wow nice!
Ok had to find out, and seems to work. Left mirror with 15% roughness, right with 30% and a mid gray roughness map.
Seems like I've already fixed those.
Thin film thickness
Coat Thickness.
Thanks for the feedback. Let me know if there's anything else.
I like this, looks like a nice bit of atmospherics.
Romany Charms - incabin - I keep finding surfaces I either missed conversion on or need face-forward on
- Thought I'd saved a great milcat preset, so merged it in and immediately went for a large render, but the kitty looked like a porcelain figurine coated in saliva.
- Still not satisfied with the skirt - always seem to be battling a wet leather result in cloth conversion
- Tried to adapt the mirror settings for iray to awe (reflective and coat) for the hand mirror.
Ah ok, tks, and you're welcome;)Actually I have another random thing...did you ever consider implementing opacity color? Maybe a nice hack for oldschool colored glass and such?
Yes it's a nice cheat, while waiting for aweVolume
Happens:) Sometimes it's easiest to just select all, apply aweSurface and go from there...
Really? I thought you did a great job here. Nothing of course beats strandbased/Garibaldi hair.
That may also be due to the lighting, if you use spots and such? What I do is play with spec roughness, glossy fresnel roughness, and bump/displacement strength, too little will make highlights more distinct, too much will possibly cause more noise and other artefacts. Also diffuse roughness. Silk obviously needs more than leather.
Actually, just apply the chrome preset, turn off diffuse or use a small number, set reflective roughness to 0%. Strength to 100 and no anisotropy. Adjust the reflection color to almost pure white. For a colored mirror effect tint the reflection color a tad. That's the easy part, the tricky one is to get the optimal angle:))
Well done, I like that:)
ETA: Couldn't help myself...if you'd use AweHair you could just delete all (hairrelated) diffuse textures and get rid of those baked in highlight. This I find SO useful when attempting to salvage those old hairmodels. I also got myself a nice pack of hair tiled textures from Sickelyield, best buy ever. Numerous grayscale and normalmaps, so basically I just use the original opacity map(s) and replace or delete everything else. Big thanks to Kettu and wowie who patiently pointed this out to me:))
I do - maybe it's the folded tree, but it seems to miss surfaces.
Ah, it was only a matter of dialling down specular 2 a good bit, applying glass to the eye surface and changing IOT to 1.33. But I was sure I saved the finished preset from the Maddie Labyrinth image.
Of course, but I've not gotten around too doing too much in the various hair systems - I found strand based dificult to map, and lamh a little unpredictable - using DestinysGarden Fur flocking bumpmap/displacement on the catfur here, minimal messing about with the stretch pose, and I think I got away without having to do any dforming on the duvet.
shader conversion 3DL to Iray and 3DL to awe seems to result in maxxed out specular - usually, dropping those is enough - I'll try a little dickering with diffuse roughness.
Sounds interesting - I've been using Awe Base Hair preset 2 almost exclusively - increase diffuse strength, spec 1 at 13% 18% and spec 2 at 14% 24%
Just updated Awe from Wowies repo (well, ones I downloaded a month or two ago and have been sitting in downloads folder since.
Not sure Awe Hair is a single preset with no icon file?
I'm getting weird results she's supposed to be a brunette...
Yes you apply AWE Hair, delete the diffuse textures (or keep them), and fiddle with hair color hair color intensity, (try setting color to mid gray and intensity to 50), add melanine or red melanine.
ETA: Just bear in mind that this is what wowie calls a preview, I've seen him mentioning all kinds of improvements over the last few pages:) I'm also positive that wowie has reworked the new aweSurface build significantly, we'll just have to wait and see.
AWE Hair is a different shader. I don't think I've made presets for it.
The default melanin/red melanin values will give you blond hair. For brunette, raise the melanin value. A combo of higher melanin/red melanin values will produce a reddish color. For dark/brown/black hair, just dial back on the hair color strength.
Admittedly, the shader is a work in progress.
Cheers for that Wowie
I'd already fiddled around and managed to get dark hair - minimised the speculars, dialed up the melanin, droped the strength a touch...
Svens couple of references to an 'intensity' value misled me a little
.
I did pose the shader a bit of a challenge - wildbraids hair always gives me grief. Still is, that hairline looks detached, like she's in a wig....
Really sorry, wasn't at my DS computer at the time.
You sure the cap is visible, or did you lose the opacitymap?
And to reduce grain you need to dial up aweHair irradiance samples to 512 or 1024, and preferrably use nonprogressive mode;)
Well it looks odd, don't have that hair so hope you sort it out.
S,OK. Just confused me a little - went searching for a field with 'intensity' in, but there wasn't one. Figured it was probabaly misremembered, weren't on DS or running a render.
It only has two surfaces, the hair and the tail bit beyond the beads at the end of the two braids. It has two transmaps, a thick one for the hair and a thin one for the tail. It's an old hair.
I almost never use nonprogressive - it's three quarters slower, even on the standalone engine, for (usually) a very tiny quality difference.
I'd be surprised if there weren't a few problems with it, it's my first time using the shader preset.
Maybe use a cap from some other hair would work? Btw, AweHair likes SubD, can produce black blotches at base resolution.
Cleared scene since though - I'll come back to it in a little while.
Working on a bedraggled kitty at the mo