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I do not have the morph packs yet but trying to get it as I can. Thanks for the suggestions
Most likely commercial release of she is good enough.
Genesis with Macro Skin and a bunch of tweaks (ethnic, LAMH style I did, and so on).
Skin was basically just darkened. The limitation of this approach is that it tends to mute small color details, but that's more than made up by the other details.
I picked up Adrienne G3F from Rendo and finally got around to using her. I have to admit, I like that she's not a pretty young thing, although I suspect that will severely limit her sales potential.
(And I really INTENSELY hate the way the new forum handles images and attachments. Or rather, doesn't handle them.)
Understood when I start working on her I will show wips.
Alisha Revisited
That's incredible. Kudos, JV.
wow jvrender !
I gripe to myself constantly about scenes being underlit in the gallery, so of course, here I go posting a dimly-lit scene. I was concentrating on fiddling with SSS, and now that I look at it, the skin could use a hint of gloss. I'm semi-happy with it, but pointers and criticism are appreciated.
Here is my first serious attempt at a darker skin, made for the new user contes July with the topic portrait she is a Grace for Victoria 4.2 with a the darker skin tone and self dialed features, so nothing really new. I added a ubersurface to her skin to get the velvet shine and darkened the irises, no makeup option.
Basic Iray tip: Dark skin needs less translucency, be very sparing with the color changes since a small hue or saturation change can magnify a lot. Good bump/normal/displacement maps help a lot, too.
Yes, one of the things I've discovered is that darker textures are wildly more sensitive to translucency and SSS settings -- which is so far from making sense that it almost goes out the other side to be anti-sensical.
Also, as long as you're dealing with a figure in isolation, or a group with medium to darker textures, you can back off one to two F-Stops. The default in Studio's Iray settings is 8; you can pull that down to 7 or 6, maybe even 5 depending on lighting. You also can pull the shutter speed down to 96, 64 or 32 from the default 128 -- slower shutter speeds let in more light. That said, Studio's settings are designed for bright outdoor lighting, so if that's what you've got, you may want to tinker carefully; otherwise, you want to set the Iray Tone Mapping settings to allow more light to be received by the camera. (For these purposes, ignore the F-stop setting on the camera on the Studio side settings. That only activates properly when you're using depth of field, and it's doing something quite different. Don't ask me what; all I know is that it has three digit settings, whereas the Iray F-Stop settings are one to two digits.)
Depending on your lighting model, another thing to consider is adding a weak mesh light in places where it can act as a fill. A weak spotlight might work as well, but it tends to be more harsh and direct than a mesh light. I sometimes also use a weak HDR as a fill, with environment strength set to .5 or lower. You may not want your fill so strong that it knocks out your shadows, but it can add detail in places that you don't mean to have shadowed.
One thing I ran across somewhere noted that if you have a relatively fair person and a relatively dark person in the same shot, you should resign yourself to doing some postwork, maybe layering and color correction of some sort. Chances are good that lighting for the darker person will blow out the lighter, and lighitng for the lighter person may make the darker person too dark to work with; the general opinion seemed to be that it works better to light for the darker person, because pulling out overblown highlights is easier than correcting for detail that wasn't captured in the first place because the camera couldn't see it.
It's also worth looking up and at least skimming real world issues with photographing black people.
It's a long-running and very real problem, that shows systemic racism and other fun stuff. Basically, the fundamentals of photographing people can vary wildly depending on skin tone. So ... it's not just us having a problem.
Reworked Rob.
3delight, 7 min. Raw render, no postwork.
Here's a '70s style hair style I did to help someone along in a past Carrara render challenge.
The WIP is here:
http://www.daz3d.com/forums/discussion/comment/629734/#Comment_629734
The hairstyle is made with Carrara's dynamic hair system, so it is strictly Carrara only. If you want it, here's the dropbox link:
https://dl.dropboxusercontent.com/u/7370483/Afro.car.zip
That looks terrific. I can't quite hit that mark. I either wind up with too plastic/oily, or too matte.
Evil, are the settings the same on head and body? There seems to be a distinct line and material difference at the neck.
Beautiful, Wowie.
Good question.
The line might be an unfortunate shadow artifact from my lighting. Fortunately, this is one of those instances were I know where the scene file is located as I came across it the other day, which put it into my mind when I came across this thread.
Specular strength was set to 75% (with maps). The fresnel was 75%, so actual specular would be around 18.75%. Without maps, specular strength would be 10% and actual specular (minus the fresnel) would be around 2.5%. That's pretty close to values used for physically based rendering. Figuring out the glossiness and fresnel falloff values/sharpness was quite hard though. You basically need to use low specular glossiness and control the actual glossiness via the fresnel controls.
Btw, if the above sounds like rocket science, don't worry.
Thanks Cris. Btw, I actually ended up doing that night light setup after all.
Well, technically, it's an indoor light setup, but it can also be used for night time scenes.
Well, I reopened the scene and checked the shader settings and they are identical across the different domains, such as face, torso, limbs, etc. I believe I have narrowed it down to a light. I'm rendering with soft shadows to see if that eliminates it.
Here's an updated render. While checking out the shaders, I took the opportunity to adjust the bump and and highlight/shininess a bit. I also added soft shadows to two of the lights that I suspected were causing the shadow artifact.
No, that was very helpful, ty!
Great thread; could use a similar one for Japanese, and other asian types, although I'm mainly after Japanese.
I already tend to be behind with this one but it wouldn't hurt for someone else to make threads for other ethnicities. Biggest difficulty is getting started since a lot of stuff isn't searchable if you don't already know about it.
Updated the list again. We've now got our second black G3F female and the first one here in the Daz store.
I'll be starting in on Ipsa in the near future, now that Rumiko's nearly done. Not black so much as Indian, she'll be on the darker side of that spectrum. Probably work her alongside Joy. Then back to the Japanese girls. There's a lot more of them after all ;)
Wow, your guy looks a lot like Will Smith! Great face morph.
Does Kelly count?
http://www.daz3d.com/kelly-for-victoria-7