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I'll have to think and test for that question a bit. I remember having a similar issue with the dog furr in 3DL some time ago (the dog turned the eyes white, but I didn't have any human figures in that scene) my first suggestion out of the blue is to try and reapply the original materials on the humans and see if that holds (save and reopen).
@Kismet2012: Sorry it took so long to get back to you, real life has a way of getting in the way of things I want to do. I read your responses and did some work on the image, so to start: for Purgation, I used one of the load settings that have the lights turned off, I wanted more of an unused/abandoned feel to the building.
I added each of the lights one at a time so that I would be able to see what effect they would have as I put them in,but I did like you said you do and turned off the lights and went through them one at a time to see how they were and I ended up removing the rim light rig because it was not doing anything at all, I will have to play with it at a later time to see how to put it to best use. I also ended up removing the spotlight from the 22 caliber light, Thank you for the info on the emissive setting, I did originally change the shader on the lens to clear glass because I had the spotlight placed behind the lens, I like the results from that a lot more than the spotlight. I did change some of the settings on the rest of the lights as I went along as well, most of them I ended just reducing the intensity - I think the end result is much better than the first image, it is more in line with what I want for an end result.
I still need to play with the environment lights a little more, I want to try to get some ambient light like you would have on a clear night with a full moon.
So here is version 2 of my image.
Re: sinister feel
I think it was all those glowing red eyes in the background.
That is an ingenious solution to the light bleed. I never would have thought of that myself.
My laptop also tends to be dark when it comes to images. If you want to lighten the image slightly without adding more light you could try adjusting the Tone Map settings. They work very similar to a digital camera. Increasing the ISO from 100 to 200, 400, 800 etc will lighten the image.
Lighting is a tricky business. In some images I can get it right almost immediately and others are a real struggle.
Now I can "see" the light in her hand and recognize it as the flashlight you intended it to be.
dennisgray41
ok here is a quick screenshot woth the shadow settings in 3DL
I used a singles spot with raytraced shadow set to hard shadows. you can see a clear shadow behind my little sphere. This is a very dark setting so I would add two more lights with shadows set to soft for a setting like this
I hope this will help you
I was playing about last night, picking out stuff that comes with pro bundles that'd I'd never consider using (I render mostly SFF stuff) when it became all about light.
I can't use a lot of iray lights. I'm on a mac and the max I can use is 8. So, I use a lot of emissive light thrown from primitives.
Zoya1 was my first try and though I like the muted look, the front of her jumper is fairly flat.
So enter, Zoya 2. The outline of her shape is better lit with the 3 point system and I Iike the definition of the chair, but there's bits I miss from the first try.
To Photoshop!
These images, I know, can't count as entries really, as the postwork alters the light. I painted in the bits of shadow on the face that I wanted and filtered up the light.
@Kismet2012 - I finally got to working on my Victorian Parlor scene with Romina and the piano.
I thought I would try to make the piano reflect light, but I have no idea how to do it. There are so many selections and I don't know what their names mean. I watched the The Iray Uber Base Shader DAZ tutorial, but my head started to feel dizzy after a minute or two, due to so many terms I do not really understand. English not being my mother tongue certainly does not help here. I understand the literal basic meanings when translated to my language, but I have no idea what those terms mean in the "3d arts language", so to say.
I found out that the paino only has three surfaces to select from - wood, metal and keys. I cannot select only the top part of the wooden surface. I do know what shaders are, I have been using them for some simple recolouring of items. This appears to be something totally new and much more complex. I felt frustrated with the huge number of choices to select from when opening a surface menu, as they have no known meaning for me.
I am starting to feel this is way beyond my skills, linguistic and a technical alike. It is like learning a whole new language.
Thanks. I accidently switched to iray and my settings disappeared. shadows are on now but no shadows.
forgot the images
In the screenshot you attached you have the eye icon of the distant light closed which will cause the light to not be on. That is the light you show the shadow settings for. Now I don't know if that is how you rendered. Now I wonder which light is on in your render because that doesn't look like a single sporlight.
Not exactly sure what is going on here, but we will find out.
Try rendering again with the distant light on (with shadows) set the shadows for the spot as well if you didn't yet.
You can select your lights like a camera in the viewport view and with that place them, so the spot/distant light light up what you want. Remember that the distant light can't get closer to your scene but the spot can.
Last thing to possible look into is, if by some chance the items in your scene are set to not cast shadows. You would have to check for each single prop in the parameters tab, choose "display" and check if cast shadows is set to "On"
I hope we're getting there!
DAZ Studio is a really complex program. And adding in the fact English is not your native language does not help. Even for us English speakers DAZ Studio is sometimes an intimidating and frustrating program to master. Which is why we offer these monthly Challenges and try to break them down in smaller parts, hopefully building up the different skills as the year progresses.
However, as you, TrisValentine and others have discovered you sometimes run into aspects that need to be addressed that are not part of that month's challenge.
The surfaces tab does have a lot of different parts. I would suggest you focus on the glossy settings in the surfaces tab. Change 1 category at a time, ie: Glossy Weight and see what that does. When testing like this I tend to go to the extreme, ie: if Glossy Weight is a 0 I turn it up to 1. If your computer can handle it, having NVIDIA Iray on can be helpful. Otherwise you will need to render individual images, which can also be helpful since you can then compare before and after images.
In the case of the piano you are using I believe you need the wood surfaces. This will mean any changes you make will affect all the wood. You could also use Geometry Editor to separate the piano lid from the rest of the piano and then make your adjustments to the lid. There is a PDF tutorial in DS Creative Magazine, page 36. Or this video might be helpful.
This image was created using IBL Master and a HDRI Outdoor Forest background. The IBL Control was positioned on the left hand side of the man near his ear. I added a boost light pointing at the dog and the man as I wanted to light up his face. I would like to reduce the glossiness of the dog as I don't think it looks very natural. Any other feedback is welcome.
After a lot of trial and error (I remember why I decided to use 3 delight, This would take forever in Iray) I got a very little shadow in one place So I decided the surfaces were not good for casting shadows on. I decided to set up a scene with smooth surfaces. Shadow!
How does this look?
Unfortunately both characters are floating, they both look as if they are standing on top of the heather :) What are the settings for the Dome, in particular the ground?
That breed would have a glossy coat but I do agree with you it is a bit too much. The guy's pose looks good but the dog's toes need to be flat. Perhaps putting a plane underneath them so you make sure everything is flat then hide it when done.
Iray does take patience.
In your first image it looks like you turned the lights up quite high. Was that to get the shadows to show?
The 2nd image is looking promising.
That is looking quite good. One suggestion is to pull the camera back slightly. Her fingers look to be either clipped by the edge of the image or right at the edge.
Is there a way to convert 3delight lights to iray? I have 3delight product i want to use it in one of my challenge render but there are 100+ lights in it and i do not want to manually place new lights in thier place.
Edit: Stupid question
These lights just had photometrics turned off and i thought 3delight has separate lights.
No question is stupid, but good thing you found the answer already! You probably will have to dial up the photometric value a good deal to achieve soemthing that actually looks like light
glad you found the way after all. If you're used to Iray, 3delight has some learning curve, but remember this, one day you will use the tool because there is an option to actually turn shadows off :D
Very good starting point! I suggest you experimant a bit on different possibilities of the camera, the light direction and maybe try to get her shadow into the image.
Could you tell me about difference between a lower temperature light and yellow/orange color light?
Also difference between a simple color light and a primitive plane gel light?
Here i am lighting a scene and in first pic i used yellow colored emission and in second white emission but with 2700 temperature. I can't see much difference in color except temprature one has higher reflection on wall where arrow is pointing.
Oops. I posted this and one other to the wrong forum. Moderators feel free to delete!
Oops. I posted this and one other to the wrong forum. Moderators feel free to delete!
When you are using emissive surfaces, adding a color other than white affects how the light is rendered when it's in the camera frame. I've not done much experimenting with using color in the Color parameter when the light is out of frame.
I'll fire up the beast and do a few test renders for you.
Theory first: little reminder of your applied physics course :D
average daylight temperatures ranges from 3000 to 5500 with the lower ones being the evening and early morning sun and the 5800 you get around noon. A candle flame or a fire will emit light in the range between 2500 and 3000, an untapered neonlight about 4000.
Now maybe take a rel life spotlight with a light temperature 7000 and put a yellow filter in front of it, that's what happens when you change the colour of the emission in your settings.
With a colour filter in front of a real spotlight you filter out every other wavelenght of light except the one with the respective colour, so even with a strong light a lot of brightness gets lost.
while changing the light temperature you will still have a mix of different wavelenghts and a higher light intensity.
So as in real life you can try to fake a comely light with colour filters and it will look close to the "real" thing. But it will not be the same as human eyes have adapted to certain light settings and will receive the light different.
All this is not as extreme in DS as it is in reallife but Iray actually gives a close result, You can make a little experiment with a simple setup of a singe spheres and a simple plame which is made emissive, directed onto the sphere to reduce outside impact put it all into a huge cube. now put the settings of the plane to 3000 ^K and white and afterwards (to make it a bit more extreme put it to 6000 with a light orange tint and compare the resutls on the sphere, afterwards switch it around and have the plane white on 6000 and try it then on 3000°K with a light blue tint.
I hope this helps and is not too confusing
here is a link to the wiki page as well for further details: https://en.wikipedia.org/wiki/Color_temperature
edit to say, a gel light in principle works similar to a coloured light, there are some more options to manipulate though like changin the distance to the light source which will make is sharper or more blurry. also a gel light plane you can use several colours in one go
Thank you, i will look forward to it.
What i understood is that orange emission will omit orange colored wavelength from whole white color only which reduces limits its intensity to omitted color? and changing temprature to 1500 for orange tint will create a full white color light with high intensity having all full wavelengths of white color which is not limited to to one single color? like its compressing light or something? or i am wrong
i did the test like you said.
1 - 6500 orange
2 - 1500 white
3 - 2000 white
4 - 3000 white
5 - 6000 light orange
6 - 6000 white
7 - 3000 light blue
Edit - I don't know how colors look on other people's display cause i have very bright gaming monitor.
This question was just out of my curiosity.
this is not for challenge? they look very nice.
Edit: i have weird feeling like i have seen these pictures before.
Version D here, doing some tweeks to the table that my first two characters are seated at, (at least turning the chair that was blocking the view of the one that I added last time so that they're easier to see.) and adding a character walking away from said table. (I'm exparamented with face transfer to put myself in this one, though my hair isn't as thin as my digital counterpart it has started to thin out.)