Post Your Renders - Happy New Year yall
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Very nice atmospheric one MDO2010
Wow, very very realistic stringtheory, is this Octane or Carrara native (or something else)?
joeping, I love this render!
Wow, very very realistic stringtheory, is this Octane or Carrara native (or something else)?
Thanks Jonstark, no it's basic Carrara lighting. For animation purposes I'm trying to get that Octane look in the native renderer without using any kind of GI.
Thanks for the kind words and encouragement.
View the animation at http://youtu.be/KpKP8EupEMI
This an animation experiment using the Licorne 18th century corvette in Carrara 8.5 Pro with the surface replicator. I tried using the flame object to create the ships wake and added some subtle waves and motion to the ships in the background.
stringtheory9 - great experiment, very lifelike
Joeping......always an inspiration! Really nice.
Thanks Jonstark, no it's basic Carrara lighting. For animation purposes I'm trying to get that Octane look in the native renderer without using any kind of GI.
I wonder how you got it to render that way....anything special one could learn from?
Very cool Joe!
Very cool Joe!
+1
+1
Ditto - very cool animation. That ship really looks like it's moving at some serious speed. :)
My plans for the day were cancelled by snow so I've been playing with skin shaders.
I took apart RingoMonfort's "DP Aiko 6 Carrara Shaders" http://www.daz3d.com/dp-aiko-6-carrara-shaders to see how they worked and combined his techniques and settings with some tips on skin and eyes from one of PhilW's ubiquitously-mentioned videos to try and convert the base Belle 6 texture to Carrara. Attached is the result after much tinkering.
I'm not sure about how the eyes came out - I've been staring at renders of them with subtle variations for a couple hours and I can't tell anymore, so any feedback would be appreciated. :)
Mark
EDIT: Added one more render - same settings for everything, I just took out one light and switched the HDRI to one that is more colorful and less evenly lit. You can see the bump a bit better in this one, although I think the light quality is introducing some artifacts.
Thanks Jonstark, no it's basic Carrara lighting. For animation purposes I'm trying to get that Octane look in the native renderer without using any kind of GI.
I wonder how you got it to render that way....anything special one could learn from?
DADA_universe, I'm not really doing anything new. Mostly just combining a few things that the community has already shared.
There are a number of things that I am aware of at this point that contribute to the realism of an item when it comes to lighting. These being the texture covering the item, the surface properties such as bump and critically, how light interacts with that surface. The latter is the most difficult, in my book, to achieve.
Analyzing reference images and my own (non GI and GI) renders made me realize that the biggest difference was in how lighting influenced the look of the shadowed areas and secondly the brighter areas. A low number of lights with high intensities essentially washed out the underlying textures. Deep shadows looked unclear and under saturated while bright areas lost texture detail when oblique with respect to the lighting and the camera.
This is in no way fine tuned or perfected at this point. I made a light "dish" at fairly close proximity to the model. I replicated a bunch of spots on it. I think there may be more than needed in the example image. I set the brightness to 1% and changed the color a little. Under the Effects tab for the replicated spotlight I set the shadow type to Shadow Buffer. To bring out the detail in the shadows I set the ambient light to 8% with a deep red color. Doing all this achieved what I wanted in terms of keeping the clarity of the texture regardless of amount of light hitting the surface.
The next aspect was to get the bump surface to do what I wanted. To simulate a blurry reflection sheen I used a mixer to mix a cellular bump in with the default bump texture that came with the model. I set the scale as small as possible because I didn't want to add bump with it but only to break up/blur the highlights. the rest was just minimal tweaking of color and lighting values.
It's far from perfect but I'm not going for perfect. My goal is the most realistic lighting (indoor night) in the shortest amount of render time for animation. Unfortunately a morph injection mishap somewhere along the way left her with eyeballs that were too small for her head so... yeah, that's a thing.
The eyes do look a bit dark. Could be because of the lighting.
I take it you're using an HDRI and the Skylight in the render room? Are also using Indirect Light?
My preference, is that if I'm using an HDRI, I will still use a low intensity spot light to provide highlights as I find that many HDRIs provide a very diffuse light. If it's a studio style light set-up, then I may use a three point light set-up with the lights set to a lower intensity than I would use if I weren't using and HDRI.
If you're only using the Skylight, and you're still having trouble lighting the eyes, you could go into the Texture room and copy the Iris and Sclera image maps from the color channel and paste them into the glow channel, then set the intensity slider below the thumbnail to around 10% or so.
To get a highlight on the eyes, you can put either a light or a glowing object behind the camera or slightly off to the side to get a reflection. If you use the light, I find that the 3D Light sphere can help.
The eyes do look a bit dark. Could be because of the lighting.
I take it you're using an HDRI and the Skylight in the render room? Are also using Indirect Light?
My preference, is that if I'm using an HDRI, I will still use a low intensity spot light to provide highlights as I find that many HDRIs provide a very diffuse light. If it's a studio style light set-up, then I may use a three point light set-up with the lights set to a lower intensity than I would use if I weren't using and HDRI.
If you're only using the Skylight, and you're still having trouble lighting the eyes, you could go into the Texture room and copy the Iris and Sclera image maps from the color channel and paste them into the glow channel, then set the intensity slider below the thumbnail to around 10% or so.
To get a highlight on the eyes, you can put either a light or a glowing object behind the camera or slightly off to the side to get a reflection. If you use the light, I find that the 3D Light sphere can help.
Thanks evilproducer.
I'm using an HDRI with Skylight in the render room and a single bulb light (there were two bulb lights in the lighter render but I didn't like the way it washed out the bump map details). I am not using Indirect Lighting.
I like the glow trick - that would not have occurred to me. It's a really fine line on the intensity of the effect - I ended up going down to about 2%, 10% was way too much with the current lighting. I think I will use 2-4% depending on the rest of the lights in the scene.
Thanks,
Mark
Yeah, it's all scene dependent.
I think in your scene, you could use a shape light behind the camera- maybe a ring light set to maybe a 3 foot diameter or less. That would give a nice reflection in the eyes I think.The light could be low, at around 50% or less and a warmish color (unless you want a cold look). To start, I would lower the range, set a 20% fall-off, and since this is a shape light, change the fall-off from linear to distance squared. If the light appears to "head-on" move it to the left or right so that one side of the face is lit and the other shadowed. If you use soft shadows, set the radius to the size of the light.
These eyes (in the first image) are really brighter than they need to be, but I really wanted to see them. I also applied the same glow channel technique to the skin, although if you have a spec map you can multiply the grayscale map with the color map and adjust the instensity sliders up or down to get the disred effect. It's a pretty quick way to fake SSS.
The best way to fake SSS is if you have an SSS type map, like some of the Elite textures have. I noticed there seem to be a grayscale map and a color map. Use them both in the glow channel with a multiplier. I did this with the wet V4. I dialed down the brightness of the color map and grayscale maps quite a bit, but you can see the effect nicely on the ear.
Couple of shots from an animation I'm working on.
I wonder how you got it to render that way....anything special one could learn from?
DADA_universe, I'm not really doing anything new. Mostly just combining a few things that the community has already shared.
There are a number of things that I am aware of at this point that contribute to the realism of an item when it comes to lighting. These being the texture covering the item, the surface properties such as bump and critically, how light interacts with that surface. The latter is the most difficult, in my book, to achieve.
Analyzing reference images and my own (non GI and GI) renders made me realize that the biggest difference was in how lighting influenced the look of the shadowed areas and secondly the brighter areas. A low number of lights with high intensities essentially washed out the underlying textures. Deep shadows looked unclear and under saturated while bright areas lost texture detail when oblique with respect to the lighting and the camera.
This is in no way fine tuned or perfected at this point. I made a light "dish" at fairly close proximity to the model. I replicated a bunch of spots on it. I think there may be more than needed in the example image. I set the brightness to 1% and changed the color a little. Under the Effects tab for the replicated spotlight I set the shadow type to Shadow Buffer. To bring out the detail in the shadows I set the ambient light to 8% with a deep red color. Doing all this achieved what I wanted in terms of keeping the clarity of the texture regardless of amount of light hitting the surface.
The next aspect was to get the bump surface to do what I wanted. To simulate a blurry reflection sheen I used a mixer to mix a cellular bump in with the default bump texture that came with the model. I set the scale as small as possible because I didn't want to add bump with it but only to break up/blur the highlights. the rest was just minimal tweaking of color and lighting values.
It's far from perfect but I'm not going for perfect. My goal is the most realistic lighting (indoor night) in the shortest amount of render time for animation. Unfortunately a morph injection mishap somewhere along the way left her with eyeballs that were too small for her head so... yeah, that's a thing.
Thanks a lot for taking time to explain your approach, this will sure come in handy soon.
This one is a sample of what is coming out in just a few more hours.
I wonder how you got it to render that way....anything special one could learn from?
DADA_universe, I'm not really doing anything new. Mostly just combining a few things that the community has already shared.
There are a number of things that I am aware of at this point that contribute to the realism of an item when it comes to lighting. These being the texture covering the item, the surface properties such as bump and critically, how light interacts with that surface. The latter is the most difficult, in my book, to achieve.
Analyzing reference images and my own (non GI and GI) renders made me realize that the biggest difference was in how lighting influenced the look of the shadowed areas and secondly the brighter areas. A low number of lights with high intensities essentially washed out the underlying textures. Deep shadows looked unclear and under saturated while bright areas lost texture detail when oblique with respect to the lighting and the camera.
This is in no way fine tuned or perfected at this point. I made a light "dish" at fairly close proximity to the model. I replicated a bunch of spots on it. I think there may be more than needed in the example image. I set the brightness to 1% and changed the color a little. Under the Effects tab for the replicated spotlight I set the shadow type to Shadow Buffer. To bring out the detail in the shadows I set the ambient light to 8% with a deep red color. Doing all this achieved what I wanted in terms of keeping the clarity of the texture regardless of amount of light hitting the surface.
The next aspect was to get the bump surface to do what I wanted. To simulate a blurry reflection sheen I used a mixer to mix a cellular bump in with the default bump texture that came with the model. I set the scale as small as possible because I didn't want to add bump with it but only to break up/blur the highlights. the rest was just minimal tweaking of color and lighting values.
It's far from perfect but I'm not going for perfect. My goal is the most realistic lighting (indoor night) in the shortest amount of render time for animation. Unfortunately a morph injection mishap somewhere along the way left her with eyeballs that were too small for her head so... yeah, that's a thing.
Thanks a lot for taking time to explain your approach, this will sure come in handy soon.
DADA_universe, you are welcome. I hope it come in useful.
I wonder how you got it to render that way....anything special one could learn from?
DADA_universe, I'm not really doing anything new. Mostly just combining a few things that the community has already shared.
There are a number of things that I am aware of at this point that contribute to the realism of an item when it comes to lighting. These being the texture covering the item, the surface properties such as bump and critically, how light interacts with that surface. The latter is the most difficult, in my book, to achieve.
Analyzing reference images and my own (non GI and GI) renders made me realize that the biggest difference was in how lighting influenced the look of the shadowed areas and secondly the brighter areas. A low number of lights with high intensities essentially washed out the underlying textures. Deep shadows looked unclear and under saturated while bright areas lost texture detail when oblique with respect to the lighting and the camera.
This is in no way fine tuned or perfected at this point. I made a light "dish" at fairly close proximity to the model. I replicated a bunch of spots on it. I think there may be more than needed in the example image. I set the brightness to 1% and changed the color a little. Under the Effects tab for the replicated spotlight I set the shadow type to Shadow Buffer. To bring out the detail in the shadows I set the ambient light to 8% with a deep red color. Doing all this achieved what I wanted in terms of keeping the clarity of the texture regardless of amount of light hitting the surface.
The next aspect was to get the bump surface to do what I wanted. To simulate a blurry reflection sheen I used a mixer to mix a cellular bump in with the default bump texture that came with the model. I set the scale as small as possible because I didn't want to add bump with it but only to break up/blur the highlights. the rest was just minimal tweaking of color and lighting values.
It's far from perfect but I'm not going for perfect. My goal is the most realistic lighting (indoor night) in the shortest amount of render time for animation. Unfortunately a morph injection mishap somewhere along the way left her with eyeballs that were too small for her head so... yeah, that's a thing.
Very detailed explanation, and very interesting approach! I wanted to thank you for taking the time to give some background on your method, it makes me want to give it a try myself. Very nice result, very realistic; like I said I actually thought 'Octane?' at first. It's amazing what the native Carrara renderer is capable of, I actually think it may be one of the most accurate biased renderers available, better even than the high priced pro apps and nearly as realistic as an unbiased renderer in some cases.
Jonstark, thanks and you're welcome. I really like the native rendered. Speed has been my only concen but with this approach I am rendering 1200 by 900 images that look like the have been rendered with an unbiased rendered (to me), in under a minute on my slow Macbook (the image with no hair). I have to set up a lighting rig for my character and a different one for the rest of the scene but I actually like having that level of control between the character and scene lighting.
On a side note, I've just about worked out all of the issues with my faceshift to pz2 converter. Once I'm happy with it (which should be in the next few days if I don't get sidetracked as usual) I'll be uploading it to shareCG with a short tutorial on how to use it.
This is a render of a girl and a car. And a flat panel display thingy.
Don't ask me why, cuz I don't know. I had an old crappy scene, and my policy is to make old crappy scenes seem less crappy if possible.
Apparently in this case it wasn't possible.
But I like blue. :)
And girls with red flamenco gowns. :)
Nice one, Joe, I like it.
Playing around with modifiers - each "sculpture" is a vertex object, made up of three overlapping vertex cylinders, with various combinations of modifiers applied.
Mark
Wow, very nice !!! And your glass shaders turned out very well !!!
You have STYLE !!! :) :)
Thanks Joe.
BTW, I'm taking some general advice I believe you gave in another thread and am reading a "software agnostic" book about basic modeling techniques (Polygonal Modeling: Basic and Advanced Techniques by Mario Russo). :)
Great work, EP, BC, Ringo, Joe, and Mark. (Only going back within this page). I love seeing very different choices of subjects and approaches all in one place.
RE: books on general advice - I heartily agree with Joe on these topics, as I have so much to learn in general. But art aside, I never miss an opportunity to encourage people to get used reference books (cheap and still useful) in whatever they pursue. Some used art books sell for 1 penny (plus shipping and handling). I honestly think they are listed on Amazon by the shipping companies. Obviously be discriminating, but I can forgive a lot for the price of coffee and a bagel.
Will need to explore this one further:-
:coolsmile: