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
Wow, great images so far and some great advice on adding content to figures.
Also, I have been able to use Poser's wardrobe wizard to convert clothing items designed for other figures (Poser 7 male) to Michael 4, then used Daz Studio to convert the new Michael 4 compatible figure to Genesis and the Genesis 2 Male wearable presets for use in Carrara.
Well heck knows if I'll actually be able to get my final render done in time as the clock is ticking, but I've been so busy this week with other things I've mostly been lurking on this thread when I could, unable to comment on the many excellent renders and techniques presented, even though there has been some truly stellar work here. It's just amazing what Carrara is capable of!
Originally I was going to do V4 in a swamp attacked by a dino-crocodile creature, but seeing Kashyyyk did a similar theme and execute it much better than I could have done (love the water droplets!) I decided to abandon that idea.
I'm not much of an artist, never have claimed to be, but do enjoy storytelling, so I was fooling around with assembling some vaguely sci-fi characters trying to think of a new scene. One advantage to rendering in Carrara is while I was watching my test renders progress while I tweaked shaders and added bits of clothing and weapons, my mind start to fill in backstories on the characters, and I started to really like them.
I re-watched Serenity last week for the first time in years, and I just love that show, best sci-fi ever, and I started wondering about other ships and crews in the same 'verse. Anyway, I may not have an entry for the contest in time, but I'm thinking of developing this into maybe a webcomic or something (not that I have any idea how to do a webcomic) and I thought I would share some of the character profiles.
Character study: Jenx
A minor genius with all manner of mechanical devices, Jenx earns his keep as the chief engineer of the Nessie Due to his skilled tinkering, and despite often having to use 2nd hand parts, the Archon-class ship's engines are reliable and capable of 20% greater ouput then other ships of the same class. "Oh what, just because I'm Asian, you assume I'm some sort of mechanical genius? Stereotype much?"
He refers to the main engineering section either as his 'Lair' or 'The Dungeon' depending on whether he is referring to his workspace in a negative or positive light: "Oh what, I'm banished to the Dungeon again? It's because I'm Asian, right?" or "Stay out of my Lair. I'm doing all sorts of mad genius technical things that your lowly mind could never comprehend" (used once when he didn't want to be bothered while playing vid games).
Jenx is an indifferent marksman and often forgets to even bring his sidearm with him when away from the ship, however he is extremely proficient in hand-to-hand combat. Which serves him well, because he has a tendency to find himself in the midst of bar fights. "Oh what, so there's some martial arts fighting in a bar and you automatically assume it's me that started it? It's because I'm Asian, right? Nice stereotyping, dude."
Pictured behind Jenx is a voice-controlled droid 'Killer Joe' that Jenx assembled out of spare and salvaged parts. Despite the name, 'Killer Joe' is practically useless in a fight, except perhaps in using it as cover to hide behind, due to how slow moving the droid is. Despite this, Jenx once bluffed a group of 4 armed pirates into surrendering without a fight, threatening that the droid could move faster than the human eye could see, and that with a mere thought he could direct the droid to rip them to pieces. This is a story that Jenx is happy to tell anyone who will listen, and the rest of the crew is mildly sick of hearing it.
Jenx is also qualified on paper as a pilot (he finally passed pilot certification after 7 tries), but is almost never allowed to pilot the ship. This is because he is not very good at it, and in the past his piloting has nearly crashed the ship. "Oh what, you're saying I can't fly because I'm Asian, is that it?"
Character study: Struck
After unsuccessfully lobbying the rest of the crew to call him 'Stryker' (a name he picked up from an action vid-drama that he thought would sound 'badass') Jeyson Rifell was instead labeled with the nickname 'Struck' (as in 'struck too many times in the head').
Struck serves as security, gunner, and deckhand, and all around 'muscle' for the ship as needed. He is an excellent marksman (though it irks him that Surgeon is the better shot) and refers to himself as the 'Team Sniper' (though no one else on the crew gives him that title). He has an impressive collection of firearms, blades, and blasters, and has a general love of weaponry. He is hands down the best gunner for the main ship's guns, and whenever whenever the Vanguard-class gunboat is taken down to the surface it is always Struck that man's the main gun station.
He purchased the AimMaster3000 advanced targeting goggles in the recent past, and tends to wear them constantly (pushed up on his forehead) so they will be handy when he next gets into a gunfight. He has been in 4 separate firefights since purchasing the AimMaster3000, but has never once used them, as in the heat of battle he always forgets he is wearing them.
Struck is highly intelligent, but not particularly practical and tends to lack social courtesy. He is constantly chasing after women when in port, but constantly strikes out (although he has developed a thorough repertoire of ridiculous pickup lines). Despite lack of success, Struck considers himself quite a womanizer, and seems to only increase in his confidence. He is more than mildly narcissistic. He enjoys working out, watching action vids, and striking poses in the mirror. (I love this guy)
Character study: Asjya
Although several of the crew are rated as pilots, Asjya is 'The Pilot'. She has been with the Captain longer than any other member of the crew, except for Surgeon, and as Surgeon has never shown any desire for command, Asjya has naturally defaulted into the position of Executive Officer. Often when the Captain has had to split the crew for a mission or leave the ship himself, he has conferred command to Asjya (much to the dismay of Vivica, who has vocally stated on many occasions that as she is a part-owner of the Nessie that she should be in charge. As Vivica has virtually no skills in running a ship, none of the crew ever pays much attention to these protests).
Although only a 'fair' navigator, Asjya is something of a prodigy when it comes to piloting. Seemingly able to fly any size ship, she is able to make even the lumbering Nessie graceful, smooth, and precise.
Asjya has a ship of her own, a Pocketstar-class single-seat fighter called the Sleight which is in Nessie's hanger in a berth that was rigged up by Jenx. It was purchased legally as a decommissioned military refit. The guns which Jenx mounted on the little fighter are much less legal, at least in some of the stricter parts of Alliance space. When flying dangerous or combat missions, Asjya often flies the Sleight in screening formation with the Nessie, often in tandem with the Captain and Struck flying the Vanguard-class gunboat Slipthrough
Normally quiet and competent, Asjya also has the reputation of being somewhat cold. She has no family that she ever mentions and doesn't form romantic attachments at all.
Yes, that's a sword she's carrying. Asjya insists on carrying it when offshift, and no-one is inclined to argue with her. She's very skilled with it, though to her chagrin she has not had the opportunity to use the sword in actual combat yet. Ironically, when she was taken down by a a bounty hunter's stunner in Port Sacret, it was Jenx who didn't hesitate to pull her sword from her prone and immobilized body to cut down the three thugs who tried to waylay them, so the only time the sword has actually been used in a fight was by Jenx, not Asjya. This is another story that Jenx never tires of telling, and irks her to no end.
Character study: Surgeon
Not 'Doctor'. Not 'Doc. Sure as hell not 'Bones.
Stefan Weiss is the ship's surgeon. Precise in his manner of speech, considered in choice of words but utterly lacking in any sort of 'bedside manner', Surgeon (as he is known) is much more than a simple ship's doctor. His cultured accent suggests he may have been born in the Alliance, but his past is a mystery of which he does not speak. Even the Captain, who has known him longer than any other member of the crew, knows very little about Surgeon's past.
His preferred weapon, which he is never without, is a replica of an ancient semi-automatic Glock design, always kept in pristine condition. Surgeon is a master marksman with his pistol, as well as blinding quick on the draw. These skills have served him well, and formerly he was a devotee of dueling. Much to Struck's dismay, Surgeon is the best marksman on the crew. Although he does not actively seek conflict, neither does he avoid it.
Surgeon maintains a well-stocked medlab aboard the Nessie, and effectively and efficiently keeps the crew in good health, tending to spaceborne illnesses and battle wounds alike, but he is anything but warm or friendly. Contrary to popular belief, he actually does have a dry (and strange) sense of humor, but because he never smiles most outsiders don't realize this.
Character Study: Viv
Vivica Glendiese Bianco was born and raised in Alliance space. The spoiled daughter of a rich shipping magnate, she left home to spite her father and headed for the lawless Outer Planets to make her fortune. She is a part owner of the Nessie and a constant source of friction for the Captain.
When she first met the Captain, Vivica gave her full name, carefully enunciating each syllable. "Vivica Glendiese Bianco, of the Newhaven Biancos, if you please Captain." The Captain promptly dubbed her 'Viv', and the crew followed suit.
Viv is very vocally anti-gun, and often decries the use of violence. The crew views her as 'touched', but harmless, and generally ignores her rants.
Viv also claims she has some psychic ability, and believes she has limited ability to read minds. She has never been able to prove this in any fashion, but this does not seem to impact her belief in her 'powers'. She is fairly terrible at playing cards, since she assumes she can read the other player's minds but invariably is 100% wrong.
Although fairly useless at anything resembling work aboard the ship, Viv is actually a skilled negotiator, and her family business contacts have come in very handy on occasion. Rarely does the Captain venture into Alliance space, but on those occasions where it is unavoidable, Viv's family connections have been very useful.
Character study: Cookie
A free spirit who waltzed onto the ship on a short-term passage and ended up staying on as a crewmember, Cookie is an all-around deckhand who serves primarily as the head chef. Her name really is Cookie (or at least that's what she claims) and this is not a nickname derived from the fact that she cooks the meals and stocks the galley. She also does odd jobs around the ship as needed, primarily laundry and cleaning, but is handy with a wrench and skilled enough at mechanical engineering that she often assists Jenx in his constant repairs of the ship.
While on ship, she is a great asset, in port though Cookie is the crewmember most likely to end up jailed on drunk and disorderly charges.
Cookie is also a lover of firearms, and this fact has led to a fast friendship between her and Struck.
With a sunny disposition (except when she's drunk and on leave), Cookie is well-liked by all members of the crew. She is however also known for her elaborate pranks.
Character study: the Captain
Nathan Wynt won ownership of the Archon-class light cargo ship Nessie in a rigged card game on the mining colony of Delvos IV. Somewhat out of character, Nathan was not the one cheating during the game. After a brief firefight with the former owner, Nathan took possession of the ship (which up to that point had been used for piracy, smuggling, and semi-legitimate cargo transport and had fallen into a sad state of disrepair) and went into business. Since that time, thanks to the tinkering of Jenx and the hard work of the rest of the crew, the ship is in much less of a state of disrepair, and has been turned to new uses (namely smuggling, banditry, and semi-legitimate cargo transport). Since then, Nathan is known to the crew simply as the Captain.
Nathan has a talent for finding odd jobs that often end up paying well, but usually have a good risk of danger to the ship and crew. Fortunately he is quite good in on improvising plans on the fly to get the ship and crew out of tough scrapes.
Nathan keeps a Raider 55 Hand Cannon strapped to his thigh. He is a better than average shot, but likes the weapon chiefly because it is so visible. "I like a weapon that looks big and mean. Tends to keep things more peaceful when people see it." His strategy of wearing a big gun and hoping that it will discourage trouble through intimidation doesn't seem to work too well, as he and the crew have a constant habit of finding themselves in trouble.
Terrific, Jon. Pick any 2, post screen grabs of the lighting for each, and you've got your entries, IMHO. Title? Character on a landing platform with realistic hair.
Seriously, excellent work. Thanks for posting whether you enter or not.
To comply to the rules in this challenge, here is the lightrig and one of the shader adjustment that I did.
The scene is lit by 12 light-bulbs. They have all a yellow tint to them, and the range is set to 40 ft.
They do also have soft shadow set at 13 ft. All this to mimic indoor lights.
I have also 5 infinity lights with 15% brightness and no shadow, to light up the main characthers.
They don't give much light, but just that little bit to mark out the two.
There is also a spot on the camera, but that is a left over from an other scene. It is only at 8%, so it doesn't have much effect.
All of my shaders have been adjusted. When using the gamma adjustment, one has to be very careful with the highlight and shininess.
For this shader, cause it had black cloth and gold embroidery, I could use the texture map in the highlight channel and a shininess value at 2%. For the other cloth in this picture I had to set the highlight at between 2-4% and the shininess at 2 %.
For a moment I thought I had it, but there's a DOF failure on the hair. Ho hum!
Wow!
I go to bed late, wake up early and this is what I find!
Varsel, very nice light set up. You obviously thought about the light set-up, such as intensity, range and fall-off as it would be pretty easy to set the values too high and blow out lighting in the image. It looks great.
Jon, I agree with Diomede! Describe the lighting, and some shader work you did, and throw in a screen shot or two, and any of those character studies would be worthy of an entry. If you think they're pose is kind of bland, put them in an action pose and see what you get.
Yes. Hair is problematic with the standard DOF, unless you do postwork to correct it. If you enable raytraced DOF, that may fix it, however it is s-o-o-o slow. Blurry reflections slow.
If I want DOF and dynamic hair, I usually render a depth pass and volume primitive pass. This gives me a color layer in PS of just the hair and black and white mask of just the hair. I combine the black and white mask of the hair with the depth pass (as hair does not show up in the depth pass), and use that to generate the DOF by using it with the Lens Blur filter. Some painting may be required!
You're kind of out of luck on this one due to the minimal postwork requirement. Perhaps if you ask Dustrider, he'll let you know if it's alright.
The non-raytraced DOF is a post render filter that is applied. Probably from it's own internally generated depth map. Since hair is also a rendertime effect and not a real geometry, the internal depth map looks like the depth pass.
When raytraced DOF is used, the DOF is calculated as part of the actual render, just as the hair is calculated. This is why I suspect the hair will render with a DOF if the raytraced option is chosen. I don't have any proof of this or experience with it, because, as I said in the previous post, it is very slow, and it is faster for me to do it in PS.
I don't particularly like doing post work if I can avoid it - I'd much rather it came from the render (after all, Pixar isn't going to photoshop every frame in their movie...)
I'll give the ray trace option a whirl - I'm out tonight so can't work on it anyway, and might as well leave it rendering. If that doesn't work, I'll enter it without DOF.
You would be surprised what PIXAR and other CGI film houses composite. There's a reason those credits are so long. ;-)
I'm disillusioned! ;)
EP, I also sometimes use textures for translucency in the hair, but in this cases I decided that I won't need it.
So now I am considering this pretty much done. I've rendered it out at large size with all the multi-pass layers and done some postwork on it. More suggestions on postwork are very welcome. I am posting screen grabs of my post process before and after (the layers with masks are the "after"). Not all layers fit in one screen view, but the ones which got obscured are just more repetitions of what's already seen there.
The only painted layer is the hair strands layer. The rest is just increased or decreased/masked effects of the multi-passes.
Layer 4 (and it's masked copy) are the DOF layers created by combining all passes into a single layer and then doing a Lens Blur pass with Distance pass as the blur driver. The 2 layers differ in the amount of blur applied, and the more severely blurred layer is masked, because it was an overkill in some places.
P.S. Screen grabs look so much duller because I work in CMYK in Photoshop.
Hi Antara, you may want to check dustrider's rules for this one. Postwork is supposed to be extremely limited.
Thank you for the warning, EP. I'll wait for dustrider’s decision on this.
Compositing pass layers is the very essence of this feature of Carrara. I can remove the painted hairs if it's a violation, but if compositing layers is a violation, I just won't enter and sit this one out. I don't see a point in a Carrara challenge which *limits* the usability of one of Carrara's most useful features.
I think it would be unfair on everyone else to allow major post work just 2 days before the competition closes - the rules at the top of this thread do explicitly exclude multi-pass rendering and compositing.
"The focus of this challenge is to get the best image possible directly out of your renderer."
No problem :) I just won't post my entry into the final entry thread. :)
I just can't imagine using Carrara without the multi-passes at this point. They are the integral part of my workflow. If I try to render this image for a similar end result without the passes, it will take my computer over a week of rendering: I'd need SSS +DOF+ indirect lighting. So, not an option anyway.
I agree with you, Antara. Multipass is one of the strength of Carrara. I use it very often, and not only for DOF. Carrara use it internally with the post renderers.
I didn't use it this time because of the rules, but I feel it's a pity you don't submit your work. Somehow, we should let the voters decide whether it's fair or not.
Scene has frozen, how do I fix it ????????!!!!!!!!!!!!!!!!!!!!?????????????
Just reopened the scene I have been working on, it has now frozen where I can pick the major components, but I can not pick the minor items. For example if I click on the kerb it picks the whole street, if I click on the concrete base for a house it picks the whole row assigned to that house.
Any thoughts/ideas ?
(Just when I thought I was making progress !!!!)
I still have the shaders I have modified/made so I can redo the scene if need be, it's just that I would rather be doing things rather than redoing them.
UPDATE:-
Will redo the scene, hopefully get it finished in time before the referee blows the whistle for game finished.
Had a look at my file size and it was extremely high, so redoing the scene is probably going to save me time due to it was running very slow.
In the instances palette, click the little triangle next to the group to expand it, then try clicking the the individual components.
Hello EP
Had tried doing that earlier, and just tried again.
Each of the major components has gone into lock-down, regardless of what I try and do, if I try and change the shader on the kerb for instance it changes the whole street !!!!!!!
Will redo the scene, with all of the changes I have been doing it has probably caused a user-operator induced short circuit in the scene memory some-where !!!!!!
Many thanks once again.
Can you post a screen shot of the instances with the troublesome parts expanded and selected?
Screenie showing Carrara, and also size of file.
Have tried doing a test render then re-selecting the items, no joy.
Also used the Edit/Remove Unused Masters, then saved as V6Nightstorm C.car, still got the same issue.
I could use my original V6Nightstorm file and update that one, but it would be just as quick to reload the original scene,
apply my revised/new shaders, and import the Yamaki GTXR instead of the Nightstorm vehicle since I am redoing the scene.
That will then give me a good day to update Vicki6, which with all of the advice given in the previous posts should be a lot easier for me.
What-ever has happened to the file it's only allowing me to select the entire block of the component, not the sub-components.
Regards, Bunyip
You can't select the shading tab at the top of the screen to access the shading domains?