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DAZ Productions, Inc.
224 S 200 W, Suite #250
Salt Lake City, UT 84101
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© 2024 Daz Productions Inc. All Rights Reserved.
Comments
@isis444merlin,
I like the concept. If I may make some suggestions with respect to the lighting.
Over time I've found that the brightness level of an image really depends on the monitor setting and the viewer's eyes. But in general adding more lights and increasing their intensity help. Highlights introduce contrast and separate the subject from the background. In your case, I'd recommend adding rim lights, particularly from the top (to outline the woman's dark hair and distinguish this from the background, for example); also from the back for the same reasons, but for the various torsos.
Either spotlights or diffuse lights will do. For diffuse lights, I use a flat plane and set the emission properties. This stands in for the ambient light in a studio or from the outside environment. I use spotlights to "paint" particular sections of the scene, not just to brighten them but to cast shadows that lend overall texture and mood. I don't limit myself to white light. Playing around with colored lights moves the mood further along.
Hope this helps. Cheers!
@dmcvocation said:
I like the concept. If I may make some suggestions with respect to the lighting.
Over time I've found that the brightness level of an image really depends on the monitor setting and the viewer's eyes. But in general adding more lights and increasing their intensity help. Highlights introduce contrast and separate the subject from the background. In your case, I'd recommend adding rim lights, particularly from the top (to outline the woman's dark hair and distinguish this from the background, for example); also from the back for the same reasons, but for the various torsos.
Either spotlights or diffuse lights will do. For diffuse lights, I use a flat plane and set the emission properties. This stands in for the ambient light in a studio or from the outside environment. I use spotlights to "paint" particular sections of the scene, not just to brighten them but to cast shadows that lend overall texture and mood. I don't limit myself to white light. Playing around with colored lights moves the mood further along.
Hope this helps. Cheers!
@dmcvocation Thank you, thank you , thank you for your thoughtful critique. I really struggle with lighting and making it do what is in my head. Especially with a scene like "Atlas" where the characters are relatively close to each other and yet each character has its own motif that needs to be supported by the light. You hit the nail on the head with your suggestions and I will go back in and see what I come up with. At this point there is mostly side and front light, so I will play with some rim and backlight. The woman at the top is purposely dark to add a heavyness and to pull the eye back down to Atlas. I will play with this too and see if I can frame while maitaining that heavy feeling.
Does anyone know, when it comes to complex scenes, if there is a kind of Hierarchy or best practices for which lights to add first? Or is it always personal preference?
Thanks!
The Wrong Foot
Intermediate
Final (ish) effort
Entering the crowded Inn, he made his way to the table where the two smiling figures sat. Clearing his throat, he spoke,
“Greetings, I am Berthelm. Fear not, for I am here to fulfil my destiny.” It sounded pretentious, even to his ears, but the Seer had been quite clear. This was important! The young girl closest to him turned and looked up at him. As she did so, he had a shock as he saw the tips of her slightly pointed ears and then was caught by the steady green gaze that looked back at him. A gaze that hinted it had seen more than her tender years appeared to show. Something within his soul tugged as he stared into the emerald depths. As she looked at him, with one eyebrow raised, he began to feel himself colour and tried to explain, but the words would not come. Shaking her head with a smile quirking on her face, the girl tuned back to her friend and muttered something he could not hear. Judging by the quick giggle and stolen glance in his direction, it was about him and none too complimentary!
His embarrassment turned to a hot flush of anger. How dare they ignore him when he was here for such an important reason? He would get their attention and then they would have to speak to him. A small part of his brain clamoured for attention, but he crushed that thought. Forgetting himself a little in his anger, he drew his sword to make his point.
“Girl, you need to listen. This is important!” Pointing at her with his finger and tapping her under the chin with his blade, he was pleased to see that she took this seriously. He congratulated himself that he had got her attention - finally. Now, maybe he could tell her what she needed to know.
It was at that point he realised something. The Inn had gone deathly quiet. Someone had drawn steel. Every breath was held, as all eyes turned to the warrior. He glanced round. Was anyone going to get involved? Two women at a table across the room were staring intently. The warrior looked ready to move, but her friend had laid a hand on her arm to keep her sat. He turned back, sure of himself again. The hobbit at the girls’ table was engrossed in his meal. The girl’s friend paused mid bite, shock showing on her face. The girl herself looked surprised as she turned to him.
Now, he could deliver his message. As his eyes moved across her face, the small part of his brain he had ruthlessly supressed took that moment to intrude.
“She’s a half-elf, she’s not a little girl…” As his eyes met hers again, reality came crashing in. Surprise lay in those dark pools – but no fear. In fact, the small part of his brain was quick to note that something resembling amusement and anticipation lingered there. This was not going to end well…
Gallery Image
Small changes to girls' expressions. They are both pretty suprised, but hopefully showing a little difference now. The Drago hair was being a pig - not wanting to simulate at all, so tried a rough and ready fix. Got the dagger further out of the scabbard but getting it twisted to pick up firelight wasn't giving me much joy.
@isis4444merlin in the end this is personal preference but I usually start with the one light that is supposed to act as major yource of light. Dial it up to illuminate everything sufficientyl, after that I fill in how and where I think the ambient will be the best
@isis444merlin,
I must have asked myself the same questions more than a year ago when I picked up Daz. I come from a photography background, so initially I let lenses, lighting and composition guide my work. In the months that followed, I've learned a lot about using Daz, particularly from the tutorials and docs folks have generously shared.
But of all the skills I've collected and developed -- and there's still a lot to learn -- having a good eye for art is critical. By that I mean nurturing a repository of ideas and emotions, and conceptualizing these as a rendered scene. Everything else is a matter of production technique and mastery of software tools in support of that goal. What's wonderful about creating 3D art is the immediate visual feedback we get; moreso the encouragement and tips from others once we put our work out there for critique.
So to your question in particular, the "procedure" you'll follow depends on what you bring. Initially, that is. As you pick up the techniques and hone your skills, you'll discover several different on ramps to 3D production. In time this matter of steps and procedures, the right and wrong of it, fades into the background, and what really comes to the fore is nurturing your own unique perspective.
To that end, I think it helps to always have a student's mindset. To be curious. To actively learn something new. To listen to other people's viewpoints. For me this is the best way to keep on going.
Cheers!
I tried tweeking the scale of the flames added in the last version, and shifting the gargoyle so he was a bit further ahead and left of the brazier he knocked over with his wing. (Maybe the wing wasn't caught in the light.)
Second entry for this month. Feedback would be appreciated!
Beginner
Pensive
I really like what you have done with the flame from the knocked over brazier. It's effective now without being overpowering. I would be tempted to add something to be rim lighting for the gargoyle, though. It could be one of the "eye" lights behind him that gets its emmisive upped or just a hidden spot to give a little definition to draw the gargoyle out of the background. I love its sense of movement and would like to see a little more of it.
Great work! I love the pose and expression on the character. Makes me curious about whether the skull was a friend or a meal... Not a lot I would want to change with this myself, except maybe to think about some tints of colour in the lighting - perhaps a more devilish tinge - or same flame type lighting. Maybe a little play to see if you like it - or leave it as is. I like it as is, personally.
Wait, could that be Yorick for I knew him well
Intermediate
By the Light of the Silvery Moon
Crooning isn't the only thing happening under s silvery full moon.
Composed and Rendered in DAZ Studio 4.14 using the Iray render engine.
Item Used:
Grimwood Manor Basic Scene (modified)
Lycan HD for G8M (modified)
Lycan Head Hair
Sidd Hair
Folklore outfit for G8M
Stranded hair (beard)
Extra Spotlight
Evening everyone!! Happy Friday!!
@katywhite
What a delicious render!!
I like how most of the girls stand out, but the yellow spotted one on the end is blending into the extra ripe banana background 8( I'd say try a rim light on her but with as bright as the scene is already it might blow out the bubblegum icecream girl's hair out.
@ioonrxoon
Oh wow the new fog is awesome!! We can see the killer heels on them really well now! I still think the expression on the Vamp facing us needs to be exaggerated a little more ;)
@vamok
Ooo the metal is really nice now and I love the glass material on the canopy!
@isis4444merlin
I had to stop a while on this one, there's so much detail in it! I really like how they are all interacting with the rings and the posing. I would also suggest adding in some rim and ambient lighting to bring out the figures towards the back and possibly changing the full black clothing on the 2 men and top woman to a dark grey/charcoal as it looks like the materials are flat and dissapearing into the background.
@Alias52
Oh yea those expressions are really nice! The story that goes with it is really good too!
@Shinji Ikari 9th
Oh moving the Gargoyle and scaling the fire made a huge difference! I still think he's a tad too blendy and needs a rim light from all the flames/portal behind him lol but that's a personal thing ;)
@aprilshowers2065
Very nice render I like the dust in the background and how everything is fading out. I would suggest moving the Right Collar forward a bit on her to bring the skull in line with her eyes. ATM it looks like the skull is facing her Right Collar and she's looking at the floor in front of her instead of at the skull.
@Shack
Very nice I like how you set up the lights so the brightest part matches up with the moon placement in the scene. I do see a couple of small things. The grass on the ground looks really flat if you plug the bump map into the displacement settings and fiddle around you can make some pretty decent fake grass for distance renders. Are his eyes supposed to be so dark they dissappear into his face? If so awesome job cause atm it looks like that's an empty socket super creepy!! 8) And oh my are those dead bodies laying against that tree I see back there....
You may not own the prop, but this is almost screaming for some epic god rays to go with that intense downward lighting.
I am really liking the concept you have going on here.
You have set the mood of this render quite nicely!
This render may benefit from a little depth of field on your camera, not a lot mind you. You do not want to lose that beautiful detail back there, but you do not want it stealing the attention away from your creepy critter either. Food for thought.
Thanks! I'll try some different coloured lighting, see if I can get anything better.
@AgitatedRiot Haha, yeah I debated about doing a Hamlet themed title, but decided to stick with something simpler
@Elliandra Thanks. I'll adjust her collar/arm slightly like you suggested to line everything up
@vamok Thanks, I don't own that prop but I'm going to check out a couple of tutorials and see if I can come up with something similar on my own
Daz Studio pro Tips: Interior Lighting part 3. creating dust and particles [Godrays]
I found this one to be pretty helpful :-)
That's really helpful. I have been using this [Tutorial] Creating Dust And Atmosphere in Iray by SickleYield on DeviantArt as it has a video and has written the settings down as instructions too. I play around with the SS and refraction settings once I have something that is working.
Thanks! I'll check it out.
Thanks again for the tips, Alias52, Elliandra and vamok! I adjusted her arm and eyes slightly and added some godrays. I also experimented with a few different tints of light, but went back to the original as I think it looks the best.
"Atlas"
Beginner Entry
Daz studio and Topaz 2 for a bit of grit and vignette.
Elliandra, dmcvocation and Linwelly, thank you so much for the feedback on my creation as well as providing much food for thought and inspiration. For all of us learning in a solitary void, having your eyes and wealth of experience is like gold! Thank you!
I am adding my next version of Atlas having change the lighting completely (adding rim, distance and spot lights), reworked the background photo, tweeked poses and changed the colors of some of the clothing. I am will to work on it more and wanted to post this version as after a certain point I am not sure if I am going too far or have not done enough(especially with the lights).
@ aprilshowers2065 - Well done! Those changes have worked out well. Changing the arm/skull alignment really improved the render.
@ isis4444merlin - You have been busy. The new lighting is infinitely better as now I can see and enjoy your posing. Replacing all of the dark-colored clothing was also a good move. The reworked background is very intriguing. I have been staring at it for a while now...My only input comes in the form of a question. The shadows on the figures are very sharp. Is this how you want it, or is it just the result of your new lighting? If you wish to have softer shadows you can change your spot type to rectangle (or disc) and increase the height and width settings to soften the shadows, The bigger the size, the softer the shadows. If you want the sharp/dark shadows, do nothing :-)
Keep up the great work you two. I am enjoying the progress!
@vamok you always have great observations and thank you for sharing them with me :- )
I don't mind the harsh shadows and considered softening them. They were created when I added distant lights and there was no way, that I could tell to change the harshness. I went with using a few distant lights in different areas because I liked that they began to scupt the figures without being to strong (accept for the shadow). I could lower the strength but Is there some other way I don't get?
In August 2018, NASA's Parker Solar Probe launched to space, In 2025 the probe reached speeds of 0.064% the speed of light. When mission ended it raised questions. Not known to the public Something was found hidden behind the sun. In an orbit keeping the sun between it and the Earth. The Commander was built to travel to mars, quickly reassigned to investigate the mysterious object. The Commander was able to travel at 58536.6693Kph, it would have take just over 106 days to reach it. When we reached the area due to solar radation, we where unable to get close enoungh to get scans. The object is still mysterious.
I rarely use distant lights because they do not seem to be as flexible as other lighting options. I predominately use multiple spots and HDRIs I considered using a distance light for my Freight Escort scene, but instead, I used 5 spotlights and an HDRI.
I wouldn't worry about your lighting, I was trying to find something useful to contribute and that was all I could come up with :-)
Intriguing story, I like it. I am going to trust your math, lol
I think this render might benefit from a little pan-up on the camera. I really would like to see more of that beautiful sun/mystery object in the window, but instead, it is clipped and there is a lot of floor in the scene. Since your story is about an object out there in space, could you give us a better view of the window?
Also, is the character in white supposed to be in a dialogue/looking at the character in green? Or is she observing a distant monitor. If they are supposed to be in dialogue then the alignments don't match. If she is looking at a distant screen, her hand position seems oddly conversational.
That craft has some pretty interesting panels. I love sci-fi renders and I am eager to see this one develop!
He's pondering the next step, on how to get probe to with stand the solar radation. Don't trust my math.
Apollo 10, the fastest manned spacecraft, traveled 24,790 mph (39895.6378). At that speed, it would take about 156 days to reach the Sun. The unmanned NASA New Horizon probe traveled away from the Earth on its path to Mars and beyond at 36,373 mph(58536.6693). If it travel to the Sun, it would have taken just over 106 days to reach it.
How Long Does It Take to Get to the Sun? (reference.com)
Very cool info. Thank you for sharing your source!
I do math very well, had to my Jobs depended on it. back in the 80s
Version: I'll call it 001Alpha
Doing some different panels textures. Like the Screen by them close up and discovered A ship of unknown origin. She begging to pilot the shuttle craft if they can reinforce it enough to shield it from the Sun.
Still not one light. HDRI and Self Emission