Daz 3D is part of 
Connect
DAZ Productions, Inc.
224 S 200 W, Suite #250
Salt Lake City, UT 84101
Licensing Agreement | Terms of Service | Privacy Policy | EULA
© 2024 Daz Productions Inc. All Rights Reserved.Daz 3D is part of
Connect
DAZ Productions, Inc.
224 S 200 W, Suite #250
Salt Lake City, UT 84101
Licensing Agreement | Terms of Service | Privacy Policy | EULA
© 2024 Daz Productions Inc. All Rights Reserved.
Comments
just saw an ad for 'the orville; scifi by seth mcfarlane?
other thought, humans have a lil tailbone, why dont add on creature tails follow the rear tailbone vector?
Wookie Watoosie
The Orville looks pretty crazy. Hard to tell if I'd like it or not. Might try to be just too darned funny? Hmmm... I'll try it... maybe.
I still have a bitter taste of FOX since they cancelled Firefly. Now THAT was an amazing show. I miss it. Well... I own what they've made, and still watch it now and then... but I wish I had several more (at least) seasons. I heard that they might be bringing it back? Not sure.
there were unaired episodes on the firefly dvd . unaired! how sick was that??
kwdwakeupsongs
thinking like slow rotation big cubes with full reflection for the kaleidoscope look
couldnt find a higher quality of this:
i dont think rod stewart or david lee roth were natural blonds lol
Man, I just have to say (again) that Geralt of Rivia totally ROCKS!!!
I bought the Witcher 3 GOTY edition from GOG, which comes with everything, mainly for the art book and music (and other cool stuff) that comes with it. I did install the game and started playing it a little, but I haven't had time to play further.
Anyway, I noticed that GOG also sells a movie of the Witcher 3 (as well as both expansions) In Concert. I love the soundtrack - jam it almost every day at work - so I payed the small $10 for the concert movie, and love it!
Anyway, in all of that, along with the 'behind the scenes' stuff that came with the GOTY collection, I found out that the Polish band "Percival" plays this song along with the orchestra. I really love how Joanna Lacher (lead singer of Percival) screams in this song!!! I also love the Witcher 3 footage that the video author put into the video... great cinematics in this game, and... yeah... Geralt truly IS the Man! Damn!
Turns out that "Percival Schuttenbach" (the name of Percival members' Folk Metal band) is the name of a Gnome in the Witcher books, popular in Poland.
Here is one of my favorite Percival Schuttenbach songs, again with Joanna screaming! LOL
I just can't get enough of this band!
"Percival" (without the Gnome's last name) band was made to offer more authentic medieval-style music at festivals, re-enactments and such. They don't claim to play the same kind of songs that bards, like Dandelion, played, but they have gone through great lengths to get the instruments like they were in real medieval Slav
Cool stuff
Witcher 3 uses nVidia hair. In the settings, we can turn it off completely or just let Geralt use it. I have an ATI Radeon card, so alas I'm not sure the nVidia hair works or not. But the game is positively stunning and the cinematic cutscenes are truly amazing.
I am really looking forward to Netflix making a TV show series about Geralt! I hope they don't fudge it, but after seeing some of the great shows they've made (like Daredevil) I can see The Witcher being excellent! At least I hope it is!
Sick!
...and a horrible decision!
Percival was a knight in Camelot, i think.
oh mann.
watching red hot chili peppers activated a couple of hormones i have left, now geralt.
i bought a frame for that poster, need to hang it on my wall.
i been recording my gameplay, made some nice screencaps. ... where my flash drive
Kewl! Nice screen grabs.
Maybe this winter I can play. I love the footage on YouTube I've seen of Ciri. I was glad that, at the beginning of the game I got to go through that part where she's training as a little girl. She's freaking awesome!
trained artist. i feel it directing my eyes
wolf medallion hanging from her belt
lolll mark ruffalo
, motionpaths uppie downies, want the target helper go faster downhill and slower on the uphill
Just set keyframes appropriately. I'm not aware of anything that will automate this. (Unless you can use physics to get the motion you want for say a sphere, and then parent your actual object to the sphere?).
Mistara, you can add key frames on the timeline using the 'Add Key Frame' tool to control where the object is along the Motion Path.
I like clicking on a keyframe then holding down ALT and draging to create duplicates of keyframes. I've not mastered the "Add Keyframe" tool. Suppose it would help if I read the manual or watched Phil's Animation video.
i dont understand keyframing on motion path,
not even speed really, distance
mystic gorge not 1 long gorge, need to be careful dont show from angle to see broken up bit
stuck again
my camera dollything, it's like a clothes hangar for trousers with clips
th on the right arm, th on the left. for parenting cameras to
looking to add a middle clip and rig it together,
somehow make a slider so i could trans/move towards right clip or to left clip??
local space versus world space?
in poser when i unhide the trans dials on body parts, the body part moves in relation to the body position
jig and the boom
not casting shadows isnt the same as not blocking light?
for camera zooms, dont move camera, keyframe the camera zoom angle settings?
I must have been really tired when I wrote this, so I'm removing it... it didn't make much sense! LOL
did not cast shadows on ceiling, room still dark puzzling
Interior lighting is always a mission. If there's a light fixture on the ceiling, I like to put a spot light just below the fixture, set the half angle to 90 with 100% falloff and just enough distance to light all corners, but not much farther, again with a distance falloff of 100%
I make sure that it's not hitting the fixture so the fixture can't block the light into being a shadow and adjust the brightness to something I really like.
After all of that, I duplicate the light and flip it upside down, reduce the distance and lower the brightness. This one is used to simulate the bit of upward lighting coming from the fixture.
More recently, I've just been using Shape lights instead. They take some practice to get just right, but I think they're worth the effort.
Way back when, I always thought that Bulb lights were the way to go in those situations, but I've eventually found that the spotlight trick above worked a lot better for me - offering a LOT more control towards getting the illumination just the way I want it.
Note: If you're using Ambient Occlusion, set a good color for the simulated indirect light in the "Ambient" scene setting, and crank that brightness level up a bit. I often pick my color, but then drag the picker to a much darker (almost to black) and less saturated result, and then set the brightness to 30 or so (only if using AO), and in the Render Room set the Occlusion radius to the height of the walls.
Like, in this scene I only have shape lights except for the cone effects, which uses, of course, a spot.
Since "practical-looking" light fixtures are sparse, I just focus on getting the scene lit enough to where we can see it and get some shadows going on. With a shape light in the shape of a ring that surrounds each table, I was able to set them to where I didn't feel a need to use anything for the illuminating screen displays on top of the tables. For those and all the little glow lighting, I just allow the Aura effect to simulate the idea that they're throwing light. EDIT: But I also have low-powered, low-distance rectangle shape lights as fill lights - very subtle.
So again, I'm ONLY focussed on the room, because I already know that my characters have their own light rigs on them that will simulate the lighting on them, while also making them stand out in such a dark and gloomy scene - which works very well, because those light rigs on the characters can (and should) be tweaked to fit the look of the environment.
This one (below) has practical lights along the floor and in the ceiling. When I was just starting out, I'd find myself going about placing lights everywhere I could find an illuminating surface in the scene - you know... to be "Realistic".
Well in 3D, it's often true that "Simple" ends up a lot more realistic looking than some of the aparitions that can occur from trying to do what I just said.
So instead, the ceiling in this scene is a single shape light rectangle for each hallway segment. Two in total - we're actually standing inside one of them right now so we don't really see it. The floor lighting is simulated using a tube light along each side. Both Ceiling and Floor lights are set to a very minimum distance to allow most of the room to remain dark, and to allow the opposite lights to fill in - but only some. I want the characters to stand out, and I don't want the corridors here to be very bright/illuminated as in light being blasted on every detail. I want dark corners - even some spots that are completely dark. The darkness really disappears nicely once the volumetric (cone effect) lighting is added. Like volumetric clouds, volumetric lighting even brings out details behind it - even if the actual lighting doesn't physically touch that area.
Speaking of Volumetric Clouds, they can always be used to help illuminate an area. They will catch light and the volume will spread that light like crazy!
Magaremoto constantly demonstrates how the simple shapes of V-Clouds can actually be used as light domes (I think... I've not tried his technique entirely yet)
In this scene, I have shape light rings around the central cylinder and vertical tube lights in the bright white wall fixtures around the outside. Like the above corridor scene, the lights are set with a minimum distance. By that I mean that I don't want them to use "Realistic" distances, but only to make it across the room - if even that much. For this one I only wanted the outer wall fixtures to reach just into the central cylinder, and then give them a 100% falloff to get them to taper down. The ring lights around the cylinder will finish the gap, and are set to be just subtle fill lights - basically to help fill in gaps that would otherwise look odd if they were too dark.
A nice spot light with some gel-controlled cone effect in the ceiling by the door, simple oval shape light inside the control room in the center, and Aura for the glow channels to play with. But then I filled the room with a volumetric cloud, scaled down and tweaked and tweaked to get the right settings. I never make them (v-clouds) too small because I want to be able to give them some subtle movement during animations. Sometimes just a gradual scale change can do the trick nicely. other times I like to have it rise slowly, often with a very gentle rotation as well as some increase in scale to help simulate disipation of the fog - whatever it might be representing.
EDIT: The simulated light spots that appear around the central cylinder are a product of having a value of 0.03 in the reflection channel of the shader for the walls. So the light spots are actually just reflections of the glow channel - not shine spots from the actual lights.
Example
If it wasn't for the individual light rigs on each character in this scene, they'd all be too dark to see in the render. Seriously. The aura effect along with what's in the glow channel of shaders gives the appearance of actual light so much more than what there really is in the scene.
Movies are all just a trick on the eyes - and we're in the business of being the tricksters
-- George Lucas
This guy's actually standing where lights are falling off, so it should be one of the darkest spot of the scene. Oh, and there's also no floor here. What was I saying? Oh yeah... Tricksters! ;)
Sorry to go nuts on the topic, but I want to show you some examples in case you'd like to pick my brain for any of these techniques I use.
Here's an example of the light rig I make for my characters. This was right after I finished the initial shaders and lighting of my Angor by Predatron. So this is just his light rig, then I gave him a pose and put a spot light behind him aimed at the camera with a cone effect to give some volumetric lighting to fill the visual area of the render.
Same thing applies with many of my outdoors scenes. This is a really dark scene except for bits of light here and there to express details of buildings and street elements and such. I add a couple distant lights for the beetle and Rosie hase her own light rig. The scene lighting is often enough to give us some shadows of the characters and other added elements, but not enough to show them off in the render - so that's why these light rigs that "Only Affect the Figure" still work - the scene lighting can still do the job for adding shadows. If not, I add a light that does take care of it.
You can see that in this case, I could use some more shadows from Rosie onto the street.
...and what the hell is she doing with my car?!!!
Yes, a zoom is a change in the focal length of the camera, the camera doesn't move. As opposed to a Dolly, which is moving the camera (often on a track in movie studios). Of course, we know what we get of we combine the two to give opposing effects...
In a similar way we also have a Pan, which is to rotate the camera in position, and a Track (or tracking shot) which is to move the camera parallel to the action.