virtual penny 4 yor carrara thoughts ?

Mistara

PhilW said:

Mistara said:

for camera zooms, dont move camera, keyframe the camera zoom angle settings?

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.

pan is to rotate camera?

tracking shot,...  target helpder and point at modifier won't do the trick. would parent camera apparatus.  

characters will have to run in straight lines, running around a corner blowiny my mind  lol

Mistara

Dartanbeck said:

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.

 

this one pops!

PhilW

Mistara said:

PhilW said:

Mistara said:

for camera zooms, dont move camera, keyframe the camera zoom angle settings?

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.

pan is to rotate camera?

tracking shot,...  target helpder and point at modifier won't do the trick. would parent camera apparatus.  

characters will have to run in straight lines, running around a corner blowiny my mind  lol

Yes, pan is to rotate the camera. If you use "point at" to a target helper and move the target, that is what you will get. If you parent the camera to the target helper and move it, you get a tracking shot.

Just don't show the feet when they turn a corner!

3DAGE

Parent the camera to the figure,. or the veihicle

you can still move the camera,. and animate it,. but it will auto follow the parent

magaremoto

DB, I like your way to approach all the lighting tools within carrara, they can complement each other to fit any need

for example in the following sponza shot (sic!) I' ve been using 2 ring lights to softly lit the corridor and the ceiling getting a likely realistic result; moreover the volumetric cloud allowed to increase the sun intensity lowering the white albedo and spreadin out all around a soft diffuse light

quick enhanced contrast in post

wgdjohn

Dart, thanks for such good lighting information...  and settings for them and V-Clouds... I'll have to give some a try since I've only experimented with 3 types.  Perhaps I'll be able to improve my lighting rigs.

Phil, good descriptions of diff camera moves.

Misty, would it help if I did some animations of diff types of camera movement?  I probably will anyway since it will help everyone to understand it better... it will also help me since I only use a still cam.  Hah... fergot to post... been off modeling a new object, simple, to prepare for the anim(s).

magaremoto,  cool... will have to try dem cone lights and others.

wgdjohn

3DAGE said:

Parent the camera to the figure,. or the veihicle

you can still move the camera,. and animate it,. but it will auto follow the parent

Andy,  I've looked a few times tonight and can't figure out how to parent the camera to an object.  Do I want to track the object?

I believe I've found it... by draging the camera onto the object or figure/character.

Mistara

thinkin this melody be nice for an aiko song

woww been 20 years since lexx?

 

the babylon5 fighter drops were kewl.
the original battlestar galactica fighter launch tubes thing.

delenn so badass,  

the ole jumpgate

 imagine ivanova, kai, and starbuck in the same scifi movie  lol

 

 

kwdfighterlaunch

 

Headwax

th3Digit said:

and its hailing

 

yes it hailed here too

 

Headwax

Mistara said:

is there a strategy for using irradiance map in animation?

 

read somewhere to remove texture maps before creating irradiance map

did they mean just the room?  should i hide the figures in the room first?

is there such a thing as a generic irradiance map?  
it gices option to save map and load one 

i read here many years ago to save time, reduce the size of your render dramatically - then render and save the irradiance map

then render at real size using said saved irradiance map

could save time? may not work at all tho

 

edit here it is https://www.daz3d.com/forums/discussion/38134/1-hour-quick-render

see evil kneival's post

 

Mistara

head wax said:

th3Digit said:

and its hailing

 

yes it hailed here too

 

hailing frequencies open?

Mistara

head wax said:

Mistara said:

is there a strategy for using irradiance map in animation?

 

read somewhere to remove texture maps before creating irradiance map

did they mean just the room?  should i hide the figures in the room first?

is there such a thing as a generic irradiance map?  
it gices option to save map and load one 

i read here many years ago to save time, reduce the size of your render dramatically - then render and save the irradiance map

then render at real size using said saved irradiance map

could save time? may not work at all tho

 

edit here it is https://www.daz3d.com/forums/discussion/38134/1-hour-quick-render

see evil kneival's post

 

 

ty

Mistara

pretty vst stuff

Headwax

amazing!

 

Mistara

head wax said:

amazing!

 

these are makin aiko dance in my head  lol

 

https://www.bestservice.de/en/era_ii_medieval_legends.html

 

 

 

 

Mistara

thinkin, 

leaning towards a conclusion, possibly, parenting or modify/pointing the main camera at actor may not be the best results

over complicating prolly

 

how assign specific cameras to a master camera?

or specific lights to a master light?

 

Mistara

mebbe 5 cameras on this?  the leg close ups prolly post production?

 

 

kwdcameraangles

Chohole

Brought back memories,  you picking those clips.  I was working for The Royal Parks (as a contractor) when Michael Flatley did thatshow live in the Park.   We got to listen to parts of the music all day for several days. 

Also he made them pull down the stage and rebuilt it about 3 times or more,  till they got the exact sound for the Dancers when they were doing the tap dancing, (well himself really, but also the others).   Look for "Feet of Flames" to see the part we heard over and over till they got the stage tuned right.

PhilW

Having multiple cameras on a piece of action is a good idea and will mimic the kind of editing that we are used to seeing in live action coverage. When animating however there is another consideration - you don't want to render the whole of the action from say 5 viewpoints and then edit together the final cut, as that would mean 80% of your rendering was wasted. That's why storyboarding can be really useful - you effectively do the edit first and then only render the frames you need to create the final version - much more efficient.

There are a couple of different strategies for multiple camera views - you can either create say five cameras and do individual renders of just the sections from each camera, or you can use just the one camera and save the positions that you to "film" from. Then when you want to cut from position 1 to position 2 you just use the relevant saved position and use the "Discreet" tweener to "jump" from one position to the next. The advantage of this is that your camera previews will reflect the final edit and you can render the whole thing in one pass.

Dartanbeck

Wow. I've never seen Lexx. Looks like something I'd like. I've also never watched Babylon 5 yet - which also looks like I would very much enjoy... thanks for the inspiration!!!

 

magaremoto said:

DB, I like your way to approach all the lighting tools within carrara, they can complement each other to fit any need

for example in the following sponza shot (sic!) I' ve been using 2 ring lights to softly lit the corridor and the ceiling getting a likely realistic result; moreover the volumetric cloud allowed to increase the sun intensity lowering the white albedo and spreadin out all around a soft diffuse light

quick enhanced contrast in post

Amazing! Absolutely. If we 'know' how we want it to look, with Carrara lighting and effects (and render settings) we can often make it happen.

Your techniques have inspired me immensely over the years!

 

wgdjohn said:

Dart, thanks for such good lighting information...  and settings for them and V-Clouds... I'll have to give some a try since I've only experimented with 3 types.  Perhaps I'll be able to improve my lighting rigs.

I correct my character enhancement rigs every once in a while to better match my newer scene lighting. But since my enhancement rigs are just that, they're also always being adapted on a per-scene basis, so I'm always tweaking them anyway. ;)

I've ignored some of the light types in Carrara for years - just sticking with what I'm confortable with - which is fine. But expanding to the others is a major boon, in my opinion, along with trying different strategies, like trying GI if it hasn't been tried in awhile - or try without if that's all one has been trying.

But now we must also remember to grab Alberto's cool new lights plugin and experiment with those too!!! Very exciting stuff happening there!

PhilW

I've never watched Lexx either but Babylon 5 is a classic!  First time that computer graphics had been used in a mojor way in a TV series. Series one is a bit clunky at times, Series 2-4 just build and build to epic proportions. They weren't sure that they would be renewed for a fifth series, so they shoe-horned a lot into Series 4 just in case, which means that when it was renewed for a fifth and final series, they had to add some storylines which didn't reach the scale of the previous series. But overall, it is a masterpiece!

Dartanbeck

wgdjohn said:

3DAGE said:

Parent the camera to the figure,. or the veihicle

you can still move the camera,. and animate it,. but it will auto follow the parent

Andy,  I've looked a few times tonight and can't figure out how to parent the camera to an object.  Do I want to track the object?

I believe I've found it... by draging the camera onto the object or figure/character.

Yup. I quit doing it that way because of movements I don't like in the recording, but yes. We may also drag the camera onto specific parts, like arm, neck, head, hip, etc.,

As with my enhancing light rigs, I instead opt for a Target Helper object, which I place at a specific, recognizable point near or on the character, and then move it along the motion of the character throughout time. If I do want the movements embedded, I can always just drag the Target Helper Object onto the body part I want to pparent to - but I haven't done that yet, since I've switch to using THOs.

For example, my enhancing light rigs are parented to a small Target Helper loctated between the eyes of a character. So through the animation of the character, I can decide if the enhancing will follow the exact motion, lag behind, precede, rotate around etc., And the same goes for cameras, which I keep independently in their own Target Helper if I need one.

Dartanbeck

Mistara said:

pretty vst stuff

Awesome piece - Great sounds!

Dartanbeck

Oh... right... Aiko... Lexx... yeah, I think that Lexx tune would be a great backer for Aiko!!! 

Dartanbeck

Mistara said:

head wax said:

amazing!

 

these are makin aiko dance in my head  lol

Absolutely. Like this first one starts off with her envisioning, or dreaming of what she must do - perhaps why too. Then it swipes to her journey as she makes her way toward her goal. Then, around 1:40ish, she meets opposition which she's able to either overcome or avoid rather quickly before continuing on her quest as before. And then... right at the end... she's there. We take a deep breath and take it in - in preparation for the next scene ;)

Dartanbeck

Mistara said:

head wax said:

amazing!

 

these are makin aiko dance in my head  lol

...and now, in the next scene, she's exploring this new place. It's awesome and fantastical. A pleasant experience ofr her as she investigates - perhaps even remembering things of her past along the way?  Wow. My neighbor is a professional harpist too. My sister plays harp really well - but doesn't do it much anymore.

Dartanbeck

Mistara said:

head wax said:

amazing!

 

these are makin aiko dance in my head  lol

Awesome, but before moving on to that last one, where she's dancing, dancing, dancing happily, maybe we should darken things up a bit with a confrontation that makes us fear for her life... her soul?

magaremoto

Dartanbeck said:

 

Amazing! Absolutely. If we 'know' how we want it to look, with Carrara lighting and effects (and render settings) we can often make it happen.

Your techniques have inspired me immensely over the years!

if only daz  had understood the potential within carrara and developed it primarily, now we would have been talking about a pro tool like C4D or even maya but with native characters inside, fully rigged and morphable; wow! a dream of almost anyone in CG industry (and still a dream as I can see); moreover what I don't fully understand is the policy at daz: they keep on growing but slowly, they create new human generations but only for artists and amateurs, they don't attack the market with perfect copies of human beings as it should be (think to VR potential): they simply reiterate their work infinitely (and the latest, M8, looks meaningless)

Mistara

Dartanbeck said:

Mistara said:

head wax said:

amazing!

 

these are makin aiko dance in my head  lol

Awesome, but before moving on to that last one, where she's dancing, dancing, dancing happily, maybe we should darken things up a bit with a confrontation that makes us fear for her life... her soul?

 

woes  this could be aiko in trouble.

 

getting caught up in the drama forgetting to study cameras >.<

gel lights, light cones  fire primitive, could be done

Mistara

PhilW said:

Having multiple cameras on a piece of action is a good idea and will mimic the kind of editing that we are used to seeing in live action coverage. When animating however there is another consideration - you don't want to render the whole of the action from say 5 viewpoints and then edit together the final cut, as that would mean 80% of your rendering was wasted. That's why storyboarding can be really useful - you effectively do the edit first and then only render the frames you need to create the final version - much more efficient.

There are a couple of different strategies for multiple camera views - you can either create say five cameras and do individual renders of just the sections from each camera, or you can use just the one camera and save the positions that you to "film" from. Then when you want to cut from position 1 to position 2 you just use the relevant saved position and use the "Discreet" tweener to "jump" from one position to the next. The advantage of this is that your camera previews will reflect the final edit and you can render the whole thing in one pass.

 

so thats what discreet tweener is for, thanks 

i think the batch render can pick different cameras in a scene.

not wasting renders is the really hard part  

often i dont notice poking thru fingers til too late