Post Your Renders like it's the year 2020!!!

DesertDude

Selina said:

By using Scene:Background:BiGradient and setting the Start Sky colour to the compliment of the key light (ie Red/Cyan; Green/Magenta; Blue/Yellow) you can introduce colour into your shadows 'Impressionist' style... Don't forget to turn on GI and make sure the Sky Light Intensity is equal to the key lights' brightness setting as a starting point!

I apologise if I'm teaching old dogs to suck eggs here!

Selina

Thanks for the tip Selina, those are lovely examples. I have near to zero experience with GI, so nice to know.

Persona Non Grata

Using HDRI as a Backdrop as well as a source for Global Illumination...

With a little trial and error you can move objects far enough away from the camera that they 'stick' to the correct position in relation to the background HDRI.

In these four examples the two objects (a text string and a sphere) were placed about 1250 cm away from the camera, which was then manipulated in the only four possible maners before the illusion is broken, namely: panned, tilted, banked and zoomed...

Once again, if I'm teaching Grandmothers up and down the country new tricks, I apologise!

Selina

Mistara

i reset the zoom to get back the production frame
camera perspective went a lil weird.  decided i liked it, lol

rosemill moor, converted most of it to props.

Mistara

is there a carrara gallery in the galleries?

TangoAlpha

No, but you can tag Carrara in the software used box.

Persona Non Grata

Selina said:

Using HDRI as a Backdrop as well as a source for Global Illumination...

With a little trial and error you can move objects far enough away from the camera that they 'stick' to the correct position in relation to the background HDRI.

A quick experiment along the same lines using Gerald Day's TARDIS (I had to correct minor material mapping for the front left window) His website is in the description on my YouTube channel. Thanks Gerald :)

Selina

WendyLuvsCatz

video trying out DragonWraith

had to make wing membranes a prop and attach to skeleton as too messy no Dforce
VWD ran out of memory trying and had to rename it to find the obj

Otherwise all works

Diomede

 

You are amazing!  I think we are going to see a lot more uses of dforce.  Interesting to see one used in Carrara with VWD.  

 

th3Digit said:

video trying out DragonWraith

had to make wing membranes a prop and attach to skeleton as too messy no Dforce
VWD ran out of memory trying and had to rename it to find the obj

Otherwise all works

 

WendyLuvsCatz

Diomede said:

 

You are amazing!  I think we are going to see a lot more uses of dforce.  Interesting to see one used in Carrara with VWD.  

 

th3Digit said:

video trying out DragonWraith

had to make wing membranes a prop and attach to skeleton as too messy no Dforce
VWD ran out of memory trying and had to rename it to find the obj

Otherwise all works

 

no I did not use VWD 

it ran out of memory 

is just rerigged to the dragon as original was too jagged without Dforce, is like that in DAZstudio too so I converted to other modeller and back and detached the model and selected it and dragon pelvis and attached skeleton

Diomede

Wow - even more impressive!!!!!!!

Mistara

? detached and skeletons?

beautiful clouds bacjground 

Bunyip02

th3Digit said:

Diomede said:

 

You are amazing!  I think we are going to see a lot more uses of dforce.  Interesting to see one used in Carrara with VWD.  

 

th3Digit said:

video trying out DragonWraith

had to make wing membranes a prop and attach to skeleton as too messy no Dforce
VWD ran out of memory trying and had to rename it to find the obj

Otherwise all works

 

no I did not use VWD 

it ran out of memory 

is just rerigged to the dragon as original was too jagged without Dforce, is like that in DAZstudio too so I converted to other modeller and back and detached the model and selected it and dragon pelvis and attached skeleton

Thanks for the info Wendy.

Stezza

feel Dforce Wendy 

evilproducer

clmoonriver said:

Wow, 6 hours is forever for me.  I don't do many super-intensive scenes.  My longest render to date has been about 1.5 hours.

What setting were you using?  The render looked nice, but I wonder if there is a way to get the same skin effect without the wait time.  I'm finding that a combination of HDRI and GMIC can work wonders.

The skin wasn't the problem. The problem was the dynamic hair which was taking forever to render. I had to stop the first render after letting it run for about 30 hours and it becoming clear it was going to take at least another 60 or so hours to finish.To solve that, I increased the scale of the hair and decreased the total hair count. That got the render done in just over 6 hours, but at the expense of some parts of the hair looking more like straw than actual hair. Without the hair, I could render it in about 30 minutes.

I had the settings pretty high, but not as high as they could go. I tried playing around with lower settings, but I end up with blotchy shadows that close up. The lighting is relatively simple in the scene too. Only a white skylight and a spotlight. Soft shadows on the spotlight were set to best, and the render settings were set to 1 pixel accuracy, and best antialiasing. The skylight quality was set to excellent at four pixels IIRC. Again, anything lower than that and I started getting blotchy shadows.

I was also trying to get rid of some "square lighting artifacts" that are apparent in some parts of her neck and on the bridge of her nose. But after rendering, I realized that probably wasn't a lighting issue, which is why I could never get them to go away. It was probably the fact that the model's mesh wasn't detailed enough for such a close up portrait, so some of the geometry was apparent on the render.

I might have been able to do two renders. One without the hair using very high render settings to avoid the blotchy shadows, and one with the hair at a lower quality since the blotchy shadows wouldn't be apparent in the hair anyway. Then I could have combined the two in Gimp. Maybe I'll try that.

 

If you are using full indirect lighting with dynamic hair it will take a longer time. There may be ways to help speed it up a bit. It will still go slow when the render buckets get to the hair, but a way to speed the light calculations and possible eliminate some ashing, is to save an irradiance map. For this, you can turn down your settings for AA, etc. turn down the resolution, I use the default 640x480. Choose to save the IR map. It will ask you where. Choose your location and rename it if you wish. Now render the scene with the lowered settings. It should render pretty fast. Now, turn your settings and resolution back up. Disable the option to save the IR map, and enable the option to use a saved map. When Carrara asks you to choose the map, choose the one you just created. Render away! The map will speed up the light calculations immensely.

Ah, but what if you move the camera or change the aspect? No worries. You could fly the camera through the scene and it will work perfectly. The same with the aspect. As long as you do not change the lighting, you can move the camera anywhere.

evilproducer

Here's another render of the bridge model. This really is kind of a WIP as I want to a better terrain, and to use/create more of my own plants. Right now, the scene uses a mix of Howie Farkes trees and grass, Dartanbeck's tress and plants, and some of my trees and plants.

Click image for bigly version.

 

Stezza

I can imagine the Mike Curb Congregation walking across the bridge

 

and what a fine bridge it is 

evilproducer

Thanks Stezza.

Diomede

great bridge and setting

evilproducer

Diomede said:

great bridge and setting

Thanks Diomede. I'm thinking of putting the bridge model up on ShareCG. I want to make sure everything points to where it supposed to first.

evilproducer

Sometimes when I hit a virtual 3D writer's block, I will render a pin-up style picture. I don't know why, but doing a simpler scene, and playing around with a smaller (although sometimes more compex) amount of shaders/textures, and lighting will break through the block. This render was done when I needed a break from my bridge scene.

The sheer fabric used the map used in the alpha channel in the transparency channel, although I had to use the invert color option. I used it there because I wanted some very minor refraction, Freznel and in-scattering. I think the overall look was worth it. I also used some translucency, though I used that more in the more opaque parts of the fabric.

For the skin texture, I used some image maps from the Reby Sky elite textures- not for the main skin color or highlights, but instead I used the maps that were meant to drive the SSS look in Studio or Poser. Now, you can't use those maps in Carrara's SS channel, as it doesn't accept maps. Instead, I used the color map for the SSS, and multiplied it with greyscale map that looks as if it is supposed to work with the color SSS map in the glow channel. I turned both down to 60% brightness.

I will attach the raw render from Carrara, and the postwarked version using Affinity Photo (a great alternative to Photoshop).

Click image for bigly size.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Click image for bigly size.

 

Mistara

how come we never see dudes in high heels? 

tee hee or george?

evilproducer

.

Mistara said:

how come we never see dudes in high heels? 

tee hee or george?

Sounds like something you need to try! 

Diomede

70s are calling

 

Mistara

Diomede said:

70s are calling

 

rocket man? 

Diomede

Rocket man - and pinball wizard (Elton wears bigger shoes playing pinball)

https://youtu.be/2JteWqKK6oU

.

MarkIsSleepy

I haven't made any full Carrara images in a while - been busy with work and haven't had a lot of time, but I was inspired by the April PC Club challenge to come up with this. The challenge, as I interpret it, is to come up with something kind of bleak and futuristic.

"All The Flowers Are Rusting"

Buildings and square modeled and textured in Carrara, flowers and grass originally by Howie Farkes and retextured by me in Carrara. Postwork in Photoshop consisted of increasing the glare, sharpening the plants, adding DOF using the Carrara depth pass, and overall color toning of the image.

evilproducer

Wow! That's really nice.

Diomede

Edie 8 in Carrara using Misty's G8F character.  I need to work on the intensity of the base morphs in my settings.  On a related note, the lack of support for HD morphs really makes a difference.  Also, I did something wrong with the eye transparency so have to spend alittle more time sorting out related shaders. Also need the eyelashes. Hair is a variation of Naomi's 5 times a lady hair.

To see the skin roughness as intended compared to what I've done, see the Studio promo images.

https://www.daz3d.com/edie-8

EDIT: I substituted a pic with a smile

EDIT 2: Tried to create eyelashes with Carrara dynamic hair

 

 

Diomede

One more - and for those interested, three toes on the left foot have the recurring toe issue.  (no shown)

3DAGE

Missed the whole thing,. went back in time,. tried again,. missed the whole thing,. went back in time tried again,. missed the whole thing

stopped to look at the pretty stuff here,. went back in time,. forgot what i went for,. came back here,.. then remembered i had forgotten something

Oh well,...