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Fractal D wrote
HA! to you too ;) your images is amazing. :) I'm looking forward to your lesson on doing oceans.
other ideas: welll when I was 21 I made some night surfing helmets - it took me a while to make them out of rubber bits and peices etc, but amazingly enough they were water proof, But the thiung that struck me was that , when we finally got to use them, the light beams vanished after about ten feet, because of the moisture in the air, so they were pretty useless,
Admittedly it was the surf zone, but it always strikes me how much fog and haze is above ocean water when it's moving around.
So my idea isn't directly about making oceans, just that at eye level we get more atmopsheric haze than we do when we are on land, unless it is a calm day then the swell is not so choppy :)
I heard that evil was going to dress up the cow in a skimpy out fit? is this true?
and if so would that be paradise lost, or found? :)
If it is true, then Yes. It would definitely be paradise lost, or found!
is it Whopper maybe? dressed in a strogenoff type peppercorn and mushroom sauce?
I think it's too late for Whopper - unless you're into Necro-Bovo-Skank-O-Philia.
But then again...
That could be fun! I never tried it, so I guess I simply don't know.
Try not to take this the wrong way, but you have a nice ass! ;-)
Hahaha! Thanks, i think so too. :lol:
Hi Gareth, great to see a talented organic modeller entering this challenge.
(not implying that you yourself are not organic ;) )
:lol: Thank you :) i enjoy modeling in Carrara but... it does lack the tools that are found in Hexagon.
Narrowing down the subject matter ;) Teddy Bear repairs, probably will be Toy Repairs with a line up of kids with broken toys? who nose?
aw cute Headwax
Wow. Love that render!
Great job Headwax! Love the lighting and shadows.
Thank you Gentle lady and Gentlemen :)
Ahh, I didn't mean to make it cute, I will have to surgically remove one of the Bears arms :)
I was just going to put a band aid over his eye
No, err I am tempted to make a little story,
frame 1: Teddy crossing road, gets run over by taxi driver (have to give Driver a logo on his shirt and hat?)
frame 2 bear gets driven by guilty taxi driver to Teddy Bear hospital, only to find TBH is closed, and then
frame 3: Taxi driver opens boot, takes out his tool box which contains several saws and....
And.... the last scene would be taxi driver sitting in the El Pardiso Bar and Grill, with a beer in front of him and the bandaged bear sitting in the chair next to him, also with a beer,
but what's it go to do with Paridise Lost and Found, err I don't know. ;)
I do like beer though....
Fantastic render Headwax.
The reflections on the car (Big Yellow Taxi, nice) are really well done!
The entire image just leaves so much room for the imagination - I just love it.
Following the previous format this time :)
evilproducer, thank you for the particle emitter settings! I'll be sure to try them. The water in your image looks very impressive indeed. Although it probably took forever to render too, not just to load.
I also like the improved (final) version of your entry. The new sign shaders are great. And very interesting car colors: being so bright they contribute to the idea of coming from somewhere exciting and colorful, and it contrasts nicely with the grey dullness towards which they are heading.
Thank you for sharing the lighting/render-time-saving trick for the hair. It's a brilliant solution and I will write it down and use it whenever I am using dynamic hair. Pity I didn't learn this technique sooner and didn't think of it before... one of those "Duh!" moments... It would have helped with one of my recent images where I used dynamic hair and the hair had a lot of fine settings, so with a bunch of lights thrown in it took 18hrs to render...
FractalDimensia, so far your ocean is either the best ocean I've seen done in Carrara, or one of the top 3. So I think you the expert here :). I only tried using the ocean primitive before, but didn't like the results, so I changed my image idea to exclude the ocean altogether and just chickened out of it completely. But I have a few "oceany" ideas floating in my head, so i would love to learn how to do it properly.
Sockratease do you work in science? (I do, that's why I ask.) And if you do, were your graphics and Carrara skills ever useful to you there?
I am very curious about the new image you are creating. So far the models look very interesting. And thank you for sharing the creation method for them.
I usually get very frustrated with extrusion tool, because whenever I manage to get to actually extrude, it extrudes somewhere very far and I get stuck trying to manurer it to where I want it. Is it meant to be used with a tablet instead of a mouse? Or am I just not using the right tool settings for it?
Roygee, I think you found the right work around for the skies issue. I believe those are scenes, not just sky presets. And that means that they include the light that is attached to the sky (moon or sun) and the correct light settings as well, which would not get saved if you just save out the atmosphere sky preset. (Things like lens flare or glow emitted by the light, which get set in the light properties and effects are not connected to the scene atmosphere and therefore would not get carried over to the sky preset, so instead the full scene is provided.)
About multi-pass: I am not sure I have time for a tutorial, but I'd be happy to answer any questions you have.
A good idea is to render out a psd file with all the available layers (Gimp can open it) and then just go in a look at what those layers do and how they should be combined (the psd file comes in with all the proper layer modes, so you can see what needs to be set on "Multiply", "Screen/Add", "Overlay", etc...)
There will be a bunch of those layers in the channels list (not the layers list). Except for Ambient Occlusion (which I copy to layers and set to multiply) these channels are useful as masks of various kinds. Note that if you render a channel like Normal or Position separately, it will render in colour, but in the psd it comes in as a mask. (And rightfully so, I think)
The include-all-passes option will render more than one PSD file. Some of those extra ones will be less useful, but they will be appropriately named, and something like "Material diffuse" can be an essential time saver.
Some notes: if you have dynamic hair or volumetric fog or volumetric clouds, it will show up in "Volumetric" layers only, but so will the "Atmosphere sky" data, so if you want to work with hair/fog/clouds separately (and it's better for post when they are separated), you'd have to avoid using the atmospheric sky preset there (render it as separate image with hair/fog/clouds invisible, and combine those layers later if you want).
Trust me, once you work with multi-pass, you'll be asking yourself how and why you lived without it all this time :).
diomede64 I will miss your NPR WIP's, so no hooray from me. But I am very glad you have found a workaround to your setbacks. It looks good. Also, you can probably render out the multi-pass render will passes like position and index and then a bunch of NPR render with various brushes for various objects and combine the results in post (using index to block out what you don't want in each NPR render), if you want that kind of variety in your final image. Good luck!
Gareth Davies, there are more and more interesting characters! :) I can't wait to see how they all will come together. The donkey looks great.
head wax, the mood in your images keeps changing. You have tried so many ideas already and I am still struggling with mine. I think I need a new brain. (in my head, not in the food-for-zombies sense)
And here is my WIP (with and without post).
So far I am very unhappy with it. It's "Paradise Lost" and found. Both because the book is boring and because sleeping in a comfortable chair on a lazy afternoon can be a sort of paradise. Of course, then she will wake up with a hell of a stiff neck, but that will be another story...
Anyway, the image is lacking. And I cannot put my finger on what's not working. The composition? The colors? The setting? The pose? The lighting? Will have to try some more things and figure it out. If I have time...
thank you Kakman :) I try to get a narrative happening in my renders :)
antara wrote
oh your brain is working fine, as evidenced by your beautiful render :)I think the pose works very well, maybe the elbow on the right arm could be slightly sagging, ? at the moment the arm looks like she is holding it up slightly and that detracts from the sense of sleep? maybe maybe not?
looking at it from an illustrator's viewpoint, I always try and have subplot happening that mimicks the main plot - the plot in this case being the woman sleeping from too much reading of a slow book
looking at it from a compositional point, the diagonal is very dynamic, but the lead in diagonal which is probably the line of the thighs tends to take the eye out of the image , the vertical curtain almost catches the eye but not quite perhaps? perhaps a vase of roses? then there is the wonderful squares of the windows, butthey are not being reiterated elsewhere (books on a book shelf?) ?
just random thoughts, certainly not criticisms, I think the image is wonderful !
@Antara
Thanks for all that info - a lot to digest, so I've made a copy for later:)
You are right - best to just render all passes and play around in Gimp, see how they can be combined to best advantage.
Your and head wax's latest renders are superb!
Cheers
What tipped you off?
Yes, I am our local Friendly Neighborhood Mad Scientist. I do quality control for a chemical manufacturing company. And yes, I've used Carrara to animate how a bacteria gets impaled on a specially treated surface for a presentation my boss was doing, and I've used it when working for Naughty Adult Websites (don't laugh! - That's how I met my Fiancee!!).
I attached the gif file I made as a very rough test to show what I could do if I put time into a detailed animation, but the idiot just took the gif and said it was good enough! I wanted to make a real, resume worthy, animation, but I also wanted to do it on company time and get paid for it! So I never finished the thing (the E Coli bacteria model was free at 3DScience.com, and the surface was just a bunch of spheres) (the difference in charge between the cell and the "spears" literally electrocutes the bacteria once the cell wall is penetrated and it tears itself apart trying to balance the charge). It's also reduced in size and I cut out a lot of frames to keep the file size around 1 MB - it was an HD gif weighing in at 8 MB, which is a bit heavy for online use (this was intended for an offline presentation).
You say you're a Brain Hippy too? What field are you in?
As for the models, they were overly simple to make - I am a TERRIBLE modeler! The extrusion tool is moody. I got these results by dragging polygon near the middle of the selection and being sure to only move the mouse very slowly and not move it very far at all (I never used a tablet, so can't say how they'd compare). I used the default settings on the extrude tool, so also not sure what effect changing any of them would have on the process.
Glad you liked the results.
Title - Homage to St Michael Wounds the Devil - this is my final entry
- 3 original or modified items with notes on creation/modification process,
1) Clouds
2) armor for M3, helmets and weapons for M3 and M4, and shield for M4. Modeled and uvmapped in vertex modeling room (devil's pitchfork is a spline). Shaders are procedural.
3) used vertex grids to construct the terrain foreground and the ocean. Procedural textures.
(also made a custom brush used in the some of the renders)
- Content credits
DAZ Michael 3, Daz Michael 4, and a brush from the carrara brush set from GKDantas and deviney - available in the Daz store.
Wings are the winter queen wings from Poser 6.
- General process description
Found a classic painting related to Paradise Lost. Edited the mesh of M3 in vertex modeling room to make his arms and legs more muscular and face more aquiline. Modeled and fit armor to morphed M3, and attached to hip in animation tab. Posed M3 similar to image, and used the weightmap brush in the vertex modeling room to fix minor poke through. Posed M4 similar to devil in image (modeled helmet, robe, discarded shield). Modeled clouds from vertex sphere, reshaped using magnet tool, then smaller distorted vertex spheres were replicated on surface of larger sphere. Once grouped, those objects were then replicated on a long arched cloud dome to try to give some depth. Used spot lights in the far corner to try to get a yellow tinge to far middle clouds and purple/bluish tinge further out to the sides. Used combination of glow channel, bump channel, and difuse to try to make look cloudlike.
Rendered several images in non-photorealistic render room. Chose a few images that had some elements that I liked (these included one that used a scratch brush available in the DAZ store and one custom brush that I made per Antara's instructions). Brought the chosen images in Photoshop and copied them over each other. Sequentially used the erase tool to choose the elements that I liked from each image. Did some minor touch ups with the pen tool. Ran out of time because I am leaving town tonight.
I will post the the pre-photoshop renders next.
Just want to say what a great job Antara did running this month's challenge. Thank you. And also thanks to everyone who gave me helpful suggestions. If one of the goals of these contests is for people to have fun and learn about features of Carrara that they might not otherwise use, then that goal was exceeded greatly in my case.
here are renders as produced by Carrara's NPR, before photoshop
Cool! All of them, all of you! Cool!
Yo, Antara!
Try holding down either the Shift key, Ctrl, or Alt while extruding - if one doesn't do it for you, try the other - they each help to control your extrusion.
Your boots contain tool boxes and saws?!? I have enough trouble keeping just my socks and feet in them! ;-)
Your boots contain tool boxes and saws?!? I have enough trouble keeping just my socks and feet in them! ;-)
you Merry Cans!!
'spose you call it a trunk
my trees and elephants have trunks!!
you Merry Cans!!
'spose you call it a trunk
my trees and elephants have trunks!!
You know why we call it a trunk don't you? It's because back in the early days of the auto, you could buy an optional trunk- like a an old steamer trunk or foot locker that could be strapped to the back of the car.
When I was a kid, we lived on an old farm that had a long dis-used outhouse. In the outhouse there was a magazine from the mid-1920s that had several auto advertisements and the Ford ad, actually pictured the car with the "optional" trunk.
Thank you, i really enjoyed making it.
I'm really liking the lighting in your scene, brings out all the details :)
@Antara Thank you! :) I really like the camera angle in your image and i love the soft sunlight coming through the window, looks beautiful :)
wow .. 16 pages of WIP so far..
Hard to keep up with it all..
bits and pieces to make the truck look like a fire truck update..
got to work with the shaders now for the firemen to represent my locale.. and get some fire burning
There's a lot of really good work here! I'm desperately trying to get together a WIP for my second entry for C&C so I can get it in by the deadline, so unfortunately I don't have time to comment on all the individual works that have been submitted.
Roygee, did you see the emitter settings? Did they help at all? If you need me to, I can upload it to Dropbox for you to DL. (No need to register).
My current scene uses an apple model I made in the vertex room along with a procedural shader for it, if anybody would like it, I can put it out there for people as well. Don't worry, I'll give you all a chance to see it!
@evilproducer
Thanks for pointing out that you'd posted the settings - this thread is moving so fast and I don't get advised of new postings, so missed it.
Thank you - I'll try them out momentarily and get back
Cheers :)
EDIT: Yes, that's it, exactly - thanks so much :)