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Very cool! Is that US2? How did you set up skin reflection? With control maps?
Yep. Still old school US2.
Nope, pure fresnel. :) Having a non IOR based fresnel may not be correct, but it does give you a lot more control.
True. There is a reason there is a custom "artistic Fresnel" curve even in Nvidia's Architectural material for Iray =) // and it's even in DS //
Not just iray. Even vray has options to customize a fresnel curve of a surface. Redshift has a switchable setting, so you can use IOR based fresnel or a custom 'artistic' one.
One neat thing that Maya has is that there's a graph of the curve using the values you set. Those makes it easier to compare between IOR based and custom one.
Teeth's not quite where I wanted yet. Plus need to rebalance the specular/fresnel on the eye surface.
Maybe more SSS for the teeth?
I love how her skin looks here, particularly face/lips: the shimmer of classy expensive makeup =) Okay, okay, maybe some people out there look like that without any, but not me, haha =)
The SSS is already quite strong, its the specular I'm not happy with. That's V4 Lana with the make up on. She has three face maps, two with make up. I still prefer the old Elite sets compared to newer ones, since they put a lot of skin details in the diffuse/color maps.
That thread over at CGSoceity was extremely helpful, even if the guy is using a different renderer and possibly a whole lot complex shader. I think he's using 8K maps, so four times the resolution of your typical DAZ/poser sets. And the details on those are just mind boggling.
Still need to check if the settings transfers over nicely to other texture sets. I've migrated from using different fresnel/specular strengths to fresnel falloff to control actual glossiness/roughness. I think that's closer to real life though. With US2, that's basically the IOR dial for fresnel.
So I got FWArt's latest freebie : http://www.daz3d.com/a-cozy-kitsch-living-room
Found something odd. As far as I can tell, this happens with all lights I used (UE2, linear point lights and the directional lights) and it's tied to the diffuse of the floor. The shot is just using linear point lights, everything else is disabled. Anybody can explain this?
On a hunch, I tried changing the shadow samples on the renderer's option, and it got smoother. So, wonky shadows from a geometry problem?
Put up a screenie of it in wireframe, at that spot...I have an idea as to what's going on, but don't have that set to take a look at the geometry.
Ah found the problem.
The chrome/metal was set to -100% Opacity. It was using a "Chrome" shader before the conversion. I just assumed it was going to be 100% after. Looks kinda cool though, like fake reflective caustics. :)
-100%...that would be, yeah...fake reflective caustics. Negative opacity does really strange things.
That got me thinking though. If there's a way to alter opacity (make only the edges of an object cast the negative shadows, plus some shadow softness and samples override), it could be a good enough fake. Will never be correct of course.
Try negative opacity on a geoshell?
Already did that. Produces roughly the same result.
Definitely a cool accident =)
You could try driving the negative opacity with a function like fresnel or edge blend? Should be easy enough with shader mixer.
...I'm in love with that Luc Bégin project! The eyes are just splendid. Amazing. So much like that unreachable goal I had in mind when I started making polygonal eyelashes for my fanart projects - neither Garibaldi nor LAMH turned out to be easy for this type of job, and LAMH annoyingly resets Genesis to base resolution (I thought of growing lashes on a conformer, but it won't autofollow the eye close morphs...).
Oh yeah, I think I finally found the way to make colour-based controls for SSS. Do you guys want a reversed visual representation of the absorption 'colour', like in Maya ('transmission'), or is it okay as-is?
Yeah, I thought about that too. Fresnel wouldn't work, because it's view dependent and what you want to do is light direction dependent. Edge blend may work though. But maybe later, when I've finished working on the light/mat kit. Metal, skin and hair is generally done. There's also base fabric presets, but I need to re-examine glass and other materials.
Of course, both you and mjc are welcome to try. :)
Now to put THIS where it should have been...
Instead of in the 'other' thread...
Sounds cool. I've never tried negative Opacity before, tho I'm not sure the older Daz Default shader in Studio (4.5 or 4.6, or even 4.7) would allow some settings to go past 100% let alone into the negative, lol.
I've already experienced what Diffuse strength less then 50% and Specula cranked out past 100% can do for skin in studio 4.8, not cool.
Enough of that tho, that fireplace render has some cool trim-light effects going on, if not caustics from an invisible light. That's one hell of a Stumble on-to there wowie. I can think of one scene from a few months ago, that I needed something like that.
I've played with 'casting reflections' in the past. You've summoned caustics, by invoking negative quantities, lol.
I do look forward to that 'Cloth shader' your working on, as one of the things I miss the most in my collection, as plane 'No-Patron' cloth. I've given up on trying to reproduce stuff like Spandex or Lycra, as it is microstructure based (the random specks of gloss), and both Iray and 3delight have difficult working with stuff that small. It's the same for rock with bits of Mica in it. If you look closely at 'Jennifer's arm, That is NOT a smooth sheen/gloss, it's specs of gloss. As mjc1016 is probably aware of, I've ripped out my hear trying to reproduce this effect as true as possible for some time now (because the location of the gloss-specs are light-angle dependent).
"NY Schist", Photo Credit: Photo (c) 2009 Andrew Alden. For example only.
For Iray, you can use the carpaint shader as a base for that kind of effect.
I also have a noise driven carpaint shader for 3DL I've been working with. It provides a layered specular with 'noisy' bright spots that does a really good job of replicating the varied 'speckles' in things like mica. The problem is, it's a very fiddly shader with very 'technical' input variables and I'm not making much progress on translating things into 'artistic' (read don't need a degree in physics to understand/use) terms.
It's based on Ingrid Bergman, so she is quite a beauty.
You already know my opinion on that. Color swatches similar to the 3delight Maya shader of course. And roughness everywhere (diffuse, SSS, specular, reflection, refraction). Mappable roughness or mappable SSS color swatches can wait for the next version of the shader.
It's not a shader - it's still UberSurface2. All the shots above are still using US2. I find it just mind boggling how you can came close to physically based values with a very old shader. For specular noise, a tileable, seamless specular map can do wonders. There are some seamless fabric presets/texture sets around you can probably use with the US2 preset to simulate the specular noise effect.
Tofusan made an Iray camo shader with perlin noise. http://www.sharecg.com/v/81773/browse/21/DAZ-Studio/Iray-Camo-Shader
Maybe worth taking a look to see what kind of options should be included. My advice though, is simply putting it out there and see what happens. :) For the untechnical users, made presets with clear shots of the resulting pattern and a tiling guide in the readme/manual.
I'm admiring the overall skill Mr Begin displays, not the particular face. It could've been any other character, but if done as meticulously as that...
I meant something else. I do have colour swatches in, but right now they're based on Jensen scatter and absorption values, as-is. The 3DL Maya shader gives the artist the 'transmission' colour which is inverted then in the shader to make absorption. Which one do you prefer to see in the interface, straight absorption (blue for skin) or transmission (orange for skin, as in Maya)?
'Mappable SSS colour swatches' will be in the albedo/DMFP version further down the line. With the scatter-absorption model, it's best not to map them and use values close to Jensen's measurements, the model is very sensitive. The float multipliers are mappable, just in case (have long been - but it's still easy to break the calculation with random maps), same as spec/reflection roughness params. I can't recall ATM if I did map refraction roughness (I was thinking about that), but I will check when I move the glass to full GGX for both. Actually, adding maps is easy.
Mustakettu85, I would guess 'inverted' or orange for skin, so that maps that already exist, still work for that. Especially for figures sold here at daz.
I'm going to be difficult...
I don't care.
Actually, though, for skin, I prefer absorption...for dielectrics I prefer transmission. Mainly because it's easier to find the data for skin as absorption...and well, I think we all have pretty good idea how that works.
Actually, I got you the first time.
Well, I would go with the Maya option. Reasons:1. That`s the one the devs used. 2. As I have pointed out in the old thread, I think omnifreaker should've done it that way too. 3. As long as it's well documented, it shouldn't be a problem. 4. I think other apps and renderers use that convention too.
Ultimately, what I am asking is to get as close as possible to the Maya shader, and practically any shader in a modern renderer.
Since none of those values are mappable before, it wouldn't break compatibility. However, be sure to explain what should go into the slots. The usual stuff, like what range, zero values are used. Is zero the grey or black, that sort of thing.
Wowie.
I've shied away from a lot of the 'tileable texture maps' I came across last year, as many of them are not for commercial use. That and for stuff like my 'megalith' and upcoming 'Precinct of” set, I can't legally include the maps in the free zips for the things. It's just to 'sticky' to be dealing with maps from other places, lol. It's part of the reason I made that 'Rock shader set', and more impotently made it CC0, lol.
I was going to pack up most of the cloth weave maps I've made, and got distracted. It will still happen, as my other thread with them in it has kind of been left in tatters by the switch to the new forum (links no longer lead to the exact post with the maps in it, and I don't have permission to edit the older posts to fix the links). It has all been rather discouraging to say the least, and an incredible uphill battle just to get back to where I left off. Enough of that tho, just the thought is depressing, lol.
Tofusan Iray Camo Shader. I actually looked at that, and decided to pass, as it was for Iray. I wasn't thinking about it in terms of using the maps in 3delight, nor am I sure I have a use for camo-maps in most of my works. Tho I don't mind taking a look, something may be useful (for personal use).
(EDIT) scratch that idea, the Iray Camo Shader, dose not have any maps. Just the icons and Duf files... hmmm. The zip doesn't even have a folder-tree for where there supposed to be copied to?
Argh. FINALLY!!!
Prop is AllenArt - http://www.sharecg.com/v/81421/browse/21/DAZ-Studio/AllenArt-Drinking-Glass-prop-for-Iray-with-shaders
Two renders, one with raytrace depth of 16 and another with 8. Need at least 12 to get all the reflections/refractions in that single glass. Took about 2 1/2 minutes with that depth. Kettu, can your bounceGI script go that far in ray trace depth? I forgot.
The camo is procedurally generated, not map based. I was referencing that for mjc since he mentioned doing the same thing (procedurally generated noise). As for maps, you can generate your own. I think even GIMP have some actions/plugins for that.
Oh sweet, properly modeled glass with water!
Sure. All the depths are capped at 16. You'd need to up the overall max depth and the specular depth (I may add a check-against-the-spec-depth for the overall max so that it will increase automatically, but I don't know right now if I will). And you can always edit the limits in the script source if you somehow need more. 3Delight's hardcoded RT depth maximum is 32 bounces.
Okay. I personally don't care either way, it's just a single subtract operation in the code if we're to use transmission.
Zero is black. With all my control maps save for bump/disp, it's always black, and white is 1. And then these values are multiplied by whatever the slider says. It will be explained.
Midgray zero only makes sense for height maps, IMO.
Zarcon, well, we aren't talking about overall colour maps. These go into a dedicated slot. We're talking about a specific parameter of the material model that doesn't truly have to be mapped at all. It's like an integral physical property of the whole material. It drives the maths which, in turn, does stuff to your overall colour map (or no map, depending on how you prefer to use SSS for your characters).