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Carrara Non Photo Realistic Works

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  • HeadwaxHeadwax Posts: 9,964
    edited May 2017
    Dartanbeck said:

    Awesome results!

    So, the black and white line drawing is Toon Pro, DCG?

    thanks Dart - yes with depth ticked and  overdrae I t hink - what numbers to choose in the depth and the overdraw is just trial and error (for me at least )

    you can also get it to outline shader domains if you want

    its pretty easy to delete the eyelashes in post (or you can drag them into the head if you want animation - you'll always get a line around transmaps (eg the hair) though ?

     

    Post edited by Headwax on
  • DartanbeckDartanbeck Posts: 21,323

    Also, comparing the diffuse pass with a beauty pass is an excellent example of how hard the render engine can work to fill in extra lighting if we let it via highlights and indirect (even if artificial) illumination. 

    Back a few posts I was talking about DCG's Noir plugin, which can also work the other way, and allow us to do a huge amount of color grading directly during the beauty pass... which is really something. We can limit the color range or enhance it, subdue it... looks like a cool tool! If one is interested in achieving such things, that is.

  • cdordonicdordoni Posts: 583
    head wax said:

    hya thanks dart :) I just google rotoscoping and found a Scanner Darkly - interesting, interesting :)

     

    Check out Waking Life it was an ealier film in a similar style also directed by Richard Linklater. Waking Life is actually more diverse visually, so at times the syle is not consistent. However, I believe that was intentional. If you watch the movie, you'll understand why.

  • HeadwaxHeadwax Posts: 9,964
    Dartanbeck said:

    Also, comparing the diffuse pass with a beauty pass is an excellent example of how hard the render engine can work to fill in extra lighting if we let it via highlights and indirect (even if artificial) illumination. 

    Back a few posts I was talking about DCG's Noir plugin, which can also work the other way, and allow us to do a huge amount of color grading directly during the beauty pass... which is really something. We can limit the color range or enhance it, subdue it... looks like a cool tool! If one is interested in achieving such things, that is.

    thanks Dart, didnt realise you could drop saturation etc with this plugin. Do you have it? I'd like to see the results if you do!

    @cdordoni, thanks for t hat r ec omendation - will check it out  

     

  • HeadwaxHeadwax Posts: 9,964
    edited May 2017

    .

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    Stared reading Treasure Island last night to get some ideas. Here's 'The Death of Pew The Blind Pirate'

    Carrara render passes worked up in Topaz. Colour pass attached for comparison.

     

     

     

    wipColor.jpg
    900 x 675 - 565K
    Post edited by Headwax on
  • HeadwaxHeadwax Posts: 9,964

    Sorry double post

     

  • UnifiedBrainUnifiedBrain Posts: 3,588

    HW, thanks for your answers and generous tips.  I have copied them into a file for quick reference.

    However, you are basically exposing my ignorance, as I didn't understand at least half of what you said.

    But I do not want to further waste your time.  I've never used Photoshop in my life, and even though many of the skills I learned in Paintshop Pro and Gimp are likely transferrable, PSE is still new, and I will need to start looking at video tutorials (particularly about layers).  So, there is much work to be done before I can post ANYTHING approaching the style you so excellently exhibit.

    The good news is, the typical pattern is that after a year or so, I look back on tips that were over my head before, and I understand everything.  It just takes time.smiley

    I probably shouldn't do this, but I would like to ask a single question, in hopes that it has an unambiguous answer which I can actually understand.  I still don't understand what is meant by "beauty pass."  There is no such pass in the Carrara multipass render engine.  I've googled the term, read about it on multiple websites, and still don't understand exactly what it is, or how and why you use it in the Carrara-PSE workflow.

    This question will hopefully give you an idea of how deep in the mud I am. smiley

  • HeadwaxHeadwax Posts: 9,964
    edited May 2017

    Hya, it looks like it's open to debate , here's a discussion http://forums.cgsociety.org/archive/index.php?t-647442.html

     

    for me it's the plain render straight from carrara 

    any questions about pse just ask , I might know answer and might not ????

    Post edited by Headwax on
  • UnifiedBrainUnifiedBrain Posts: 3,588
    head wax said:

    Hya, it looks like it's open to debate , here's a discussion http://forums.cgsociety.org/archive/index.php?t-647442.html

    Looks like I am not the only one confused.smiley

    head wax said:

    for me it's the plain render straight from carrara 

    The plain render, but without items like reflection?  Highlight?  Shininess?  Shadows?

    head wax said:

    any questions about pse just ask , I might know answer and might not ????

    Thanks, I will ask when I know enough to ask a semi-intelligent question.  But working on tomatoes right now.:)

     

  • HeadwaxHeadwax Posts: 9,964

    Sorry was typing on ipad pita. :)

    For me a beauty pass is what comes out of carrara by itself, without manipulation.

    So it will have everything already added - reflections , glow, shadows, ambient light etc.

    That's for me. From that thread maybe people think of it just as a colour pass?

     

    also this person does too :

    :)

    http://3drender.com/light/compositing/index.html

    so I am probably incorrect, but that's life!

     

  • UnifiedBrainUnifiedBrain Posts: 3,588
    edited May 2017
    head wax said:

    For me a beauty pass is what comes out of carrara by itself, without manipulation.

    So it will have everything already added - reflections , glow, shadows, ambient light etc.  That's for me.

    OK, thanks for the clarity.  Good enough for me too!

    Post edited by UnifiedBrain on
  • DartanbeckDartanbeck Posts: 21,323
    edited May 2017
    head wax said:
    Dartanbeck said:

    Also, comparing the diffuse pass with a beauty pass is an excellent example of how hard the render engine can work to fill in extra lighting if we let it via highlights and indirect (even if artificial) illumination. 

    Back a few posts I was talking about DCG's Noir plugin, which can also work the other way, and allow us to do a huge amount of color grading directly during the beauty pass... which is really something. We can limit the color range or enhance it, subdue it... looks like a cool tool! If one is interested in achieving such things, that is.

    thanks Dart, didnt realise you could drop saturation etc with this plugin. Do you have it? I'd like to see the results if you do!

    @cdordoni, thanks for t hat r ec omendation - will check it out  

     

    I don't have it. I was just reading the product page.

    Post edited by Dartanbeck on
  • DartanbeckDartanbeck Posts: 21,323
    head wax said:

     

    Stared reading Treasure Island last night to get some ideas. Here's 'The Death of Pew The Blind Pirate'

    Carrara render passes worked up in Topaz. Colour pass attached for comparison.

     

     

     

    Oh man, is that even AWESOME!

    Funny thing... I just spend my Disney Movie Rewards on "Muppets Treasure Island"! LOL

    Tim Curry is awesome as always! Certainly not at all the same thing... just an oddly fun cooincidence, I thought! Of course, Grandchildren being Grandchildren, I still haven't seen the whole thing all the way through ;)

    So, was that Colour Pass actually the beauty pass?

  • DartanbeckDartanbeck Posts: 21,323
    edited May 2017
    head wax said:

    so I am probably incorrect, but that's life!

    Nope. Beauty pass is the render with everything. The full color, shaded render. The photograph of the rendered scene.

    As for limiting hues or limited pallet (same thing), this might be a tad long if you watch the whole thing (Awesome, though!), but it's actually toward the beginning when Dan Ritchie (Author of Project Dogwaffle) starts talking about why traditional paintings have (naturally) a limited pallet compared to photograph and/or digital renders in a very Artistic perspective

    Want even more?

    Dan Ritchie is great at explaining this stuff!

    Post edited by Dartanbeck on
  • StezzaStezza Posts: 7,988
    head wax said:

    .

    .

     

    Stared reading Treasure Island last night to get some ideas. Here's 'The Death of Pew The Blind Pirate'

    Carrara render passes worked up in Topaz. Colour pass attached for comparison.

     

     

     

    I think it was in 2nd Form when we had to read that... or was it Tom Sawyer.... can't remember but awesome as usual surprise

  • DartanbeckDartanbeck Posts: 21,323

    Yes! I forgot to add that I now want to get that book from the library and read it. Hmmm... when I'm done, maybe I'll read Tom Sawyer again too! ;)

  • DartanbeckDartanbeck Posts: 21,323

    Say, this is somewhat related, so I'm not going to apologize for OT.

    I was just browsing the Daz3d store before turning in for the night, and came upon this cool pdf by blondie9999

    I bought her Rigging in Daz Studio pdf, printed it to paper, and really like her style.

    Anyway, for those whom might be struggling for that perfect render:

    The Basics of Lighting

    Compatible Software: DAZ Studio, Poser, Carrara, Bryce, Vue

    Details

    Lighting is the bane of many people new to 3-D art-- and of some who aren't so new. If you have trouble with lighting, this manual is for you! It explains the basic concepts of lighting in a clear, easy-to-follow manner, without a bunch of technical jargon. Topics covered include:

    • what the various lights are, how they work, and how to use them;
    • how to create a 'light ball' to provide ambient lighting, using only twelve lights;
    • what things such as 'shadow bias' are and what they do;
    • how the color, intensity, and direction of lighting affect the 'mood' of the picture;

    and much more!

     

    There is no light set included-- the purpose of this manual is to teach you how to create your own light sets. You won't learn how to create super-fancy 'art' pictures, but you will learn how to create good renders using fairly simple light sets, and you will learn the basic concepts of lighting-- a foundation you can build upon.

    This manual is written for DAZ Studio, but the principles and concepts set forth in it apply to any 3-D rendering program. The manual is in .PDF format, with bookmarks and table of contents.

    Comments About this Manual:

    • 'It does exactly what it says on the tin!-- a solid introduction, well worth a read for newcomers of the art.' - Jack Tomalin
    • 'blondie has captured the essence of lighting in an easy-to-understand tutorial designed for DAZ Studio but applicable to just about any 3-D package out there.' - Nightsong
    • 'I must say that this is a well done and very needed tutorial.' - DimensionTheory
    • 'Blondie tackles another important aspect of 3D-- Lighting. Her introduction to lighting provided me with lots of 'Oh, that what it does' moments that had stumped me previously in lighting scenes. As with her previous guide, this covers the basics in lighting scenes for different situations, including day and indoor scenes. Though geared toward DAZ Studio, blondie gives the equivalent concepts for Poser as well.' - Male_M3dia
  • HeadwaxHeadwax Posts: 9,964
    edited May 2017

    thanks Dart and Stezza :)

    and yes Dart I agree with you on the beauty pass,

    interestingly I had a play with online colour chord extractors last night and ran some through NC Wyeth's work - looking at both the colours and proportions of those colours was educational. Also you can see how he gets unity in his work by keeping the tonal range close for most of his colours.

    Yes Tom Saywer... I studied  in eng lit at uni as well as at high school , fine work.  that's in the line up as well as Kidnapped :)

    I like going through old texts that we think we know - and find we dont.

    Thanks for colour theory too  (OT. For my traditional work  I use a restricted palette warm red cool red, warm blue cool blue, warm yellow cool yellow, Plus Pthalo Green. Mixing Ptahlo Green with Alizarin Crimson (the cool red)  for my darks because they are both transparent colours  and let the canvas shine through plus and varying the degree of colour gives lovely grey/'blacks'. If I am painting en plein aire - which I don't like to do but was given a short artsists' residency  by a local regional gallery here last year to paint in their grounds!!  - I use a ready mixed light grey to dull my colours down ... keep that a secret )

    We should start a lighting thread. Lighting is simple, people just over think it

     

    Note to self:  NC Wyeth's Palette according to James Gurney's observation of palette  left intact after Wyeth's death -  white, cadmium yellow light, cadmium yellow deep, yellow ochre, raw sienna, cadmium red, alizarin crimson, Venetian red, burnt sienna, raw umber, burnt umber, ultramarine blue, viridian green, and black.)

    Post edited by Headwax on
  • DartanbeckDartanbeck Posts: 21,323

    Very Cool! I won't say a word! Yeah, Dan's a big fan of Rose Matter. I always had a more red Red than that, but I love what he gets from it. So cool how very different we all are!

    With stone, the color has a lot to do with how I decide which stone I like best - which is something one could never really do using a description or someone else's eyes. It's as much a 'feel' as it is a vision. But when I find that right one, it inspires itself into what it will be! Oh... but that's a really limited pallet! (I was wondering to myself where I was going with this! LOL)

  • HeadwaxHeadwax Posts: 9,964
    edited May 2017

    Sure, I know what you mean about stone and objectivity. A long time ago I bought $5000 worth of Granite for a benchtop without seeing it, when it came it was black as night and had sparkles like a million galaxies - just like the stone man said :) 

    Post edited by Headwax on
  • HeadwaxHeadwax Posts: 9,964
    edited May 2017

    Carrara render passes worked up in Topaz Simplify and impression. The background is a separaUsed a shadow catcher on the foreground

     

    Post edited by Headwax on
  • MarkIsSleepyMarkIsSleepy Posts: 1,496
    edited May 2017
    head wax said:

    <snip>

    We should start a lighting thread. Lighting is simple, people just over think it

    <snip>

    +1 to that - I would love to see a dedicated lighting thread! 

    Also, totally OT, but did anyone else notice that this thread was mysteriously moved to the Art Studio forum for most of the day and then just as mysteriously moved back to the Carrara forum?

    Post edited by MarkIsSleepy on
  • HeadwaxHeadwax Posts: 9,964
    MDO2010 said:
    head wax said:

    <snip>

    We should start a lighting thread. Lighting is simple, people just over think it

    <snip>

    +1 to that - I would love to see a dedicated lighting thread! 

    Also, totally OT, but did anyone else notice that this thread was mysteriously moved to the Art Studio forum for most of the day and then just as mysteriously moved back to the Carrara forum?

    sorry that was me mucking around, slight experiment which failed ;)

    the lighting thread, yes it would help new people  especially

     

  • HeadwaxHeadwax Posts: 9,964
    edited May 2017

    Diomede's work on his pumpkin patch reminded me of this Old image from the Original Carrara challenge.

    This one uses the replicator to replicate leaves in  the shape of an elephant. Post work in Fotosketcher

    Some of the outlines are from toonpro which does not pick up replicated objects?

     

     

     

    Post edited by Headwax on
  • HeadwaxHeadwax Posts: 9,964
    edited May 2017

    Worked up  image from the Tomato challenge. 

    Post edited by Headwax on
  • Bunyip02Bunyip02 Posts: 8,334
    edited May 2017

    Filter Forge Watercolor Painting Filter

    Blenworth Castle M5 Topaz FiltForge Watercolor Paint 800.png
    800 x 600 - 1M
    Post edited by Bunyip02 on
  • Bunyip02Bunyip02 Posts: 8,334
    head wax said:

    Diomede's work on his pumpkin patch reminded me of this Old image from the Original Carrara challenge.

    This one uses the replicator to replicate leaves in  the shape of an elephant. Post work in Fotosketcher

    Some of the outlines are from toonpro which does not pick up replicated objects?

     

     

     

    Nice elephant, shame the rabbit didn't work out.

  • HeadwaxHeadwax Posts: 9,964

    Yes that is for sure!

     

  • Bunyip02Bunyip02 Posts: 8,334
    edited May 2017

    Gladiator versus Wyvern - Filter Forge Old Book Illustrator filter

     

    Gladiator 1c Topaz FiltForge OldBookIllustrator 800.png
    800 x 600 - 1M
    Post edited by Bunyip02 on
  • HeadwaxHeadwax Posts: 9,964

    great effect, thanks for the heads up on this one, just had a go at it but not getting anything that looks like yours!

This discussion has been closed.