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DAZ Productions, Inc.
224 S 200 W, Suite #250
Salt Lake City, UT 84101
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© 2024 Daz Productions Inc. All Rights Reserved.
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I added the bg in postwork Ashes and added blur to it as well to match the DOF in the render itself
I am now working on my 2nd entry now it is not all set quite yet to be rendered (That may take a few days to be ready for rendering) it is going to be a big project for me with all the lighting I am going to need.
Thank you very much bob :) ... i'm waiting for your 100% render ;) :p
Your welcome ... if you do'nt use hexagon and if the smooth modifier did'nt work, you go first with D-formers ... inside Daz and really usefull at many times ;)
I am very happy of my sun (not easy to have the good settings for this glow effect with outgoing flame) ... but you are right i reduce the scale to give the distance but i probaby have too much reduce it ;).
For the lens, i will add it with some postwork because i dont know how make it in Iray :) ... and there so many nice lens flare brush and layer given by Deviney ;)
I had some red emissive sphere as some "collision light" and i am thinking to add a ship a a girl outside ...
I'm not sure that the rreflection on the solar panel is really ok ...
And i think i 'am approching the last version ... maybe reduce the noze transparency or the intensity of the "nose light" ... i think that the contrast is better.
Bringing back one of my first models. Very rough concept. Mainly just testing some volumetrics.
-=-
Here's my latest pair of renders for this month. All my lighting on this entry has been Iray emissives.
Knittingmommy, something about your torch is off. Torchlight normally is the strongest where it emerges, and then the cone of light grows and fades at the same time. Yours doesn't fade, but is nearly non existent at the torch itself. At least, that's what I see.
And if the torchlight grows weaker with distance, the tunnel walls will indeed be much darker and more sinister.
@Siotrad - I like the reflections on the solar panels. It draws my eyes to the space station. Nice rim lighting on both the Moon and Earth
I agree with your assessment about her nose but I really like the light effect on her shoulder.
@Belaal - Do you have a set of spotlights in the background? It looks like there is an indication of this but it is very slight and hard to see.
@Shinji Ikari 9th - I like the changes you have made. The slightly wider door opening and yellow toned light coming from the other side works. I like the head pose of the kneeling soldier in the 2nd image. I also like the addition of the light above his head but and no sure about the prop itself.
Hi again! Let's see if I have better luck this contest. My WIP is rendered in DS 4.9 Iray. The main light comes from the lightsaber, there is also an environment light at very low strength and all the emissive surfaces I could find in the scene. How would you improve it? Should I remove the HDR and rely only on the emissive surfaces? I have been thinking too of adding a red light to light her right side (left on image) as if an enemy lightsaber was in front of her.
Thank for your help in advance.
These are comming along great Siotrad, the only thing I have to ask is what is wrong with your lady's arm it looks like she has a bunch of black scratches by the elbow and also the elbow seems to be a little too bent almost painfully so.......But that is just my opinion :D
@Cherpenbeck That comes from the image (Base image) used for the Godrays itself. I couldn't make it do what I wanted, i.e. get the light closer to the flashlight and lighter at the end of the light cone without this little triangle thing popping out and messing it up. I played with the Opacity and that helped the light be not quite as strong. What I think I need to do is take the image in the Base slot into Gimp and see if I can reverse what they have in the image so that it is stronger at the smallest part of the cone and lighter at the larger end of the cone. I don't know any other way of doing it as the product probably wasn't meant to be used for this purpose. I tried some of the other lights first, but got no visible light except where it hit the floor. So, if I have time today, I'll be playing with this in Gimp before I try my next render.
I really like the lady with the tattoo! She is certainly stunning. I like a lot of the entries this month. It seems like each month you guys all get better and the competition gets stiffer. :) I have no comments on light as that is definitely one of my weakest skills.
Well, I think that was a little harsh.
I certainly didn't say that the tech didn't need to be part of the discussion, I suggested that the discussion should be opened up to include some of the generic concepts that are involved with the theme. I tried to be diplomatic and I slighted no one in my remarks.
:) that's some hair shadow and no i didn't forced her :)
Nice one.
The idea of the red light is good. But the laser appears to be shifted relative to the handle.
@Rafmer: I think you need some fill lighting. Having the blade provide the main light is an interesting idea, but the image is too dark (IMO), especially the other side of her face. This is the Level 19 set, yes? I'm not sure how much help an environment light is going to be there if I recall correctly... its pretty deep and walled on three sides. I would, at the very least, give some light to the other side of her face so that it doesn't disappear into complete darkness like it does right now. I'd also strongly consider a rim/back light coming from the area of the Keep Clear sign, something to seperate her from the background. I would also put in a large, diffuse light from above and the right of the figure... keeping it dim and broad so that its not very define and the blade still provides the majority if the light. That would be your standard 3 Point Light setup; just realized this as I was going along, but I would absolutely prioritze the fill and the back light.
@Siotrad: I'm not really sure what's going on in your space image, so.. I have no input. For your tattooed woman... right now, the brightest light is on her face, which immediately draws my attention, and then you have the bloom on her right shoulder so I am drawn to that...and nothing leads me back to her back, which is really the focus of the piece. I would drop that light that shines on her face... or at the very least, bring its intensity way down. It looks (from the shadows) like the light shining on her back is coming from the right of the camera. I would change that light completely: move it the left of the camera and up above the camera with a steep angle so we will have more lace shadow from her wrap and have the majority of the light fall on her left shoulder and scapula so that the eyes are drawn there and then the fish tattoo will lead the eyes down, across and back to the red wrap.
@Shinji What are you featuring here? Are you trying to show us the prop/set? Or are you trying to show us the two figures? What do you want us paying attention to?
Right now... I'm not sure because everything is bathed in this red light... and I have no idea where this light is coming from. I happen to own this prop... If you want to make use of the emissive surfaces here, I suggest you look at the lights on the walls and in the ceilings (I'm away from my main computer, so I can't recall what they are called at the moment -- I'll check on it when I get home). But, emissive surfaces are not usually enough to make a great picture. They are great for environment, ambiance...setting the mood, but they are not generally directed enough to have meaningful impact.
I think you want us looking at the two figures. If that is correct, you need to add some lights in there to direct our attention towards them. I would also suggest a little reframing of the image... I don't think we are interested in all that floor space, nor the ceiling really. And I would turn your first figure in towards the scene more... with his back completely to the camera he becomes a figure of non-interest to me.
Thanks for the tips, I will try to implement them to my image. Yes, evilded777, it's Level 19, but it's open in one of the sides so the HDR lightning kind of works.
@From the ashes/Bob: you've got a great start here. My first recommendation is going to be to turn down those laterns. At least the ones providing ambient light, they are distratcing (leave the robot's lantern brighter than the rest, but it could use some toning down as well). Don't turn them OFF, just turn them way down, so they suggest the interior more than illuminate it in ways that distract us from the intersection of action... where it seems our hero and the robot are going to meet.
I'm guessing the main character is the human male? Where's the spotlight placed? Because I am having trouble telling that he's getting any sort of special illumination. That might come out more once/if you turn down the laterns.
@Shinji Ikari 9th - I like the changes you have made. The slightly wider door opening and yellow toned light coming from the other side works. I like the head pose of the kneeling soldier in the 2nd image. I also like the addition of the light above his head but and no sure about the prop itself.
I agree with Kismet2012 regarding the white light on the left. I'm not sure what is, and it doesn't seem to have any affect on the soldier below it, although I do see its reflection in on the wall. It needs more than emissive light - because something that bright needs to affect is environment more. I do like the green light from the panel on the opposite wall.
I, too, like the addition of color on the other side of the door. From the hue and shapes of the color, my first impression is, 'whoa, they're going into a fire!' I do see some light from the opening reflecting on the floor. Can you increase this effect? What's beyond the door is very bright, and if it is affecting the corridor more, it gives the impression that what's beyond is very significant. Think Hollywood where a door is opened and light floods the chamber - have the light itself be a character that is interacting with the scene - because this is the scarry unknown that they and us the viewers are going to be facing shortly.
I still think you need some contrasting lights on the soldiers to break up that dominant red. Little blinky lights can be added in postwork (in blue, green, violet - cool colors).
I like the fact that the left soldier's head is up so we can see his face - I think that a white light shining from his weapon into his face would really bring this out (if not the white light above his head). It will also be something to draw the eye from the door to another subject and make that stand out against the dominant red, and also add the human element in a hostile environment. Notice how Hollywood does this - masked characters are distant from the audience, but we can see the sympathetic character's face and identify with him.
Perhaps the source of this light can be a screen on his weapon. If you want to use an emissive surface and there is no material zone on the gun which you can make glow, you could line up a tiny pane on the gun - the side facing away from us (in case it looks hoakey), and have that emit some light into the soldier's face. It's best if this light is white - that dash of skin can be the only thing in this room that has normal light.
@kismet2012 I did have a few lights which I have been dailing up, but I have decided to add a few more and will probably be playing around with them even more in the near future.
Still not happy with the eyes so I might be changing them around.
Looking good Belaal. I can see what is going on behind her now. I love her expression.
Hello, I,m not sure on how to use the forum or enter the competition but here is my entry anyway :0)
Wow, a lot of these entries are really stunning. Fair play to you guys
Not very experienced at all but want to get in on this one for the experience, seems like a fun way to try new things and familiarise yourself with different aspects of the software.
I've started a little piece - total noob here so forgive errors and such, haha. Am going for a kind of subdued nighttime bar scene. Nowhere near done yet and torn between how she looks in 3Del vs Iray but here's what I have so far...
FYI, haven't ventured beyond basic spotlights in this piece yet. Enjoying playing around with colour and intensity though.
I agree. Concepts and goals need to be discussed. The things generic to all types of render engines.
A laundry list of purchased products does nothing except promote products. I'm rather sick of seeing those. Listing products isn't even part of the entry requirements here and may sway impartial judging.
Discussions of fundamentals applies to all types of renders and engines. For example.. 3 point lighting. Rim lighting. Bounce. Understanding of the basics prior to using someone else's presets or IRAY deciding for you.
This contest is so far off track it isn't even funny.
Love that expression! I like the way this is shaping up and am interested to see what you do with her eyes.
Welcome to the work in process thread! Here we give each other feedback and show our so-far's. When you feel that your art is ready, you can enter it in the contest marked (Entry Thread).
I have to say this is a very comfortable-looking living room. I like the style and you are a fine decorator! Naturally the cat takes the best seat in the house.
It is a little bit dark, however. I suggest that you increase the lighting of each lamp and warm up the color a little - a nice yellow added to the light should do it. Also, make the lampshades glow to indicate that they are lit. Bring up the overall lighting in the room just a little and keep the contrast between the lamp light and the ambient light in the room.
I'm afraid I have no experience with Carrara, so I can't give you any technical advice.
You're off to a great start! Which is this rendered in, 3Delight or Iray? Once you decide which engine you are using, we can get more specific with technical details.
Nice rim lighting. I would suggest adding a warm (pale yellow orange) light on the front of your subject - this will soften the dark shadows and give her nice looking skin. The lighting you have is great for accent, but let's now bring the woman forward and bring human tones to her gray skin. This will make the accent light more subtle.
I like the color variation on the bottles, but again, the whole scene is too dark, like somebody turned off the main light in the bar and they are lighting the room with Christmas lights. Bring up the overall lighting in the scene so that the rest of the room comes into view. It will be a balancing act so that it does not take away from your subject.
Hey thanks for the feedback, I appreciate it.
That render is in 3Delight, which is probably what I'm going to be sticking with. I like your suggestions, you've hit on some key points that are niggling me about it.
I began with just the room and the one pink spotlight coming in from the left. Sort of knew what I wanted, in terms of building it up highlight by highlight, almost in a layered approach. But now it's a question of lifting out the right parts. The trick is not wanting to make it too light - overall I want a dark picture, where the lit parts are what really make the piece. But not so dark it gives people headaches trying to make it out.
So far we only have five - the pink on the left, a blue on the right, a couple of backlights on the background scenery - which I was very glad you liked the effect of, by the way - and a single white overhead to accent the tables.
Revised - changed her expression based on suggestions in the thread.
Also toying with the idea of changing the light from the monitor to a reddish tint, signifying an alert on the screen. Has the effect of a) introducing an emotional hint of danger and b) isolating the light on her face.
Thoughts?
I like the red. It makes the "flashlight" light more prominent and really brings the attention to her face.
It also tones down the overall brightness of the image without making it too dark.
I happen to work in 3Delight as well. Light layering is the way to go. Uber Environment (occlusion with soft shadows) makes a great ambient light - you can increase its intensity just enough to bring your background in. Spotlights are great, but they can also cast light behind your figure as well. If you don't want that, I found I have the most control with Linear point lights. You can adjust the Falloff Start and Falloff End so that they only touch what you want to light. If you set them to No Shadows, then they make excellent fill lights.
Use warm colors to light the woman, but keep them down near the bottom of the color box so that they are not too saturated and your hue is subtle.
If you are planning on working in 3Delight for a while (and there are lots of people who still do - check the "3Delight Laboratory Thread"), I would suggest acquiring the Advanced Light set by Age of Armor (Advanced Spotlight, Distant Light and Ambient Light - it's in a bundle). It renders faster than UE2.