Ah… a few days out of the office and the website stops talking to me and and I’m up to my ears in emails.
Right, OK, looking backwards…
Horo, good suggestion about using the plop render. You know, I rarely think to use it to generate the final image. I just usually let the computer grind it out. Must be OCD. It just doesn’t feel right doing it that way.
Mark (LHD), did you notice that I popped up five video tutorials of Horo’s yesterday?
IBL-Advanced: Backdrop Sharpness, DOF and Saturation - by Horo Wernli
Projecting Light - by Horo Wernli
Tiling Objects - by Horo Wernli
Tiling Pictures (on a single object) - by Horo Wernli
Torus - by Horo Wernli
That should keep you out of mischief for a five minutes!
Jamie (GN), the modelling and materialling is really coming along, if you ever fancy it, if you send it over to me I’ll have a go at lighting it for you with right fancy lighting.
Odaa, you’ve tackled a tricky subject and it has come out well. Sea water is very difficult. Here in my neck of the woods, I have the North Sea, once photographed, looks very often like it has been carved from a block of dark wet slate. http://www.youtube.com/watch?v=7vYfHuKi_-U&list=UUiWOMSuuIoUPGO4S0wAr67g&index=2&feature=plcp not much transparency effect evident, but mostly reflection and specular response.
Dave (TS64), Those clouds look excellent and blend with the sky perfectly. To change the impression of scale, experiment with lowering the fuzzy factor to give better edge definition - the cost of this will be increasing the quality still further to hide banding.
Dan, thank you, I worry sometimes I might be boring you with the endless incremental changes that I feel are improving the scene, but in the end, are not really changing the scene. If I were as enthusiast about modelling as I was about lighting and materials, I’d come up with a better subject.
Canyonmanterry, good work with the mirrors, in some ways, I like the simple but effective scenes better because it allows the artist to really concentrate on fine tuning a limited number of light and material options. Complex scenes overwhelm me and I find myself compromised because I just don’t have the time to modify every single element to suit my lighting idea.
Erich (@), For me the light on the walls is the real star of both your images. The patterns in them are fascinating, half brickwork, half organic (vertebrae?). Fantastic!
Tornado, great scene, I think there is still more potential to experiment with the lighting in this scene, the clouds maybe have a little too much ambient response and it looks like the ground and the buildings are slightly aglow. If you want to play with the lighting, I recommend starting from scratch, get to a point where when you hit render you get perfect blackness and build your way up from there. Don’t worry too much about the clouds for now I would say, sort the lighting out first and add the clouds as the last thing. If you need them modifying and I’ve got the time I’ll happily look into that.
Silverdali, the reflection of the car looks almost surreal (maybe the clue here was in your name, but it put me in mind of melting clocks) The light, colour and composition are spot on. It belongs in the Bryce gallery for sure, if only there was one…
Ah… finally, I think I have caught up with myself. OK, I will throw in a car render for good measure. The car from TurboSquid, Vicky as per… from DS complete with her limited wardrobe (yes I know, I know, but who has the time to learn everything about every piece of software they own?).
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