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the mammoth looks similar to the model I have which is a morph for the old Daz elephant I think.. called mammuth
the tusks are ok with that one ... I wonder if your model is different
as mine didn't have any conforming hair...
Hello Stezza - there is an old Mammoth made by Smith Micro/Content Paradise at Renderosity, hair on it is fairly old fashioned model hair.
Midnight Stories has released an updated Mammoth at Renderosity as well.
Thanks for the feedback, everybody. The mammoth issue is very strange. It is a Poser file, but it behaves differently in Studio compared to Carrara. Not sure why. I had loaded it in studio and saved it as a preset. Loading that preset in Carrara, there were bones for the tusks, but the tusks did not appear. I did not put too much effort in solving the tusk issue because it was faster to just model some tusks myself. The figure is from the old content paradise site and is labeled Woolly Mammoth in my runtime.
while I have a large and truly terrifying collection of old Poser animals the mammoth isn't among them
in addition to my versions going back to P7 I got heaps from Content Paradise many free
Renderosity still sells them
the turning off limits thing applies to many old Poser figures, 3DU figures and Songbird Remix so thought was worth a go
More of 'No one asked me.' I am traveling to a wedding in Italy (yay) so will probably not be checking Carrara-world for a while. Be well.
have fun
Sounds great, I never got past the English channel, except for 15 minutes in Calais when we had to get right back on the Hovercrat back to Dover. I have a friend on a six week tour in Italy, her name is Joey, if you see her say Hi.
safe travels
ask them why they don't put pineapple on their pizzas
+1
Humorama Style Vintage Comic Panels
This is a sample of my workflow. Going for a black and white comic panel that uses a splash of color for interest - usually either red or blue. So this is a recent project. The next few posts will show the basic steps.
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Summary.
I use the native Toon filter in Carrara's scene tab. The scene retains the ability to render colors but I replace many object's shaders with black and white gradients, usually driven by the texture map. These are my Toon Filter settings. I usually reduce the size of the edges, for example.
For example, I tend to use G2M and G2F generation. So I have saved a global shader for Michael 6 and for Victoria 6 that makes the skin shaders B/W gradients with the texture map in the gradient blender channel.
Occasionally, one of the people figures will have some color information, but to keep the monotone I simple replace the B/W gradient with a reddish or blueish gradient, still driven by the texture map. I attach an example with a red theme.
In the above example of the art show slap, the figures remain B/W. It is the artwork that gets a splash of color for interest. I used simple primitive planes. I set the shader for the plane a reddish gradient, and used a classic artwork to drive the gradient.
always enjoy your images and reading the pathways to getting to it
Thanks. This thread is a big help to me as I get older and forget how I did things.
DEPTH PASSES - Infinite Planes Compared to Replicated Terrains or Oceans
This is new to me so maybe others will be interested. If you are doing an outdoors scene and care about the depth pass, it makes a difference whether you replicate terrains into the distance or use an infinite plane. A grid of seamless replicated terrains yields a much better depth pass than a single infinite plane. Was news to me. Here, I have a scene with an ocean in the background. I looked at it two ways. First I did the Fractal Dimensia / PhilW trick of using a terrain for the ocean, just replicating it using the checkbox for 'seamless' and matching the cell grid sizes to the terrain dimensions. Then I used a single infinite plane. Look at the difference in the depth passes. The replicated ocean has a much more useful depth pass than the infinite plabe depth pass.
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The scene setup.
Dangers from the Mist - Year 850.
A version with no use of the depth pass. Straight render out of Carrara. In the next day or two, I will experiment with what can be done with the depth pass.
Ye old Poser 7 Male (Simon), Erik the Red clothes from defunct Content Paradise, some Carrara fog and Volumetric clouds to try to get some mist.
This is the depth pass for the updated version of the scene posted above - Dangers from the Mist - Year 850.
Attempt to use the depth pass in a photo editor for the Viking image.
Before and After Postwork.
Not sure I am a net positive as a postwork artist..
Free Low Res Elephant for Your Enjoyment.
Free for any purpose. If Tamborines and Elephants are playing in the band, then all the better. You will want to the replace the shader but the uvmap is acceptable so any skin texture you have should be OK.
thanks for the pachyderm
that is one cool elephant .. thankyou
+1
Great job, Bunyip. The baby elephant is going to be so scared of that rodent!
Thanks !!! Tree, Rat, & Elephant are all yours !
Wow, I forgot about modeling and rigging some rats.
Ravenhart Divinity Oracle Building - 3 things.
1) Dart is doing a webinar through Digital Art Live on content sold through the Daz3D store, and he has chosen Ravenhart as an example. Ravenhart made the SciFi spaceship set series Marcoor.
2) Ravenhart also made the classic Dividnity Oracle textures back in the day, which I have.
3) I am going to use Ravenhart's Divinity Oracle tower for a walk through of Carrara Toon and Multipasses to Stable Diffusion workflow.
A) Simple block out in Carrara. I inserted a couple Carrara terrains. For the foreground terrain, I applied a plateau filter so I could put the Divinity Oracle near the top. I staggered the other two terrains twoard the background.
B) Create a tree replicator holder. I duplicated the foreground terrain, created a new master, and converted it to a vertex model. In the vertex modeler, I created a new shading domain for tree placement. I inserted a surface replicator, chose the duplicate vertex terrain as the holder, and limited the replicated objects to the new shading domain just created. I chose the tree as the object to be replicated.
C) I arranged the scene and chose a camera angle.
D) In the scene tab, I enabled the filter for Toon III Pro.
E) In the render tab, I added a depth pass. (I also added a background pass and a diffuse pass, but did not use them in this example).
C) After rendering, I used an image editor to invert the depth pass.
D) Now armed with the toon render and the inverted depth pass, I started Stable Diffusion and chose a model comfortable with non-photorealistic projects. I used a very simple positive prompt. "high quality, landscape illustration, A tower on top of a hill with trees on side, background mountains moonlight behind the tower, mood is eerie, in the style of pulp cover art." Negative prompt merely used "low quality."
E) I enabled 2 Controlnet processors. First, I enabled 'canny.' I loaded the Toon render and lowered the Control Weight. I clicked the orange icon to run the canny processor and it generated an outline image from the toon render I loaded. It is possible to edit the result, or to upload your own mask, but I left the canny alone in this case.
F) The second Controlnet process was Depth. My inverted Depth image is the one I want. So, I enabled the second controlnet channel, chose depth, and uploaded my inverted image. However, I did not click the orange processor icon. Instead, I enabled upload own mask and chose my inverted map again. I set the processing model to 'none.' I lowered the control weight.
g) I set the height and width of the Stable Diffusion area to match my renders. (768 wide by 512 high). increased the batch to 4 and the sampling steps to 35.
h) I clicked generate. Kapow - some images appear.
Here are examples of two results. Recall that my prompts include an illustrated look of a pulp book cover with an eerie mood.
Here are the elements to the workflow described above.
Carrara scene setup.
Stable Diffusion main area and written text prompts.
Controlnet Canny Settings
Controlnet Depth settings. Recall that I inverted the depth pass, and loaded my own mask, and notice that the processor is set to 'none.'
Here is another Carrara to Stable Diffusion example. This time going for a vintage pulp cover. Final image on left. Used Carrara's native filter Toon III Pro to make detect the outlines easier, and used the depth multipass. In this case, did not use the main render (beauty pass) for anything.
Interesting results !!!
A Canadian Western Themed Image
Warning - Created combining Carrara Toon III Pro filter renders and Carrara multipass renders in Artificicial Intelligence Processor.
I will be posting a series of Carrara and other screen shots for this workflow. Frankly, this one took more steps and more time than might be worth, but presumably learning and experience would speed things up. I think the final result is not bad. Going for a western pulp illustration look. A featured content item was the Royal Canadian Mounted Police uniform from the old Content Paradise site.
Carrara arrangement and preprocessing outlines and depth -> Stable Diffusion / Controlnet / Latent Couple processing and first draft -> Composite preferred elements -> Stable Diffusion upscale and reprocess in image2image