Show Us Your Iray Renders
This discussion has been closed.
Daz 3D is part of 
Connect
DAZ Productions, Inc.
224 S 200 W, Suite #250
Salt Lake City, UT 84101
Licensing Agreement | Terms of Service | Privacy Policy | EULA
© 2024 Daz Productions Inc. All Rights Reserved.
Comments
wow! bravo!
Wow. Just wow. :)
...thank you.
This is what I was hoping to get with Reality/Lux but every time a new patch to R4 was issued, I had to reset all my surfaces again. Also Reality would not let me set a primitive to a mesh light as it had no associated material file. In Iray that is not an issue (the car's tail lights and turn signal are primitives).
Then there's the render time, this took 1h 52m in full CPU mode. With Lux I would let it cook all night and even after 9 - 10 hours still have a lot of noise and fireflies to deal with. Based on that performance, to achieve the results I could get with Iray, it would have taken between 22 hours to a full day in Lux.
All of these volumetric renders are amazing. jag11, you are a god among wo/men.
Some testing with translucent hair...
That sounds familiar as I myself let the computer work overnight.
Speed is the most important Iray's strength seconded by the Shader Mixer(MDL), I was using Luxrender frequently and was happy with it even though I was progressing slowly.
As for 3delight I still find it quite usefull, bought some awesome shaders and I have plans for them.
thx.:red:
Greetings,
Oh, WOW! That is redonkulously awesome. The streaming light around the feathers absolutely SELLS that image!-- Morgan
That sounds familiar as I myself let the computer work overnight.
Speed is the most important Iray's strength seconded by the Shader Mixer(MDL), I was using Luxrender frequently and was happy with it even though I was progressing slowly.
As for 3delight I still find it quite usefull, bought some awesome shaders and I have plans for them.
...I still use 3DL as I like the variance in styles I can achieve with it as the lights are basically shaders. Unbiased engines use real world physics for lighting andthus are designed to give a more photographic result.
One interesting note, the helicopter in the scene I posted a page or so back is actually scaled down to 40% its original size to make it appear more "distant" as Daz Studio isn't designed to accommodate huge environments like Carrara or Bryce. Given the sun's angle, the helicopter cast a shadow on the photo backdrop plane, not good. Now in 3DL I simply turned shadow casting for it "off", but in either Lux or Iray, that isn't an option. Hence I had to move it so the shadow would be hidden behind the girl on the right thus slightly altering the overall balance of the scene a bit.
So a lot of tricks that can be done in 3DL are difficult to impossible to create in Iray or Lux. I am amazed by the "volume" rays and that will be my next experiment. However, getting something like say, a fog or overall distant haze effect in a large outdoor scene would probably best be done using semi transparent planes at different intervals from the camera or adding the effect in post whereas with the right tools, this can easily be achieved in 3DL.
That's a good effect. White translucency color?
Hee! Yeah, I ended up buying AoA atmospheric cameras a month ago to create the effect. Now I feel a little silly.
On the other hand, the depth camera in that bundle is still useful for doing certain things not easily done otherwise.
I thought it would be cool to experiment with an older model.
I loaded this oldie-but-still-awesome Predator model from Sixus1media and used the Iray Uber Base on the skin, applied an iray car paint or metal shader to each individual section of the armor and weapons, and used an HDRI map as a light source.
I left my settings at 7200, which wasn't long enough, so there is a touch of grain to the image, but in this case the grain actually looks cool and suits the character, at least to me it does.
The lens flare was added in After Effects. I actually want to try this image again attempting the volumetric lighting trick that's been posted.
Greetings,
:) Check the canvasses in the Iray Render Settings tab... I think there may be a depth-canvas, or at least a Path Expression that you could write to generate one. Probably depends on what you use it for...-- Morgan
You are doing some really great work, Dinopt!
Your last few pictures have really been wonderful.
And thanks so much for sharing some of the details of what you are doing. :)
Thanks Ippotamus, I really appreciate that!
...love the motion blur. Very professional looking.
..OK playing around a bit more with settings.
for the first attachment it was suggested on another thread to reduce the gamma setting from the default to 1. Well, as can be seen this makes for a fairly dark scene unless I change the ISO, f/stop, and/or exposure rate. Note that the higher saturation level is also more pronounced.
The second attachment is using the actual suggested settings from Kodak for Kodachrome 64, for bright/hazy sun with distinct shadows.
ISO: 64
Shutter speed: 1/125th
Lens opening: f/11 (both the render and camera setting).
I left the saturation level at 1.25 as Kodachrome had a slightly richer colour balance.
While it does appear a bit darker, the colours look a bit better and shadows not as washed out.
Dude, those look so cool!!!!!
I am also impressed with how cool you made the cars look.
Thanks!, sorry for the late reply but not going email notifications.
more of your Llamagenies...and other findings.
I had to try out what timmins suggested - using the volume sss technique for distance haze. Almost every cityscape/landscape piece I do involves rendering a z-depth pass and compositing it on in Photoshop to get an atmospheric haze effect. Until now! This is soooo superior looking to me. No worrying about trans maps messing up the z-depth pass... and the color is correct to the lighting situation. I'm really happy about this.
I'm loving how every day I check in on these forums and see a new technique that someone has figured out, it's a very exciting time.
Well, jag01 (I think was the username?) suggested it first. ;)
But yeah. That looks awesome. And it's so 'palm on forehead' basic, really.
That does look great!
So that's a super huge cube whose edges are offscreen, then?
I don't think you have to have the edges offscreen, if you make it refract 1.00.
The big things are that the light source and camera have to be outside, for the effect to work, I think.
I'm contemplating funky ways I can get 'light streaming from an object' by modeling objects with spaces in them. So, for example, a cracked sphere emanating light... using a 'fog volume' that's a sphere with a spherical gap inside.
Yep, it is a massive cube with the left, right, and bottom edges off screen. The back and top edges extend behind the geometry of the big buildings, to make sure they're enveloped in the haze, but the edges don't need to go further than that. Also, the SSS settings here are lower than when making god-rays in a room. For a deep scene like this, the haze just needs to barely be there at all to make a noticeable effect. Like others have mentioned when doing their experiments, I was shocked at how little this trick lengthened render time, considering what a great and expensive looking effect it is.
Thanks for the info, guys! I forgot to set refraction to 1.0 on mine, that's what the problem was!
Wow Zilver, you went from good to awesome with Iray in no time flat. :)
I like how you're thinking!
I've been thinking about making some custom geometry for this too, specifically a cube with a negative cube space inside it for the camera, allowing 360 degrees of fog no matter which direction the camera faces. For a cityscape project, the hole can be quite large (like a city block size at least), allowing the camera lot of room to move around. In the render I posted, I actually had two huge cubes of fog that meet each other at a 90 degree angle, essentially creating fog 180 degrees around the camera.
Just playing around - this is the G2F skin shader. I've also determined that I'm not very good at positioning props in hands. :-)
I used the "SSS cube" technique discussed above to add atmosphere to Jack Tomalin's free Chapter House Iray scene. Thanks again to those explaining and discussing this method! Do you mind if I do a tutorial on my deviantart for it, linking your posts for proper credit?
I'm even more madly in love with this engine knowing this is so easy - I could never get camera methods to work for me in 3Delight! I wonder if we can get thicker clouds of smoke or fog with selective mapping?
I like how you're thinking!
I've been thinking about making some custom geometry for this too, specifically a cube with a negative cube space inside it for the camera, allowing 360 degrees of fog no matter which direction the camera faces. For a cityscape project, the hole can be quite large (like a city block size at least), allowing the camera lot of room to move around. In the render I posted, I actually had two huge cubes of fog that meet each other at a 90 degree angle, essentially creating fog 180 degrees around the camera.
Whatever the volume settings the maximum distance is limited to 100m.
The custom geometry shape could be like a pyramid, parented to the camera, so if you turn/move the camera the fog goes with it.
The base of the volume would also be proportional to the Focal Length.
Or, if you honor the KISS principle, just use a cube big enough.:cheese:
My first attempt at a scene with an HDRI environment in DS/Iray.
The car is painted in British Racing Green metallic, which I see as a color fit for a British car (the Car Ranger is a Range Rover lookalike).
The BRG car paint shader for DS/Iray, and 11 more metallic or pearl colors plus near-mirror-finish car chrome, are available for free download at my Deviantart page ( http://tom2099.deviantart.com ).
Great image.
It would be great, I really enjoyed your "Getting started with Iray". Share the knowledge.