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:). I know my limits. My attempts at those are like fingerpainting with frosting. Thank you for the nice comment.
This has really improved since you the first render I saw earlier in the thread. I like the darker one better. I'm wondering if a little highlight on her head would help, maybe just enough to add a little light to her hair. I have no idea, just a thought. I like the composition and all of your elements. LIE should work even in Iray. I've used it with Iray in a lot of my Iray renders and I use LIE whenever I can. I don't know what the problem is, but I would tend to look for a different reason and that might give you the solution. If it helps, tell me what you are trying to put on her feet with LIE and I'll see if it triggers and brain cells. I can't promise I'll know the answer, though.
As for geoshells, still learning that one so can't help you there, though, I do know that you should be able to still go into surfaces and turn off any surfaces on the geoshell that you don't want affected by your dirt shader, but I don't think it would work for just the bottoms of her feet, it would shade the whole foot as that is the texture zone. I don't know if you can affect just one section of a texture zone or not.
I like this render, Daniel. The DOF is nice and it has a sense of movement as in a real chase. Her expression has a sense of urgency with a touch of fear which is good. It feels as if it is missing some element that would make it really stand out, but I'm afraid I have no idea what that element might be. It just looks a little flat and I have no idea why because, overall, I really like the image.
I love how dynamic this image is. It tells me a lot about what is going on in the image with very little information and I could write a whole story based on this image. It has a nice sense of balance and everything behind your main character is framed nicely by everything in the back ground making her really stand out.
I like the overall concept of B/W with the scratches. Makes it look like an authentic photo of an old dogfight. If it were mine, I might try and eliminate a couple of the planes in the background that don't actually seem part of the battle. The plane that is upside down keeps drawing my eye and I don't know if it is because it is upside down and odd or if it is because my brain thinks there should be something going on there. I think you might want to try and hide some of the planes and see if it adds to or takes away from the overall image or the effect you are going for. At the moment, I can't tell if those trio of planes in the background is suppose to be flying to the rescue or the enemy coming out ahead. They are different from the other planes actually in the dogfight and look like they may be from different eras, but that might just be the fact that it is B/W and they are smaller and far away visually. I don't know much about planes so I wouldn't be able to tell if the planes were all from the same era or not. The only markings I can make out are on the two planes front and center and I'll be honest, I wouldn't be able to tell which is the good guy and which is the bad guy from the markings on planes from that era without a lot of research so I don't know which is which in your render, I'm kind of hoping the plane doing the shooting is the good guy and he is having a field day on the enemy. Yes, I know I'm no help at all. Overall, I do like the whole concept.
If I didn't comment on someone's render, be thankful you didn't get my somewhat useless wisdom. I seem to be on roll today for totally useless advice or wisdom.
I can shed some light. The 3 airplanes in the background appear to be B 29 Superfortress. Enola Gay was one of these types. So, it's late in the Pacific War, also evidenced by the P-5I still in D-Day livery. The center allied aircraft is a P-47 Thunderbolt. "Jug" was it's nickname. The lower left allied aircraft, from this angle, appears to be a Corsair or Bearcat of some type, a Carrier type US Navy/Marine fighter. Not sure of the exact models of the Japanese craft. One appears to be a Zero, or Zeke. The Japanese are taking the short end of this, jumped by the bombers fighter escort.
At this point in the war Japan was hard pressed to put up any aircraft at all, or have experienced pilots to fly them. This appears to be one of the last ditch efforts to fight a war already lost.
It may not be 100 percent historical, with the mixing of 2 land based Army craft with a Naval aircraft, but also not improbable depending on location. Given the chaotic nature of a gun dogfight "furball" I would have no Idea how to compose this. I do think that the bombers are integral to the story.
Hopefully the author will correct anything wrong with my statements. It is an exceedingly hard moment to capture and I'm happy he is taking the challenge. It is different..although, odds are, there is a Vicky Pinup painted on one of the Forts.
Awesome concept. Nice juxtapositions...Dali meets NeverNever Land. Very cool and I like the darker exposure, it makes her look more tentative. I wonder where she is going or where her cat is taking her.
Have you considered a portrait orientation rather than landscape? My first impression was movie poster.
I'd also like to echo that the Stormtrooper-like actors (no copyrights infringed here
) don't seem to be focused too much on the rebel actor. The one on the right seems to be looking and facing to the right rather than interacting with the rebel actor.
I like her expression - I struggle with expressions so nice to see you've done well here. Maybe her hair would be a little more messed up - flying back or something like it would if she were really running. Also, I could be missing something but it looks like something has happened to her left arm. I see that it is pretty far back, but something isn't quite right - but it might just be me. (old man eyes and all)
You might also try to backlight her just a little to help her stand out a little from the background. Lighting is something I still struggle with as well. But her legs, for example, don't stand out quite as much and a little glint of light might do the trick.
I look forward to your progress.
Wow...nice work. I love the look and feel. I'd bring the Mustang closer and not crop the tail so tight and move the centered bomber higher and banking right. Maybe all of them banking right. Just a thought.
Thanks! I didn't know you could pick the parts of the geo shell. I have a LIE on the just the feet part its just a texture overlaid at about 15% opacity on the diffuse map I think. But it totally doesn't show at all in the render. And the last couple times I have applied a geo shell its doing this weird, turning opaque white thing. On people and objects. Like a milky white. And on one figure it looked like it turned the skin inside out. Very strange
Hello,
I'd like to know if this image could be ok for the contest.
It's not a realy a daz composition because it almost a photoshop background composition ...
I just noticed something - it looks like you've got the elf ear distortion going on in the Fishtail Braids. Here's how to fix that.
1. I have Vicky 6 loaded with the Mad Elf ear morph #2. [Pic 1]
2. Select the hair, and open the properties tab. You need to have the Hidden Properties enabled, so click the little menu button (top left of the pic) and put a checkmark next to Show Hidden Properties. [Pic 2]
3. Scroll down to Hidden and open up the twistie. The elf ear morph will become visible. The problem is that the hair is auto-following the ears. Set this to zero [Pic 3].
4. You may also have to open up Actor to find another elf ear morph. Set that one to zero [Pic 4].
5. Ta Da! [Pic 5]. Now all you have to deal with is poke-through.
Thanks for the critique i agree with your points, the problem here is, and this is something i have discussed before. Making suggestions for what to do with poses and materials etc is great since it can be fixed inside DAZ. Post work for the most part is an advanced learning step, and since your are dealing with a "New user" contest you have to assume that we are total noobs when it comes to advanced things. Just "add some dust here, blur this" etc. I am all for learning since thats what we are here for but without pointing us in the right direction or full on telling someone how to do it its greek to the person trying to learn. I realize that alot of you trying to help others have quite a bit of post work experience, but you must understand the most basic post work for a lot of you is taken for granted because you have learned how to do it and it is basic things...at least i assume since i have no clue how to do any of it..i can barely crop a photo without an product manual lol.
Daniel
Thank you! I will give that a try.
I can understand that totally! Im a newbie too so I should know better. I know postwork because I started out in 2d art and was very familiar with photo shop BEFORE I got here. Although there are plenty of spots where I am going, wait, what? Not only do I have no idea what that means I have no idea where to find it or what it does lol. But you are right if you are that new to photo shop or gimp I am not sure how effective it will be for you try it on a piece that has a deadline. Do you have gimp or photo shop loaded? I can probably give a (relatively) simple explanation of adding dust in photo shop but if you are going to be using gimp I can't help at all. But don't feel like you have to any postwork, its not a requirement and if you aren't comfortable with right now that perfectly okay. Daz itself is an awful lot to tackle all by itself!
Its perfectly fine Sonja. I am not untried at turning dials and pushing buttons to see what they do. And yes i have GIMP, and as you can see from the render i did do something to it. But its just a nifty filter that does all the work i.e. the extra dust in the scene is from a fog filter set to the color of dust. The other dust in the shot is from watching sickleyields video about godrays by using a primitive to cover the scene. But when it comes to adding specific things like dust trails or adding motion blur to a small portion of a scene i dont know anything. I have tried but it just looks horrible so ovbviously i am doing something wrong.
Daniel
Ya sorry I can't help with gimp at all. For some reason Gimp drives me bat crazy. No idea why but photoshop was far more intuitive for me. One of these I will revisist gimp though now that I have a bit of a clue how it all generally works. Hopefully someone comfortable with gimp can give you some suggestions on what to do for the effects you are looking for.
Daniel -
I should talk, I don't even HAVE Photoshop! I'm a noob with Gimp too. (That's what I get for assuming - sorry 'bout that). I would set my newbie self at trying the Smudge Tool in Gimp on the tires. And if it looks like crap, the undo button works wonders. The most I have done with Gimp is try to add some fog which looks pretty amateur.
In lieu of all that, try to morph the hair to look like its really flying - as much as the morphs will allow that is. I've had some frustration with hair that doesn't have many morphs.
After you create a geoshell, click on the geoshell to select it in the Parameter tab. Go down to where it says >Shell>Visibility. On the right, you can turn on and off all surfaces that you want to be affected by that particular geoshell. You can also turn the opacity down on all surfaces in the Surface tab, but I don't know that that actually turns them off. It might just hide them and some stuff will seep thru.
So, I did a test run for you because I couldn't remember exactly the steps from when I had done it before and I have 4 renders for you. The first render is just my base foot so you can see what it looked like before I started playing. The second has the geoshell with just a grunge texture and the geoshell itself looks kind of milky (probably what you are seeing when you use it), third render has the geoshell with the same skin map of the figure placed in the Base slot of the geoshell of the foot. Under Parameters>General>Mesh Offset I have the offset at 0.050 cm. It had the same grunge shader added as the first one. As you can see from my test renders, the shell covers the whole foot from ankle to toes. Those are the two parts of the geoshell that I left on. I don't think there is a way to automatically add a shader just to the bottom of the foot. I believe there is a way to add a new surface definition to the geoshell in which you could add the bottom as a new surface, but I don't know how to do that. You'd have to ask someone who knows what they are doing.
Fourth render has the LIE surface with a texture added and the opacity turned way down to about 40%. I don't know if it makes a difference, but I turned all surfaces into Iray surfaces before I went into LIE to add the grunge texture which I just borrowed from the griminator or something like that. It isn't an Iray texture. I don't think it matters. I don't know have a good grunge textures though specifically for Iray for use in LIE to test that out. LIE would probably be your best bet, but since I don't know what texture you are using I can't test that specific texture to help give you any hints. LIE is my favorite way of adding to an existing texture. Second favorite way of adding to a skin is to actually take the skin into Gimp, modify it and then put that back into the Base map slot and use that.
I really hope this helps. I can't think of why you can't get the texture to show up in LIE with Iray because it should show up. If nothing else, try making all surfaces Iray compatible before you go into LIE and then add your texture and see if that makes a difference. Good luck!
Thanks thats a start thanks never really though of using the smudge tool to do that. As far as the hair goes that i can do the http://www.daz3d.com/christina-hair is actually one of the best hair products i have purchased not only does it have a huge assortment of morphs it also comes with several style presets as well as wind turbulance presets and the list goes on.
Daniel
Wow what a difference that made thanks for the idea with the smudge tool man. Also i used a "smoke" brush set the color with the color picker from the ground and set the mode to difference and a couple places the mode was set to saturation like on the LRV tires in the forground. This is a proof of concept that i could actually make something happen that looked half way decent. I have to re-render the scene after i fix her hair.
Daniel
The only thing I would caution is to try and smudge everything toward the back of the tires to give the impression of dust behind since that is where tires would normally throw the dust. On the back car, there looks to be an obvious cloud right at the tire. When you try this again, try either adding more dust (with that texture on the ground you could get away with a lot of ambient dust hanging around) and smudge from about the middle of the tires toward the back of the car to give it a slightly more realistic effect. Also, when you smudge, a bigger brush size is actually a good idea than smaller one. When I first learned this technique, I thought smaller was better so that I could be more exact. When actually, you want a bigger brush and a light hand with the smudge. Make sure you use layers so you don't do anything to the original render. It is easier to just delete or modify a layer than go back when you make a mistake. That one took me awhile to learn. I've found that it is easier to give each postwork effect it's own layer. In your render, I would give each car it's own dust layer and deal with each car individually. That way if you have one car perfect, but decide later that you need to change something on another car or the motorcycle, you only have one layer to deal with and you won't mess up any of the other vehicles. Layers for each individual vehicle also means you can have varying layers of dust with the opacity as well. Set up your dust, smudge it then dial down the opacity a little to blend it in a little more. I you use different layers for each car you can have different layers of opacity, too. I'm not sure if I'm making sense so if you have any questions, please ask and I'll try to elaborate. I'm still learning in Gimp, but that is the software I use for post. No photoshop here.
Also there is a great postwork forum thread in the Art Forum that has links to tutorials and more are being added. While most of them are for Photoshop, it is actually fairly easy to transfer what you learn in a Photoshop tutorial to Gimp.
There is also a great show your postwork thread over in the Art Forum as well.
Thanks Knittingmommy, will do. That problem with the rear car i was just messing around gotta work a bit on perspective for things in the background. As far as the smudge tool goes i only used it on the spokes of the cycle to make it look like the wheels were spinning. The dust is another area i need practice at but the rims on the cycle turned out better than i hoped for.
Daniel
This is by no means perfect i pushed alot of buttons and turned alot of dials. It's an interesting mess lol.
Daniel
Hello again ... soryy to disturb ... can i have an advise ???
Is it an acceptable picture for the contest or not ??
I don't have an answer to your question. My guess would be it depends on how much of the composition was created in DS and how much was Photoshop. Since the theme of this month is Composition, I'm not sure. Postwork is acceptable in the competition within reason according to the competition guidelines as long as the main focus of the current theme is handled mostly within DS. Hopefully, one of the mods will pop in soon and answer your question.
A little more blending in a couple of spots and it actually looks pretty good. Post is something I still struggle with, but I am getting better. Dust, fog and clouds are really hard ones to master so that they look realistic.
So, here is my latest effort. I changed the lighting slightly and added a water element and made the rest of the floor wet. Let me know what you think. This one is taking a long time to render even in 3Delight because of all the water particles which in 3Delight don't really look all that much like water particles. First time using this. I haven't even tried it out in Iray to see what it is should look like. I may do that later today if I get time, just to see what the Rigged Water for Iray should look like when used with the shaders that come with it.
The neck tendrils are gone. Thank goodness.
Will get back to you once I have found someone else on the team to consult with. If all you have done is added a renedered figure to a prepared background, it is not really quite what we are after. We are trying to help people get to grips with composing an image within Daz Studio.
Thank you ... Finally an initial response :)
I will wait the other mod advice for confirmation ... and i can understand that it will not be ok.
I'm also very open to any advices on my picture :) ...
This makes much more sense and has far more impact!