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MEC4D PBS shaders vol.2 -Released- [Commercial]

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  • SorelSorel Posts: 1,390
    MEC4D said:

    Fantastic conversion , I love the first one with the light emitters , very atmospheric and the light make it more interesting the second one is too clean it lost the atmosphere and is more plain 

    great job Sorel as usual   

    Sorel said:

    I did 2 versions of this scene. I replaced almost all of the materials with stuff from all 3 PBR volumes and converted them to octane. The liquids are my own materials. from volume 3 I used mostly steal for all the metal objects, mostly polished and used. I used the paint walls matte, pyrex glass, polypropylene gloss black, plastic bag white, wood old lacquered dark, and settings from the cloth materials. one is lit with emmiters and one is lit with an hdri. Not sure which I like better. The hdri one is definitely cleaner.

     

    Thanks! Yeah I think the one with emitters looks better too, I just wish it didn't take so long to get clean haha.
  • MEC4DMEC4D Posts: 5,249

    There is so much wood shaders that they need to be separate it have a lot of textures so also big mega package with a lot more that you expecting so you don't need any woods shaders ever again !

    Glad you use the set often me too in all my stuff , and the speed is great for the upcoming woods shaders

    Thanks a lot for the good word

    Astracadia said:

    Another one that missed the bone shaders here, but at least I've seen a taste of what we've got to look forward to! What I really can't wait for are the wood shaders. I've never understood why a few more wood shaders aren't included with the default ones or why more PAs haven't leapt in to fill the gap - wood is one of the oldest construction materials going, and even today it's still everywhere. I know I'll be using the wood shaders all the time once they're released.

    I'm using Volume 2 shaders in just about every render now and still loving them. Like everyone else, I love their realism, but what I don't see get a mention very often is just how fast they are. A must-have for anyone who uses Iray.

     

  • MEC4DMEC4D Posts: 5,249

    Yeah Octane is much slower with emitters especially in big space it take longer ... but it is worth waiting 

    I am getting myself additional gtx 1080 for my B-Day so things will get even faster with the work

    Sorel said:
    MEC4D said:

    Fantastic conversion , I love the first one with the light emitters , very atmospheric and the light make it more interesting the second one is too clean it lost the atmosphere and is more plain 

    great job Sorel as usual   

    Sorel said:

    I did 2 versions of this scene. I replaced almost all of the materials with stuff from all 3 PBR volumes and converted them to octane. The liquids are my own materials. from volume 3 I used mostly steal for all the metal objects, mostly polished and used. I used the paint walls matte, pyrex glass, polypropylene gloss black, plastic bag white, wood old lacquered dark, and settings from the cloth materials. one is lit with emmiters and one is lit with an hdri. Not sure which I like better. The hdri one is definitely cleaner.

     

     

    Thanks! Yeah I think the one with emitters looks better too, I just wish it didn't take so long to get clean haha.

     

  • RafmerRafmer Posts: 564

    I made this scene using your shaders in almost every surface. I had some problems with lightning as it is quite a large environment and the lamps weren't iray friendly. I ended up putting two emissive planes above them, but maybe wasn't enough.

     

    cena.png
    1920 x 1080 - 2M
  • barbultbarbult Posts: 23,550
    Rafmer said:

    I made this scene using your shaders in almost every surface. I had some problems with lightning as it is quite a large environment and the lamps weren't iray friendly. I ended up putting two emissive planes above them, but maybe wasn't enough.

     

    That's a lovely scene. I think I can see the two planes at the top. Perhaps moving them higher would get them out of the frame, unless you wanted them there as overhead light fixtures. The glass and metal look especially nice. How did you do the glow on the candle flame? Did you use the bloom filter?

  • SaiyanessSaiyaness Posts: 715
    Rafmer said:

    I made this scene using your shaders in almost every surface. I had some problems with lightning as it is quite a large environment and the lamps weren't iray friendly. I ended up putting two emissive planes above them, but maybe wasn't enough.

     

    Heheh! I love the look on his girlfriends face!!! Next scene will be him with a fork in his hand. :p
  • JerifeJerife Posts: 272
    edited May 2016

    Bones? St. Patrick bones? crying

    I missed those too...

    I am not happy with my results with Wet Cloth. I follow your instructions. I imagine light here must be a big part of the effect

    I am going to try different materials and taking care of the TOS will do back view renders of cloth over a body. First image is the vendor shader for that outfit

    wet cloth 01 rdx.jpg
    3000 x 3000 - 5M
    wet cloth 02 rdx.jpg
    3000 x 3000 - 4M
    Post edited by Jerife on
  • JerifeJerife Posts: 272
    edited May 2016

    Cotton Clean here

     

    Lol, a fork I don't know but a red face with her palm printed for sure!

     

     

    wet cloth 03 Clean cotton dry redux.jpg
    2000 x 1236 - 4M
    wet cloth 04 Clean cotton wet rdx.jpg
    2000 x 1236 - 5M
    Post edited by Jerife on
  • MEC4DMEC4D Posts: 5,249

    Very lovely indeed and center looks good , when you use emissive shader it is best to use on a small geometry and even better with IES profile as much of the light energy was wasted ,IES profile will help you to focus all the emissive light power in the center of the scene simulating real light like bulb, halogen or other area lighting so you get more light in places where it really need to go , see IES profiles as control light maps for your emitters

    I made some stuff for people that want to better understand in easy way how light works in iray , I mean the principle of the visual aspect compared to the real world , if you better know how things works you can better manage your light setup for indoor scenes , of course closed rooms will give the best and fastes result , but if you can't do that you need to conserve the energy as much as possible and sometimes it is ot the mattee of how strong the light is but matter what you have in  your scene for the light distribution across all surfaces and create the needed ambient indirect light effect as that is the key 

    so try to put white panel on top of the emitters so the light that bounce from the table and the back of  the emitters have some reflector to coming back and not get lost in the scene space .

    you can also add some panels on both sides of the camera and produce dim light effect for the ambient with some  low value light emitters on top  of the surface , use the color temperature around 5000 for indoor ambient or keep tat the candle light temperature for the atmosphere , check your tone mapping as in most cases people render indoor scenes with camera set for sunny day outdoor what ends in low light condition 

    Rafmer said:

    I made this scene using your shaders in almost every surface. I had some problems with lightning as it is quite a large environment and the lamps weren't iray friendly. I ended up putting two emissive planes above them, but maybe wasn't enough.

     

     

    2photons and sun in iray mec4d 2016.jpg
    1000 x 1797 - 486K
    photons and sun in iray mec4d 2016.jpg
    2000 x 4000 - 962K
  • MEC4DMEC4D Posts: 5,249

    the shader is more for the illusion for top clothing , other way you can;t post is even in the forum , how lighter the base color is  how more it become wet , darker wet colors are not translucent when dark , make sure the same color is used for both base and translucent , apply the blue table cloth to the clothing , replace the black texture with info with the same textures as is in the base and you ready to go , also best effect will be if you have some frontal light on even head lamp so the  light will scatter , test it with Sky sun for the best and put the sun in front so you will see what is going on and learn from it, the ambient light you use is not really good for the best effect , not powerful enough and the color of it is catch by the skin and the clothing so you see no difference , it works better on wrinkled clothing than tight so it give different colors and dimension other way you will get just semi translucent cloth  

     

    Jerife said:

    Cotton Clean here

     

     

    Lol, a fork I don't know but a red face with her palm printed for sure!

     

     

     

  • MEC4DMEC4D Posts: 5,249

    P.S coming back on your candle scene , look at the image below, how many candles and how little light it create in this real photo, the only white surface reflect some and the dark one absorb 

    photos are good for references so it give you advice on what to change for the desire effect , your render is fully acceptable with the amount of light you used and with the dark surfaces that absorb it .

     

    Rafmer said:

    I made this scene using your shaders in almost every surface. I had some problems with lightning as it is quite a large environment and the lamps weren't iray friendly. I ended up putting two emissive planes above them, but maybe wasn't enough.

     

     

  • RafmerRafmer Posts: 564
    edited May 2016
    barbult said:
    Rafmer said:

    I made this scene using your shaders in almost every surface. I had some problems with lightning as it is quite a large environment and the lamps weren't iray friendly. I ended up putting two emissive planes above them, but maybe wasn't enough.

     

    That's a lovely scene. I think I can see the two planes at the top. Perhaps moving them higher would get them out of the frame, unless you wanted them there as overhead light fixtures. The glass and metal look especially nice. How did you do the glow on the candle flame? Did you use the bloom filter?

    Thanks! The two planes are visible reflected in the glass of the window, they weren't low enough to be seen directly, but didn't check that early.

    Yes, the candle are point lights, since they did not have a candle flame surface. And bloom filter is applied, of course.

     

    MEC4D said:

    Very lovely indeed and center looks good , when you use emissive shader it is best to use on a small geometry and even better with IES profile as much of the light energy was wasted ,IES profile will help you to focus all the emissive light power in the center of the scene simulating real light like bulb, halogen or other area lighting so you get more light in places where it really need to go , see IES profiles as control light maps for your emitters

    I made some stuff for people that want to better understand in easy way how light works in iray , I mean the principle of the visual aspect compared to the real world , if you better know how things works you can better manage your light setup for indoor scenes , of course closed rooms will give the best and fastes result , but if you can't do that you need to conserve the energy as much as possible and sometimes it is ot the mattee of how strong the light is but matter what you have in  your scene for the light distribution across all surfaces and create the needed ambient indirect light effect as that is the key 

    so try to put white panel on top of the emitters so the light that bounce from the table and the back of  the emitters have some reflector to coming back and not get lost in the scene space .

    you can also add some panels on both sides of the camera and produce dim light effect for the ambient with some  low value light emitters on top  of the surface , use the color temperature around 5000 for indoor ambient or keep tat the candle light temperature for the atmosphere , check your tone mapping as in most cases people render indoor scenes with camera set for sunny day outdoor what ends in low light condition 

    Rafmer said:

    I made this scene using your shaders in almost every surface. I had some problems with lightning as it is quite a large environment and the lamps weren't iray friendly. I ended up putting two emissive planes above them, but maybe wasn't enough.

     

     

    Thanks for the tips! The lights were using ies profiles; I'll just enclose the space next time; surely that would have been enough using those lights. And I will check the tone mapping before setting up the lights.

    Post edited by Rafmer on
  • barbultbarbult Posts: 23,550

    Cath, there are two things I need help on.

    1) How do I modify the leaves shader settings to get dark leaves? I have been selecting the surface, control-clicking on the leaves shader and selecting Ignore Maps. But all my leaves are very pale green, even if the original texture map is dark green.

    2) How do I need to modify water shaders for very large (100 meters) cube of water? You have mentioned the need to modify settings for the size of the model, but I don't know where to begin.

  • MEC4DMEC4D Posts: 5,249
    edited May 2016

    For the leaves you need to copy the dark green texture from the color base to the translucent channel after CTRL+ and ignore map , grass and leaves need to have the same maps in base color and translucent , you don't need to change anything else , I setup this way also the tree and grass for the fern lake product 

    You don't need to edit the water it will adjust automatic in volume ( not the horizontal but vertical volume ) , how deeper it is how dense it will be like in real world so you don't want glass water volume the  size of 100 meters

    and if really you want ....then edit it the same way you did with your under water scene , reduce the amount of SSS and change the SSS direction  to 0.98, water will be less dense and the light will pass much deeper

    it is better to use displacement on water or volume objects than normal , as higher normal will create different effect on the surface with volume than displacement the same for the skin and any object that use volume

    I hope it helps

    barbult said:

    Cath, there are two things I need help on.

    1) How do I modify the leaves shader settings to get dark leaves? I have been selecting the surface, control-clicking on the leaves shader and selecting Ignore Maps. But all my leaves are very pale green, even if the original texture map is dark green.

    2) How do I need to modify water shaders for very large (100 meters) cube of water? You have mentioned the need to modify settings for the size of the model, but I don't know where to begin.

     

    Post edited by MEC4D on
  • FrankTheTankFrankTheTank Posts: 1,131

    Do you have any bamboo shaders in any of those?

  • barbultbarbult Posts: 23,550
    edited May 2016
    MEC4D said:

    For the leaves you need to copy the dark green texture from the color base to the translucent channel after CTRL+ and ignore map , grass and leaves need to have the same maps in base color and translucent , you don't need to change anything else , I setup this way also the tree and grass for the fern lake product 

    You don't need to edit the water it will adjust automatic in volume ( not the horizontal but vertical volume ) , how deeper it is how dense it will be like in real world so you don't want glass water volume the  size of 100 meters

    and if really you want ....then edit it the same way you did with your under water scene , reduce the amount of SSS and change the SSS direction  to 0.98, water will be less dense and the light will pass much deeper

    it is better to use displacement on water or volume objects than normal , as higher normal will create different effect on the surface with volume than displacement the same for the skin and any object that use volume

    I hope it helps

    barbult said:

    Cath, there are two things I need help on.

    1) How do I modify the leaves shader settings to get dark leaves? I have been selecting the surface, control-clicking on the leaves shader and selecting Ignore Maps. But all my leaves are very pale green, even if the original texture map is dark green.

    2) How do I need to modify water shaders for very large (100 meters) cube of water? You have mentioned the need to modify settings for the size of the model, but I don't know where to begin.

     

    Thank you! I'll give it a try. You know I completely forgot the lesson you taught me about the underwater scene. How embarrassing. blush I'm getting old and forgetful, I'm afraid. crying Daz has just too much stuff to remember it all (for me anyway).

    Edited for spelling. Evidently I don't remember how to do that either.

    Post edited by barbult on
  • MEC4DMEC4D Posts: 5,249

    Bamboo wood will be in vol.4 pack not released yet , vol.2 have only shader for leaves that you can use with your bamboo leaves textures

    DominicTesla said:

    Do you have any bamboo shaders in any of those?

     

  • MEC4DMEC4D Posts: 5,249

    No problem , I have my own blonde moments and with the time more often cheeky thanks to my daily practice with I remember other way I would have to setup my personal "'Wikipedia"' for all my stuff , but that would be artificial intelligence , [you know what you need  but don''t know how to setup]   ...

    barbult said:
    MEC4D said:

    For the leaves you need to copy the dark green texture from the color base to the translucent channel after CTRL+ and ignore map , grass and leaves need to have the same maps in base color and translucent , you don't need to change anything else , I setup this way also the tree and grass for the fern lake product 

    You don't need to edit the water it will adjust automatic in volume ( not the horizontal but vertical volume ) , how deeper it is how dense it will be like in real world so you don't want glass water volume the  size of 100 meters

    and if really you want ....then edit it the same way you did with your under water scene , reduce the amount of SSS and change the SSS direction  to 0.98, water will be less dense and the light will pass much deeper

    it is better to use displacement on water or volume objects than normal , as higher normal will create different effect on the surface with volume than displacement the same for the skin and any object that use volume

    I hope it helps

    barbult said:

    Cath, there are two things I need help on.

    1) How do I modify the leaves shader settings to get dark leaves? I have been selecting the surface, control-clicking on the leaves shader and selecting Ignore Maps. But all my leaves are very pale green, even if the original texture map is dark green.

    2) How do I need to modify water shaders for very large (100 meters) cube of water? You have mentioned the need to modify settings for the size of the model, but I don't know where to begin.

     

    Thank you! I'll give it a try. You know I completely forgot the lesson you taught me about the underwater scene. How embarrassing. blush I'm getting old and forgetful, I'm afraid. crying Daz has just too much stuff to remember it all (for me anyway).

    Edited for spelling. Evidently I don't remember how to do that either.

     

  • TabascoJackTabascoJack Posts: 865
    edited May 2016
    Rafmer said:
    barbult said:
    Rafmer said:

     

     

    MEC4D said:

    Very lovely indeed and center looks good , when you use emissive shader it is best to use on a small geometry and even better with IES profile as much of the light energy was wasted ,IES profile will help you to focus all the emissive light power in the center of the scene simulating real light like bulb, halogen or other area lighting so you get more light in places where it really need to go , see IES profiles as control light maps for your emitters

    I made some stuff for people that want to better understand in easy way how light works in iray , I mean the principle of the visual aspect compared to the real world , if you better know how things works you can better manage your light setup for indoor scenes , of course closed rooms will give the best and fastes result , but if you can't do that you need to conserve the energy as much as possible and sometimes it is ot the mattee of how strong the light is but matter what you have in  your scene for the light distribution across all surfaces and create the needed ambient indirect light effect as that is the key 

    so try to put white panel on top of the emitters so the light that bounce from the table and the back of  the emitters have some reflector to coming back and not get lost in the scene space .

    you can also add some panels on both sides of the camera and produce dim light effect for the ambient with some  low value light emitters on top  of the surface , use the color temperature around 5000 for indoor ambient or keep tat the candle light temperature for the atmosphere , check your tone mapping as in most cases people render indoor scenes with camera set for sunny day outdoor what ends in low light condition 

    Rafmer said:

    I made this scene using your shaders in almost every surface. I had some problems with lightning as it is quite a large environment and the lamps weren't iray friendly. I ended up putting two emissive planes above them, but maybe wasn't enough.

     

     

    Thanks for the tips! The lights were using ies profiles; I'll just enclose the space next time; surely that would have been enough using those lights. And I will check the tone mapping before setting up the lights.

     

    Keep in mind that IES profiles are somewhat hosed on emissive surfaces, as they emit down the Z axis, which works great in things like 3ds Max where Z is the up and down axis.  Since Daz uses Y as the up and down axis, IES profiles emit to the side of an emissive surface.  The only way I've been able to use them successfully is to use them on point lights, and then rotate the point light so the Z axis is in the desired direction.  If the emissive has to be visible, than I set it with a luminance level thats high enought to make the emissive look like a light, but low enough to not have much impact on the scene.

     

    If the emissive doesn't have to be visible, and it's a simple primitive, you can just rotate the primitive.  The challenge is when it's an emissive surface that is part of a larger geometry.  If it doesn't have to be visible, you could try breaking it out with the geometry editor into its own object and rotating it.  If it's visible, then you need to resort to the point light hack referenced above.

    Post edited by TabascoJack on
  • MEC4DMEC4D Posts: 5,249

    That is true , but you don't use IES profile on a 3D bulb to simulate bulb if you know what I mean . Mostly on very small sphere or little cube  , or you edit the files it if possible .

    when using emitters a small 2 inches wire will produce more visible light than 2 feet sphere , the best to use one side poly cube not bigger than 4.5 inches , add material to one side only and use on top emitter with IES profile , different story if you want diffuse light panel for more reflection but still one side polygon works better 

    I made the other day physically modeled bulb in the correct world proportions to DS scales , not only the bulb glow inside ( without using bloom  filter ) but it produced exactly the  same light form as IES profile for pear bulb 

    was interesting  tests , but so accurate together with correct Tone mapping settings as in real world and so easy to control the correct light in the scene when not using other light source , less noise, faster rendering 

    there is not way to see the same light power source under the same Tone mapping setting , the same way as taking picture with real camera you need to adjust the shutter speed and aperture to have less noise 

    light tests.jpg
    1607 x 940 - 416K
  • TabascoJackTabascoJack Posts: 865
    MEC4D said:

    That is true , but you don't use IES profile on a 3D bulb to simulate bulb if you know what I mean . Mostly on very small sphere or little cube  , or you edit the files it if possible .

    when using emitters a small 2 inches wire will produce more visible light than 2 feet sphere , the best to use one side poly cube not bigger than 4.5 inches , add material to one side only and use on top emitter with IES profile , different story if you want diffuse light panel for more reflection but still one side polygon works better 

    I made the other day physically modeled bulb in the correct world proportions to DS scales , not only the bulb glow inside ( without using bloom  filter ) but it produced exactly the  same light form as IES profile for pear bulb 

    was interesting  tests , but so accurate together with correct Tone mapping settings as in real world and so easy to control the correct light in the scene when not using other light source , less noise, faster rendering 

    there is not way to see the same light power source under the same Tone mapping setting , the same way as taking picture with real camera you need to adjust the shutter speed and aperture to have less noise 

    When you're making your own models, I agree completely.  

    But there are a lot of commercial sets out there that just have a surface group assigned as an emitter (like the glass lens of a recessed can light).  That's where I ran into the problem.  I tried manually editing the IES profile but couldn't figure out the right formulae to convert the standard profile to a Y-axis based one.

  • MEC4DMEC4D Posts: 5,249

    Let me check tonight and find the way for the directions for the profiles 

    TabascoJack said:
    MEC4D said:

    That is true , but you don't use IES profile on a 3D bulb to simulate bulb if you know what I mean . Mostly on very small sphere or little cube  , or you edit the files it if possible .

    when using emitters a small 2 inches wire will produce more visible light than 2 feet sphere , the best to use one side poly cube not bigger than 4.5 inches , add material to one side only and use on top emitter with IES profile , different story if you want diffuse light panel for more reflection but still one side polygon works better 

    I made the other day physically modeled bulb in the correct world proportions to DS scales , not only the bulb glow inside ( without using bloom  filter ) but it produced exactly the  same light form as IES profile for pear bulb 

    was interesting  tests , but so accurate together with correct Tone mapping settings as in real world and so easy to control the correct light in the scene when not using other light source , less noise, faster rendering 

    there is not way to see the same light power source under the same Tone mapping setting , the same way as taking picture with real camera you need to adjust the shutter speed and aperture to have less noise 

    When you're making your own models, I agree completely.  

    But there are a lot of commercial sets out there that just have a surface group assigned as an emitter (like the glass lens of a recessed can light).  That's where I ran into the problem.  I tried manually editing the IES profile but couldn't figure out the right formulae to convert the standard profile to a Y-axis based one.

     

  • barbultbarbult Posts: 23,550
    MEC4D said:

    Let me check tonight and find the way for the directions for the profiles 

    TabascoJack said:
    MEC4D said:

    That is true , but you don't use IES profile on a 3D bulb to simulate bulb if you know what I mean . Mostly on very small sphere or little cube  , or you edit the files it if possible .

    when using emitters a small 2 inches wire will produce more visible light than 2 feet sphere , the best to use one side poly cube not bigger than 4.5 inches , add material to one side only and use on top emitter with IES profile , different story if you want diffuse light panel for more reflection but still one side polygon works better 

    I made the other day physically modeled bulb in the correct world proportions to DS scales , not only the bulb glow inside ( without using bloom  filter ) but it produced exactly the  same light form as IES profile for pear bulb 

    was interesting  tests , but so accurate together with correct Tone mapping settings as in real world and so easy to control the correct light in the scene when not using other light source , less noise, faster rendering 

    there is not way to see the same light power source under the same Tone mapping setting , the same way as taking picture with real camera you need to adjust the shutter speed and aperture to have less noise 

    When you're making your own models, I agree completely.  

    But there are a lot of commercial sets out there that just have a surface group assigned as an emitter (like the glass lens of a recessed can light).  That's where I ran into the problem.  I tried manually editing the IES profile but couldn't figure out the right formulae to convert the standard profile to a Y-axis based one.

     

    That would be great. The problems that TabascoJack described have caused me the same anguish.

  • MEC4DMEC4D Posts: 5,249

    I will let you know this evening if I find the solution 

  • TabascoJackTabascoJack Posts: 865
    MEC4D said:

    I will let you know this evening if I find the solution 

    That would be fantastic!  Based on the discussion here: http://www.daz3d.com/forums/discussion/72291/my-kingdom-for-an-ies-profile-that-points-down/p1, I know that @KurzonDax would also be very interested.

     

     

  • MEC4DMEC4D Posts: 5,249

    I checked everything , tried many of software even for custom light , manual editing but not way to change the angle 

    beside angle you still have shadows to edit so not just  light .

    Since IES profiles are spherical based they perform best on point light or geometric sphere , the DS IES profile use only light and  shadow maps so not full setting from the profile 

    I guess the only way for now is to change the direction of the prop light or point light on X rotation -90  for all IES profile , since there are so many different types of IES profiles 

    save your light shader prop or point light as standard light already rotated and use it for your base IES profile lighting will be much easier

    I even wrote couple of my own IES profiles today but all I could change was the angle of light  and shadows , not the angle of the source light what is in center of the sphere with the main beam at the angle of X 90 in DS by default , there is a normal switched MDL block under Iray that could to the trick and change the angle

    If someone get smart and create plugin for DS that convert IES profile into light source as other programs have  then will be different story  and the best solution 

    btw here is one of the funky result when I was making custom ies profiles 

    the first is kind of ring light ( side light are caustics that render faster indoor light shader emitters than without caustic on  ) you see for bulb maybe  not so good with the direction but for other kind of light source it is actually perfect at X -0.0 like windows , light panels or sun light simulation with IES profile 

    40w custom ies profile.jpg
    764 x 764 - 476K
  • barbultbarbult Posts: 23,550

    Well, thanks for trying, Cath. We appreciate your effort.

  • MEC4DMEC4D Posts: 5,249
    edited May 2016

    Thanks !

    btw did I show you guys my summer project for G3F her name is Abony representing West African origin  , it is just W.I.P as only head morph is finished for now , modeled with Zbrush , rendered with Iray  

    I hope you like 

    barbult said:

    Well, thanks for trying, Cath. We appreciate your effort.

     

    Abony 333 mec4d 2016.jpg
    2860 x 1360 - 950K
    Post edited by Chohole on
  • KeryaKerya Posts: 10,943

    She is beautiful - and real!

  • SorelSorel Posts: 1,390
    MEC4D said:

    Thanks !

    btw did I show you guys my summer project for G3F her name is Abony representing West African origin  , it is just W.I.P as only head morph is finished for now , modeled with Zbrush , rendered with Iray  

    I hope you like 

    barbult said:

    Well, thanks for trying, Cath. We appreciate your effort.

     

    Wow very nice

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