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The only problem with the naked pass is you'd probably have to make some fake low opacity shadowing to sell it. With scene, full scene masking would be more difficult....maybe render scene once then a second time with everything except figure + hair then you could paste it into place so you could at least have the ability to easily grab the outer edge of your hair for selection. Then again, still easier to render again with hair fixed how you want or use Photoshop and paint in your fixes in post.
Edit: If you did the second render figure + hair only, you might have to shift drag the figure +hair render into full render file. I'm thinking Paste in place might be unavailable...grayed out. It might also register in place as a smart object if you were to drag new file document into photoshop from outside Photoshop into the open render file with Photoshop in not full screen mode to get it to place as a smart object. (Not full screen = what I'm calling when you have Photoshop open on your desktop but not set fill complete screen. I'm not sure what that's really called. LOL.)
Just found these tutorials I want to try on painting different types of hair from scratch. They look like they like good info + use built in Photoshop brushes. Off hand, I think I'll try hitting the final result with a little Unsharp Mask + possibly a touch of noise faded out.
https://design.tutsplus.com/tutorials/an-introduction-to-painting-realistic-hair-in-adobe-photoshop--cms-24251
https://design.tutsplus.com/articles/how-to-paint-realistic-hair-in-adobe-photoshop-short-hair-beards--cms-25499
https://design.tutsplus.com/tutorials/how-to-paint-realistic-hair-in-adobe-photoshop-braids-and-dreadlocks--cms-26738
Yeah I just got done with a "nude pass" and see what you mean. It's missing the shadows from the clothes(It's just a stocking here in this case) and looks wrong just tweaking the skin. Kinda a bummer. For hair, I do my best from morphs and zbrush to make it look like it is hanging natural, but it's really an excercise in frustration. Even when I take hours fixing hair, isolating strand by strand, it never turns out looking believable to me. Anything outside an upright portrait pose makes me very mad lol.
Stack hairs. Stack many many hairs. The problem of trouble creating convincing movement tends to be because that movement shows the flat strands too much. If you have a whole bunch of hair with all different movement, it gets better, more like real hair.
That's a great idea and really easily done thanks to all the hair shaders that are available these days.
Anyone use hair (Photoshop and such) brushes in post?
That seems to be a thing.
I can think of four options that you might try to adjust the skin under your clothing items containing transparency. The one I think would work the best in your case would be a selective color adjustment layer. A Hue/Saturation adjustment layer would do a similar job but the dialog is a little cruder with less options. Another option, that might work would be using a channel mixer adjustment layer but it's going to affect the whole image so probably too heavy handed. Fourth option would be to make a Color Range Selection but I think this would be more effort with probably worse results than either a selective color or hue/saturation layer which pretty much automate the hard part of the selection process. Now, Color Range might be an idea to try for making a hair selection for a figure rendered as part of a scene.
I do a render of the character with hair on and no background or other things in the render. That is the one I use as a mask over the original image. No need to use a brush to mask the character that way. It does not need to be high quality but it does have to be the same size as the render that I like. And really it doesn't even need lights since it is not going to ever be seen. If I need the hair separate I make the figure a contrasting color, either pure white or pure black, so that it can be easily cut out. Sometimes I have to do a full blown render of the background separate so that I can add blur to parts I want blurred. I do not like the built in perspective tools in daz3d. I prefer more control over my image.
I do pretty much the same thing. Lately though i have been re-painting the hair so it dosen't quite match up to the "mask" layer so now i do the hair first (seprate layer of coarse) and paste it on to the "mask"layer.
When i first started out i read a ton of tutorials that wanted you to use whatever select tool and trace around the figure. i was like "yeah that's not really going to work for me." I mean I am pretty patient but one misclick and...
@ avxp: I've used hair brushes before. I have a few sets of them, but i only used them once or twice before deciding they were not really for me, it might just be a lack of talent/practice (whatver word i'lm looking for) thing on my part though so can't really go by my experience with them.
Thank you so much @deathbycanon for your video on rendering canvases and how to work with them in Photoshop!!
Anyone have advice on how to great dust trails from vehicles. I want to do a scence with a bunch of military vehicles tearing up the Martial desert. Can I do it insode DAZ or should I just do it in postwork. If PS, any brushes recommended?
For DS, Fast Fog Iray by SickleYield might work. It has takeoff and tendril shaped smoke props.
For PS, try one or a combination of Ron's brushes:
Ron's Flying Dirt & Debris Particles
Ron's Smoke
Ron's Fog
Ron's Fog II
Ron's War Essentials
I have fast fog.. I've used it with varying levels of sucess. I'll try that along with some smoke and fog brushes I have. I'm just having problems conceptualizing exactly how I'm going to do it in my head. I guess I'll just have to go for it and experiment to see what works.
I second these: good sound starter advice on postwork in a safe-for-work package.
tkdrobert: you might want to use google images or your equivalent to look at reference images of what the dust trails you're imagining looks like in the wild.
I learned 90% of my postwork from tutorials and you tube. The other 10% is practice, practice, practice and don't be afraid to push buttons. LIke someone else said, NEVER use the original, always either lock that first layer or save as a working file. One of the best things you can learn to do is masking, and using the the different modes. This particular piece doesn't really have very many layers. There are a couple of mode layers - that is the drop down box that has multiiply, screen, soft light etc in it. - And a couple of textures in front of and behind her with masked applies so that its not too heavy on her skin. Don't be afraid to apply something that seems lie its too bright or whatever, try different modes on it or lower the opacity.
Edited to add that I did add a background image under the render.
Masking is something I've read about but failed to grasp or use properly I think.
OMG i love that picture :D. if i have one thing to add to is label the layers. for the longest time i never did, and when your working with 20 plus layers it gets damn confusing trying to remember what layer was what.
Your artwork has exponentially flourished.
Your artwork has exponentially flourished.
I've said that too. Like, overnight, it just clicked to these incredible levels.
I am always impressed.
Both DAZ and Photoshop are programs with a lot of capabilities. For someone like me who has limited time to work on things (and also, I'm impatient and can't sit through general tutorials), instead of just sitting down and watching tutorials, I find that I work and learn best on the go. Meaning, everything stems from a project, an idea of what I want to do. I look at reference photos, artwork I want to emulate, plan what I want my project to look like. Then, I go about it and for what I don't know how to accomplish, I search for discrete tutorials that cover that one thing only. Or, if I can't find anything, I ask my questions here in the forum, and people are super helpful.
Over time, you'll find that you have learned a lot, without needing to be overwhelmed from the get-go.