This is very interesting. ZBrush has been on my list for a while now, and every time they have a sale I get really tempted (but the $800+ price tag keeps me at bay – at least until the end of the year when I have finished paying off my car and some other purchases). I'm very intrigued because it is supposed to integrate will with Manga Studio (in other words, you can use Manga Studio (Clip Studio Paint) to draw directly on the models).

So, can you pose the figures in ZBrush, or are you posing them in Daz Studio and then importing them as OBJs?

Have you seen this video on Cel Shading? https://www.youtube.com/watch?v=D4_Sc5NRUj0

 

I used Z brush years ago, and although it was great for sculpting I found it to be quite difficult to integrate with other software. The newer releases, such as R5 in the Youtube video, or 2018, 2019 versions make it so much easier to work with other software. The interface is still weird, but once you get used to it, I suppose it can be really helpful.

The new NPR shaders and blend styles are only available in the 2019 release. They are pretty good, and you can chnage the look of it through using various sliders.

I pose the models in Daz, which is still better than most software for posing and setting up stance positions for 3D models than most software. You have to export as an obj file to take into Z brush, and merge the UV maps down into a single image.

Posing in Z brush is quite difficult, as you are moving polygons through selections, it's much easier to reposition in Daz and re-export, but that's obviously time consuming.

You can use the polypaint tools in Z brush to paint materials, textures and height directly onto the model, which can give you some nice effects. The rendering is good and sharp. I am still evaluating it at the moment. It's got its pros and cons, but I've been wanting to learn Z brush for quite a while. The stuff the artists are designing over at Z brush Central is incredible.

If the results are better than what I can achieve in either Unity or Daz then I might seriously consider Z brush. I'll post more test renders when I produce them and let you know what I think.

Yep, it looks a little empty. Additional (optional) objects are a very good idea.

Would it be possible to change the texture of the central floor to look a little more metallic and less plastic?

Would it be possible to add another hologram with enemy ships for example?

This is definitely me- when even when you're asleep, some inner alarm bell goes off and you know the store probably just changed over. Around 1am Central Time. 

Until you do please stop trying to get people to spend a couple of grand to find out for you.

it may not be a smart thing to pull out your cash for a dream.

When a person is about to let go of a significant amount of cash. 

Um... the OP's original central question was, and I quote:

To which my intial answer was:

Which is the direct OPPOSITE of telling someone they need to buy new, expensive hardware to get something to work. I understand that the software/hardware support situation around Titan cards is (and always has been) extremely murky - especially to people (such as yourselves, I presume) who do not personally own them. Please understand that what I am saying in this thread about how they (and the wider Nvidia hardware/software stack they fit in to) is based on my own hands experience as a Titan card owner/operator.

TCC mode is quite a different thing from memory pooling. 

Correct. TCC is the device driver model used by all Nvidia compute oriented-devices on Windows to implement their enterprise level computing platform, and Unified Memory (what you call memory pooling) is just a feature of that computing platform.

To confirm that memory pooling is working in software, one needs two identical cards and an NVlink bridge installed between them. 

Any combination of two Quadro/Tesla/Titan cards from the Keppler generation or newer will do. And the only situation in which having an NVLink bridge is required is if either of the cards are a Titan RTX (since Titan RTXs apparently drop support for P2P functionality over PCI-E - or at least did as of this January when Puget Systems last looked into it.)

Think about it: this cutting edge, Nvidia only GPU technology, supposedly developed in their "flagship" rendering software, yet they forgot to highlight it in their marketing materials on numerous occasions? Does that seem likely to you?

Yes, because Iray's debut of support for Pascal-era cutting edge features (like Unified Memory) coincided with Nvidia's sales pitch for their high-powered GPU-based rendering appliance, the VCA (originally short for "Iray Visual Computing Appliance". Here's a press release from the initial announcement.) And openly marketing the fact that key advanced features of your latest and greatest pre-built hardware solution (intro price: $50,000USD) can be had on smaller economies of scale for much less money via some diy computer building wouldn't be good business.

Chaosgroup is the only company that has shown us the pudding (please prove me wrong, 

Check out this thread I only just stumbled upon here on the Daz forum from a little over a year ago. It's got some interesting stuff in it like this post from a DS/Iray user who noticed that having an instance of MATLAB (another TCC P2P functionality optimized program) running in the background on his GTX960M equipped laptop was tricking his graphics driver into allowing him to perform effectively out-of-core rendering and avoiding CPU fallback in Iray (via peer-to-peer functionality, as evidenced by the mention of "peering" in his 2nd log file excerpt.) Interesting stuff.

ETA: This stuff is a lot less cut and dry (and interesting! imo) then a lot of people seem to think.

Thanks all, appreciated.

 

I cast my vote with the "Yays." It has a good, clean look that is pleasing to look at. Definitely not looking over processed. Even though the outlines are only around the shapes themselves (got to admit I'm pleased to see the line following his jawline) but not the interior details (the strong outline around his shirt doesn't continue around his bicep where the shirt and skin meet), the outlines do help pull the figures out from the background. Overall, the effect is pleasing enough and if you can do this consistently from panel to panel I think you're on to something here.

Speaking of panel-to-panel. As someone (still) working on a comic, I can tell you one thing I've learned that is very important: You won't know how this style works until you replicate it to create a full page of your story. Honestly, until you see a few panels next to each other you're not really going to know if they fit together well, nor will you know if you're got a look that will work panel after panel, page after page. I spent quite a while working on individual images, but until I started putting them next to each other I didn't know for sure that I was onto something that would actually work.

Two things I would like to mention:

• I  like your lighting on this page. It is clean, even and it makes the central character pop.
• If you are going to have a prominent black character in your story, double-check his skin tone. In this image, he's coming off a little too dark and in a more shadowy scene you might lose him altogether. Consider lightening his skin a little, or in your materials settings increase the reflections/specularity settings to give him better highlights. Lighting for people of color can be tricky, so please experiment with the settings a little more. What I'm seeing here is okay but I must question if the skin will hold up across an entire story.

Finally, I hope you don't mind if I mention your script. I absolutely LOVE LOVE LOVE the "old wardog" and "salty guts tingled" phrasing. WOW, that is evocative! It really sells the character in a few well chosen words. Kudos to you. But... (I guess you knew a "but" was coming), there are a few problems with thhe rest of the caption. Here's what you wrote:

The old wardog never second guessed himself. His salty guts tingled with an all too well sensation that an unseen deadly hunter lie just ahead.
Waiting for a trophy to be won.

 

"All too well" is not really a common phrase as it's used here; it's just odd. We're used to reading something more like: "His salty guts tingled with a sensation that he knew all too well.

Then there's "lie." That just doesn't seem finished. We would almost expect "lies in waiting" or something like that. But I would ask if that word conveys enough menace for this situation. Perhaps something more like this?

The old wardog never second guessed himself. His salty guts tingled with an all-too-familiar sensation that told him somewhere an unseen, deadly hunter was lurking just ahead. Out of sight. Hidden. Waiting for a trophy to be won by shooting all the ducks in the arcade.

And they were the ducks.

Okay, that whole arcade reference was something that just came to me, and I don't think it's all that good. But I do suggest changing "lie" to "lurking" or "secluded" or "stalking them" or something like that.

I hope I didn't come off as too negative or like a bit know-it-all. I like what I see here and hope you'll share some pages with us soon!

Not all all, I like the feedback and admit to even chuckling when I read of the line, "And they were the ducks."  Of what you wrote was spot on.
I honestly only used the narrative as an afterthough, considering of the empty space there... but then that afterthought became no longer just a thought.  And did get hung up with, do I use, "laying in wait" or "lieing in wait", or... ugh; so I went with "lie up ahead"; yeah a cop-out to save time.

I took in the recommendations, even lightening the skin tone of the black guy.  And realized that the facial expressions need to be more exagerated in the render.  In the preview, the expression looks fitting, but after the render and post editting becomes more subdued.  Along with getting the renders too dark (as one I did in the SciFi thread; couldn't see the smoke, except as nearly a black solid).

This one here, is of some changes and reducing the outlines (done as a Stroke effect; but this one is slightly blurred to reduce the hard black pixels).  Please ignore the graphical balloon captions; those are from Photoshop; a dedicate comic program would be used.

As someone (still) working on a comic,

I know what you mean. I've been going back and forth, between near photo-realism, or comic; or graphic novel or novel with some pics; trying to get it perfect before starting. And not following the advice to just doing something, even if it is bad; just do it and then make it better.

I like the edits to the artwork. The lighter skin tone on the black guy is a definite improvement. Although I do like the thinner outlines a little more, I did like the original thicker ones, too. In both cases you created a style that would work. I would offer one last bit of advice regarding your script, and that is to consider that you have too much dialogue for a single panel. That sort of left-right balloon to balloon ping pong almost never works. This sort of scene calls for at least a full page, maybe more:

1. Close up on black guy with a clear view of his face: "Dog, I see no..."
2. Close up on white guy: "Tellin' ya..."
3. Wide panel showing what they are looking at, including the window in question. Black guy off Panel: "You mean the window..."
   White Guy off panel: "Yup. That one. He'll..."
4. Medium shot with both guys (the panel you've already shown us above): BG: "All right. Your call. So what..."
   WG: "That's the plan. Better than sitting here..."
5. Small panel with BG's face showing a grin: "You know I'm calling you..."
6. The previous panel you showed us, with his hand in motion to give the signal. WG: "Only if you score... on Three."

At least that's how I would break it down to try to time the action to the beats of the dialogue. Just a thought. Looking forward to seeing a full page or two from you soon.

Thanks all, appreciated.

I cast my vote with the "Yays." It has a good, clean look that is pleasing to look at. Definitely not looking over processed. Even though the outlines are only around the shapes themselves (got to admit I'm pleased to see the line following his jawline) but not the interior details (the strong outline around his shirt doesn't continue around his bicep where the shirt and skin meet), the outlines do help pull the figures out from the background. Overall, the effect is pleasing enough and if you can do this consistently from panel to panel I think you're on to something here.

Speaking of panel-to-panel. As someone (still) working on a comic, I can tell you one thing I've learned that is very important: You won't know how this style works until you replicate it to create a full page of your story. Honestly, until you see a few panels next to each other you're not really going to know if they fit together well, nor will you know if you're got a look that will work panel after panel, page after page. I spent quite a while working on individual images, but until I started putting them next to each other I didn't know for sure that I was onto something that would actually work.

Two things I would like to mention:

• I  like your lighting on this page. It is clean, even and it makes the central character pop.
• If you are going to have a prominent black character in your story, double-check his skin tone. In this image, he's coming off a little too dark and in a more shadowy scene you might lose him altogether. Consider lightening his skin a little, or in your materials settings increase the reflections/specularity settings to give him better highlights. Lighting for people of color can be tricky, so please experiment with the settings a little more. What I'm seeing here is okay but I must question if the skin will hold up across an entire story.

Finally, I hope you don't mind if I mention your script. I absolutely LOVE LOVE LOVE the "old wardog" and "salty guts tingled" phrasing. WOW, that is evocative! It really sells the character in a few well chosen words. Kudos to you. But... (I guess you knew a "but" was coming), there are a few problems with thhe rest of the caption. Here's what you wrote:

The old wardog never second guessed himself. His salty guts tingled with an all too well sensation that an unseen deadly hunter lie just ahead.
Waiting for a trophy to be won.

 

"All too well" is not really a common phrase as it's used here; it's just odd. We're used to reading something more like: "His salty guts tingled with a sensation that he knew all too well.

Then there's "lie." That just doesn't seem finished. We would almost expect "lies in waiting" or something like that. But I would ask if that word conveys enough menace for this situation. Perhaps something more like this?

The old wardog never second guessed himself. His salty guts tingled with an all-too-familiar sensation that told him somewhere an unseen, deadly hunter was lurking just ahead. Out of sight. Hidden. Waiting for a trophy to be won by shooting all the ducks in the arcade.

And they were the ducks.

Okay, that whole arcade reference was something that just came to me, and I don't think it's all that good. But I do suggest changing "lie" to "lurking" or "secluded" or "stalking them" or something like that.

I hope I didn't come off as too negative or like a bit know-it-all. I like what I see here and hope you'll share some pages with us soon!

Not all all, I like the feedback and admit to even chuckling when I read of the line, "And they were the ducks."  Of what you wrote was spot on.
I honestly only used the narrative as an afterthough, considering of the empty space there... but then that afterthought became no longer just a thought.  And did get hung up with, do I use, "laying in wait" or "lieing in wait", or... ugh; so I went with "lie up ahead"; yeah a cop-out to save time.

I took in the recommendations, even lightening the skin tone of the black guy.  And realized that the facial expressions need to be more exagerated in the render.  In the preview, the expression looks fitting, but after the render and post editting becomes more subdued.  Along with getting the renders too dark (as one I did in the SciFi thread; couldn't see the smoke, except as nearly a black solid).

This one here, is of some changes and reducing the outlines (done as a Stroke effect; but this one is slightly blurred to reduce the hard black pixels).  Please ignore the graphical balloon captions; those are from Photoshop; a dedicate comic program would be used.

As someone (still) working on a comic,

I know what you mean. I've been going back and forth, between near photo-realism, or comic; or graphic novel or novel with some pics; trying to get it perfect before starting. And not following the advice to just doing something, even if it is bad; just do it and then make it better.

Figuring out a quick way to create faster renders (and post edits) by a comic-book look. Not as good as the Batman pic up there... (envy).   But I think this is decent for a series.

Tried to rely less on Photoshop Poster filter (for coloring), while using charcoal and a couple of other effects. Yay, Nay or Meh?

I cast my vote with the "Yays." It has a good, clean look that is pleasing to look at. Definitely not looking over processed. Even though the outlines are only around the shapes themselves (got to admit I'm pleased to see the line following his jawline) but not the interior details (the strong outline around his shirt doesn't continue around his bicep where the shirt and skin meet), the outlines do help pull the figures out from the background. Overall, the effect is pleasing enough and if you can do this consistently from panel to panel I think you're on to something here.

Speaking of panel-to-panel. As someone (still) working on a comic, I can tell you one thing I've learned that is very important: You won't know how this style works until you replicate it to create a full page of your story. Honestly, until you see a few panels next to each other you're not really going to know if they fit together well, nor will you know if you're got a look that will work panel after panel, page after page. I spent quite a while working on individual images, but until I started putting them next to each other I didn't know for sure that I was onto something that would actually work.

Two things I would like to mention:

• I  like your lighting on this page. It is clean, even and it makes the central character pop.
• If you are going to have a prominent black character in your story, double-check his skin tone. In this image, he's coming off a little too dark and in a more shadowy scene you might lose him altogether. Consider lightening his skin a little, or in your materials settings increase the reflections/specularity settings to give him better highlights. Lighting for people of color can be tricky, so please experiment with the settings a little more. What I'm seeing here is okay but I must question if the skin will hold up across an entire story.

Finally, I hope you don't mind if I mention your script. I absolutely LOVE LOVE LOVE the "old wardog" and "salty guts tingled" phrasing. WOW, that is evocative! It really sells the character in a few well chosen words. Kudos to you. But... (I guess you knew a "but" was coming), there are a few problems with thhe rest of the caption. Here's what you wrote:

The old wardog never second guessed himself. His salty guts tingled with an all too well sensation that an unseen deadly hunter lie just ahead.
Waiting for a trophy to be won.

"All too well" is not really a common phrase as it's used here; it's just odd. We're used to reading something more like: "His salty guts tingled with a sensation that he knew all too well.

Then there's "lie." That just doesn't seem finished. We would almost expect "lies in waiting" or something like that. But I would ask if that word conveys enough menace for this situation. Perhaps something more like this?

The old wardog never second guessed himself. His salty guts tingled with an all-too-familiar sensation that told him somewhere an unseen, deadly hunter was lurking just ahead. Out of sight. Hidden. Waiting for a trophy to be won by shooting all the ducks in the arcade.

And they were the ducks.

Okay, that whole arcade reference was something that just came to me, and I don't think it's all that good. But I do suggest changing "lie" to "lurking" or "secluded" or "stalking them" or something like that.

I hope I didn't come off as too negative or like a bit know-it-all. I like what I see here and hope you'll share some pages with us soon!

I took my Fuse character that I designed into Unity and rendered him out with the MK Toon shaders. (I tried importing into Daz, but it didn't like his Mixamo skeletal rig, his arms and hands stretched in loops around his head! - shame because I wanted to see how he would look in Iray)

The original Unity render came out nice. I manipulated it in Photoshop and got quite an interesting Steam Punk type look.

Let me know what you think.

 

Those look great - I really like the second/more purplish one. :)

Thanks, the purple one is the original render straight out of unity.

Does anybody know if you are allowed to take Daz character models into Z brush and modify them there, only for the purpose of creating 2D renders? The reason I ask is I was just checking out the forums over at Z brush and realised there's a really cool NPR set of filters now available in the latest version of Z brush. It would be awesome to do one of images of really detailed characters in NPR toon style (Might be good for comic book covers etc.)

Someone made the top row artwork at zbrush central doing a spiderman model in toon NPR:

http://archive.zbrushcentral.com/showthread.php?216918-Miles-Morales-Spider-Man-Into-The-Spider-Verse-fan-art

Obviously the software sin't cheap, but another option to consider

Sorry for the double post (this is also over at the NPR thread), but I made some updates to page 09 panel 1. They're subtle, but I think they make the image a little better. Any thoughts or comments?

I think this works much better. It frames the central figure nicely without drawing the eyes away from him. The background cliff faces now match the colours of the line work on the background, placing them all on the same plane. It would be good to see this image alongside the other images on the page as that can often place art into context. It certainly does catch your attention and convey character.

The cut on the face in the previous post was looking great. I liked how you modified textures for the M4 model along with drawn on eyebrows. I wouldn't have thought to do that, but it really does make sense.

Thanks for the feedback. This panel is the peak of the emotional journey of the story – this spread (there are two more panels with him) the strongest emotional scene. So I'm glad to know that, even eithout context, there is a strong sense of emotion conveyed here. When I finish the next two panels I will post an update to this so you all can see how it flows together.

Thanks also for the comments on the cut images. The odd thing about working in black & white is that there are almost no textures on my figures. I have textures on the eyes, hair and some of the props, but in general everything else is pure white (except for the eyelashes, which are transparent) so that Poser can focus on the geometry and render clean renders without the speckling that can be caused by a standard skin texture (the bump or displacement maps on skin textures add realism to color images, but they play havoc with the comic book effect I'm shooting for). The one exception (as you've seen) is the need to add eyebrows (and in the special instance above, the cut). For female characters, where you want strong lips, I either color them in the Material Room or modify the V4 texture so that they are darker. 

In regards to the second panel with the cut, I've decided to start over with that panel. I'm not liking the shadows on his body and the strap is riding up too much. When i've finished updating it I will post another pic.

Really looking forward to using this. As others have said, I have a lot of V4 hair. Anyone have any luck using it yet? I keep getting the "No hair files detected" message, no matter what hair I try to add. This is what it logs....

13:05:15 GMT-0500 (Central Daylight Time): Adding Files...
13:05:19 GMT-0500 (Central Daylight Time): SKIPPING "" file: S:/3d/Runtimes/Hair/Runtime/Libraries/Hair/AlfaseeD/DesirHair/DesirHair.hr2

Bit concerned about the reference to skipping "" file. Can it not read the filename? What formats should the Add Files button allow us to add? I have tried hr2, cr2, duf....

Tim

Sorry for the double post (this is also over at the NPR thread), but I made some updates to page 09 panel 1. They're subtle, but I think they make the image a little better. Any thoughts or comments?

I think this works much better. It frames the central figure nicely without drawing the eyes away from him. The background cliff faces now match the colours of the line work on the background, placing them all on the same plane. It would be good to see this image alongside the other images on the page as that can often place art into context. It certainly does catch your attention and convey character.

The cut on the face in the previous post was looking great. I liked how you modified textures for the M4 model along with drawn on eyebrows. I wouldn't have thought to do that, but it really does make sense.

hot, humid, sitcky air at 10 P.M. at night.  Yuck.  I would not want to go to the southeast part of U.S.A. now. lol

That's why we have air conditioning.  Without air conditioning, Florida would still be a swamp with nothing but gators, snakes, mosquitos, bears, vultures, and assorted crawling, swimming, and flying dinosaur descendants.  With air conditioning, we have Disney, Universal Studios, probably a hundred or more colleges and universities, Wawa gas stations, and Ihop restaurants.

Oh, we still have gators, snakes, mosquitos, bears, vultures, and assorted dinosaur descendants.  Just don't give them a house key and don't tell them the alarm codes.  And for crying out loud, park your damned car INSIDE your garage.  You only need to learn that lesson once by experience, but I wonder why ANYBODY needs to learn it at all. 

I agree that air-conditioning has populated Florida, but it is possible to survive in Florida without it.  The Indians did it for thousands of years.  And even as late as the 1950s pioneering yankees moved to Florida and built houses sensibly.  Small, with lots of trees around them, with windows that opened and screens that kept the bugs out and the layout designed for airflow, elevated from the ground.  I had three pairs of Great Aunts & Uncles who moved to Florida in the 1920s (they were in their 30s at the time) and never had air-conditioning. They came from my hometown, here in western NY State,   However, if you went to Florida and didn't adapt, it would grind you into the dust.  There's a town called Fellsmere west of Vero Beach (lower central east coast) founded by a business tychoon who owned the Fells Naptha soap company, in the early 1900s.  It almost went kaput after years of fighting Florida.  Mosquitos bit the insides of the noses of the cattle and horses till they died of suffocation being just one of the problems the residents of this company town weren't prepared for.  The town still exists but the first few years weren't pretty.

Having lived in Florida for a few decades myself I found it much easier to run around barefooted & half-naked than to try to live like a northerner.  Even with air-conditioning.  But even in the '60s & early 70s I would visit my Great aunt & uncle that still lived in Melbourne (where my college was) and their little cottage near the river, raised two feet from the ground, under the canopy of Live Oaks and palms with the windows open was quite survivable.  Even in the summer.  The problem is, those locations are rare and are now all owned by rich people who have torn them down, replaced the trees with grass, built a McMansion covering the neighboring three lots, filled them with air-conditioning, and leave them idle in the summer when the family goes back to their northern house.  (*Sigh*),  Air-conditioning has ruined Florida.

Early Florida pioneers included English composer Frederick Delius who wrote the "Florida Suite" after his stint managing his Father's orange plantation in Florida during the 1880s.  Sent there from England by his father, he only stayed there one year (must have been pretty hard), but it made an impression because this is how he describes daybreak in the Florida wilds of the 1880s.

Frederick Delius:  "Daybreak" movement from "The Florida Suite": https://www.youtube.com/watch?v=xaYShTsIlsw

"By The River" movement from "The Florida Suite": https://www.youtube.com/watch?v=xwUCxJtje3o

"Sunset" movement from "The Florida Suite": https://www.youtube.com/watch?v=f6CrzLXUHx4

And finally, here's his description of of evening:  "At Night" movement from "The Florida Suite": https://www.youtube.com/watch?v=rI1OsWSb5ls

I actually feel sorry for people who have lived in Florida and never experienced it in the wild.  Yes, you have to watch out for spiderwebs as big as boat sails, spiders that fight back, cockroaches bigger than you want to deal with, and reptiles that will kill you either with poison or eating you whole, but it still has its charms.

Florida does still have its charms, but living under the trees with disease-carrying mosquitos would not be one of them.  I lived through the big fires we had 20 years ago. The fires ignited underwater muck in the swamps and even jumped I-95, which is a very broad and wide roadway, if you include the grass shoulders and center median. 

And then there's the lightning, yikes!

hot, humid, sitcky air at 10 P.M. at night.  Yuck.  I would not want to go to the southeast part of U.S.A. now. lol

That's why we have air conditioning.  Without air conditioning, Florida would still be a swamp with nothing but gators, snakes, mosquitos, bears, vultures, and assorted crawling, swimming, and flying dinosaur descendants.  With air conditioning, we have Disney, Universal Studios, probably a hundred or more colleges and universities, Wawa gas stations, and Ihop restaurants.

Oh, we still have gators, snakes, mosquitos, bears, vultures, and assorted dinosaur descendants.  Just don't give them a house key and don't tell them the alarm codes.  And for crying out loud, park your damned car INSIDE your garage.  You only need to learn that lesson once by experience, but I wonder why ANYBODY needs to learn it at all. 

I agree that air-conditioning has populated Florida, but it is possible to survive in Florida without it.  The Indians did it for thousands of years.  And even as late as the 1950s pioneering yankees moved to Florida and built houses sensibly.  Small, with lots of trees around them, with windows that opened and screens that kept the bugs out and the layout designed for airflow, elevated from the ground.  I had three pairs of Great Aunts & Uncles who moved to Florida in the 1920s (they were in their 30s at the time) and never had air-conditioning. They came from my hometown, here in western NY State,   However, if you went to Florida and didn't adapt, it would grind you into the dust.  There's a town called Fellsmere west of Vero Beach (lower central east coast) founded by a business tychoon who owned the Fells Naptha soap company, in the early 1900s.  It almost went kaput after years of fighting Florida.  Mosquitos bit the insides of the noses of the cattle and horses till they died of suffocation being just one of the problems the residents of this company town weren't prepared for.  The town still exists but the first few years weren't pretty.

Having lived in Florida for a few decades myself I found it much easier to run around barefooted & half-naked than to try to live like a northerner.  Even with air-conditioning.  But even in the '60s & early 70s I would visit my Great aunt & uncle that still lived in Melbourne (where my college was) and their little cottage near the river, raised two feet from the ground, under the canopy of Live Oaks and palms with the windows open was quite survivable.  Even in the summer.  The problem is, those locations are rare and are now all owned by rich people who have torn them down, replaced the trees with grass, built a McMansion covering the neighboring three lots, filled them with air-conditioning, and leave them idle in the summer when the family goes back to their northern house.  (*Sigh*),  Air-conditioning has ruined Florida.

Early Florida pioneers included English composer Frederick Delius who wrote the "Florida Suite" after his stint managing his Father's orange plantation in Florida during the 1880s.  Sent there from England by his father, he only stayed there one year (must have been pretty hard), but it made an impression because this is how he describes daybreak in the Florida wilds of the 1880s.

Frederick Delius:  "Daybreak" movement from "The Florida Suite": https://www.youtube.com/watch?v=xaYShTsIlsw

"By The River" movement from "The Florida Suite": https://www.youtube.com/watch?v=xwUCxJtje3o

"Sunset" movement from "The Florida Suite": https://www.youtube.com/watch?v=eHKj8o6eMWs (edited to correct the link)

And finally, here's his description of of evening:  "At Night" movement from "The Florida Suite": https://www.youtube.com/watch?v=rI1OsWSb5ls

I actually feel sorry for people who have lived in Florida and never experienced it in the wild.  Yes, you have to watch out for spiderwebs as big as boat sails, spiders that fight back, cockroaches bigger than you want to deal with, and reptiles that will kill you either with poison or by eating you whole, but it still has its charms.

I pin with the "Pin at both" setting with the active pose tool. I pin both feet and shins. Then I pin the forearms and hands. Then I proceed to move the pelvis and then DAZ 3D 4.11 crashes. 

I've played around with the pinning and active pose tool in 4.11 and it does seem to crash in other pinning varations. It seems to be less stable in general. 

Anyone else having issues with the active pose tool and pin at both?

Edit: Seems like even if you just pin both hands and both toes and then pose the central part of the body DAZ 4.11 crashes.

Yes, I have run into the same problem. Seems to not crash (or at least crash less) if you use "Pin at end" or "Pin at Origin" instead of "Pin at Both". "Pin at Both" seems to work OK as long as you only pin one or two body parts.

I pin with the "Pin at both" setting with the active pose tool. I pin both feet and shins. Then I pin the forearms and hands. Then I proceed to move the pelvis and then DAZ 3D 4.11 crashes. 

I've played around with the pinning and active pose tool in 4.11 and it does seem to crash in other pinning varations. It seems to be less stable in general. 

Anyone else having issues with the active pose tool and pin at both?

Edit: Seems like even if you just pin both hands and both toes and then pose the central part of the body DAZ 4.11 crashes.

Nice lamps, really impressed with your flower design - Wondering what you used to create it.

One thing though, your hexagon screen grab, your bulbs do not look central.

@WeeDangerousJohn Awesome sauce! Thanks for the comments. Do you mean the image, or the map? And yes, this is true. When I copied the parts to Daz, I arranged them and applied the textures. There I straightened out the alignment.

The image came from the below link:

https://upload.wikimedia.org/wikipedia/commons/a/a3/Owen_Jones_-_Examples_of_Chinese_Ornament_-_1867_-_plate_008.png

I just played wit the horizontal and vertical tiling until I got it right.

Nice lamps, really impressed with your flower design - Wondering what you used to create it.

One thing though, your hexagon screen grab, your bulbs do not look central.

How do you not confuse genghis kahn and atilla the hun?

they both have horns helmets and big mustaches 

Well, I differentiate Genghis Kahn and Attila the Hun quite easily...

Genghis Kahn was the grandfather of Kublai Kahn and Kublai Kahn founded the Yaun dynasty around 1271 and a really boring guy I used to know lived in a building in Brooklyn that had an address something like 1271 Myrtle Avenue and since that guy was really boring, I used to yawn a lot (Yaun Dynasty) and he also had dog who was a mutt (mongrel sounds like mongol, the Kahn were mongols) and Kublai Kahn’s granduncle Ariq Böke who in at least one depiction of him had a very turtle-like chin (turtle sounds like myrtle) and the boring guy’s name was Steve which happened to be the same name as Genghis Kahn’s favorite horse... so when I hear the name Genghis Kahn, I immediately picture Steve’s dog riding a turtle into battle dressed in a Saffron taffeta evening gown... (I can’t explain that last detail, but it works)...

Attila the Hun is easy... During the First World War, the British often referred to the Germans using the derogatory term “Huns” (possibly because of the spiked helmets)... a freind of mine was named Tom (Or “Tommy” as his girlfriend used to call him) and also during WW1, British soldiers were referred to by the Germans as “Tommies” (possibly because of their love of overripe plum tomatoes), Tom/Tommy used to own a grey 1954 International Harvester delivery van (think of the old Mr. Softee ice cream trucks) that reminded me of an elephant, and when I was little I always confused Attila the Hun with Hannibal (who as we all know loved to cross mountains on elephants) which was a bit confusing until the TV show “The A-Team” which introduced the character John “Hannibal” Smith, which then made me picture George Peppard riding an elephant with skis... (it was in the alps)... later when Silence Of The Lambs came out, I switched that image to Anthony Hopkins riding an elephant through Brooklyn in a Burgundy taffeta evening gown... Tom also had a really stupid parrot who couldn’t talk, but still everyone would always ask it “Polly want a cracker?”... To which Tom would answer “He’s not hungry and his name is Clarence”... Attila the Hun was a Hun and due to some bad medieval record keeping, some Hungarians (Hungary-hungry, which the parrot wasn’t) used to believe they descended from Huns, who by the way were most likely actually were related to the nomadic Xiongnu people of Central Asia/China... Also the parrot loved fortune cookies... so, whenever I hear Attila The Hun, I picture Clarence wearing a spiked helmet and Baby blue taffeta evening gown, playing a saxophone while driving a beat up old Mr Softee ice cream truck across the alps... 

I hope that helps... it’s really very easy... its a lot simpler than my way of distinguishing between the plasma flow characteristics of a Symmetrical Tokamak Reactor and Adibatic Toroidal Compressor, which is really confusing because the directors of both labs wore similar green taffeta evening gowns in most of the pictures and that just throws off my reference points... if it wasn’t for Harold Furth having slightly hairier legs... ah, it’s complicated, but if you want a breakdown, I’d be happy to explain... 

What I really need is a good way to remember the difference between taffeta and chiffon... it messes up my mental depiction of Sir Thomas More and Sir Thomas Browne... 

Megh... I’ll figure that out eventually.

 

 

 

Did Hannibal have a big mustash too?

well atleast the elephant sets him apart from the other 2

In one episode he did... It was a huge mustache... I think him and B.A. Baracus were trying to impersonate the leaders of a rival drug gang to intimidate another gang that was harassing the students from the Eastland School for Young Women who were trying to start a rock and roll band to earn money to buy Mrs. Garrett new tires for Kitt...  

I dunno... I might be combining TV shows there... Did Mrs. Garrett live on a boat and own an alligator?

How do you not confuse genghis kahn and atilla the hun?

they both have horns helmets and big mustaches 

Well, I differentiate Genghis Kahn and Attila the Hun quite easily...

Genghis Kahn was the grandfather of Kublai Kahn and Kublai Kahn founded the Yaun dynasty around 1271 and a really boring guy I used to know lived in a building in Brooklyn that had an address something like 1271 Myrtle Avenue and since that guy was really boring, I used to yawn a lot (Yaun Dynasty) and he also had dog who was a mutt (mongrel sounds like mongol, the Kahn were mongols) and Kublai Kahn’s granduncle Ariq Böke who in at least one depiction of him had a very turtle-like chin (turtle sounds like myrtle) and the boring guy’s name was Steve which happened to be the same name as Genghis Kahn’s favorite horse... so when I hear the name Genghis Kahn, I immediately picture Steve’s dog riding a turtle into battle dressed in a Saffron taffeta evening gown... (I can’t explain that last detail, but it works)...

Attila the Hun is easy... During the First World War, the British often referred to the Germans using the derogatory term “Huns” (possibly because of the spiked helmets)... a freind of mine was named Tom (Or “Tommy” as his girlfriend used to call him) and also during WW1, British soldiers were referred to by the Germans as “Tommies” (possibly because of their love of overripe plum tomatoes), Tom/Tommy used to own a grey 1954 International Harvester delivery van (think of the old Mr. Softee ice cream trucks) that reminded me of an elephant, and when I was little I always confused Attila the Hun with Hannibal (who as we all know loved to cross mountains on elephants) which was a bit confusing until the TV show “The A-Team” which introduced the character John “Hannibal” Smith, which then made me picture George Peppard riding an elephant with skis... (it was in the alps)... later when Silence Of The Lambs came out, I switched that image to Anthony Hopkins riding an elephant through Brooklyn in a Burgundy taffeta evening gown... Tom also had a really stupid parrot who couldn’t talk, but still everyone would always ask it “Polly want a cracker?”... To which Tom would answer “He’s not hungry and his name is Clarence”... Attila the Hun was a Hun and due to some bad medieval record keeping, some Hungarians (Hungary-hungry, which the parrot wasn’t) used to believe they descended from Huns, who by the way were most likely actually were related to the nomadic Xiongnu people of Central Asia/China... Also the parrot loved fortune cookies... so, whenever I hear Attila The Hun, I picture Clarence wearing a spiked helmet and Baby blue taffeta evening gown, playing a saxophone while driving a beat up old Mr Softee ice cream truck across the alps... 

I hope that helps... it’s really very easy... its a lot simpler than my way of distinguishing between the plasma flow characteristics of a Symmetrical Tokamak Reactor and Adibatic Toroidal Compressor, which is really confusing because the directors of both labs wore similar green taffeta evening gowns in most of the pictures and that just throws off my reference points... if it wasn’t for Harold Furth having slightly hairier legs... ah, it’s complicated, but if you want a breakdown, I’d be happy to explain... 

What I really need is a good way to remember the difference between taffeta and chiffon... it messes up my mental depiction of Sir Thomas More and Sir Thomas Browne... 

Megh... I’ll figure that out eventually.

 

 

 

Did Hannibal have a big mustash too?

well atleast the elephant sets him apart from the other 2

How do you not confuse genghis kahn and atilla the hun?

they both have horns helmets and big mustaches 

Well, I differentiate Genghis Kahn and Attila the Hun quite easily...

Genghis Kahn was the grandfather of Kublai Kahn and Kublai Kahn founded the Yaun dynasty around 1271 and a really boring guy I used to know lived in a building in Brooklyn that had an address something like 1271 Myrtle Avenue and since that guy was really boring, I used to yawn a lot (Yaun Dynasty) and he also had dog who was a mutt (mongrel sounds like mongol, the Kahn were mongols) and Kublai Kahn’s granduncle Ariq Böke who in at least one depiction of him had a very turtle-like chin (turtle sounds like myrtle) and the boring guy’s name was Steve which happened to be the same name as Genghis Kahn’s favorite horse... so when I hear the name Genghis Kahn, I immediately picture Steve’s dog riding a turtle into battle dressed in a Saffron taffeta evening gown... (I can’t explain that last detail, but it works)...

Attila the Hun is easy... During the First World War, the British often referred to the Germans using the derogatory term “Huns” (possibly because of the spiked helmets)... a freind of mine was named Tom (Or “Tommy” as his girlfriend used to call him) and also during WW1, British soldiers were referred to by the Germans as “Tommies” (possibly because of their love of overripe plum tomatoes), Tom/Tommy used to own a grey 1954 International Harvester delivery van (think of the old Mr. Softee ice cream trucks) that reminded me of an elephant, and when I was little I always confused Attila the Hun with Hannibal (who as we all know loved to cross mountains on elephants) which was a bit confusing until the TV show “The A-Team” which introduced the character John “Hannibal” Smith, which then made me picture George Peppard riding an elephant with skis... (it was in the alps)... later when Silence Of The Lambs came out, I switched that image to Anthony Hopkins riding an elephant through Brooklyn in a Burgundy taffeta evening gown... Tom also had a really stupid parrot who couldn’t talk, but still everyone would always ask it “Polly want a cracker?”... To which Tom would answer “He’s not hungry and his name is Clarence”... Attila the Hun was a Hun and due to some bad medieval record keeping, some Hungarians (Hungary-hungry, which the parrot wasn’t) used to believe they descended from Huns, who by the way were most likely actually were related to the nomadic Xiongnu people of Central Asia/China... Also the parrot loved fortune cookies... so, whenever I hear Attila The Hun, I picture Clarence wearing a spiked helmet and Baby blue taffeta evening gown, playing a saxophone while driving a beat up old Mr Softee ice cream truck across the alps... 

I hope that helps... it’s really very easy... its a lot simpler than my way of distinguishing between the plasma flow characteristics of a Symmetrical Tokamak Reactor and Adibatic Toroidal Compressor, which is really confusing because the directors of both labs wore similar green taffeta evening gowns in most of the pictures and that just throws off my reference points... if it wasn’t for Harold Furth having slightly hairier legs... ah, it’s complicated, but if you want a breakdown, I’d be happy to explain... 

What I really need is a good way to remember the difference between taffeta and chiffon... it messes up my mental depiction of Sir Thomas More and Sir Thomas Browne... 

Megh... I’ll figure that out eventually.