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Great state, Emotionaldreams. The biggest problem for me right now isn't the skin, but the dress texture, which reads to coarse for me. I wonder, too, if such a white dress is the best choice when her skin and the background are dark—it draws the eye more tha her. But the skin—the hard part!—looks solid.
shoot i took the image down. ddint think anyone saw it before i did
... yes im still working on it. i was thinking of the skin. the clothes i jsut threw on for show
Cyberpunk fever! Different girl than usual, but I loved this result.
really nice work. hair looks authentic
Are any of you using toning to get good results? I render to canvases and then tone in Affinity Photo, which I think gives me much better results than I can get straigh from DS.
Yes. That is absolutely essential. I've been using Blender's filmic preset in Photoshop, then adjusting the contrast.
Great one! The girl on the right looks extremely real.
ooh sorry. should of said i used a 3dscan for her. girl in flowered dress is my Aa'nylee character for G8
Blender's filmic preset in Photoshop? How does one do this?
I found this tutorial. Hope it helps!
I've mostly abandoned Photoshop for toning and postwork because teh 32-bit workflow is so weak. Affinity has great 32-bit tools and some cool UI things (also some frustrating things: masking is so much more annoying than in PS).
Crushing blacks/burning highlights only impacts 8-bit images, right? I never adjust them, since my preview renders look fine with the default settings and I don't think they do anything with the .exr outputs.
PS, if anyone wants a 32-bit workflow basic Affinity Photo tutorial, message me and I'll put something together. It took me a bit to figure out the basics, but once you know how to go through the process, it's quick and easy.
I also just found out how to do this in Affinity Photo
the "filmic log" transform makes a great base for adding my personal contrast settings if you don't want to use blender's contrast settings.
Sorry, no it doesn't. Does anybody understand him. Can anybody translater to proper english, and tell me, how it works?
I dont have PS but he's basically doing this
1. download a color management plugin for PS (OpenColorIO or OCIO)
2. delete xyz colorspace from the config because it causes an error
3. convert image from linear space to sRGB space and apply filmic transform and contrast (medium contrast by default)
4. convert image from sRGB space back to linear space
5. compare with blender's output. reduce format to 8bit to get the same result.
I like Affinity Photo a lot better, it's much easier and all the changes are in layers so you can disable/enable them.
Thank you :-)
Well first of all these look great.
on the vellus conforming to the face, annoyingly SBH emits from the base res mesh, so areas where the subdivided mesh differs too much from the base mesh there can be a gap. Thankfully areas like the cheeks dont tend to have that much of a gap, but areas like the ears it is very obvious. HD morphs can also be occasionally problematic
Yeah its only effects the 8 bit outputs.
But I do find it close enough to the filmic look that I can get away with not having to output exrs for a decent percent of my renders. plus, since its closer to how I tonemap, its much better visual feedback for when I faff about with lights and materials
Mostly it just makes my viewport prettier :) I tend to keep my viewport rendering (with a max render time of 20 so it doesn't die)
and for a comparison of filmic vs iray vs iray with burn highlights/crush blacks off
standard Iray
(my eyes bleed)
Iray with burn highlights/crush blacks all the way off
Exr sent to blender and tonemapped with filmic - medium low contrast
(nigh Identical)
Blender Filmic - High Contrast
(stronger contrast than the Iray default but doesn't have the same ugly burnout on the highlights)
Filmics real advantage is that you can up the contrast without the ugly burnout you can get with Irays tonemapping, but at low contrast the look is very very close
Here is something I threw together with a similar character and a quick skin job using custom maps on the thin layer to generate a freznel effect that I think works beter than the built in gloss. It also has the advantage of creating that skin cell look. The only post work is a simple tone curve bump in corel. Of course lighting with HDR is "usually" way better then scene lighting for photorealism.
I'm in no way an expert in these matters, but photorealism is something I too have been pursuing, but I would like to achieve it strictly inside of Daz without use of much or any post work.
What I do know is scene lighting and how your skins react in the scene are key. I'm not going to do anything with Translucency weights (set at .6) or SSS or Transmitted colors in these.
The main focus is scene lighting and skin shine in those settings using Dual Lobe Specular Weight (DLSW) as well as how I believe thin layer can help scatter for a a subtle pop.
I also belive using the right camera is a very important aspect to achieving photorealism. If we are talking about making something look like it was taken from a physical camera then we need to mimic the way that camera works. That is why my main goto is mimicing the 35mm and often will use fstop because this is the most common type of picture taken and what we are use to looking at (some might argue it is the 50mm which is a fair). Going to 50 or 54mm gets one closer to true eyesight and plenty of photographers use that as well. As well a majority of films are shot using the 50mm. Focal Lengths and Lenses used by Great Directors - YouTube
From the image above using the HDR enviroment but these will have no post work.
** NOTE: What I call thin layer is actually the Base Thin Film setting.
#1 HDR Scene / Thin layer off / DSLW 1.0 / Transmitted Distance .1
#2 HDR Scene / Thin layer on / DSWL 1.0 / Transmitted Distance .1
#3 HDR Scene / Thin layer on / DSWL Almost off at .1 / Transmitted Distance .1
These deal with scene lighting only with a single light source
#4 Scene lighting single light / Thin layer off / DSWL 1.0 / Transmitted Distance .1
#5 Scene lighting single light / Thin layer on / DSWL 1.0 / Transmitted Distance .1
#6 Scene lighting single light / Thin layer on / DSWL low / Transmitted Distance .1
#7 Scene lighting single light / Thin layer on / DSWL normal 1.0 / Transmitted Distance .5
Lastly I like the Sun lighting system in Daz and can be superior to HDR in the right conditions.
#8 Sun in shadow / Thin layer on / DSWL low / Transmitted Distance .5
#9 Sun / Thin layer on / DSWL nromal 1.0 / Transmitted Distance .5
#10 Sun / Thin layer on / DSWL low .1 / Transmitted Distance .5
@charles what setting are you referring to with "thin layer"?
the only similar settings I can think of are "thin film" "top coat" and "thin walled"
Sorry it's called Base Thin Film, add a base bump image or the dual lobe, I just made a really big 8kx8k skin flake texture and stuck it in there and then set the slider to about 350 and that will open up the Base Thin Film IOR set to between 1.46 and 1.6, you may have to play with that a tad to see results. The map needs to be REALLY big though with fine detail or it is either not visible or odd. I use a seperate even finer version of the map for the face, ears and lips. Apply it to just skin and lips not nails.
For me, photorealism (of which we haven't truly hit yet) goes beyond good looking character skins and hair. It's the smaller, more under appreciated, stuff in life that really brings out the details.
Nice socks, lol. But even with 4k cameras unless your taking a picture that close up to a sock you aren't going to see that detail, the bumps (is there a word for those bumps in socks?) Now if you ARE taking a picture of someones sock sure you need to add that kind of detail. But yes clothes in general are a huge failing. I usually use a normal or bump map based on PTF Grungy Threads by PixelTizzyFit to give clothes a bit more realit. Well not even just clothes, bed sheets, pillows, curtains, napkins.