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@Diomede That longer render and bigger picture looks a lot better. I was going to suggest forboding skies, but now with the longer render and clearer picture I see you have that already at hand.
The crocodile is a nice touch and I like the birds, although if I may be so bold, they are quite hidden in the position they are in. That might be deliberate, but I wonder if a few more were against the sky whether it would help or detract?
Re: your animations and youtube violation policy. I won't go into a rant again about youtube, but you might remember I had a decent size channel for many years, before I deleted it due to the increasingly bizzare restrictions. I now use odysee.com / lbry.tv which is the same site. You won't get anywhere near as many views, but they don't ask questions, and let artists express themselves.
DOF is ok for such a long shot in my opinion, but never be afraid to test the extremes I believe. I've created tons of camera shots now, and often to my amazement less is more. i.e. less in focus is fine.
endoscopy is common, many have regular ones,
it's the dystopian Alien probes that some get on a regular basis one has to worry about
reminds me of the 2014 Carrara Challenge!
I did this render then I crashed Carrara when I furred the clothing... reminder to self ... don't duplicate hair onto another item
so I had to finish it off in PSE20 as I didn't save it before the crash!
Nothing to Report!
City Security Services Enforcement Helicopter
WIP
Police Patrol
WIP
City Streets
WIP
Stezza - so sorry about your file problems. But you did a great job restoring the image. I will try to remember not to duplicate hair on another item! Oh, nothing to report is very ominous. Dangling skulls is always a bad sign. Heart of Darkness, Apocalypse Now, Kurtz. Oh my.
Bunyip - very vivid city scenes. Police car headlights are very effective. Difference in red saturation really draws the eye to the driver-less car.
Volcano!
Here is the start of another WIP for me. Decided to start with a large scene instead of a medium scene and play with the terrain modeler. I made some heightmaps in an image editor with various degrees of blur to make the original mountain with cone center. I stacked the maps in Carrara and then applied a filter or two, ending with zero edge. I clicked the terrain map editor to collapse my changes into a single map. I exported that result back to my image editor. On a new blank layer, I then some channels for lava flows. I also made a copy inverting the black and white. Back in Carrara, I started with two copies of my base terrain. For one copy I stacked the lava=white heightmap. On the other copy, I stacked the lava=black heightmap. I then adjusted the terrains in the Z direction to get lava flowing down the sides of the volcano.
Default shaders so far. Plan to add a particle emitter at the top of the volcano. Will need dark clouds, smoke, etc.
metrolis a scary mike oxtrot movie.
the human race enslaved to the uber rich.
and it has a topless dancer scene
Thanks, red driverless car actually has a driver, just hard to see with that tinted windscreen !!!
Looking forward to see how this one develops !
I found a scene in the Soylent Green film to try to emulate. It appears in a youtube video right here.
I'm not sure where I stand on posting a screenshot from the film, so I'm posting the exact moment after the line "That makes us both Liars", so that will be my entry name.
It's an internal scene of an apartment with some tricky lighting to emulate, a beautiful girl to model/create, some futuristic furniture and what swung it for me was the net curtains. Seriously - ha ha.
I'll post a WIP when I can. My existing machine is grinding to a halt, with a new one on order - so progress might be slow.
Spoiler alert! (If watched to the end) Haha. I remember the scene you picked. The woman's job was to go with the apartment, but only if the new tenant liked her. Otherwise, back to the dystopian city for her!
Nice choice. Can't wait to see what you do with it.
Does it need to be a scene from the movie?
Oh duh, read the second sentance... nvm
@Diomede Thanks for the context. I used to have this on DVD, but it's gone. I was wondering why these characters were there because isn't this the same apartment that Charlton Heston's character lives in? Or do they all look alike in the future? I seem to remember these are rich apartments within the city walls, but again my memory fades.
Police Mech - with red vehicle once again
WIP
And yet another red vehicle.....
WIP
Trike
WIP
Ah, even more context? Happy to discuss one of my favorite movies. I will try not to give away spoilers. Trigger warning - many elements offend modern sensibilities. Of course, elements offended sensibilities during the 1970s as well, but audiences were expected to connect 'something will offend me' with 'necessary condition for film to be dystopian.'
The plot of Soylent Green starts out like a typical pulp crime story. A slightly corrupt cop (Heston) is assigned to a high profile murder case. A member of the Board of Directors of the Soylent Corporation (Joseph Cotton) was murdered in his apartment while his bodyguard (Chuck Connors) and the woman (Leigh Taylor-Young) he cohabitated with were out shopping. Some parts of the crime scene in the ultra-rich apartment look like an amateur burglar expected the apartment to be empty, but to a veteran cop it is obvious that this crime wasn't a robbery. It has the hallmarks of an assassination. Heston's immediate police boss with whom he shares petty thievery from crime scenes, under pressure from unknown higher ups, wants Heston to close out the case as a burglary. Heston normally would, but this is different, the victim is rich and politically connected to the governor. So Heston is afraid that if he closes this case out, then 'higher ups' even higher than the usual higher ups will get mad, and it will be Heston's name on the report. He keeps the case open and continues to investigate. He is aided in his investigation by the man he lives with in a shabby rundown apartment, a police librarian (called a book), who is played by Edward G Robinson.
Heston returns to the apartment to interview the woman (Leigh Taylor-Young). She was not the victim's wife, girlfriend, or relative. She is essentially a prostitute. The rich apartment building includes her 'services' with the apartment. She is referred to as 'furniture.' That is her job. After the murder, the building will give the apartment to a new tenant. Leigh Taylor-Young only keeps her job and gets to live in a nice building with good food, etc. if the new tenant likes her. The scene you picked is part of the scene in which she is interviewed by the new tenant to see if she gets to keep her job.
So, Heston lives in a shabby rundown apartment, but he spends a lot of movie time in the wealthy apartment - it is the crime scene.
You picked a good scene. The 'gritty pulp crime fiction' aura is reinforced by the rest of the conversation between Taylor-Young and the new tenant. If you can easily find a clip of the full conversation, might be worth a quick look.
Ah, even more context? Happy to discuss one of my favorite movies. I will try not to give away spoilers. Trigger warning - many elements offend modern sensibilities. Of course, elements offended sensibilities during the 1970s as well, but audiences were expected to connect 'something will offend me' with 'necessary condition for film to be dystopian.'
The plot of Soylent Green starts out like a typical pulp crime story. A slightly corrupt cop (Heston) is assigned to a high profile murder case. A member of the Board of Directors of the Soylent Corporation (Joseph Cotton) was murdered in his apartment while his bodyguard (Chuck Connors) and the woman (Leigh Taylor-Young) he cohabitated with were out shopping. Some parts of the crime scene in the ultra-rich apartment look like an amateur burglar expected the apartment to be empty, but to a veteran cop it is obvious that this crime wasn't a robbery. It has the hallmarks of an assassination. Heston's immediate police boss with whom he shares petty thievery from crime scenes, under pressure from unknown higher ups, wants Heston to close out the case as a burglary. Heston normally would, but this is different, the victim is rich and politically connected to the governor. So Heston is afraid that if he closes this case out, then 'higher ups' even higher than the usual higher ups will get mad, and it will be Heston's name on the report. He keeps the case open and continues to investigate. He is aided in his investigation by the man he lives with in a shabby rundown apartment, a police librarian (called a book), who is played by Edward G Robinson.
Heston returns to the apartment to interview the woman (Leigh Taylor-Young). She was not the victim's wife, girlfriend, or relative. She is essentially a prostitute. The rich apartment building includes her 'services' with the apartment. She is referred to as 'furniture.' That is her job. After the murder, the building will give the apartment to a new tenant. Leigh Taylor-Young only keeps her job and gets to live in a nice building with good food, etc. if the new tenant likes her. The scene you picked is part of the scene in which she is interviewed by the new tenant to see if she gets to keep her job.
So, Heston lives in a shabby rundown apartment, but he spends a lot of movie time in the wealthy apartment - it is the crime scene.
You picked a good scene. The 'gritty pulp crime fiction' aura is reinforced by the rest of the conversation between Taylor-Young and the new tenant. If you can easily find a clip of the full conversation, might be worth a quick look.
Sorry for these double posts. Not sure why that is happening.
Bunyip, I thought you had the best collection of critters. Turns out you have the best collection of scifi vehicles as well. Or, at least better than mine. These get a Wow! If I might make a constructive criticism for a couple of the renders that are portraits of the vehicles; they can come across as 'cool fancy future tech' instead of dystopia. You might consider adding elements that make them less admirable, whether by grunging them up or by having them more obviously menace someone or something. Just my personal taste. Others will disagree, I am sure. Keep them coming.
Glad you found it.
Reminder to all - you can choose your dystopia from any source, including from your own imagination.
@Diomede Ah great! Thanks for spending some time putting me in the picture. So Heston's character spends a lot of time in that same apartment investigating the crime. Got it.
Ok well I'm glad I picked that scene then, a pivotal one with an excellent quote "That makes us both Liars". I've found a couple of 3d assets that I can kit bash together to make the net curtains. Sadly my render machine is just impossible to use right now with a constant 100% disk usage. I've tried multiple times to fix it, but I think it's a motherboard compatibility issue. We are 3 weeks into waiting for the new one, so hopefully not long now.
In the meantime I can check out my runtime via the DAZ site, and pass comment on anything being worked on here.
How are your works coming along? I see you have several in production.
Thanks ! Gone for grunge !!!
One way traffic Inspector
WIP
I've set up Carrara on my business machine which doesn't have a graphics card, but at least I can set up the scene.
It's a kitbash fest, working from the net curtain model, and some textures that come with the Cozy Kitsch Living Room I set up a new room. Note that the curtains angle to the right (this will be out of shot but I thought @Diomede would appreciate me going the extra mile). [EDIT - Just noticed it's more like a zig zag pattern, so I'll amend my model]
The shelving comes from a parkside set, which I've modified in shape and size and changed to a white shader.
So, can't render - as this machine is incapable of working with Octane, I may render in Carrara if need be but I haven't done that since 2014 I think, so will avoid if possible. (Rusty!)
Note the final shot you will see is in the production frame, I just panned out to show the whole set as it develops.