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ah now I understand. I wasn't thinking about the NIk filter origin.
Just guessing, but tiff-files are often used for printing. Instead of RGB probably the CMYK color space is used. The difference in brightness could be a side effect.
I'm not sure but, the strange thing is that the Tiff file looks like the normal png output when I render it whithin DS, while the png saved file from the standalone is different. Something is odd there, I'll keep an eye open for the next session.
On a completely different note I finally managed to get my very first item rigged, I'm so prod now.
Its the flying element thingy out of petipet 's Domnator http://www.daz3d.com/dominator ; and I thought from the first moment that it would be awesome to have the wings movable. So I set my brain in flames and worked though a ton of tutorials out there and loo and behold, three days later I got it going: original is the one behind front with movable wings, surfaces are a bit adapted by me as well
another one posted on the PC contest, ( this was the one rendring on my linux system) And it will be my seasons greeting card this year, if I get it to the printer in time...
Very nice! So, are you setting everything up in DS in Windows and then moving the files over to the standalone 3Delight on the Linux box? How does that work? I'm very curious as to what you are doing. :)
@Knittingmommy the process is rather straighforward, as you said, evrything gets set up on DS in advance. the moment you would normally hit the render button, you go to the advanced render settings and tick off the " render to RIB" box, that activates the darker field below and there you put the name of the file you want to generate and choose the place its being saved to. As well tick off the "keep shadows" and "collect and localize". Now its the time to hit that render button, will open some activity box and a new window liket the render window but that will stay empty. Ittl take some time and when the activity box disappears you can close the placeholder render window. browse to the place you decided to save that file to, you will find the file and a folder with "filname_collected" which is pretty large.
Now for my setting I move that through my network to my linux box. there I use the command line tool to move through your folders to the place I saved the filename_collected folder open that and list to see if my filename.rib file is there, then type renderdl filename
If you want to watch the process type renderdle -id filename.rib
And hopefully it goes to working then.
What I now noticed is that the numbers of pixel / inch is only at 72 while it ususally is at 96 when I use the 3dl renderer in DS. I don#t know if there is a setting I don't know o´f yet that I can alter, but for now that means, I have to render larger to get the sane resolution
So, the rib file is what gets transferred to the Linux box and not the actual product files. Interesting. I'll have to keep that in mind. I still have Linux on my laptop. I may try doing something similar just as an experiment someday. I have an older version (preIray) of DS on there and I really don't want to get rid of that quite yet. When I'm much better at using 3Delight. Getting there, though. I've managed to get some pretty good images in 3Delight lately. :)
Its not only the RIB file wihtin the collected folder but as 3delight does as a standart it saves all needed texture files ( thats what is that optimising images etc before the render starts real is for . doing it in DS as well) to a special place, in this case to the collected folder. Last one easily had 6GB + size. If you take a look inside you can see tham all sitting there. Thats why its good laboratory praxis to clean the desk after work.. saying throw them away after or your space is filled extremely fast.
gonna post my cheesy almost pinup here as well: Stunt
3delight, minor postwork in Gimp2.8
that guy is Anicinabe unaltered, why he needs to jump through a window without shoes I don't know, that was his idea
That's because he has to prove how manly he is...
Lol, could be about true
here is a link to my entry in the VR/AR contest, gonna post it once the contest is through
http://www.daz3d.com/gallery/#images/249291/
I guess its my turn now to unload my frustration with myself here, not that you would be particular keen an hearing /reading that but probably some of you can give me a push in the right direction.
I'm now dazzing since almost two years, starting with close to zero education in arts whatsoever. I think I mastered those initial stages of stumbling through the programm rather good, thanks to the NU contest and a great community. With every render I do though I'm still experimenting and learning or relearn. I gained some security with the basic stuff but there are still a lot of things unknown or I still don't really get a grip on. All that is fine by me and I really like the learning and achiving some new skills.
What I seem to lack is to achieve a new level in quality and I don't know how to go about it. There is the things like making the materials look good putting the lights up so that things get interesting and more of that.. I seem to not getting it.
I see some of your works, some of you starting later and having a hard time to get the programm to cooperate, but now you start flying, getting your own stile and theme. That is great, I really enjoy seeing that. I just wonder where I ran into the wrong direction or if I probably just don't have it in me to get works like that done. Working on something I think it would be looking great like that way and when I see it later posted here or in the galleries. Seeing it next to other works I can tell, it lacks, but what...
So I go again thinking, ok you try harder next time. Doesn't seem to really work out. Supposed to be fun not working hard, isn't it.
Probably I just need to accept that I've reached my limit to the artisic aspect and I can impore merely on the technical side...
gosh,, end of teary rant.
I love your work! I think you have a really good eye for composition. And, truth be told, I am willing to bet every single one of us feels the same way (a lot!). Please, please don't be too discouraged. One thing I have learned is that there will always be someone who is better. Not saying that to discourage you but to point out that its not fair to you to compare yourself to anyone else but you. And if you have just been at this for a couple years? Your doing pretty darn good. One thing that sometimes helps is to find art that you think has whatever it is that you think yours is missing (find something that speaks to you and says, wow, this is amazing!) and then copy it. I know, I know, copying is bad and all that other stuff, but you aren't copying to profit, you are copying to learn and as long as you don't claim that its original to you, you can certainly do it to learn. Thats how the masters learned and taught as well. Sometimes, its just a matter of a fresh perspective, a fresh angle to a scene etc. And again, everyone I know, not just here but in any kind of art form, hits this spot regularly so please, don't feel so bad, its really a normal thing. Unpleasant when it happens but normal.
I often feel the same way, I look at stuff and think, man, I'm putting so much energy and time into this and I am not even close to where I want to be. Then I remind myself of how much I love doing this and if I'm not nearly as good as so many other people, well, that's okay. I read something I thought was very profound by someone who I consider to be an amazing artist, who does very well for himself. And what he said was, yes, there are people out there with varying degrees of talent, but talent is only a very small percentage of the people who do great works of art. The other 90% of it always just plain old hard work. Doing it over and over, and trying to learn something new about your art every day. He said the work is what make the art successful. So I hold onto that 90% and keep on plugging away.
I think we all feel this in one extreme or another at times. I know I do. There is so much I don't know, yet, it isn't even funny. While I can see my technique has grown, I still am nowhere near where I would like to be. As for you and your art, Linwelly, there are things you can do with 3DL that I can't even dream of so I think you just need to take a breath and appreciate how far you've come in 2 years. You do great work. Is it the best out there? Maybe not. I'm not even sure that is the proper thing to try to achieve. As Sonja says, there is always going to be someone else who is better, maybe even lots of some ones. But what you do is pretty damn good! Be proud of it. As long as it makes you happy then you do what it is you like. If you need to work on technique, then work on it. If you need to work on composition (that's always the tough one for me) then work on that. Whatever it is that you think you need to improve, improve it, but keep doing your art if it makes you happy. I like what you do. It isn't my type of art (style?) and not in my favorite render engine, but I still like it. I appreciate what you manage to do with each picture I see.
I can say, quite honestly, that working with art-any kind of art- you hit platues. I struggled for months when I first started; discovering Daz over at Rendo while posting up portraits or photos that I've done. (My avatar is one of my inks) I downloaded the program and got hooked, but learning it was not always easy. Most of the time, my questions never got answered, and I had no idea what the heck I was doing. Then something clicked, and little by little I understood more of what I was doing. Then I found cgsociety and started learning what other programs were out there and how people set up scenes, lighting and such and started seeing if I could mimic those processes in Studio. It took more months of plugging away (by that time it was two years in) before somehow things clicked again and I saw a serious upgrade in my work from before.
Of course, I was learning post work as well in photoshop- again, going to professional sites and seeing their processes helped me as did the tons of mini-tuts out there with different techniques. Between learning photoshop and plugging away at Studio, I saw another jump in quality in my work. I was getting to where I actually liked most of the end pieces. Then I picked up Poser and for a few years I stuck mostly with that program and worked on learning it while still working on my postwork and figured out ways of changing purchased characters into more of what I wanted to use.
I started in Studio 2.5 back in 2007, switched from Studio 3 Advanced to Poser Pro 2010, and came back to Studio after the second release with Iray to see how that would work since my system took days (yes, days) to use Reality (which I started to get into more than the Poser render engine when I started to figure out how other programs used PBR render engines and wanted to learn).
I'm still learning, and my work is still not where I want it to be. Any growth can and may be painful, and the platues can really drag you down if you let them. Best thing, for me anyway, is keep trying different ways of doing things-even if people say it shouldn't work, won't work, you can't do it that way. I did while I put pen to paper or paint to a canvas and I did when I started doing this type of work as well. If you don't push through what 'can't' be done, you might not discover what you can do.
Art can be painful. It should be. That's how we know we're growing, stretching ourselves and you'll see quite suddenly how all of the time, love, pain and swearing actually comes together into something that surprises you.
Thank you all for the kind word, yes you are right with all the different aspects that you mentioned. I don't mind other people being better than me and I will enjoy looking at stuff better than mine any time, what made me frustrated was the feeling that i'm not improving compared to myself, but yes its probably this plateau thing DarvinsMishap said. I probably will have to sit back a bit and do some copying stuff and as well concentrate on single techniques, for example get a real grip on postwork and take a look into all those other options that are possible in the program, trying some more rigging, taking a closer look at materials.
So this place might be a lot more xperimental for the next time.
Thanks again to you all
I think that's an excellent position to take, Linwelly. There are always new things to learn. The joy is when you can take the newly acquired knowledge of tools and techniques and bring it back into your existing work and see the results.
Ok here is a blueelf probelm I came across while making this render for the black and whiteelf challenge over at deranged dares at dA
For these character I dabbled into subsurfaces once again and came to the solution, that I still dont understand what is really happening with surbsurfaces. While his skis went through my transformations all smoothely, I ended up turning the subsurface for her skin off.
I will start with the result of my final render (as usual 3delight, some postwork im Gimp) which I called Beyond differences
This is my whithelf character with subsuface turned to on, light settings are two distant lights one with a slight yellow tint and one with a slight blue tint both at 70% intensity and shadows on raytrace all turned to soft, plus there us a UE2 light with 30% intensity on occlusional/soft shadows slight yellowgrey tint.
and here she is with much the same settings( probable some minor difference in the tint and the intensity but nothing that should be able to make these differences. only things added is hair, the guy, a bed and a skydome ( I tried whithout with the same result).
so what in DAZ name happened here? I'm still flabbergasted ( I always wanted to use that word). I reimported the character from the settings again, nope she stays blue.
Not pretending do understand much about Subsurface myself. Nor can I explain why this is happening. But there is a Parameter called Subsurface Color. What happens when you play around with this color?
Is this somehow a conversion from IRAY Shader to 3Delight Shader? Maybe something went wrong and the Subsurface Color or Subsurface Strenght is way to strong?
Wow. You know, I just had this happen with an M4 skin that I tried to convert to Iray via Anagennesis. Totally turned it almost that exact shade of blue. I ended up just rendering it in 3Delight where it worked fine. So something somewhere went wrong when the maps were changed. I know that doesn't really help since I don't know which on it was but at least you aren't alone lol.
Hey everbody, does anybody own Quinn from plushies? http://www.daz3d.com/plushies-quinn
I collected it whithe the runtime freebies and tried a little around, But I#m a far cry from what he looks on the promo. Its got the most curious colouring thing I#ve ever seen as well with the colour coming in from Specular and a refelction map. I would have expected some changes in diffuse and maybe ambient and Velvet or fresnel for the plushie look, but then it might be older than the introduction of velvet to 3DL shaders after all.
So here is how Quinn looks with me ( only light is a distent, shadows on). It doesn't show the seams on the paws as well. so what am I missing on? I#m sure I will get him looking plushie but with that promo I though I first ask for your experience
Love your two characters, very serene- nicely done (despite whether you like the color, lol.) Regarding the plushies- I do have it but am headed out for a Christmas party so can't experiment. I do recall when I tried a few last month, they were very "hard" and definitely not velvet. I think the fastest way is to Uber Base and Iray them, using velvet shaders. Wonder what they would look like with LAMO? (If I did it, they'd look like a Wookie.)
I don't have Plushies either, but I think they were originally made for Poser rendering, so a lot of the seams displacement and furriness might have been achieved with the Poser Firefly renderer shaders which DAZ can't read. If it does have bump or displacement maps, you may try increasing those settings and see if it creates the seams effect..??
Thank you Novica, well in the end I got them looking the right way but it was confusing to see that change without any real explanation.
I don't own the LAHM so I couln't try but I guess its worth seeing that.
They are for poser but noted for DS as well, so I would expect them too look right. Well I got it to be plushie using omUbersurface and fill in the velvet, got rid of all the reflection and upped the bump (which did bring out the seams!). So here I present Quinn, bit self concious it seems. It hase some movements available so poing works nice especiall the ears.
Wow that looks really good!
Ah, Quinn looks great now! I'll have to try that. I have the plushies and I haven't gotten great results with the velvet surfaces. Most of my best images have come from either replacing them with shaders made specifically for 3Delight or Iray. I've done Quinn in both engines now. He looks really great in the Iray Hand Knits shaders that came out awhile ago. A few of the 3rd party texture sets work really great in 3Delight. Unfortunately, the velvet ones are the ones that have some of the really cool texture maps for some of the Plushies and they get lost when you change shaders. This is especially true of Plushies like Chloe who is the skunk. I've tried going in changing the material zones to match, but I'm not that good with the geometry editor and have no clue what I'm doing. I ended starting to make my own textures for each of the Plushies so that they were more DS compatible. I'm still working on Chloe, but she's looking good so far.
Looks good! Excellent work!
thanks everybody, I took quinn into my Render a month project where he helps couting yultide bulbs.
The girl is Bethany turned child with the growing up morphs which worked wonderful with her, she gives a nice chubby child.
That x-mal tree rendered a bit wierd so I put it through some postwork, guess that went a bit overboard...
besides that This is 3delight
with that experience I played around with some of the other characters I own to see how well the can be kiddified. The male adults are a problem as they come with beard and more of that but with the Kenjy and Sasori skin that can be helped, and they need to gain some fat / loose a lot of ther defined muscles. I#l probably post some of those experiments at some point.
Aww she's a cutey! I like how the tree turned out.
Different topic first, I treated myself with the Laguna Mermaid set by @esha , @Fisty and Dark http://www.daz3d.com/laguna-mermaid-set-for-genesis-3-female-s
I finally found it in Wardrobe and loaded it to my G3f, so far so good. As usual ther basic is Iray so I wanted to change to the 3DL materials. I chose the Mermaid tail geoshell and selected in the Materials the 3DL version, shows in the surfaces that the change happened. with choosing the all... otption I got the Bra/ top chages as well, alternatively I could select the tail single and the Bra/top singe.
To make the transition smoother I followed the instuction to select the mermaid Tail ( not the geoshell) and added the original character skin to it, I 3dl what else?!). So far so beautiful.
However when I look tinto the surface tab I have the geoshell the Top and from the Mermaid Tail the Torso in 3dl materials but the Tail still shos the zones 01 to 04 Tail main Torso Finns front and back and thos are still in Iray, so they are kind of double, one in the geoshell and one in the Tail and everything seems to render fine in 3delight, but I#m still kind of confused. do I just ignoe those as they are covered by the geoshell? selcting that gives no smart content materials and I even tried to apply the materials though the content Library but that won't take it.
I guess I#m just triyn to sove a problem thats not even there but I wanted to ask to those who own the set what experiences they got.
Thanks ahead!