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Tundra
Tundra
Comments: 3
Horo

29.03.2024, 12:14








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Deep shadow strong sun1
Deep shadow strong sun1

            

Deep shadow strong sun1
Description: Inspired by Alex latest image project, words of wisdom from Rashad and various lengthy experiments that Horo has been performing, I decided to have a go with some experimental lighting. Here I've used a DAZ model and a terrain for the basic set. A couple of mirrors have been used to extend this model under the archway on the right. The materials close to the camera I've added in a bump channel and some specularity. I've been at pains to keep the render time low. This scene rendered in under a minute.

Lighting. I used the sun to set up the scene for the position, then replaced it with a very strong never fading lightsrouce, this is the only lightsource used in the image which casts a shadow. There is no ambient or skydome and no haze. Next off, I placed a lightsource in the window "shadow" to light the area where the camera is placed. This had squared falloff and there are three other point light sources with linear falloff around the scene to reduce the intensly dark shadows formed by the sun. The aim was to go for a "nautral" impression of being stood in a shaded area looking out at a very brightly sunlit scene.
Added by: davidbrinnen
Keywords: davidbrinnen, B6, lighting, experiment
Date: 11.16.2006 17:50
Hits: 3785
Downloads: 128
Rating: 5.00 (1 Vote(s))
File size: 172.8 KB
Previous image: Now with Horo's full moon hdr
Next image: Unfinished Ravine



Author: Comment:
Horo
Admin

Join Date: 05.26.2004
Comments: 4721
-

You certainly got what you were aiming for. Lighting is excellent. What about a plant in a pot or two? Or a person stepping out the door below the stairs or walking in the corridor. But then, on this time of day, not many people will be about - too hot. A vegetation square or a pool with a fountain could also help to complete this very nice place.
11.16.2006 18:08 Offline Horo h.-r.h.wernli at bluewin.ch https://www.horo.ch/
rashadcarter1
Admin

Join Date: 06.04.2006
Comments: 2610
lights in action

That's it. You have just explained perfectly the "method." The science is very simple and works incredibly well every single time. The best thing is that with these lighting methods your postwork will also be cut in half, something that makes workflows faster and more efficient. No issues with gamma or contrast. No more over proccesed renders. You had the guts to trust that there were better ways of lighting scenes than with the ambient channel. It seems almost blasphemous to propose no ambient I know but with scenes like you and I and others are producing lately with these lighting methods the improvement in realism is making itself painfully obvious.

What you have done so well is to think critically and to calculate the bouncing of the light from one surface onto another, all based upon the intensity and direction of your primary. Truthfully, it's hard to do it wrong. Really. there's something about the idea that's so easy and amazingly effective that almost any approach to secondaries works to some degree. With no ambient pollution to spoil your contrast levels, and no haze in this case to betray your illusion of scale, things can render in under a minute as you say. There is no ibl in this scene, but not every scene can or should be rendered with Ibl.

The problem would come with soft shadows. Because the default sun is so dim, you would need to replace it just like you've done here. But the soft shadows option does not engage when radial lights have no falloff. Meaning hard shadows no matter what. You want the primary as far away as possible in order to give a realistic and consistent direction of fall for your shadows. the sun is millions of miles away and it's noted in the shadows. A close light source will cast very noticabley odd shadows. That why I built the scene True Reality I -e-mailed to you the way I did it. For soft shadows you would need to create a light dome of many weaker lights clumped together to accomplish soft shadows as I did in Afternoon..., creating a rather long render.

This brings me back to the issue of convincing Daz to make the default sun much more powerful (at least as an option) so that the soft shadows can be applied from within the sky lab cutting down drastically on render times as light domes of 60 and 70 light would not be necessary as they are now. But Daz probably assumes that in conjunction witht he ambient channel "illumination" that the default sun is bright enough.

As Horo says, this scene can accomodate alot. The sky is the limit now that a realistic foundatioj has been laid with the lighting. You could even apply foliage transparency to a plant as the render times are so fast now, and remain that way with this simple lighting approach. The increase in render time during normal render conditions like this is very minimal, only about 15% increase in time with 100% increase in the realism.
11.16.2006 22:13 Offline rashadcarter1 rashadcarter1 at aol.com
tina gazcon
Member

Join Date: 08.07.2006
Comments: 254
Beautiful

This scene is absolutely breath taking. It is as if I am in the picture! Im currently working on a scene with a building in it. It isn't easy! How do you line every thing up? How many years have you been doing this? Sorry for all the questions but I am really interested in bettering myself. I have some potential I think. I just need some advice in some catagories. Who better to ask than the master himself? Sorry.... I just think you are the best designer especially in landscapes. Keep putting out the beautiful work. We all enjoy them.
11.17.2006 00:27 Offline tina gazcon pecasg62 at hotmail.com
davidbrinnen
Admin

Join Date: 01.03.2004
Comments: 2224
Thanks!

Aye well, I was thinking I might expand the scene once I've sorted out the lighting, I'm trying to keep things stripped down for the moment so that the renders stay relitavely swift.

Lineing things up... well, it's a problem for me, I use the colour groups to organise objects and then lock them in place once I am happy with their placement by modifying their attributes. Also relying heavily on the othogonal views and turing the camera rather than the objects themselves so they tend to remain organised along the cardinal points. I render the scene continually, just using the plop render to check for alignment.

How long? Art or art with Bryce? Art, I'm a formally trained artist in a variety of media, but was never very proficient with paint. I like making things, with string and metal and bits of wood. And drawing, doodling... Bryce I picked up in 2003... I think... so that would be about three years.

The construction of the scenes does not usually take as long as the time I spend working on the materials and the lighting. Long renders don't concern me, since I'm happy to let the computer do all the number cruching while I can get on with something else.

I'm not comfortable with this idea that I am any kind of master, I think the best thing about this site and the way it works, is that we are free to learn off one another. Experimentation is the key, the moment you think you have all the answers, you get stuck in rut and your work does not evolve. Bryce is sufficently complex to keep providing suprises for those that are prepaired to dig in deep and look for them.
11.17.2006 00:45 Offline davidbrinnen mail at davidbrinnen.co.uk http://www.davidbrinnen.com
rashadcarter1
Admin

Join Date: 06.04.2006
Comments: 2610
alot in common

Interesting that both David and Tina have training in art outside of CG. I see a thread here. I'm jealous. It's great to know that a background in ART can and will make all of the difference. Oil paintings, sculpture, and other forms of visual art find a new home for their concepts in our beloved bryce. One of the things David does so well is to compose his scenes for maximum effect and clarity of intention. Tina also demonstrates a clear understanding of composition. Composition is a language you both understand, which may be why David's works are so effective for Tina who carries a strong compositional sense. The "master" idea probably comes from David's consistent level of work and risk taking. An inspiration to us all!! His ability to inspire and break down our expectations makes him masterful in a particular and needed way. What David has actually mastered is his own fears and the assumed limitations of the program. He takes chances. So does Tina, I've noted that with her from the beginning, that's why I've been so impressed by her works. David knows he is not the only artist on this site who approaches the technical aspects this way, which is why he points out that we are all learning concepts from one another. We all have a trick to share. David also wrote once that he literally destroyed his bryce5 manual searching for the program's secrets. Finding a manual will be a great service to and timesaver to Tina.

Tina, you are doing so great. I am inspired by YOU! Continue to be the master over your own potential fears, be patient, and you will be right where yoiu need to be at all times. You will have to play catch-up for a short while but in a little time it all comes. Before long, someone new will name you a master, and you will surely reject it just as David has, as the mark of a master is humility. Anyway, all artist enjoy hearing that their work is appreciated.
11.17.2006 05:34 Offline rashadcarter1 rashadcarter1 at aol.com
tina gazcon
Member

Join Date: 08.07.2006
Comments: 254
Thanks Again!

Thankyou for your prompt reply to my questions. All of you are so nice on this web site. This is the only one I have ever written to anyone on. I'm not much of a computer buff. I enjoy reading all of the comments you all write to one-another. I've learned a lot from all of you already. Thanks again to all!
11.17.2006 19:56 Offline tina gazcon pecasg62 at hotmail.com


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