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Marc Jacquier wrote:
> Really great!!
Thanks!
> How did you do at the end? ovelapping media containers are a problem
I never
> got rid of
If you look again at the pic, you will see that I did not get ride of
them...
--
Jaime
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Zeger Knaepen wrote:
> Actually, I think using (very) hight interval-values will get rid of the problem
Ouch! I'm using only 1 interval!!! Let's hope there is a
workaround... these clouds are already slow.
--
Jaime
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Christoph Hormann wrote:
> It's nice to see my idea inspiring something like this. The image looks
> very good although you can't see much of the objects placed on the
> surface at that size.
Well, they are prety pathetic right now, although the placement idea
with eval_pigment() and crackle pigments looks promissing (I've attached
a more close view).
> Without radiosity 9 hours seems quite long but i assume the clouds take
> most of the time. You might consider using df3 files instead of object
> pattern and meshes for the objects placed on the surface.
I noticed later that it was my mistake: I used too high antialias
settings... with something decent it tooks now 3 hours. The df3 clouds
are fast, but have other inconvenients. And I prefer to wait a bit more
but to do it all internally. It's a sort of purism by laziness... :) But
I will take your advice about meshes for the houses, thanks.
> How many parameter sets have you tried?
The sun light and the sky dome depend on random altitude and azymuth,
and other things depend on the sun and sky colors, like the fog, the
clouds color or the water color and fading.
The cloud shape and placement also have their own seeds, as the water
level, the trees and houses. The camera is placed randomly too, with
trace() to put it above the terrain at the desired height, and looking
always to the center of the terrain for practical purpouses.
The isosurface function pigment is scaled and translated randmoly,
and the color map for it has also random entries. This gives quite
diferent terrains, from soft hills to mountains with abrupt walls,
although half of the time the results are not very usable.
There is only one fixed slope texture at the moment, but I plan to
add several choices for different types of terrains (desertic, artic,
etc..), as I think this is the most important aspect to get clearly
differentiated landscapes (right now all my tests look "mediterranean").
--
Jaime
Post a reply to this message
Attachments:
Download 'tierra-12f.jpg' (79 KB)
Preview of image 'tierra-12f.jpg'
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that looks great. I would be so consumed by moving the camera to different
viewpoints within the scene, like for instance that little bit of land
surrounded by water in the bottom right, or the shoreline of the widened
part of the river on the left side.
nice work.
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"Jaime Vives Piqueres" <jai### [at] ignorancia org> wrote in message
news:40912c9c$1@news.povray.org...
> Zeger Knaepen wrote:
> > Actually, I think using (very) hight interval-values will get rid of the
problem
did I really put that t there? :)
whoops :)
> Ouch! I'm using only 1 interval!!! Let's hope there is a
> workaround... these clouds are already slow.
there is: merge the container-objects
hmm, at least, I think that should work :)
cu!
--
camera{location-z*3}#macro G(b,e)b+(e-b)*(C/50)#end#macro L(b,e,k,l)#local C=0
;#while(C<50)sphere{G(b,e),.1pigment{rgb G(k,l)}finish{ambient 1}}#local C=C+1
;#end#end L(y-x,y,x,x+y)L(y,-x-y,x+y,y)L(-x-y,-y,y,y+z)L(-y,y,y+z,x+y)L(0,x+y,
<.5,1,.5>,x)L(0,x-y,<.5,1,.5>,x) // ZK http://www.povplace.be.tf
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Great stuff Jaime
How did you get the foam along the waters edge?
Mick
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omg, that looks like a photograph with digitally composited trees and houses !
cu!
--
camera{location-z*3}#macro G(b,e)b+(e-b)*(C/50)#end#macro L(b,e,k,l)#local C=0
;#while(C<50)sphere{G(b,e),.1pigment{rgb G(k,l)}finish{ambient 1}}#local C=C+1
;#end#end L(y-x,y,x,x+y)L(y,-x-y,x+y,y)L(-x-y,-y,y,y+z)L(-y,y,y+z,x+y)L(0,x+y,
<.5,1,.5>,x)L(0,x-y,<.5,1,.5>,x) // ZK http://www.povplace.be.tf
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Jim Charter wrote:
>
> Gorgeous! Breathtaking technique results in a breathtaking scene.
Thanks!
> Details like the fringe of foam aling the shore leave me shaking my
> head.
:) Sorry, I forgot to mention that one... and it's so simple! It's
the object pattern used with an intersection of the terrain just a bit
under the water. And it's surprisingly fast.
> If you are playing with the tension between what is pristine wilderness,
> and what is inhabited wilderness, then I think that one element having
> an exaggerated significance is the existence, or not, of roads.
There are some on the plain parts, between the fields (crackle), but
are not very visible on this one. Look at the other test I posted in
response to Christoph.
Making autoways would be really dificult, as it would have to take
into account the terrain to follow a reasonable path... not that it
sounds impossible, but at least really hard.
--
Jaime
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Jaime Vives Piqueres wrote:
> Christoph Hormann wrote:
>
>> It's nice to see my idea inspiring something like this. The image
>> looks very good although you can't see much of the objects placed on
>> the surface at that size.
>
>
> Well, they are prety pathetic right now, although the placement idea
> with eval_pigment() and crackle pigments looks promissing (I've attached
> a more close view).
>
>> Without radiosity 9 hours seems quite long but i assume the clouds
>> take most of the time. You might consider using df3 files instead of
>> object pattern and meshes for the objects placed on the surface.
>
>
> I noticed later that it was my mistake: I used too high antialias
> settings... with something decent it tooks now 3 hours. The df3 clouds
> are fast, but have other inconvenients. And I prefer to wait a bit more
> but to do it all internally. It's a sort of purism by laziness... :) But
> I will take your advice about meshes for the houses, thanks.
>
>> How many parameter sets have you tried?
>
>
> The sun light and the sky dome depend on random altitude and azymuth,
> and other things depend on the sun and sky colors, like the fog, the
> clouds color or the water color and fading.
>
> The cloud shape and placement also have their own seeds, as the water
> level, the trees and houses. The camera is placed randomly too, with
> trace() to put it above the terrain at the desired height, and looking
> always to the center of the terrain for practical purpouses.
>
> The isosurface function pigment is scaled and translated randmoly, and
> the color map for it has also random entries. This gives quite diferent
> terrains, from soft hills to mountains with abrupt walls, although half
> of the time the results are not very usable.
>
> There is only one fixed slope texture at the moment, but I plan to add
> several choices for different types of terrains (desertic, artic,
> etc..), as I think this is the most important aspect to get clearly
> differentiated landscapes (right now all my tests look "mediterranean").
>
> --
> Jaime
>
>
> ------------------------------------------------------------------------
>
first thought, where is it? second - photo, third - has the Loch Ness
monster moved residence :-)
I looked at the first picture, then the post mentioning objects
including 1000 houses and went back for another look for houses.
Then saw the second picture .....all became clear.
same sort of reaction to first, if not more so of first and second
some silly questions
what is the range of x,y,z in the pic for the iso-surfaces?
do you do the iso as <-1,-1,-1> to <1,1,1> and scale ?
or different ranges?
how do you do the houses, csg - yes- but what size typically as a
standalone object for devel, and then scale by some factor, to fit in,
process of emphirical adjustment until it looks right?
please post source or some tantalising snippets to aid understanding ?
stephen
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Mick Hazelgrove wrote:
> How did you get the foam along the waters edge?
Casually, I'm just tweaking this texture. Now I simlified it a bit,
removing the intersection. The same terrain itself translated a bit is
enough. There is the relevant part:
#declare terrain_coast=object{terrain translate Foam_Level*y}
#declare m_water=
material{
texture{
pigment_pattern{object{terrain_coast rgb 0, rgb 1}}
texture_map{
[0 t_water]
[1 t_foam]
}
scale 100 warp{turbulence .3 lambda 3} scale 1/100
scale 1000 warp{turbulence .3 lambda 3} scale 1/1000
}
...
The translation amount depends on your scene scale and how much foam
you want, and the same can be applied to the warps scale.
The technique is simple, but I also expent many hours thinking on
that "foam challenge" along the years. Now I figured it casually while
looking at a foam tutorial by Patrick Merminod for a totally different
package: Vue d'Espirit.
--
Jaime
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