I've tweaked my paint macro and I think this looks a lot better :)

Comments and suggestions welcome.

-- 
-Nekar Xenos-

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>Nekar Xenos  on date 23/04/2013 6.27 wrote:
> I've tweaked my paint macro and I think this looks a lot better :)
>
> Comments and suggestions welcome.
>
Melting into the music...
The mood is better imho. People, instruments (and floor) are really 
good. Perhaps with a much darker background the whole scene could stand 
out better.
;-)
Paolo

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On Tue, 23 Apr 2013 10:45:41 +0200, Paolo Gibellini  
<p.g### [at] gmailcom> wrote:

> Melting into the music...
> The mood is better imho. People, instruments (and floor) are really  
> good. Perhaps with a much darker background the whole scene could stand  
> out better.

Thanks Paolo, making the background darker helped.

I've modified the drip macro even more. I've added a CMYK (CMYb actually  
in this case) conversion to use bright paint splats :)

Does it look "paintlike" enough? I'm thinking along the lines of Dali  
meets Pollock here :)

-- 
-Nekar Xenos-

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"Nekar Xenos" <nek### [at] gmailcom> wrote:


>
> Does it look "paintlike" enough? I'm thinking along the lines of Dali
> meets Pollock here :)
>

This just keeps getting more amazing.

It's indeed a difficult task to try and get a 'painterly' look on a 3D object.
Your refinements are looking really good.

Dali's art has 'smooth-flowing' paint shapes IIRC, whereas Pollock's 'drips' are
much more chaotic and curvy (and on a smaller scale.) Making a synthesis of the
two is an intriguing idea. I'm wondering if your overall color_map (for each
musician) is just a single one, with a single warp{turbulence...}. I would
suggest making multiple color_maps, perhaps with only one color in each (and
transparency of course), with *different* turbulences (at different scales) for
each of the colors. Overlapping all of these might produce a good hybrid effect.

I would also be curious to see what the background shadows would look like if
they came from the actual melting blob-men (rather than their intact
counterparts.) That might add to the surrealistic quality of the image.

Excellent work!

Now, if you could just get the big upright bass to melt and drip... ;-)

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>Nekar Xenos  on date 25/04/2013 19.55 wrote:
> On Tue, 23 Apr 2013 10:45:41 +0200, Paolo Gibellini
> <p.g### [at] gmailcom> wrote:
>
>> Melting into the music...
>> The mood is better imho. People, instruments (and floor) are really
>> good. Perhaps with a much darker background the whole scene could
>> stand out better.
>
> Thanks Paolo, making the background darker helped.
>
> I've modified the drip macro even more. I've added a CMYK (CMYb actually
> in this case) conversion to use bright paint splats :)
>
> Does it look "paintlike" enough? I'm thinking along the lines of Dali
> meets Pollock here :)
>
The scene is very nice ;-)
I agree with Kenneth, and I'm curious to see the final version.
Paolo

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On Mon, 29 Apr 2013 11:03:49 +0200, Kenneth <kdw### [at] gmailcom> wrote:

> "Nekar Xenos" <nek### [at] gmailcom> wrote:
>
>
>>
>> Does it look "paintlike" enough? I'm thinking along the lines of Dali
>> meets Pollock here :)
>>
>
> This just keeps getting more amazing.
>
> It's indeed a difficult task to try and get a 'painterly' look on a 3D  
> object.
> Your refinements are looking really good.
>
Thank you :)

> Dali's art has 'smooth-flowing' paint shapes IIRC, whereas Pollock's  
> 'drips' are
> much more chaotic and curvy (and on a smaller scale.) Making a synthesis  
> of the
> two is an intriguing idea. I'm wondering if your overall color_map (for  
> each
> musician) is just a single one, with a single warp{turbulence...}.

I have each part as a separate object (eg. skin, jacket, etc)
At the moment my macro works by assigning a colour to each object and a  
paint method. The paint methods are basically colour variance (adding some  
randomness to each blob) and Cyan Magenta Yellow Black seperation with  
some randomness. I am still improving on it.

The paint is not a texture, it is colored blobs traced onto the model,  
which allows me more control.

> I would
> suggest making multiple color_maps, perhaps with only one color in each  
> (and
> transparency of course), with *different* turbulences (at different  
> scales) for
> each of the colors. Overlapping all of these might produce a good hybrid  
> effect.
>
> I would also be curious to see what the background shadows would look  
> like if
> they came from the actual melting blob-men (rather than their intact
> counterparts.) That might add to the surrealistic quality of the image.
>
> Excellent work!
>
Thank you :)

> Now, if you could just get the big upright bass to melt and drip... ;-)
>
...I'll throw in one soon :)

I am also working on a system that will turn a whole scene into paint. I  
will first need to work out how to trace a pigment from a scene. I plan on  
doing this by using a height field for Red Green and Blue seperately  
together with trace.

-- 
-Nekar Xenos-

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On Mon, 29 Apr 2013 11:03:49 +0200, Kenneth <kdw### [at] gmailcom> wrote:

> I'm wondering if your overall color_map (for each
> musician) is just a single one, with a single warp{turbulence...}.

Now that I saw your other post, I'm not sure I understand this.
I am basically shooting blobs from the camera at the artists with trace.  
then, depending on a random or chosen direction more blobs are traced down  
that path with some randomness. With the CMYK seperation I first shoot a  
black blob, let the trace drip it down , then a Magenta blob and so on. I  
am working on getting the colours with the smaller percentages to be  
narrower to give more of a dithering effect when viewed from far.

I am a bit wary of adding transparency at the moment because of long  
render times, but that will be for the final render.

-- 
-Nekar Xenos-

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On Mon, 29 Apr 2013 14:47:52 +0200, Paolo Gibellini  
<p.g### [at] gmailcom> wrote:


> The scene is very nice ;-)
> I agree with Kenneth, and I'm curious to see the final version.
> Paolo
>
Thanks :)

-- 
-Nekar Xenos-

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"Nekar Xenos" <nek### [at] gmailcom> wrote:

>
> The paint is not a texture, it is colored blobs traced onto the model,
> which allows me more control.
>

Oh! That's a completely different (and far more advanced!) technique than what I
assumed. I'm so intrigued by this that I want to ask dozens of questions about
how you did it--but I'll restrict myself to only three ;-)  (and I apologize if
you've already described the technique in a previous post; I should have paid
more attention):

Are you using your original, detailed human figures as the underlying structure
to shoot the additional 'paint' blobs at? And do the paint blobs then
automatically 'flatten out' onto the surfaces?

Or do you use a 'blob model' of the human figures as the under-structure?

In any case, I assume that the under-structure itself isn't seen(?)

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On Tue, 30 Apr 2013 05:00:41 +0200, Kenneth <kdw### [at] gmailcom> wrote:


> Are you using your original, detailed human figures as the underlying  
> structure
> to shoot the additional 'paint' blobs at? And do the paint blobs then
> automatically 'flatten out' onto the surfaces?

Yes. The blob sphere is flattened in the direction of the normal depending  
on the angle.

> Or do you use a 'blob model' of the human figures as the under-structure?
>
> In any case, I assume that the under-structure itself isn't seen(?)
>
using trace you only have to declare an object, you dont't have to show  
it. the shadows are done with the no_image flag on the original figures,  
while the paint has the no_shadow flag. I am also using light groups here.


-- 
-Nekar Xenos-

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