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Here's what I've cobbled together with my limited skills so far.
I went with a completely literal representation of the topic.
(Hey - I actually read the book, so why not)
- The floor / tunnel are a giant block with a solid crackle pattern, a
transparent pigment, and an "inner" mortar block.
- Brick walls are macro-built (Jeff Lee) with same clear + mortar construction.
(soot on fireplace is gradient black/clear image maps. I need to back off
on it a bit)
- Candlesticks are from an IRTC entry
- Wood floor I think I nipped from Warp, and will be modified to give something
more suitable texture-wise and with varying individual planks
- Levitating lamps were modeled with EPSpline and lit with media, with much help
from Thomas, and which I seem to have broken. Again.
- Cards are image maps that I edited / varied in Paint.Net
- Carpet is an image map
- Furniture is all place-holder image maps until I figure out the best way to
model intricate Victorian era cruft.
- French doors and windows to the conservatory are CSG
[The thing on the floor is a label - was thinking I might put it in the scene
via screen.inc]
need to work on a card table (what's there is just a placeholder block)
My whist book got swallowed by the tabletop - oops.
Up to this point, I've mostly been working on making and including the "parts"
of the scene, and haven't devoted much time to placement, lighting, intricate
textures, etc.
Looking for comments and criticism, suggestions, inspiration, etc.
Thanks!
Post a reply to this message
Attachments:
Download 'secretpassage4.png' (1424 KB)
Preview of image 'secretpassage4.png'
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Looks like it's coming along. Use a modeler for the Victorian chairs, it'll be a
lot easier than using SDL
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"jhu" <nomail@nomail> wrote:
> Looks like it's coming along. Use a modeler for the Victorian chairs, it'll be a
> lot easier than using SDL
I'm not quiet sure that a modeller would give better results. But in fact the
furniture looks a little bit displaced, especially the coach to the left, which
is a bit to flat IMO, and in a way, a bit out of the scene.
Best regards,
Michael
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"MichaelJF" <mi-### [at] t-online de> wrote:
But in fact the
> furniture looks a little bit displaced, especially the coach to the left, which
> is a bit to flat IMO, and in a way, a bit out of the scene.
The sofa and chairs are in fact infinitely flat - they're just image maps I was
using to explore what kind of furniture I might use.
By "out of the scene" - do you mean they look out of place? They don't fit the
decor of the room? It's actually a rather odd room from the description, and it
took me a while to wrap my head around its physical structure and what it
actually looked like, so there's sure to be plenty more experimentation.
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Good start. I have some misgivings about the brick walls which do not
seem very Victorian to me for indoors. See also how other camera
positions might increase the dramatic effect (cf Citizen Kane).
Thomas
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It's actually a rather odd room from the description, and it
took me a while to wrap my head around its physical structure and what it
actually looked like....
> I have some misgivings about the brick walls which do not
> seem very Victorian to me for indoors.
Right. I wasn't really sure where to go with that, especially since it seemed
like it _should_ be out of place:
"Miss Loach's house was a mixture of old and new. Formerly it had been
an unpretentious cottage like the others, but she had added a new wing
of red brick built in the most approved style of the jerry-builder, and
looking like the villas in the more modern parts of Rexton. The
crabbed age and the uncultured youth of the old and new portions,
planted together cheek by jowl, appeared like ill-coupled clogs and
quite out of harmony. The thatched and tiled roofs did not seem meet
neighbors, and the whitewash walls of the old-world cottage looked
dingy beside the glaring redness of the new villa. The front door in
the new part was reached by a flight of dazzling white steps. From
this, a veranda ran across the front of the cottage, its rustic posts
supporting rose-trees and ivy. On the cottage side appeared an old
garden, but the new wing was surrounded by lawns and decorated with
carpet bedding. A gravel walk divided the old from the new, and
intersected the garden. At the back, Susan noted again the high brick
wall surrounding the half-completed mansion. Above this rose tall
trees, and the wall itself was overgrown with ivy."
"The floor was of oak, and there was--strangely enough--no
hearth-stone. The French windows opened into the conservatory, now
denuded of its flowers, and stepping into this Jennings found that the
glass roof was entirely closed, save for a space for ventilation."
> See also how other camera positions might increase the dramatic effect
> (cf Citizen Kane).
Hmmm. I'll be the first to admit that I have no skill with, or natural sense
about how to go about lighting or framing most scenes. I'm sure most of the
artistic details concerning CK's cinematography were lost on me, so I might have
to cue it up again and actually observe more rather than just "watch" it.
My first camera was placed to the right of the passage, since for whatever
reason I had it in my mind that that's where the door to the room was, and then
I moved it to give a better view angle for the conservatory which was the only
other major feature.
Part of my thinking was that there should be an angle that gives a decent look
down into the tunnel where the light acts as a visual cue to suggest that it
further leads to the place in the book.
Also right now, since it's still just a scene in the midst of development, I
wanted to pull the camera back and use the ultra-wide-angle camera to let me see
as many things as possible until things "got settled" and then maybe I'd run an
animation sequence to move the camera all over the place and see if anything
"popped".
I suppose the biggest thing that bothers me is the lack of contrast in the
image. I actually made an attempt to run PowerStrip and adjust my screen gamma,
and the desktop is noticeably a bit more "washed out".
Next is the line curvature resulting from the ultra-wide camera. Maybe I'll
have to narrow the angle or just switch back to a regular perspective. I
haven't yet got the experience to decide.
Off the top of my head, I don't think I've done too much with textures, other
than for the paint, which is something that seems to work well enough for
another WIP, but it still too crude and "CGI-looking" for this. IIRC I just
scaled up bumps in one direction to give the impression of brush marks.
I took a bit of a break to look over the PoitWriter code, and now I've got a bit
of gainful employment, so it might be another week yet until I delve into
hammering out a lot more SDL to flesh this thing out better.
Thanks for looking it over and helping me along. This ought to be a good
opportunity to learn the finer POV skills and discover some new and useful tools
and methods.
I know _you guys_ get it, but it's always amusing when people see what I'm doing
and say, "WHY are you doing this...?" :)
( .. or .. "Why are you: photographing that brick wall / granite block /
painted wall / textured counter in McDonalds / pebbled ashtray ???"
"Who are you calling BOZO?"
"I understood the first sentence of what you said, and then you went of onto
this solid geometry thing and isosurfaces and surface normals.... and my eyes
glazed over. You're so pretty.") :D
Thomas
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On 1-10-2014 15:53, Bald Eagle wrote:
> It's actually a rather odd room from the description, and it
> took me a while to wrap my head around its physical structure and what it
> actually looked like....
>
>> I have some misgivings about the brick walls which do not
>> seem very Victorian to me for indoors.
>
> Right. I wasn't really sure where to go with that, especially since it seemed
> like it _should_ be out of place:
>
> "Miss Loach's house was a mixture of old and new. Formerly it had been
> an unpretentious cottage like the others, but she had added a new wing
> of red brick built in the most approved style of the jerry-builder, and
> looking like the villas in the more modern parts of Rexton. The
Definitely, this is a description oft the /outside/ of the new wing. As
is said later, there is also the contrast with the white-washed old
cottage walls, and the mismatch between the old thatched roof of the
cottage and the tiles of the new wing. So, you can choose some Victorian
wall paper now for the inside :-)
>
>> See also how other camera positions might increase the dramatic effect
>> (cf Citizen Kane).
>
> Hmmm. I'll be the first to admit that I have no skill with, or natural sense
> about how to go about lighting or framing most scenes. I'm sure most of the
> artistic details concerning CK's cinematography were lost on me, so I might have
> to cue it up again and actually observe more rather than just "watch" it.
> My first camera was placed to the right of the passage, since for whatever
> reason I had it in my mind that that's where the door to the room was, and then
> I moved it to give a better view angle for the conservatory which was the only
> other major feature.
Experimentation will get you to what you want. Nothing like experimentation.
>
> I suppose the biggest thing that bothers me is the lack of contrast in the
> image. I actually made an attempt to run PowerStrip and adjust my screen gamma,
> and the desktop is noticeably a bit more "washed out".
Yes, that is something to pay attention to. The scene looks pale as if
there is too much ambient to the textures' finish. You should certainly
consider if you do not need a fade distance and power for the inside
light(s). I suppose there is also sunlight outside?
> Thanks for looking it over and helping me along. This ought to be a good
> opportunity to learn the finer POV skills and discover some new and useful tools
> and methods.
We are here to serve.
>
> I know _you guys_ get it, but it's always amusing when people see what I'm doing
> and say, "WHY are you doing this...?" :)
> ( .. or .. "Why are you: photographing that brick wall / granite block /
> painted wall / textured counter in McDonalds / pebbled ashtray ???"
> "Who are you calling BOZO?"
> "I understood the first sentence of what you said, and then you went of onto
> this solid geometry thing and isosurfaces and surface normals.... and my eyes
> glazed over. You're so pretty.") :D
Lol. Very familiar indeed.
Thomas
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"Bald Eagle" <cre### [at] netscapenet> wrote:
> Here's what I've cobbled together with my limited skills so far.
>
> Looking for comments and criticism, suggestions, inspiration, etc.
> Thanks!
It is a start, other than the obvious 2D elements that you are still to model
the textures of the other parts need a bit of work, the bricks are too linear
also, as has been mentioned don't really fit the rest of the scene/period you
are aiming for. Also, not too sure about the metal work around the patio doors,
I don't think I have ever seen anything like this.
If you want I have an old model of a chair/throne (made way back in about 1998)
it is not exactly what you have but seeing your 2D version reminded me of this
one and I still have the source (although this was before I even knew how to use
macros/while loops in POV so lots of cut and paste was involved so it may be
very difficult to modify).
See image attached.
Look forward to seeing this improve as there is plenty of time still before the
deadline.
Sean
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Attachments:
Download 'throne.jpg' (116 KB)
Preview of image 'throne.jpg'
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> Also, not too sure about the metal work around the patio doors,
> I don't think I have ever seen anything like this.
well, not having any real idea what constituted a "conservatory", neither did I,
but I searched around to get an overall idea of what a Victorian conservatory
might look like, and went with the attached design.
> If you want I have an old model of a chair/throne (made way back in about 1998)
> it is not exactly what you have but seeing your 2D version reminded me of this
> one and I still have the source (although this was before I even knew how to use
> macros/while loops in POV so lots of cut and paste was involved so it may be
> very difficult to modify).
Holy smokes. That must have been a really massive investment of time and
brainpower!
I'd be happy to model my own, if the investment in time doesn't outweigh all
else, though I'll need to figure out how to get a nice clean flow to something
so elegantly carved and organic in shape. I might have an easier time doing it
for real with chisels and gouges.
If I'm not AFK due to work IRL, then I'll make a stab at working on constructing
scene elements, experimenting with camera angle and lighting, and enriching my
good-enough-to-get-the-idea textures. :)
Post a reply to this message
Attachments:
Download '945_french_window_in_taylor_house.jpg' (45 KB)
Preview of image '945_french_window_in_taylor_house.jpg'
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"Bald Eagle" <cre### [at] netscapenet> wrote:
>
> well, not having any real idea what constituted a "conservatory", neither did I,
> but I searched around to get an overall idea of what a Victorian conservatory
> might look like, and went with the attached design.
>
Well, I like the sketch/design and it does look Victorian so I think it might be
the brick wall around it in your image that is making it look out of place.
>
> Holy smokes. That must have been a really massive investment of time and
> brainpower!
Oh yes, back in the days when I had time to spend ages modelling (but not enough
time to RTM and workout how to use loops ;-)
> If I'm not AFK due to work IRL, then I'll make a stab at working on constructing
> scene elements, experimenting with camera angle and lighting, and enriching my
good-enough-to-get-the-idea textures.
:)
Always the problem I have commenting on WIP's, I never am quite sure what part
are more WIP than others ;-)
Sean
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