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>> I've spent an entire day maxing out my CPU with POV-Ray, and so far I've
>> produced absolutely nothing worth seeing.
>
> it demands inspiration.
Never mind that - it demands *skill*.
I'm no graphic artist, and I don't think I ever will be. :-(
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Invisible wrote:
>>> I've spent an entire day maxing out my CPU with POV-Ray, and so far I've
>>> produced absolutely nothing worth seeing.
>>
>> it demands inspiration.
>
> Never mind that - it demands *skill*.
>
> I'm no graphic artist, and I don't think I ever will be. :-(
looking at the images too long and see it differently than others would
see it.
--
Best Regards,
Stephen
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>> I'm no graphic artist, and I don't think I ever will be. :-(
>
> looking at the images too long and see it differently than others would
> see it.
If I use a point-light, the image looks like it's inside a dark, spooky
cave. If I turn on radiosity, all the lighting is dead flat. (Except for
some large black patches of unknown origin, which are completely
unaffected by any radiosity settings.)
But more than all that, the image is *boring*. I guess that's the
trouble; I spend hours tweaking radiosity settings trying to get the
best quality, and completely overlook the fact that the image isn't
worth bothering with in the first place.
Now a *real*, trained expert would know about things like composition
and so forth, and could come up with something interesting. But me? I
just look at a blank screen and think "hmm, maybe throw some procedural
geometry at that?" and the result is naff.
Then again, I also fail at composing music. I can take a piece of music
and tell you exactly why it's cool. But I can't write cool music. I
can't think of anything original, I can only copy other people.
I guess, fundamentally, I'm just too rigidly logical to be creative. :-(
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> But more than all that, the image is *boring*. I guess that's the trouble;
> I spend hours tweaking radiosity settings trying to get the best quality,
> and completely overlook the fact that the image isn't worth bothering with
> in the first place.
OOC what are you trying to model? It seems to me like you are creative
enough to have the idea, it's just you lack the skill needed to convert
those ideas accurately into POV. If so don't worry, you can learn those
skills if you put the effort in (eg posting to pbi and listening to what
people say, reading up on various POV tutorial sites, looking through the
pbg and pbi groups here, etc). People who are "expert" at POV are not
experts because they were born knowing how to use POV, but because they put
in a lot of time with the program and learned from their experiences. There
is no reason why you can't do the same, but don't expect to become an expert
in a few weeks.
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scott wrote:
> OOC what are you trying to model?
"Something that looks cool."
Unfortunately, I lack the graphic designer skill to know what would
"look cool" *before* I stumble across it.
I've been using POV-Ray for years. I know quite a lot about it. What I
lack is ideas. Creativity. Originality. That kind of thing.
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> Unfortunately, I lack the graphic designer skill to know what would "look
> cool" *before* I stumble across it.
>
> I've been using POV-Ray for years. I know quite a lot about it. What I
> lack is ideas. Creativity. Originality. That kind of thing.
Type some random words into Google image search and browse through the
pages, you'll probably find something that looks cool and is worth trying to
model.
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Invisible wrote:
> If I use a point-light, the image looks like it's inside a dark, spooky
> cave. If I turn on radiosity, all the lighting is dead flat. (Except for
> some large black patches of unknown origin, which are completely
> unaffected by any radiosity settings.)
>
> But more than all that, the image is *boring*. I guess that's the
> trouble; I spend hours tweaking radiosity settings trying to get the
> best quality, and completely overlook the fact that the image isn't
> worth bothering with in the first place.
>
As Scott pointed out, very few people are born with the ability. It
http://warp.povusers.org/povtips/
Even the simplest objects can look interesting with a little help.
> Now a *real*, trained expert would know about things like composition
> and so forth, and could come up with something interesting. But me? I
> just look at a blank screen and think "hmm, maybe throw some procedural
> geometry at that?" and the result is naff.
>
Have a Google for studio lighting tutorials, you may find something
useful. And maybe you can find a tutorial on photography composition to
help with the scene. I use a modeller so I can have an idea what the
scene will look like before rendering.
> Then again, I also fail at composing music. I can take a piece of music
> and tell you exactly why it's cool. But I can't write cool music. I
> can't think of anything original, I can only copy other people.
>
> I guess, fundamentally, I'm just too rigidly logical to be creative. :-(
--
Best Regards,
Stephen
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Stephen wrote:
> Have a Google for studio lighting tutorials, you may find something
> useful. And maybe you can find a tutorial on photography composition to
> help with the scene. I use a modeller so I can have an idea what the
> scene will look like before rendering.
Strobist is a great lighting resource. It is more geared to
photographers, and getting them to use off-camera flashes, but the same
ideas for separating the subject from the background by changing light
distances and intensities is just as usable in POV. Their image pool on
Flickr is good inspiration as well.
I work from an engineering mindset when building a scene. Either I know
what the end result is going to be, and just keep tweaking the pieces
until it gets there; or I know what the pieces are and I just play with
random numbers until something ends up where I like it.
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Sabrina Kilian wrote:
> Stephen wrote:
>> Have a Google for studio lighting tutorials, you may find something
>> useful. And maybe you can find a tutorial on photography composition to
>> help with the scene. I use a modeller so I can have an idea what the
>> scene will look like before rendering.
> Strobist is a great lighting resource. It is more geared to
> photographers, and getting them to use off-camera flashes, but the same
> ideas for separating the subject from the background by changing light
> distances and intensities is just as usable in POV. Their image pool on
> Flickr is good inspiration as well.
>
The concepts are the same or very similar. I found a site several years
ago (now long lost) that dealt with 3 point lights and fill in spots.
PovRay has the advantage of having shadowless lights for fill ins. :-D
> I work from an engineering mindset when building a scene. Either I know
> what the end result is going to be, and just keep tweaking the pieces
> until it gets there; or I know what the pieces are and I just play with
> random numbers until something ends up where I like it.
I find the OpenGL view of a modeller comes as a boon and a blessing to
men and much quicker than doing three elevations. ;-)
A paraphrase of an old advert for fountain pens
They came as a boon and a blessing to men, The Pickwick, the Owl and the
Waverley Pen.
--
Best Regards,
Stephen
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Stephen <mca### [at] aolDOT com> wrote:
phic artist, and I don't think I ever will be. :-(
>
> looking at the images too long and see it differently than others would
> see it.
When I've been working/looking at a scene too long, every now and then I'll
'flip' it in Photoshop, to get a mirror-image of the scene. This presents a
wholly different viewpoint, and usually shows me where my composition is off.
Many times, my scenes start out with some 'simple' thing that I'd like to
see--with no real thought as to how it might develop--then I'll build on it
'organically'. One thing leads to another, and before long I have a scene
that looks interesting and worth following. (It may even lead to eliminating the
original thing I started with!) As you can imagine, this is a *slow* way of
sketching out an idea; but it's a useful way when I don't have a clue as to what
I really want to create.
I would guess that most artists--in any medium--go though a great deal of
frustrating ideation (sketches, musical dead-ends, copying what others have
done, etc.) before hitting on something that 'works.' The audience only sees the
beautiful finished product, which seems to have arrived full-blown from nowhere.
Not so! Yet the more an artist works and thinks, the better and faster he
becomes--like exercising a muscle.
Ken
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