How about a few 3d shots on a neutral wht background?

Rick

"H.E. Day" <hed### [at] fcinet> wrote in message
news:38CC19AD.E92369E6@fci.net...
> That is, of course, if there is nothing wrong with it.  Fixed the
> windows (added a bump_map), and hull texture (increased phong_size and
> decreased phong). I'm not gonna change the nacelles, Kettch.  Official
> trek style my foot.  How much of an official trek style was the
> Dauntless?  Or the Prometheus? Ha.
>
> Also added a "below" view and the lights now are, well, lights.
> Comments? Job? Jobs? Pleeeease?
> Enjoy!
>
> --
> H.E. Day
>
>

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> If those Blue thingies are lights they are great but if they are windows they
> need to be inset a slight bit.  But otherwise FANTASTIC!

Windows. And they are inset.  The bump_map had a bump_size of 15000.
--
H.E. Day

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H.E. Day <hed### [at] fcinet> wrote in message news:38CC659C.B1F5D83F@fci.net...
> > The windows look alot better. I was curious, how manu blob objects are
> > invloved in a project such as this?
>
> Well, the saucer-section is one blob.  the Nacelles are each separate
blobs, as
> are the struts connecting them to the fuselage.

Oh, and I forgot to add, how many blob elements within each blob object?
Is there a trick to getting two or more seperate blob objects to meld well
together?

> > And how do you place them?
>
> By hand.
>
> > I assume you create some patterns a use while
> > loops (or something similar) to place them all?
>
> Not really.  I did all of it by trial-and-error.  Not as efficient, but it
> allows me greater control.

I think that makes all this even more impressive.
I don't know if I'll have the patience to master blobs in a similar manner.

> > How do you come up with your general shapes and patterns? Are they
> > mathematical in essence?
>
> Pencil and paper. Pencil and paper.  I'm good with traditional art, and
usually
> start with sketches and doodling.  This helps with the final shape and
> textures.

Well, there's a portion which I lack.

Oh, another question (I seem to have quite a few lately). When you first
start placing your sphere and cylinders (do you use both, or just spheres?)
do you place them outside the blob to get a general look, or do your objects
start as blobs right from the start?

Thanks again for taking the time to answer these questions.
Darcy

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> Oh, and I forgot to add, how many blob elements within each blob object?
> Is there a trick to getting two or more seperate blob objects to meld well
> together?

To the first question, anywhere from 4 to 150. To the second, the best method I
can think of is to use a macro.


>
> Oh, another question (I seem to have quite a few lately). When you first
> start placing your sphere and cylinders (do you use both, or just spheres?)
> do you place them outside the blob to get a general look, or do your objects
> start as blobs right from the start?

Both. They are born as blobs and grow up nicely.


> Thanks again for taking the time to answer these questions.

No prob.

--
H.E. Day

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"H.E. Day" wrote:
> 
> > Oh, and I forgot to add, how many blob elements within each blob object?
> > Is there a trick to getting two or more seperate blob objects to meld well
> > together?
> 
> To the first question, anywhere from 4 to 150. To the second, the best method I
> can think of is to use a macro.
> 
Here's a couple of macros I built last night, one for sphere components
and the other for cylinders. They are designed to give solitary
components the same size as normal blob components.

I'm attaching a small image of the attached scene file ...

Bye for now,
	Mike Andrews.

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Attachments:
Download 'blobrad.pov.txt' (3 KB) Download 'blobrad.jpg' (14 KB)

Preview of image 'blobrad.jpg'

I really like the texture.

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In article <38CFA340.380157F2@reading.ac.uk>, Michael Andrews 
<M.C### [at] readingacuk> wrote:

> Here's a couple of macros I built last night, one for sphere components
> and the other for cylinders. They are designed to give solitary
> components the same size as normal blob components.
> 
> I'm attaching a small image of the attached scene file ...

You really should post the scene file in one of the scene file groups. 
It would make it a lot easier to find, for one thing.(you wouldn't 
really be looking for this type of thing buried deep in a thread on 
.binaries.images, would you?)

-- 
Chris Huff
e-mail: chr### [at] yahoocom
Web page: http://chrishuff.dhs.org/

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> And how do you place them? I assume you create some patterns a use while
> loops (or something similar) to place them all?
> How do you come up with your general shapes and patterns? Are they
> mathematical in essence?

I wonder if it would be possible to create a program where the input would
be a set of points and the output would be the set of blobs that creates a
saucer bounded by the given points? Several months ago I started writing a
program that would allow Trek Saucers to be generated, given certain
parameters of the saucer section (I wanted to create another very detailed
Voyager model). I haven't finished, yet, and now am thinking I am off-base
in my approach after seeing this ship.

Incidentally, I corresponded with Rick Sternbach, Sr. Illustrator at
Paramount, about the Voyager design. Here is what he wrote back:

RS:  Yes, Voyager is my baby, and while it isn't exactly the shape I had
RS:  originally intended (slightly chunkier Starfleet utilitarian), I'm glad
I was
RS:  able to make the curvy surface work (one of the producers said, "Could
RS:  you make it look more like a Lexus?". Took 82 cross-section drawings to
RS:  get the shape right for the model makers. Fun stuff. The cool thing
about
RS:  Voyager is that it does need to be streamlined a bit to fly in the
RS:  atmosphere, so there's some justification for the form.

[then, referring to a Voyager render I did at
www.hal-pc.org/~jsb/raytace.html]

RS:  The CG render's pretty nice, though I can see you'd need to make
texture
RS:  maps and move a few polys around to get it exactly right. The fore-aft
RS:  cross sections were the easiest; at roughly 1" slices through the ship,
it
RS:  was simple to control the velocities of the curves and allow the model
RS:  guys to cut the sections in masonite, fill in the empty spaces, smooth
it
RS:  out, and use it for a vacuform mold to get the base hull in styrene to
build
RS:  details onto.

I thought y'all might be interested in the exchange. I was surprised to
learn they had a solid model, I had thought it was all CG.

Jon

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>
> I thought y'all might be interested in the exchange. I was surprised to
> learn they had a solid model, I had thought it was all CG.
>
> Jon
>
>

that's because they are a bunch of whimps!!!! (heavy sarcasm)

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On Wed, 15 Mar 2000 15:07:14 -0600 "Jon S. Berndt" <jsb @ hal - pc .
org> wrote:

>I thought y'all might be interested in the exchange. I was surprised to
>learn they had a solid model, I had thought it was all CG.

  Like ILM, they probably will use the cheapest method possible to get
the shot. If it's cheaper to use a model, they'll use a model. Same goes
for matte paintings - it may be faster and cheaper for a matte artist to
paint a background where there is little camera movement, as opposed to
modeling a CG terrain or cityscape. For television especially, they
operate under a fixed budget and time restraint. Go over-budget and a
series proposal for the future may not get a green light from the
studio.

  Thanks for sharing the exchange with us, Jon.

-- 
Alan - ako### [at] povrayorg - a k o n g <at> p o v r a y <dot> o r g
http://www.povray.org - Home of the Persistence of Vision Ray Tracer

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