Thanks a lot to all.

I think the next step (beside of playin' more with radiosity) is to create
the dresses for the girl and her teacher. I've never thought that I will
become a tailor by using POV some day.

And one more thing to the room dimensions. For sure, they are
hypothetical and I still do not know the exact position for the right wall.
But somehow I believe there is a door somewhere. But that's also
purely hypothetical.

-Ive

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"Ive" <ive### [at] lilysoftcom> wrote in news:3da07987@news.povray.org


Realy nice :)

Imho it is a shame to waste some of tihs nice image details in .jpg 
compression, how about posing lossless compressed version (i.e. png) ?

-- 
#macro g(U,V)(.4*abs(sin(9*sqrt(pow(x-U,2)+pow(y-V,2))))*pow(1-min(1,(sqrt(
pow(x-U,2)+pow(y-V,2))*.3)),2)+.9)#end#macro p(c)#if(c>1)#local l=mod(c,100
);g(2*div(l,10)-8,2*mod(l,10)-8)*p(div(c,100))#else 1#end#end light_source{
y 2}sphere{z*20 9pigment{function{p(26252423)*p(36455644)*p(66656463)}}}//M

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> The bright spots are perhaps a coincidence problem. Try to "sink" the window
> frames slightly into the wall, at least it worked for me once.
>

Yes, I have also made the experience that it is better to let the objects more
intersect for radiosity scenes. But for some reason, I have forgotten to do this
with the window frames.
But this will not solve the problems for the rear wall near the virginals. And why
does this only happen with layered textures?
Somehow I've got the impression that something is going wrong with the radiosity
calculation when pigments with high transmit/filter values (like glass or texture
layers) are involved.
But I think before complaining, I should try a version with a high max_trace_level
first, let's see what will happen.

Anyway, thanks a lot.

-Ive

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> Imho it is a shame to waste some of tihs nice image details in .jpg
> compression, how about posing lossless compressed version (i.e. png) ?
>

Because JPG is 74KB and PNG (reduced to 8 bit per sample) is 560KB
and not everybody has a ADSL connection?

-Ive

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You said the lighting is nog the same as in the original painting. Does this
include the lack of reflections on the varnished woods? the cello and the
mirrorframe are reflective, judging from the painting, however, your
rendering doesn't show any of this. I would think that some reflection on
the varnished wooden surfaces wood enhance this image...

For the rest, all I can say is: "      " while I'm amazed...

oh, one more thing. The cloth is stitched(?), right? In any case, I guess it
is made of many small threads. Maybe you could bring some of that back with
the technique developed and showed a while ago by Kedar Patil
(http://news.povray.org/povray.binaries.images/27430/)?

Post a reply to this message

"Ive" <ive### [at] lilysoftcom> wrote in news:3da1e9eb$1@news.povray.org

>> Imho it is a shame to waste some of tihs nice image details in .jpg
>> compression, how about posing lossless compressed version (i.e. png) ?

> Because JPG is 74KB and PNG (reduced to 8 bit per sample) is 560KB
> and not everybody has a ADSL connection?

perhaps link to www with this image ? can I get .png 24 bit version on 
mailto:pov### [at] raf256com please :) ?


-- 
#macro g(U,V)(.4*abs(sin(9*sqrt(pow(x-U,2)+pow(y-V,2))))*pow(1-min(1,(sqrt(
pow(x-U,2)+pow(y-V,2))*.3)),2)+.9)#end#macro p(c)#if(c>1)#local l=mod(c,100
);g(2*div(l,10)-8,2*mod(l,10)-8)*p(div(c,100))#else 1#end#end light_source{
y 2}sphere{z*20 9pigment{function{p(26252423)*p(36455644)*p(66656463)}}}//M

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> You said the lighting is nog the same as in the original painting. Does this
> include the lack of reflections on the varnished woods? the cello and the
> mirrorframe are reflective, judging from the painting, however, your
> rendering doesn't show any of this. I would think that some reflection on
> the varnished wooden surfaces wood enhance this image...

Indeed you can see a very small amount of highlights on both, the viol and
the mirror frame, but you are right, it's not visible enough. And as the
image uses only radiosity, specular highlights do not work, so all is done
with blurred reflection, and a good amount for this was difficult to guess.
And as mentioned this is just a first test to get an overall impression, there is
still a lot of work with fine tuning.

And BTW the instrument on the floor is a viol or gambe, the cello was
not yet invented :)

>
> For the rest, all I can say is: "      " while I'm amazed...
>
thanks, but do not hold your breath too long...

> oh, one more thing. The cloth is stitched(?), right? In any case, I guess it
> is made of many small threads. Maybe you could bring some of that back with
> the technique developed and showed a while ago by Kedar Patil
> (http://news.povray.org/povray.binaries.images/27430/)?

I have thought about this, but my guess: rendertime increases from days to years.
There are still those *natural* limitations for us render folks.

-Ive

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3da1f054@news.povray.org...

> Indeed you can see a very small amount of highlights on both, the viol and
> the mirror frame, but you are right, it's not visible enough. And as the
> image uses only radiosity, specular highlights do not work, so all is done
> with blurred reflection, and a good amount for this was difficult to
guess.

Well well, put them in a light_group and fake it :-)

G.



--
**********************
http://www.oyonale.com
**********************
- Graphic experiments
- POV-Ray and Poser computer images
- Posters

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Ive,

Regarding a third window in Vermeer's "A Music Lesson" (the room was also
used as a setting for several other of his works), I by chance encountered
a book called "Vermeer's Camera" in my local bookstore about a week ago.

The book contains a detailed examination of the spaces in which Vermeer set
his paintings, in an attempt to explain the artists use of optical devices
to assist in his work.

I remember seeing several illustrations, and at least one photograph, of a
fully reconstructed stage set for the interior featured in "The Music
Lesson". A third window is clearly present in these illustrations and
photographs.

In the book, the lighting in the photographic reproduction of "The Music
Lesson" (very much like what you are attempting, but done with stage sets
and lighting instead of PovRay) is very very close to the painting, and I
do not believe the third window has been covered in any way.

The book also offers some measurements for certain items in Vermeer's
paintings, based on the reconstructions. I remember seeing window heights,
table lengths, etc. in an appendix in the back.

I can't rememeber the author or publisher, but I know the book is called
"Vermeer's Camera" and was published in the last year or so in the UK, and
recently in paperback in America.

Hope this info helps!

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Ive,

I just remembered something and now have to correct myself about my previous
post regarding three windows in Vermeer's interior for "The Music Lesson".

There is an illustration in the book I mentioned which shows the interior
for the painting in question with the bottom half of the third window
covered by outside shutters!

So there is your answer to the third window question. This means you might
have to do a little extra modeling if you feel like being really precise,
and I have no idea what those shutters might have looked like. But there is
a website you might find very useful, the website for the book:
http://www.vermeerscamera.co.uk

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