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scott wrote:
> How long did that take to render? An animation would be awesome.
Almost 7 hours, due mainly to the motion blur on the cars (using
MegaPOV, of course) and the focal blur (both combined are really slow).
Animation is not on may plans, as usual, but I plan to automate the
car placement enough to render different random shots, so it should be
easy to make an animation when finished.
Thanks!
--
Jaime
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Loki wrote:
> It's a sweet pic, no doubt about it.
Thanks!
> A point on composition though. The symmetry of the road, signs and
> so on is very eyecatching. The use of converging lines in film is
> common, to draw the eye to the point of interest. My only criticism
> here is that there is nothing at the convergence in this pic
Hey! That's a boring traffic-control camera! Wait for the coming
renders at car perspective, like you suggested. Anyhow, the cars
placement is totally random, with a few "if" sentences to avoid too
close placement.
--
Jaime
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B. Gimeno wrote:
> The radar of the road patrol shows that the green car on the left was
> running over the speed limit.
I was wondering too why that car seems to travel faster, when in fact
all the vehicles have the same "speed" (that is, the same motion blur
settings). Perhaps its because the angle and/or the proximity to the
camera. Anyhow, I was planing to give different "speeds" to the cars
depending on the lane and some randomness to get this effect...
> Good job and nice photo!
Thanks!
--
Jaime
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Jaime Vives Piqueres wrote:
>
> I was tempted to do it with my main reference pic:
>
> http://home.att.net/~texhwyman/g_imgs/autobahn2b.jpg
So it is supposed to be a German 'Autobahn' - a few notes on realism there:
- the white strip at the outer (right) side of the road seperating it
from the 'Standstreifen' usually is much broader than the other
interrupted strips.
- those white (plastic) posts on the side of the road have the black
strip at the top going upward from inner to outer side.
- the trees are quite large and no german road authority would allow
such large and old trees to grow that near to a highway. ;-)
Apart from that great image of course.
Christoph
--
POV-Ray tutorials, include files, Sim-POV,
HCR-Edit and more: http://www.tu-bs.de/~y0013390/
Last updated 27 Feb. 2005 _____./\/^>_*_<^\/\.______
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"Jaime Vives Piqueres" <jai### [at] ignorancia org> wrote in message
news:42721f02@news.povray.org...
> Zeger Knaepen wrote:
> > My first reaction: "haha, very funny"
> > My second reaction: "ah, no, he probably just added his cars to this photo"
> > My third reaction: "OMG! this *isn't* a photo ?!?"
>
> I was tempted to do it with my main reference pic:
>
> http://home.att.net/~texhwyman/g_imgs/autobahn2b.jpg
>
> but I've not experience integrating renders with photos...
Well, for something like that, it's not that hard: the road can be just a plane
with the image projection_map'ed onto it:
//projection_map
#declare Pigment=function {pigment {image_map {jpg "autobahn2b.jpg" interpolate
2 } translate -.5}}
// perspectiveprojection: Px=x/z, Py=y/z, Pz=0
#declare Projection_pigment =
pigment {
average
pigment_map {
[function{Pigment(x/z,y/z,0).red} color_map {[0,rgb 0][1,red 4]}]
[function{Pigment(x/z,y/z,0).green} color_map {[0,rgb 0][1,green 4]}]
[function{Pigment(x/z,y/z,0).blue} color_map {[0,rgb 0][1,blue 4]}]
[function{Pigment(x/z,y/z,0).transmit}color_map {[0,rgb 0][1,transmit
4 ]}]
}
}
plane {y,0
texture {
pigment {Projection_pigment}
finish {ambient .5 diffuse .5 brilliance 2}
scale <4/3,1,1>
Reorient_Trans(z, camera_look_at-camera_location)
translate camera_location
}
that should do the trick.
cu!
--
camera{location-z*3}#macro G(b,e)b+(e-b)*(C/50)#end#macro L(b,e,k,l)#local C=0
;#while(C<50)sphere{G(b,e),.1pigment{rgb G(k,l)}finish{ambient 1}}#local C=C+1
;#end#end L(y-x,y,x,x+y)L(y,-x-y,x+y,y)L(-x-y,-y,y,y+z)L(-y,y,y+z,x+y)L(0,x+y,
<.5,1,.5>,x)L(0,x-y,<.5,1,.5>,x) // ZK http://www.povplace.be.tf
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OUTSTANDING!!!
just a question, but pavement textures are procedurals or image_maps?
it's defenitely not a spanish nor italian highway, it's not messy enough :-)
very good job!
--
Best regards,
Stefano Tessarin
To follow the path:
look to the master,
follow the master,
walk with the master,
see through the master,
become the master.
Zen poem.
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"Stefano Tessarin" <s.t### [at] tinit> wrote in message
news:42722e52@news.povray.org...
>
> OUTSTANDING!!!
>
> just a question, but pavement textures are procedurals or image_maps?
Knowing Jaime, it's probably a proceduralized image_map:
http://ignorancia.org/tech_page.php?image=23&db=tips
cu!
--
camera{location-z*3}#macro G(b,e)b+(e-b)*(C/50)#end#macro L(b,e,k,l)#local C=0
;#while(C<50)sphere{G(b,e),.1pigment{rgb G(k,l)}finish{ambient 1}}#local C=C+1
;#end#end L(y-x,y,x,x+y)L(y,-x-y,x+y,y)L(-x-y,-y,y,y+z)L(-y,y,y+z,x+y)L(0,x+y,
<.5,1,.5>,x)L(0,x-y,<.5,1,.5>,x) // ZK http://www.povplace.be.tf
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Stephen wrote:
> faculties any credit :-)
>
I think it is mostly the foreground trees that give it away. It is not
that the trees aren't believable,
it is that they are identifyable raytraced tree "species".
That and a certain regularity to the general "randomness" and
perhaps some flaws introduced by photography itself. But suppose the
history of art had proceeded directly from painting to raytracing and
photography had never existed?
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Jaime Vives Piqueres wrote:
> Still playing with my Wings3D cars...
Oddly, I've never been attracted to cars, never have owned one, never
painted one, only modelled one once and it was barely an offhand four
hour shot at it. But I *love* highways. And highway scenes. I used to
hitch-hike extensively when I was young. And the poetry and drama
intrinsic to highway scenes always crowded my imagination. The tensions
of mundanity and modernity, engagement and alienation. It is in Gilles
work a lot also of course.
Very interesting subject from a raytracing point of view too. All the
regularity of the engineering versus the randomness of the texturing.
truck donations accepted! :)
Quick joke, but actually a pretty cool idea. And, with all the car
modelling that goes on, it is not something that has ever been done that
I know of. ( althought no doubt I'd be that last *to* know )
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Loki wrote:
> It's a sweet pic, no doubt about it.
>
> A point on composition though. The symmetry of the road, signs and so on is
> very eyecatching. The use of converging lines in film is common, to draw
> the eye to the point of interest. My only criticism here is that there is
> nothing at the convergence in this pic - the eye is being drawn to an empty
> point in the distance, which is a distraction from the nice detail in the
> foreground. Unless you plan to put something in the deep background where
> the perspective converges I'd suggest moving the camera to destroy the
> symmetry, allowing more focus on the detail - perhaps lower and off-centre
> to give a closer view of a car. You could maybe place the camera on the
> left carriageway say, and place a car in the right-hand-lane of it (as we
> look at the scene) so that the strong lines of the central reservation are
> obscured a little by it.
>
I am not sure I agree, While other angles for the shot may well get
some fruitful results, there are some great compositional elements at
play here. Not just the symmetry you mention, but the rectilinearity
with the picture plane of the signs, wires, and shadows of the wires,
that tease the eye in a subtle way. As far as what it at the
convergence point, I think there is some very interesting things, or
themes that are interesting to me at least. That is the sense of detail
that is barely perceptible and therefore puzzling to the mind. I try to
identify the nature the structure of what appears to be a distant span
of some sort. We always gaze toward the horizon a try to discern the
most distant of details. It is often key to our survival.
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