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news: web.49abcedef293d012955508870@news.povray.org...
> Zeke <"zeke at no spam zeke3d.com"> wrote:
>> Suppose I should do this after months and months of admiring the amazing
>> work here.
>>
>> Z
>
> I remember doing one just like this when I was new. Except mine had a
> blue and
> white checkered floor. LOL. You should really look into modeling your
> scenes
> Zeke. It opens a whole new world of POV when you can work faster than
> writing
> scripts by hand. And it's more fun. Good work. Here's a C130 I'm trying
> to
> model using Moray. You can have the *.mdl file if you want it.
>
Nice but your plane is not checkered :-/
Marc
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> news: web.49abcedef293d012955508870@news.povray.org...
>> Zeke <"zeke at no spam zeke3d.com"> wrote:
>>> Suppose I should do this after months and months of admiring the amazing
>>> work here.
>>>
>>> Z
>> I remember doing one just like this when I was new. Except mine had a
>> blue and
>> white checkered floor. LOL. You should really look into modeling your
>> scenes
>> Zeke. It opens a whole new world of POV when you can work faster than
>> writing
>> scripts by hand. And it's more fun. Good work. Here's a C130 I'm trying
>> to
>> model using Moray. You can have the *.mdl file if you want it.
>>
> Nice but your plane is not checkered :-/
>
> Marc
Remind me something ;-)
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Zeke <"zeke at no spam zeke3d.com"> wrote:
> Suppose I should do this after months and months of admiring the amazing
> work here.
Congratulations - you obviously got further than one of our pros here, who only
managed to come up with some WIP shots of his chrome sphere ;)
For the classic RSOCP scene the sky is definitely too sophisticated though :P
One spontaneous thought: Too much ambient on the sphere (makes it look somewhat
"dusty"); in fact, a chrome sphere should have zero ambient.
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"m_a_r_c" <jac### [at] wanadoo fr> wrote:
> Nice but your plane is not checkered :-/
But at least he's got two planes in the shot ;)
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clipka nous illumina en ce 2009-03-02 13:23 -->
> Zeke <"zeke at no spam zeke3d.com"> wrote:
>> Suppose I should do this after months and months of admiring the amazing
>> work here.
>
> Congratulations - you obviously got further than one of our pros here, who only
> managed to come up with some WIP shots of his chrome sphere ;)
>
> For the classic RSOCP scene the sky is definitely too sophisticated though :P
>
> One spontaneous thought: Too much ambient on the sphere (makes it look somewhat
> "dusty"); in fact, a chrome sphere should have zero ambient.
>
>
Just take a look at "metals.inc" and "golds.inc". Those "standard" metallic
textures all have a LOT of ambient. Way to much in my point of view.
--
Alain
-------------------------------------------------
You know you've been raytracing too long when you have ever brought your
computer to its knees by mistakenly launching 64 simultaneous frames to be
traced, while trying to maximizing the benefits of parallelizing them.
Carsten Whimster
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Take 2
Z
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Attachments:
Download 'firstpost.jpg' (57 KB)
Preview of image 'firstpost.jpg'
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Zeke <"zeke at no spam zeke3d.com"> wrote:
> Take 2
Classic :)
Charles
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Alain <ele### [at] netscapenet> wrote:
> > One spontaneous thought: Too much ambient on the sphere (makes it look somewhat
> > "dusty"); in fact, a chrome sphere should have zero ambient.
> >
> >
> Just take a look at "metals.inc" and "golds.inc". Those "standard" metallic
> textures all have a LOT of ambient. Way to much in my point of view.
Those standard textures are *crap*, honestly. They seem to date back to ages
when realistic lighting models were still light years away. So they added
ambient where you would now want to use radiosity, colored reflections instead
of metallic ones, and more such kludges that may have been needed back then,
but just get in the way now.
You know how to do a good gold material these days?
Turn on radiosity, set up an HDRI sky sphere, choose a nice rich yellow color,
metallic reflection, some micronormals blur for highlights, and voila - you're
there. Five minutes flat if you're familiar with it.
In a conventional lighting environment, it takes you ages (well, at least it
does to me) to come up with something that *remotely* looks like some gold-ish
metal. Even if you start with the stuff from "golds.inc".
Well, I'll not complain though: Given how easy it is to make good metal textures
these days, who needs metals.inc or golds.inc anyway? They're not eating up too
much hard disk space, so I'll just leave them there ;)
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Neat.
Now work on the horizon.
;-)
Paolo
>Zeke on date 03/03/2009 02:25 wrote:
> Take 2
>
> Z
>
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"clipka" <nomail@nomail> wrote:
> Zeke <"zeke at no spam zeke3d.com"> wrote:
> > Suppose I should do this after months and months of admiring the amazing
> > work here.
>
> Congratulations - you obviously got further than one of our pros here, who only
> managed to come up with some WIP shots of his chrome sphere ;)
Hey, I got so many complements on that scene that I wonder if it's worth
finishing. Besides, I spent so much time on the scaffold that I don't know
that I can part with it. The galvanized tubing, in particular, uses a 3-stage
texture map with varying ambient levels.
> One spontaneous thought: Too much ambient on the sphere (makes it look somewhat
> "dusty"); in fact, a chrome sphere should have zero ambient.
Yes, and I agree with Alain: the ambient values in the stock metallic textures
are nauseating.
What I do is step down the ambient in complement to the reflection value. I
also step down the diffuse in tandem, on the theory that a material reflects
light the same way whether the light is from a point source or from the
environment. (The diffuse should be lowered anyway, on account of the law of
conservation of energy.) Thus, if the default finish is:
#default { finish { ambient 0.1 diffuse 0.6 } }
then a shiny chrome sphere would have:
finish { reflection { 0.9 metallic } ambient 0.01 diffuse 0.06 }
While there's little or no noticeable difference between 0.01 and 0.00 in a
reflection-rich environment, I typically get my metals from a macro, so it's no
extra work. A copper pipe might have:
finish { reflection { 0.25 metallic } ambient 0.075 diffuse 0.45 }
and a laptop panel would have something like:
finish { reflection { 0.99 1.00 fresnel } ambient 0.001 diffuse 0.006 }
An angle-of-incident-dependent material knocks out my basic ASSumption, but
usually that's not an issue.
Even where there's no specular reflection, I preserve the relation between
ambient and diffuse. Since a sheet of paper reflects more light than the above
diffuse value, it might have:
pigment { rgb 1 }
finish { ambient 0.0125 diffuse 0.075 }
Of course, when radiosity is used, the only civilized #default setting is finish
{ ambient 0.0 }. The ad hoc finishes' values are adjusted accordingly.
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