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Rick Gutleber wrote:
> I think Nemesis' criticisms were spot-on. The ear looked weird to me
> too. I think the strong light makes it look too washed out. And
> although I didn't realize why, I also thought the eyes looked rather
> lifeless. I think her hair looks fine, though.
>
> This is a fine piece of work and a real accomplishment, but it's not
> perfect. Don't let a little constructive criticism get you down.
No problem, I did post it to *get* some criticism, especially about the
look of the skin. See my reply to nemesis for more details.
> The only criticism I have about the feather is that it doesn't seem to
> go with the style of her outfit. The shadow highlights the outline of
> her face for what it's worth.
>
> In any event this is a great picture.
>
thank you
-Ive
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Darren New wrote:
> Rick Gutleber wrote:
>> I also thought the eyes looked rather lifeless.
>
> I did too, although I attributed it to the 1000-league stare.
I've learned a new expression ;)
> Swivel the
> eyeballs to point at the camera, as if there's actually a brain back
> there in control, and it might look better.
>
Are you insulting my girl? Then stand up and fight like a man!
>> In any event this is a great picture.
>
> Seconded.
>
thanks
-Ive
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Jaime Vives Piqueres wrote:
> Great work, and very well researched as usual!
thank you!
> Yes, your skin texture is really different, and more convincing than 99%
> I've seen... I too was thinking there was something a little wrong with it,
> but then, when I opened a newsreader window to write this message, the
> upper
> half of the image got hidden, and suddenly the image looked like a photo:
> the skin looks beautiful, and the lips are just so real... the lower
> part of
> the nose is also really convincing. So I think there is a problem with the
> eyes zone, but I can't say exactly what it is... Perhaps is the makeup
> layer
> which is somehow occluding the SSS efect?
>
This is very interesting and it is indeed very helpful to just look at
parts of the face instead of the whole. Great suggestion!
And your mentioning of the lips brings something to my mind that was
already rumbling back in my head somewhere.
The "lipstick-layer" uses fresnel reflection and no specular/phong
highlights and I think to better model the oiliness of the skin there is
also a fresnel falloff needed for the highlights. As this is not
possible with specular some *real* reflection with a good normal should
do the trick and would also work with radiosity-only lit scenes (or
MCPov). Well, render time will sky rocket but lets see...
thanks for the input
-Ive
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Thomas de Groot wrote:
> Like Kenneth, I am interested in knowing how you applied your technique. It
> sounds like fully procedural for creating the textures, but I imagine that
> the final run is uv-mapped on the figure?
>
Basically it is fairly simple and it is just about creating a stack of
partial transparent textures.
And for each of these texture the various properties (pigment & finish)
of the skin are controlled by uv_mapped grayscale images used within
pigment_pattern statements.
This technique to control not only the pigment but also apply variations
within the finish is around since many within these newsgroups.
In case SSS is used even the ground layer is not fully opaque but e.g.
P_Face is based on an uv-mapped pigment_pattern "pigment" where the used
grayscale image should represent the distance of the scull bones from
the surface in the same way as a specularity map represents the oiliness
of a specific part of the skin.
The basic pigment might be one of the usual image maps for poser people
or it can be just procedural to add some freckles or it can be again a
pigment_pattern where the grayscale image represents e.g. brightness
variations or freckles.
The skin of the "Chinese lady" does not use any "image"-map at all.
#declare SkinColor = <0.6, 0.5, 0.33>;
#declare SkinOiliness = 0.3;
#declare ...
#declare PP_Head = pigment{image_map{png "HeadBaseSkin" interpolate 2}}
#declare S_Head = pigment{image_map{png "HeadBaseSpec" interpolate 2}}
#local C_Face_0 = rgb SkinColor * 1.05;
#local C_Face_1 = rgb SkinColor * 0.95;
#local P_Face = pigment {
pigment_pattern {uv_mapping PP_Head}
pigment_map {
[0 C_Face_0 transmit 0.1]
[1 C_Face_0 transmit 0.3]
}
}
#local F_Skin_S0 = finish {
ambient 0 diffuse 1
specular 0.01 roughness 0.11
phong 0.01 phong_size 2
brilliance 1
}
#local F_Skin_S1 = finish {
ambient 0 diffuse 1 - 0.1 * SkinOil
specular 0.01 + 0.75 * SkinOil roughness 0.06
phong 0.01+0.5*MyLin_SkinOil phong_size 5
metallic 0.4 brilliance 1.05
}
#local T_Face_S0 = texture {
pigment {P_Face}
normal {N_Face}
finish {F_Skin_S0}
}
#local T_Head_S1 = texture {
pigment {P_Face}
normal {N_Face}
finish {F_Skin_S1}
}
When the pigment_pattern statements are nested into depth the placement
of the uv_mapping statement is important as otherwise POV-Ray claims
that it "cannot layer over a patterned texture" even if it obviously can
- in this case.
#local M_Head = material {
texture {
pigment_pattern {uv_mapping S_Head}
texture_map{
[0 T_Head_S0]
[1 T_Head_S1]
}
}
}
#declare M_Face = material {
texture {T_Head}
texture {T_MakeupGround)
texture {T_MakeupRouge}
texture {T_MakeupEyeliner}
texture {T_MakeupLipstick}
...
// for SSS
interior {
media {
scattering...
}
}
}
to give you an idea but this is just out of my head as I'm not at home
and in fact the source itself is really a mess as I'm currently just
experimenting and testing. My final goal is to have full parametrized
control over the skin appearance only by declaring a for a few variables
(or by using a macro) like e.g.
#declare SkinColor = ...
#declare SkinTone = ...
#declare SkinAge = ...
#declare SkinFreckles = ...
#declare SkinOil = ...
and then just applying the generated M_Face, M_Torso, M_Limbs and so on
materials to the poser figure body parts.
hope this helps
-Ive
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Kenneth wrote:
> Really beautiful across the board, in lightng/texturing/composition. Reminds me
> of your equally-stunning "Myrna Loy in Technicolor" image from awhile back (one
> of my favorite POV images.) The girl's dress pattern is quite nicely done as
> well.
>
thank you
> How did you 'apply' or use all of those skin pigment patterns you speak of? Was
> it done using uv_mapping? (Sorry to ask such a simplistic question--I'm *still*
> not familiar with that technique.) Or is it a procedural technique? (Or both?!)
see my reply to Thomas for a bit of explanation.
> I tend to agree with nemesis--a little bit of glint in the eye would be nice. In
> many behind-the-scene photos of 'old Hollywood', you can see a small light
> attached to the motion-picture camera, usually above it, to get just such an
> effect in an actress's eyes, especially in close-ups.
>
Yes, I know and meanwhile I do regret that I did not put a little bit
more work into such details but this was just a test for the skin and I
didn't care much about other things. Sorry.
-Ive
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If and when you have some free time, it would be nice if you could write
down some kind of tutorial about all this.... It would be highly appreciated
by the Poser freaks in this community :)
Thomas
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"Thomas de Groot" <tDOTdegroot@interDOTnlANOTHERDOTnet> schreef in bericht
news:4b2899b3$1@news.povray.org...
> If and when you have some free time, it would be nice if you could write
> down some kind of tutorial about all this.... It would be highly
> appreciated by the Poser freaks in this community :)
Ah! Just read your answer to my message below! I shall have to study that.
Thanks.
Thomas
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Ive <"ive### [at] lilysoft org"> wrote:
> Basically it is fairly simple and it is just about creating a stack of
> partial transparent textures.
> And for each of these texture the various properties (pigment & finish)
> of the skin are controlled by uv_mapped grayscale images used within
> pigment_pattern statements.
Thanks much for your detailed explanation. I need to really study this to fully
understand it--a good exercise for my ol' brain, as your technique seems to be a
very powerful one, with many uses. Some of it I grasp immediately, which is a
good start!
Ken
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> This is very interesting and it is indeed very helpful to just look at
> parts of the face instead of the whole. Great suggestion!
In a related point, when creating an image, I usually get too accustomed
to my own creation, and don't really see how well I'm doing... reversing the
image horizontally helps there, as you see the image as if it were a new,
never seen image. I read somewhere that classic painters did it using a
mirror... Another trick I figured myself was to look at the image through a
cardboard tube (no, not a toilette paper one... that one is too wide! ;).
--
Jaime Vives Piqueres
http://www.ignorancia.org
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Thomas de Groot wrote:
> "Thomas de Groot" <tDOTdegroot@interDOTnlANOTHERDOTnet> schreef in bericht
> news:4b2899b3$1@news.povray.org...
>> If and when you have some free time, it would be nice if you could write
>> down some kind of tutorial about all this.... It would be highly
>> appreciated by the Poser freaks in this community :)
>
> Ah! Just read your answer to my message below! I shall have to study that.
> Thanks.
>
> Thomas
>
>
And write a tutorial? :twisted:
--
Best Regards,
Stephen
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