> Nice gate design - how'd you do it?
> --
> Stefan

Thanks!

Perhaps there is a better way to do it, but I first designed it in a
vector-editor, and then exported it as a bitmap image.  In POV I turned the
bitmap into a function, and used the function in an isosurface. The bumps
were added by subtracting a pigment function in the isosurface.

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This is looking really good. The isosurface rocks in the foreground look a
bit smooth for rocks (I mean at a fine detail level if this makes any
sense), is this just a low quality accuracy setting? What method/patterns
did you use to make the rock isosurface? I have always found combining
wrinkles with other patterns good for a rock surface.

Good use of atmospheric fog/haze in the distance, it adds a lot to this
scene.

I think the contrast is already pretty good between inside and outside but
agree it would be good with something a bit more interesting in the
foreground to occupy the eye (although I have no idea what that might
be...)

I look forward to seeing the next version of this image, what are the render
times like..

Sean

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Kirk Andrews wrote:
> I'm trying for a feeling of stark contrast between the world outside the
> gate and the one behind it, a sense of the supernatural.  I like the result
> so far, but I'm hoping for a stronger feeling of that supernatural contrast.
>  As always, I'd love to hear what you think and any suggestions you have.

Hey Kirk, very nice image so far! Good use of isosurfaces and (I'm 
guessing) CSG modeling.

If you want the image to have a spooky aspect, try making the sky grey 
one one side of the gate. Supernaturally grey.

~Sam

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One of the finest Povray renders I've seen. How about seeing your light and
radiosity settings?

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What impresses me is how you kept the symmetry of the closed gate, yet 
still made it apparent that the gate is unlocked. In fact, the only 
difference that I can actually pick out between the left and right doors 
is the highlights on the right one.

Beautiful job.

-- 
William Tracy
+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+
|a|f|i|s|h|i|o|n|a|d|o|@|g|m|a|i|l|.|c|o|m|
+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+
+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+
|w|t|r|a|c|y|@|c|a|l|p|o|l|y|.|e|d|u|
+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+
You know you've been raytracing too long when you keep a notepad and 
pencil by your bed in case you wake up with a new scene idea.
fish-head

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Looks nice!
The gate needs hinges though.

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Kirk Andrews wrote:

>> Nice gate design - how'd you do it?
>> --
>> Stefan
> 
> Thanks!
> 
> Perhaps there is a better way to do it, but I first designed it in a
> vector-editor, and then exported it as a bitmap image.  In POV I turned
> the bitmap into a function, and used the function in an isosurface. The
> bumps were added by subtracting a pigment function in the isosurface.


Yikes! How do you "turn a bitmap into a function"? The isosurface part I
(think) I've got an idea how to do, as well as adding the bumps. But how do
you turn a bitmap into an isosurface function?

Regards,
-- 
Stefan

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> Yikes! How do you "turn a bitmap into a function"? The isosurface part I
> (think) I've got an idea how to do, as well as adding the bumps. But how do
> you turn a bitmap into an isosurface function?

You can turn any pigment into a function, so first declare an image pattern
pigment, and then declare a function using that pigment.  This is my code:

#declare PGate =
pigment {
  image_pattern {
    jpeg "Gate/GateStructure4.jpg"   // image file to read
  }
}

#declare GateF =
function {
  pigment {PGate scale 10000*z}
}

You'll need a fairly high max_gradient setting (like 35) for it to come out
right.

-- Kirk

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Attachments:
Download 'gatestructure4.jpg' (18 KB)

Preview of image 'gatestructure4.jpg'

"s.day" <s.d### [at] uelacuk> wrote:
> This is looking really good. The isosurface rocks in the foreground look a
> bit smooth for rocks (I mean at a fine detail level if this makes any
> sense), is this just a low quality accuracy setting? What method/patterns
> did you use to make the rock isosurface? I have always found combining
> wrinkles with other patterns good for a rock surface.

Thanks!  I wanted a wanted the rocks to look dry and weathered, so I wanted
them a little smoothe.  For these I just used a bumps pigment with
turbulence -- adding a wrinkles pigment probably would have added some
detail, though.


> I look forward to seeing the next version of this image, what are the render
> times like..
>
> Sean

It took about 4.5 hours on my 2 GHz machine.

-- Kirk

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"fls13" <fls### [at] netzeronet> wrote:
> One of the finest Povray renders I've seen.

Thank you!  A very flattering compliment indeed!

> How about seeing your light and radiosity settings?

light_source {  //Sunlight
  <0, 0, 0>            // light's position (translated below)
  color rgb <1.5, 1.3, .4>*3.25  // light's color
  translate <-20, 20,  30>*1000
}

global_settings {
  radiosity {
    pretrace_start 0.08           // start pretrace at this size
    pretrace_end   0.04           // end pretrace at this size
    count 50                      // higher -> higher quality (1..1600) [35]
    nearest_count 5               // higher -> higher quality (1..10) [5]
    error_bound 0.5               // higher -> smoother, less accurate [1.8]
    recursion_limit 1             // how much interreflections are
calculated
    low_error_factor .5           // reduce error_bound during last pretrace
    gray_threshold 0.0            // increase for weakening colors (0..1)
[0]
    minimum_reuse 0.015           // reuse of old radiosity samples [0.015]
    brightness .5                  // brightness of radiosity effects (0..1)
[1]
    adc_bailout 0.01/2
    save_file "InvitationRadiosity"       // save radiosity data
  }
}

  light_source {  //Reddish foreground light
    <0, 0, 0>            // light's position (translated below)
    color rgb <.5, .2, .2>*.1  // light's color
    translate < 20,  50, -30>
    fade_distance 150
    fade_power 2
    shadowless
  }

--  Kirk

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