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Handiklap posted:One thing that's getting to me is the water, but I guess it depends on the look you want. I'd scale up & tone down your bump/displacement on it, or maybe get some light sparkling off the surface. It feels like with your sun angle, we should be seeing something on the crests of the ripples. As is it feels more like acrylic than it does water. Maybe adjust your main light or add in some rim lighting to give us some highlights on the edges of things, even if they're real subtle. you're right. the bump map has too much amplitude and the waves seem small. I think those are all good suggestions. I'll try to work some of those lighting ideas into the revisions...
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Apr 25, 2017 00:14
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Handiklap posted:early wip of my Geller House II by Marcel Breuer. It's...getting there. Not too crazy about the composition yet. Finally finished this one in the last couple days. I guess the composition was fine, it was just my awful post work that I wasn't crazy about.  
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Apr 25, 2017 01:40
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Oh wow, absolutely. This owns a lot, one of the best arch vis I've seen tbh. Doesn't look fake or generic like most do.
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Apr 25, 2017 13:10
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latest revision... well, there's definitely some improvement after incorporating some of those comments... I like the overall aura of this better. I'm not sure I totally solved all the issues with it but I have to move on. I ended up rendering an HDRI pass and blending it into the mix. It helped with a lot of the specular reflections and refractions on the materials. The scene feels softer now as a result. http://ajrosales.com/images2017/CAM_FOUR_SUNNYD.jpg
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Apr 25, 2017 18:45
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ajrosales posted:latest revision... well, there's definitely some improvement after incorporating some of those comments... I like the overall aura of this better. I'm not sure I totally solved all the issues with it but I have to move on. I ended up rendering an HDRI pass and blending it into the mix. It helped with a lot of the specular reflections and refractions on the materials. The scene feels softer now as a result. I like it a lot
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Apr 25, 2017 19:11
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Hey just for the sake of offering possible improvement ideas, I looked again and see some things. The silhouettes of the people are undersized, judging by the height of the door handles. There are some white shapes on the ground in the bottom left corner that don't make sense. The chainlink fence seems kind of low budget for that property. Do you plan to do any adjustments in other programs?
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Apr 25, 2017 20:18
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hmm. a few things: I think you're getting fooled by the perspective with the height of the people. the camera is a little high and the doors are actually oversized and the handles are in the right position. I think if the people were closer to the door it wouldn't appear that way. those white shapes are "succulent plants" I added so that it didn't look like a blank patch of sand there. I suppose I could make them gray like the other plants? chainlink: yeah I know.. maybe I can superimpose a finer mesh or something to make it look a little nicer. maybe a frame would help too... ajrosales fucked around with this message at 21:33 on Apr 25, 2017 |
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Apr 25, 2017 21:24
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I made a repair ship  
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Apr 25, 2017 21:31
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Jewel posted:Oh wow, absolutely. This owns a lot, one of the best arch vis I've seen tbh. Doesn't look fake or generic like most do. Well, poo poo, thank you for making my day! It was honestly a bit of luck, because I can't really say how exactly I've approached this piece differently from others, but it definitely hit the mark that I've been grasping at for a while.
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Apr 26, 2017 00:44
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I wish folk singer/songwriter/yodeler Jewel liked my work as much as she likes yours. Edit: fixed. mutata fucked around with this message at 02:17 on Apr 26, 2017 |
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Apr 26, 2017 02:06
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She also yodels beautifully.
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Apr 26, 2017 02:09
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Handiklap posted:Finally finished this one in the last couple days. I guess the composition was fine, it was just my awful post work that I wasn't crazy about. Nice, but the volumetric and burnouts are a bit excessive.
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Apr 26, 2017 02:42
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ImplicitAssembler posted:Nice, but the volumetric and burnouts are a bit excessive. Yeah I was worried about that, especially the exterior. Here's the atmospheric reduced with a bit of masking to recover some contrast outside:  previous: 
Handiklap fucked around with this message at 05:15 on Apr 26, 2017 |
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Apr 26, 2017 04:51
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Handiklap posted:Yeah I was worried about that, especially the exterior. Here's the atmospheric reduced with a bit of masking to recover some contrast outside: The air looks a bit dusty with the rays so pronounced. I also like the top one because it has more blue coming through the windows in the back.
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Apr 26, 2017 04:52
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Sorry, labeled the second one for clarity. Yeah I've been using EnvFog in the last couple scenes I've been playing with, and so a lot of that was "new and shiny, let's beat the poo poo out of this horse" and then getting blinders (lol horse joke) on from staring at it so much. I really like where it's going now, but do you think the first image still has too much atmosphere?
Handiklap fucked around with this message at 05:21 on Apr 26, 2017 |
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Apr 26, 2017 05:19
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Handiklap posted:Sorry, labeled the second one for clarity. Yeah I've been using EnvFog in the last couple scenes I've been playing with, and so a lot of that was "new and shiny, let's beat the poo poo out of this horse" and then getting blinders (lol horse joke) on from staring at it so much. I really like where it's going now, but do you think the first image still has too much atmosphere? It's okay in this one But I was wondering if you could get away with just the light cast on the wall for the same effect. Then you'd have brights on the left and right of the image, and the room would be visible in the middle. I would push the blue more. In the green of the trees maybe increase the contrast and reduce the saturation in the distance so they pop slightly and look less washed out. Then overall you'd have a decent red / green / blue triadic color scheme going. I like how the hanging lights add some depth along the top of the image to oppose the furniture on the floor. Their consistent shape in perspective gives a great sense of distance. Also I'd be dying to install a HUGE display above the cabinets if that was my place. It already looks like a real photograph though. Anagram of GINGER fucked around with this message at 05:40 on Apr 26, 2017 |
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Apr 26, 2017 05:35
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Was browsing twitter and this reminded me of the colors you're working with https://twitter.com/OJessicaNigri/status/857094534236393472
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Apr 26, 2017 06:08
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Jesus dude.
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Apr 26, 2017 06:15
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 you don't have to use it I'm just doing a brain dump. I just want to help
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Apr 26, 2017 06:27
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lol nah you did. greens were way too saturated and almost aqua, and though i didn't push it much, a subtle blue cast on the exterior concrete helped the palette. Critique isn't necessarily about "do this, do that." It's about encouraging new perspectives, different approaches. Re-examination. Real talk, I didn't consider a single color in the palette from the image you posted. But what it did do was make me think more about the palette I wanted, which I hadn't really been focusing on, and it had gotten muddy, so thanks. e: I think critique forces you to confront your own opinions of your work, which is necessary to guide you to either react or double down. It only proves to build confidence. Either you now know something you didn't, or you're more certain of the choices you've made. It makes you identify your own boundaries. And that's always a net positive. Handiklap fucked around with this message at 06:54 on Apr 26, 2017 |
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Apr 26, 2017 06:48
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Thanks Handiklap I appreciate that a bunch I'm working on this I posted a drawing in the [NWS] digital art thread, I'd appreciate some more eyes if you could spare the time. Subject matter is NWS. Clothed, but NWS Anagram of GINGER fucked around with this message at 07:28 on Apr 26, 2017 |
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Apr 26, 2017 07:22
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Life is drat weird sometimes... yesterday my boss asked me to fill in for a thing with the CEO of the meeting software Zoom, and when I hopped in the room I discovered it was a rehearsal for a presentation at some near-future conference today with the CEO of Zoom, the CTO(?) of the healthcare company ECHO, and me. The two presenters had Eric Yuan, the Zoom CEO, speak a little about the program and its future goals (AR and VR), then gave me and the ECHO guy 90 seconds each to talk about how Zoom has helped our companies. Well, today I go to the Zoom room for the presentation, and I learn that it's being shown to a crowd of like 300 people, with 23 members of congress and the CEOs of places like Google, Fox, CBS, and more. Finding that out about 15 minutes before go-time was interesting. I've talked to very small groups before, but I've never had an audience of bigwigs like this. So I pimped out our little virtual studio, talked about how Zoom helps us work with artists on many continents, and didn't have any technical issues. I know this isn't directly CG related... but it's a big jump for me, being responsible for representing my studio to the people that could potentially hire us. One year ago I was freshly unemployed due to a business close, doing nothing but teaching myself UE4, Blender, and Substance, and dreaming about maybe doing textures for some tiny indie game studio. I never could've imagined that a year later I'd be a lead, working on Emmy-winning shows, managing a dozen artists, making presentations with (and to) industry leaders, and personally handling some of our partnerships with giant corporations.
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Apr 27, 2017 21:04
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The Gasmask posted:Life is drat weird sometimes... yesterday my boss asked me to fill in for a thing with the CEO of the meeting software Zoom, and when I hopped in the room I discovered it was a rehearsal for a presentation at some near-future conference today with the CEO of Zoom, the CTO(?) of the healthcare company ECHO, and me. The two presenters had Eric Yuan, the Zoom CEO, speak a little about the program and its future goals (AR and VR), then gave me and the ECHO guy 90 seconds each to talk about how Zoom has helped our companies. congratulations! I keep seeing your stuff linked everywhere
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Apr 27, 2017 21:08
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ajrosales posted:latest revision... well, there's definitely some improvement after incorporating some of those comments... I like the overall aura of this better. I'm not sure I totally solved all the issues with it but I have to move on. I ended up rendering an HDRI pass and blending it into the mix. It helped with a lot of the specular reflections and refractions on the materials. The scene feels softer now as a result. I like it a lot, the ripples in the pool are not to scale for my taste though. It looks like a shrunken ocean, the rest is very nice.
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Apr 27, 2017 23:14
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Elsa posted:congratulations! Thanks! While I'm proud of what I've done, I have to give immense props to all the other artists who contributed to the work that got me here - being able to texture a high-quality model is a joy, and then seeing it comped in with filmed footage, edited and graded is a whole 'nother experience. While I like doing generalist work and tackling the entire workflow, it's rather freeing passing off an asset and entrusting someone else with doing it justice. I went through and looked at the original pic all the way to the final one - I actually don't have any comments on the final one, it feels right proportion-wise, the smaller(?) chest and mirrored/tilted image work wonders, and while I never would've thought to suggest it, showing the full legs makes a huuuuge difference in the overall feel of the image. I think it's in a really good place, and even though the way the back is bent may not match reality, it creates some nice lines and a sort of stylized sexy pose. Nice work! The Gasmask fucked around with this message at 15:12 on Apr 28, 2017 |
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Apr 28, 2017 00:15
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The Gasmask posted:Thanks! While I'm proud of what I've done, I have to give immense props to all the other artists who contributed to the work that got me here - being able to texture a high-quality model is a joy, and then seeing it comped in with filmed footage, edited and graded is a whole 'nother experience. While I like doing generalist work and tackling the entire workflow, it's rather freeing passing off an asset and entrusting someone else with doing it justice. lol make sure to go one page back from the end first.
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Apr 28, 2017 00:25
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Does anyone here have experience with OSL? Any suggestions on how I can retrieve information/parameters from the object the ray is originating from? I'm interested in doing an OSL version of the nested dielectric shader for Arnold, and for that I'd need to know medium importance and IOR from the previous object. Probably something about getmessage(), but the spec isn't too clear about what you can do with it. --edit: Hmmm, if I specify an output on a shader of type int and name Abc, and check for it one further down the ray path with getmessage("Abc", output int foo), and if it returns 1, I know the parameter is there and the object is nested? Combat Pretzel fucked around with this message at 17:02 on May 1, 2017 |
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May 1, 2017 16:55
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Mr Shiny Pants posted:I like it a lot, the ripples in the pool are not to scale for my taste though. It looks like a shrunken ocean, the rest is very nice. I totally understand. Maybe I'll nail that better next time. I'm not used to rendering water. the finished product is here, with another render and a few drawings... http://ajrosales.com/stripe-house
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May 4, 2017 02:36
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felt a little bored so I made this: it's missing a normal map but oh well...   full res version here: http://ajrosales.com/images2017/MOON-V1.jpg
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May 4, 2017 07:48
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pedant mode: With that framing and that exposure, you wont see any stars.
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May 4, 2017 08:05
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ImplicitAssembler posted:pedant mode: With that framing and that exposure, you wont see any stars. yeah - I toned them down... I was trying to take into consideration that the brightness of the moon was controlling the "exposure" of the image? I guess I was thinking that if I made the stars subtle it would look more realistic, and not hyper-digital with shiny pixel stars...
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May 4, 2017 08:13
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How you guys work in the VFX industry without wanting to kill yourself, given how flaky and finicky a lot of software is in terms of stability, is truly a surprise to me.
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May 4, 2017 16:39
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It beats wearing a suit. I've had official work meetings about how to make hot lava look good. At least at work there's IT that has to solve the software problems for you. At home, though, I've definitely lost days.
mutata fucked around with this message at 17:07 on May 4, 2017 |
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May 4, 2017 16:56
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I think i'm nearly at 12 months without max crashing. software is more stable than ever these days.
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May 4, 2017 17:35
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Can someone explain why Max 2017's viewport crashes if I load in something with a large amount of polygons? I have to restart the program each time because it doesn't seem to understand my Melissa file at all. I been stuck in Max 2015 because of that.
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May 4, 2017 17:53
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Maya has different viewports and the newer one crashes when my rigs get too complex.
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May 4, 2017 18:05
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Does Max have different viewports you can select?
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May 4, 2017 18:06
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cubicle gangster posted:I think i'm nearly at 12 months without max crashing. software is more stable than ever these days.
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May 4, 2017 18:20
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Maya's viewport 2.0 has been half baked at best for years. I rarely get flat out crashes, I mostly get annoying poo poo like yesterday when u couldn't get Maya to put the move gimbal in the center of a particular face to save my life.
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May 4, 2017 18:32
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Combat Pretzel posted:And here I am, freshly installed VUE xStream PLE, on a quasi fresh Windows installation, trying to instance a plant is an instant hang. And this is supposed to be an industry standard tool for landscapes? That's what I meant with it. The last other tool I tried was ZBrush, it was also pretty flaky. The CTRL and S keys must be the most worn out ones on 3D artists' workstations. I only know of one VFX studio that uses Windows. Maybe that's your problem?
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May 4, 2017 19:26
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