All posts related to V2
By Polyxo
#368117
emarvets wrote: Are you saying that it's easy to adjust the mesh and achieve the same effect of a bump map in Maxwell to get a more realistic surface?
Generally yes.
That's a central part of what such programs are used for. One paints deformation, colour, specularity and exports this information out as bitmaps
for use in render programs. You mentioned bringing exported meshes from Rhino to 3DCoat to fix parts which where you didn't get Booleans to work.
The workspace where one can do this is the Voxel Room. Done with that one could export out the dense surface mesh of the Voxel volume
which isn't smart, as it's triangulated, dense and has no uv's. Whatever map you apply on this geometry will look shitty.
A voxelized model should better be retopologized to clean mesh, so that one gains control over UV's.
Wouldn't I be better off with a bump map, since it would be saved in my material for future use and let me work with less dense meshes?
That's more convenient but not technically better in the case of a closeup shot of a delicate object as a piece of jewelery. One only gets so far with
seamless maps. One could use them but one should at least redo the uv's because the patch structure of a Nurbs polysurface is unusable for advanced
texturing. In the example of you posted you might come along with some cylindrical projectors but I would quickly unwrap.
By emarvets
#368118
I import mesh for voxelizing, scale it up to a very large mesh, use smooth all, and then export it. During export I decrease the size of the mesh back to about double what it came in as. I don't specifically ask it to redo the topology.

But this sounds like the way to go so I will investigate it. Could you recommend a tutorial to get me started? The 3DCoat manual is pretty harsh.
By Polyxo
#368119
emarvets wrote:I import mesh for voxelizing, scale it up to a very large mesh, use smooth all, and then export it. During export I decrease the size of the mesh back to about double what it came in as. I don't specifically ask it to redo the topology.

But this sounds like the way to go so I will investigate it. Could you recommend a tutorial to get me started? The 3DCoat manual is pretty harsh.
You might first check out the purpose of UV-mapping to get a better understanding about texturing in general.
Just google it.

My recommendation for now was to avoid the Voxel workflow altogether and to instead bring closed Rhino models into the
Paint workspace as an .obj (import per pixel painting).
3D-Coat has a Youtube channel with a lot of tutorials, also on retopology but again - I would first check out texuring basics.
By Polyxo
#368197
I am not into jewels rendering but doesn't look too bad to me.
What's missing is light in the essential spots, this is something you needed to set up before starting the render.
The reflections of the hdri appear at somewhat random places, also the sharp reflection of the umbrella is probably undesired.
See also notes and crude paintover.

Image

Image
By emarvets
#368200
Maybe I shouldn't have back lit the render? I can ditch the reflections channel of the HDRI and just have those spots be black. The only reason I'm using the HDRI is that most people said that the random reflections from an HDRI were a good thing.

It took a lot of work to find a setup where the stones had a good amount of dispersion, blackness, and sparkle. I found it easy to have two of them, but 3 were elusive.
By hatts
#368255
I think it's getting stronger and stronger. Still would prefer it if the gem mount part on the right ring (clasp?) didn't reflect such flat blackness. Possible to angle the ring slightly?
By emarvets
#368256
There is a hole in my light tent. That's where all the black areas come from. If I placed a small reflector in that spot, it would lighten all of them together. I wanted some black, but maybe deep grey's would be better?
By feynman
#368281
Polyxo wrote:I am not into jewels rendering but doesn't look too bad to me.
What's missing is light in the essential spots, this is something you needed to set up before starting the render.
The reflections of the hdri appear at somewhat random places, also the sharp reflection of the umbrella is probably undesired.
See also notes and crude paintover.
+100 for the animated GIF to bring home the points :)
By hatts
#368282
emarvets wrote:There is a hole in my light tent. That's where all the black areas come from. If I placed a small reflector in that spot, it would lighten all of them together. I wanted some black, but maybe deep grey's would be better?
No I think the blackness is great on parts of the ring, just that it may take some cleverness to get it to not blacken out that clasp part. E.g. angle the ring slightly or put an invisible, reflection-blocking white card in front of the clasp.
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By polynurb
#368286
emarvets wrote:There is a hole in my light tent. That's where all the black areas come from. If I placed a small reflector in that spot, it would lighten all of them together. I wanted some black, but maybe deep grey's would be better?
i think the black is important
you could build a simple piece(s) of geometry to achieve those dark reflections (eg black material with fading edges)
and you can position them using fire, now even without the need for re-exporting the scene.


you are working with rhino, see the "BOUNCE" command, or just type it in the command.

with this you can trace specular reflections quite well, at least the simple ones.

or you could actually "construct" them the way you need.. so if you want a dark reflection at a certain spot, you shoot a bounce ray from the camera to that specific location and see where you need to put the "dark screen" to get it.

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