1
Gallery / Re: Saturn's Ice Rings
« on: 2024-05-02, 14:51:36 »
Thank you @pokoy!! I agree hahah. Something that seems simple at first can get very complex once you're looking for a specific result.
2024-05-09, 12:19:03
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2
Gallery / Re: Saturn's Ice Rings
« on: 2024-05-02, 13:55:59 »
Oh noo my secret it out!! You got me @TomG, I love spending my weekends in orbit ;)
Thank you :)
Thank you :)
3
[C4D] I need help! / Re: Volumetrics in Physical Material cuts out reflect underneath
« on: 2024-05-02, 03:00:39 »
@steppes Hahah! Yes 100%. That makes a lot of sense.
I've been making a few new renders without Displacement and it looks so much better already. Thanks!
I've been making a few new renders without Displacement and it looks so much better already. Thanks!
4
Gallery / Saturn's Ice Rings
« on: 2024-05-02, 02:59:01 »
Hello everyone,
Here are a few renders of my Saturn setup. I was looking to get bright white icy rings around the planet.
With these renders I was mainly looking for dramatic lighting and an interesting composition :)
Hope you like it!
Here are a few renders of my Saturn setup. I was looking to get bright white icy rings around the planet.
With these renders I was mainly looking for dramatic lighting and an interesting composition :)
Hope you like it!
5
[C4D] I need help! / Re: Volumetrics in Physical Material cuts out reflect underneath
« on: 2024-04-17, 21:19:47 »
Thank you everyone! I'm happy to hear all of this :)
And @steppes, wow... I looked this up and went down a rabbit-hole of the relative size of the Earth.
Very good point. Thanks. I was honestly already feeling that the Earth was "feeling small" with the Displacement turned on.
The scale felt off.
And @steppes, wow... I looked this up and went down a rabbit-hole of the relative size of the Earth.
Very good point. Thanks. I was honestly already feeling that the Earth was "feeling small" with the Displacement turned on.
The scale felt off.
7
[C4D] I need help! / Re: Volumetrics in Physical Material cuts out reflect underneath
« on: 2024-04-12, 16:40:42 »
@Beanzvision We have made all the Resources on our website available for Free :)
If you would like to download the Earth Digital setup you can do that here:
https://www.blauwfilms.com/product/earth-digital
If you would like to download the Earth Digital setup you can do that here:
https://www.blauwfilms.com/product/earth-digital
9
Gallery / Re: Coastal Residence UK
« on: 2024-04-12, 16:21:11 »
That is truly beautiful looking grass!!
All those surface variations give the render so much dynamism.
Would love to hear more about your process in achieving such great results for greenery :)
All those surface variations give the render so much dynamism.
Would love to hear more about your process in achieving such great results for greenery :)
10
Gallery / Re: Harriswood
« on: 2024-04-12, 16:19:44 »
Great work! And I agree with your creative process.
Adding these artistic and naturalistic details such as long shadows gives a great sense of "life" outside the border of the image.
Looks like a great place to live. And this time of day gives a very cozy and comfortable feeling for this neighbourhood.
I've been wondering, why is it that Arch Viz is often fully sharp? (without depth of field)
Is that to make sure clients can clearly see very detail?
Adding these artistic and naturalistic details such as long shadows gives a great sense of "life" outside the border of the image.
Looks like a great place to live. And this time of day gives a very cozy and comfortable feeling for this neighbourhood.
I've been wondering, why is it that Arch Viz is often fully sharp? (without depth of field)
Is that to make sure clients can clearly see very detail?
11
Gallery / Bokeh is your Friend
« on: 2024-04-12, 16:16:06 »
Hello everyone,
I wanted to share some examples of renders I made using custom aperture maps.
Due to my background in live-action filmmaking I have been loving to play with Advanced Bokeh Effects and Aperture Map settings.
We have made all of our production Resources on Blauw Films available for Free!
If you want to easily make custom aperture maps download our Bokeh Builder
(https://www.blauwfilms.com/product/bokeh-builder)
Camera-lenses or your human eyes have varying degrees of optical aberrations.
This makes every image unique in the way the blur looks and more importantly, feels.
However, the characteristics that really transcend your image to the next level are the differences between lenses of the same focal lengths.
Two identical lenses, let’s say 50mm with an f/1.2, can still produce very different results.
We are talking about the differences caused by Aberrations (both chromatic and monochromatic), by aperture shape and by imperfections.
These artefacts define the look and feel of a lens by subtly influencing the way light reaches the film or sensor. These lens properties can affect the amount of contrast in an image, even the contrast in the depth of field. Or you can explore different levels of vignetting caused by optical aberrations.
Optical aberrations such as Light Compensation are an important factor in defining the look of the bokeh. A lens allows light to enter the tube and then it magnifies it through a variety of elements. The result is a cone of light that hits the sensor or film.
The cone of light however is 3-Dimensional, and the light distribution within that cone might not be evenly distributed. This causes density variations in the blur disk. Lens manufacturers have to make a decision at this point as to how they want their bokeh to feel. This step is called compensating the lens.
We can categorise this in 3 main types of light compensation.
• Under-compensated
• Balanced
• Over-compensated
Under-compensated lenses focus the light towards the centre of the blur disk. This gives the most softness in your out-of-focus areas as each bokeh ball nicely blends into the next one. Lenses with under-compensated light distribution are often used for Portrait photography, or when your scene requires a smooth and clean feel.
Over-compensated lenses focus the light towards the edges of the blur disk. This funnily enough introduces contrast into your out-of-focus areas. The bokeh becomes a halo of light that calls attention to itself. In a situation where you have bright elements in your background that you want to emphasise, even while out of focus, an over-compensated lens is the way to go. This usually gives a sharp feel to your image.
And finally, for creators that want the best of both worlds, you can opt for a Balanced lens. This only comes at the cost of a bit of contrast in your out-of-focus areas. The balanced compensation eliminates the bright hotspots seen in the centre or the edges of the other two types of lenses. For an unobtrusive feel I’d recommend you use evenly lit blur disks such as these.
Hope this was useful :)
Would love to hear thoughts on how you approach Depth of Field in Corona.
Cheers, Leo
I wanted to share some examples of renders I made using custom aperture maps.
Due to my background in live-action filmmaking I have been loving to play with Advanced Bokeh Effects and Aperture Map settings.
We have made all of our production Resources on Blauw Films available for Free!
If you want to easily make custom aperture maps download our Bokeh Builder
(https://www.blauwfilms.com/product/bokeh-builder)
Camera-lenses or your human eyes have varying degrees of optical aberrations.
This makes every image unique in the way the blur looks and more importantly, feels.
However, the characteristics that really transcend your image to the next level are the differences between lenses of the same focal lengths.
Two identical lenses, let’s say 50mm with an f/1.2, can still produce very different results.
We are talking about the differences caused by Aberrations (both chromatic and monochromatic), by aperture shape and by imperfections.
These artefacts define the look and feel of a lens by subtly influencing the way light reaches the film or sensor. These lens properties can affect the amount of contrast in an image, even the contrast in the depth of field. Or you can explore different levels of vignetting caused by optical aberrations.
Optical aberrations such as Light Compensation are an important factor in defining the look of the bokeh. A lens allows light to enter the tube and then it magnifies it through a variety of elements. The result is a cone of light that hits the sensor or film.
The cone of light however is 3-Dimensional, and the light distribution within that cone might not be evenly distributed. This causes density variations in the blur disk. Lens manufacturers have to make a decision at this point as to how they want their bokeh to feel. This step is called compensating the lens.
We can categorise this in 3 main types of light compensation.
• Under-compensated
• Balanced
• Over-compensated
Under-compensated lenses focus the light towards the centre of the blur disk. This gives the most softness in your out-of-focus areas as each bokeh ball nicely blends into the next one. Lenses with under-compensated light distribution are often used for Portrait photography, or when your scene requires a smooth and clean feel.
Over-compensated lenses focus the light towards the edges of the blur disk. This funnily enough introduces contrast into your out-of-focus areas. The bokeh becomes a halo of light that calls attention to itself. In a situation where you have bright elements in your background that you want to emphasise, even while out of focus, an over-compensated lens is the way to go. This usually gives a sharp feel to your image.
And finally, for creators that want the best of both worlds, you can opt for a Balanced lens. This only comes at the cost of a bit of contrast in your out-of-focus areas. The balanced compensation eliminates the bright hotspots seen in the centre or the edges of the other two types of lenses. For an unobtrusive feel I’d recommend you use evenly lit blur disks such as these.
Hope this was useful :)
Would love to hear thoughts on how you approach Depth of Field in Corona.
Cheers, Leo
12
[C4D] I need help! / Re: Volumetrics in Physical Material cuts out reflect underneath
« on: 2024-04-02, 22:27:35 »
@Beanzvision Late reply, but oh! That's also a cool approach. Hadn't considered using this method but I have some other use-cases where this could be cool.
I've now used the IOR set to 1.0 method and that worked :)
The next step for me will be to make separate cut-outs of the cloud-map for different clouds that should sit at different heights.
It'll take some time as the texture map is 43K, but then the clouds can be stacked at different heights for higher realism.
I've also attached an image of what the latest update looks like without clouds.
Just the atmosphere volume and a new land+water shader.
I've now used the IOR set to 1.0 method and that worked :)
The next step for me will be to make separate cut-outs of the cloud-map for different clouds that should sit at different heights.
It'll take some time as the texture map is 43K, but then the clouds can be stacked at different heights for higher realism.
I've also attached an image of what the latest update looks like without clouds.
Just the atmosphere volume and a new land+water shader.
13
[C4D] I need help! / Re: Volumetrics in Physical Material cuts out reflect underneath
« on: 2024-03-29, 15:58:55 »
@maru Ah Thank you very much! That changes everything hahah!
14
[C4D] I need help! / Re: Volumetrics in Physical Material cuts out reflect underneath
« on: 2024-03-28, 19:12:44 »
@maru Changing the IOR to 1.0 actually changed quite a bit! Thanks!
It allowed more light to come through. The first image I've attached uses the IOR of 1.0, a Displacement map and Volumetrics.
The second image uses a Corona Volume Material. As you can see it doesn't have any Displacement and I don't know what workaround I could use to get that in there.
I'm rendering out a pass now with the clouds over the Earth material with all the other volumes turned on.
Let's see if it still works :)
It allowed more light to come through. The first image I've attached uses the IOR of 1.0, a Displacement map and Volumetrics.
The second image uses a Corona Volume Material. As you can see it doesn't have any Displacement and I don't know what workaround I could use to get that in there.
I'm rendering out a pass now with the clouds over the Earth material with all the other volumes turned on.
Let's see if it still works :)
15
Gallery / Re: Earth without post-processing
« on: 2024-03-28, 18:54:28 »
@Beanzvision Thank you man! Would love to see your results as well :)