Messages

1

Gallery / Re: Cenote

« on: 2018-01-13, 14:48:08 »

Stunning image, love the mood.
Can you please send the link to your making of?

Thanks, Hadi.

Link is in my original post, but here it is again. :)
https://www.artstation.com/quadspinner/blog/geB/making-of-cenote

2

Gallery / Re: Cenote

« on: 2018-01-12, 21:48:26 »

If you're using screen space displacement, I recommend upping the displacement size from 1px/2px to higher (something like 4px-8px). Depends mainly on how much detail you want, and how big your image is. I've had better results in high resolution renders with lower pixel scale for the displacement.

Also, try converting your EXR into a 16-bit TIFF. If the quality loss isn't that big of a problem, then you'll save a LOT of memory.

RD Textures is awesome! I highly recommend his stuff.

3

Gallery / Re: Cenote

« on: 2018-01-12, 21:13:27 »

What was the memory usage looking like after that? I wonder if it would be useful to use a displace modifier on the geometry to generate geometry before hand, and then use bump to get the finer details? I've found that using 32-bit displacement to be amazing, but it absolutely chews through memory.

The displace modifier does not handle high density meshes well, in my experience. It also suffers a tiling issue where the map looks like tiled chunks (possibly from parallel processing junk code). If you need low level displacement without fine details, it should be fine. You can use a bump or normal map for the fine details. But if you need sharp, clear shapes and details, material displacement is the way to go.

I have 32 GB RAM. Never got low-memory warnings from Corona except when I did 2560+ sizes renders. The final render was done on a render farm, so I don't have stats on what memory usage was required for the 4K render.

4

Gallery / Re: Cenote

« on: 2018-01-12, 20:02:57 »

Beautiful! How did you do your rocks? I've been trying to figure out an efficient workflow and am just tip-toeing into ZBrush, would love to know how others do it!

Thank you.

Check out the "Making of" in my original post. I used displacement maps on curved surfaces.

Here's the material itself. Most of the values are driven by the PBR maps.

5

Gallery / Re: Cenote

« on: 2018-01-12, 17:05:15 »

Yes, in a cenote made of limestone, that would definitely be the case. I took some artistic license and added a lot of granite, and a high level of rock folding to make it look more dramatic and exotic.

https://en.wikipedia.org/wiki/Fold_(geology)

6

Gallery / Re: Cenote

« on: 2018-01-12, 16:47:10 »

Thanks! :) Yeah, it was a lot of fun.

7

Gallery / Cenote

« on: 2018-01-12, 16:32:36 »

Hi everyone,

I wanted to share a new personal scene.

A scene of tropical exploration, a kind of "Lara Croft meets Far Cry 3" concept. Created in the wee hours of the winter months. Took a total of approx. 20-25 hours to create.

Created with 3dsmax + Corona 1.7. The scene relies HEAVILY on displacement, and Corona shone through in that one! The new Light solver did some great magic too.

The full version of the image is available here:
https://www.artstation.com/artwork/nVgE9

You can read the making of here: https://www.artstation.com/quadspinner/blog/geB/making-of-cenote

8

Gallery / Late Summer Evening

« on: 2017-01-01, 22:24:27 »

Hi guys,

My first post here on the forums.

See full version and additional renders on ArtStation:
https://www.artstation.com/artwork/AP1qW

This project was a spontaneous, late evening "doodle", which quickly became a bit more sophisticated than planned. It was created over the course of 5 hours, including test and final render. It was created in 3dsmax and rendered with Corona 1.5.

I had seen some ground level macro shots of an alpine forest and the idea had been kicking around in my head. The scene started with a ground texture in Megascans Studio. This was applied to a Noise-displaced surface. Once I had the general angle, it was a simple matter of setting up a few different scatters with ForestPack, and setting up the appropriate elements to block the light. The depth-of-field was set up very early in the workflow so unnecessary detail would be avoided in areas that would be heavily blurred.

The final image was rendered at 4K and the majority of postwork was done in Lightroom so photographic processes would be enforced instead of carte blanche editing.