Avija Wings and Tail and Geoshell Issues by Aarki, journal
Avija Wings and Tail and Geoshell Issues
Since I received a couple of messages about some issues with the Avija Wings and Tail product, I want to post a little tut how to counter some odd ghosting that can occur on the wings and tail. I will show it on the example of the wings. A short version of this procedure can be found in the AV !!Short Instructions included in the product, see section Geoshells. Some users have reported they get odd rectangular "boxes" around the feathers or the whole wings/tail they cannot get rid of. This might look like this (wing example shown): This is caused by geoshells covering some or all of the wing/tail surfaces. Either the included shells of the wing/tail are covering the pieces, or a freshly loaded one is responsible. Please select and check the mentioned shells in your Scene tab below: AV Wings Transition Shell and AV Wings Down Shell on the wings and AV Tail Transition Shell and AV Tail Down Shell on the tail A freshly loaded geoshell on Genesis Then navigate to your Parameters tab
Tutorial: my work feels off, how do I fix it? by Gejda, journal
Tutorial: my work feels off, how do I fix it?
Have you ever felt that there is something fundamentally wrong with your artwork? I think each of us has been in this situation before. Imagine: you've been looking at the same image for hours on end, fiddling with this and that, but still you can't shake the feeling that something is off, not right - flawed. Is it your imposter syndrome? ...maybe. Is it your brain telling you that it's four AM and it's time to go to sleep? Also, maybe (look at the clock, won't you?). But maybe there's another reason - one that's hard to see, especially if you really have been looking at the same image for hours. Our brains have the tendency to accept what we have in front of our eyes for a longer period of time as correct - this is why writers are often advised to let texts sit in their drawers for a while and then do revisions, and why digital artists often flip canvases to check for mistakes. This blindness can affect anyone - beginner and professional alike. But if you are a beginner, there are
Creative Process Part IV by Magnus-Strindboem, journal
Creative Process Part IV
Character Design and Optimization – Motivation and Preparation.
Motivation
I finally managed to sit down and put some ideas on these topics on the floor. Up front a couple of thoughts and motivations, especially for those who don’t follow me on a regular basis.
First I have to point out (again) that I come from storytelling but also RPGs, so creating characters and their adventures, more often than not on an epic scale are my passions, and while visualizing them is a means to an end for me, I’m ambitious but pragmatic about it. This also means that I fundamentally know about my character and/or scene before the visual rep
Creating license data for Daz Studio projects? by linvanoak, journal
Creating license data for Daz Studio projects?
When working with licensed 3D content the licensee (the Daz Studio user) is not only bound to provide information to the licensor (Daz Productions, Inc) but also to 3rd parties who need proof that all license fees are paid. The purpose of the following journal entry is to: - provide an overview how currently relevant license information can be gathered manually from Daz Studio and daz3d.com - illustrate the current challenges when gathering license information - explain how spreadsheets with license data can be created from comma-separated values (CSV) files 1 What kind of license information needs to be collected? Product Name; SKU; Published Artist; Order Number; Order Date The product name is a descriptive term that helps 3rd parties to match what they see in the image. The SKU helps to differentiate from licenses with a similar product name that were released some time ago or by other licensors. The Published Artist name provides transparency about who originally created the
Posing Figures in 3D Part I - Humanoid Figures by weyrwoman-lessa, journal
Posing Figures in 3D Part I - Humanoid Figures
Digital Art Week
Hi,
it’s Lessa again, this time smartassing about one of my favourite hobbies – 3D rendering.
A good render relies on the same things as a traditional or digital painting: good lighting, good textures and a convincing subject. One of the most important factors for a convincing subject is a convincing pose. And unfortunately, that’s difficult to do. But fortunately, it’s just a matter of knowledge about bones, muscles and a little physics (or a little experimentation).
Boo! Did I scare you off already? No? I’m impressed. Then, Brave Adventurers, follow me. I won’t talk about a specific so
Using Cross-Figure With Genesis 8 by SickleYield, journal
Using Cross-Figure With Genesis 8
Cross-Figure Genesis 3 is a program that allows you to use Genesis 3 Female hair and clothing on Genesis 3 Male and vice versa without using AutoFit. There are some extra steps using it with Genesis 8, but you don't have to be able to use a modeling program (unless you want to make a better ID morph after you're done, but we'll get to that).
Here's a YouTube version. You'll have to turn your sound up. Sorry.
You need:
Daz Studio
Genesis 8 Male and Female
Cross-Figure
Instructions G8F to G8M:
Load Genesis 8 Female into the scene.
Load a piece of clothing or hair onto Genesis 8 Female that you wish to convert.
Go to the Parameters tab
Tutorial: Lighting and Rendering Night Scenes by SickleYield, journal
Tutorial: Lighting and Rendering Night Scenes
Here is the YouTube version of this tutorial, and here is the accompanying tutorial on using Canvases.
Working with the Iray render engine, and seeing what people do with it on deviantart, over time I've seen the same mistakes repeated many times. One of the most common that I see has to do with rendering night scenes or other scenes that are meant to be dark.
The thing is that the human eye is bad at seeing in the dark. If you render literally what someone would be seeing, your scene will look terrible, but this is exactly what I see many people doing. Hollywood movies often use two specific techniques to create night scenes: lit foregr
Intro to Photobashing (Textures) by Gaidenlight, journal
Intro to Photobashing (Textures)
Digital Art Week
Intro
Photographs can be used in a variety of different ways to help speed up your painting process. Some example of these uses are: to get an initial color palette, to fuse multiple images together to create a new one, or to use a photo to add textures to forms you have already established on your canvas. Working with deadlines doesn't typically allow you time to spend 20 hours in rendering a painting to completion, especially when working on products that require near photo realistic level in details. This is just a basic guide to show you a few tools, to add some texture to forms in a quick and easy way.
How to use Clipp
Iray Light Path Expressions in DAZ Studio by linvanoak, journal
Iray Light Path Expressions in DAZ Studio
Light Path Expressions can be used to split the rendered information based on their light path into specific sub images.
The individual images can be exported as .exr files that allow for advanced compositing techniques in photoshop.
That way the look of the final image can be changed without the need to rerender.
This video released by Nvidia in October 2017 provides an overview:
The idea of this post is to give just one example how Iray "Light Path Expressions" can be used together with "Iray Handles" in DAZ Studio.
It is recommended that you first have a look at the official Iray dev blog entry:
http://blog.irayrender.com/post/76948894