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grant_PD

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  • Occupation
    Designer/illustrator
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    www.gvzmedia.com
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    United States

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  1. Specularity implies a direct reflection from the light source back to the camera (eye) where you are seeing the source itself. So the first thing that needs to happen is you need something to reflect, light sources in VW are infinitely small and will not cast a reflection. Area lights do in other programs, I can't remember if they do in VW. But you basically need something like an HDR background of what the lighting plot is, so that the reflective bits can pick them up at various angles. Your spots of glitter paint are all reflective, but the actual surface is very bumpy and so therefore "glitters" as light comes from different angles to either be seen by your eye or not. This effect is much more apparent when your camera/eye moves, picking up different specular highlights due to the changing angle of reflection. Maybe this part is a 100& reflective surface with an alpha channel applied to create the pattern? Seems like a lot of work to me. I would maybe just make the surface a breakup of all of the lighting tones you are using, in the glow channel. After all, if the effect is specular, which is going to be the brightest thing in your picture anyway, why waste all that computation time with a light emitter to catch the reflections etc.. If I was only doing one shot, say the wide shot of the drop, I'd see if I could make a mask that you could use in PS to touch up the render.
  2. Can they be undo-able, editable please. Love them but they are destructive and one way only operations.
  3. I don't seem to be able to have a data visualization override the settings of objects in an autohybrid. I have some stuff up in the air that is shown in a dashed line, but I cannot highlight it (turn it a different color) using data vis. Is there a way to do this?
  4. lol @hollister design Studio I feel the same when I need your plants and outdoor materials!
  5. That's definitely the way the world is moving @Mark Aceto. On my side, soon every pc of furniture will be available virtually too, so I can stop modelling that stuff and get back to designing....😁
  6. Really pretty stuff @AlanW. I think that we are at a very exciting time in the render universe, with so many options to play with. Part of the struggle is to know the strengths and weaknesses of working with these engines, and being able to plan your workflow appropriately. If I did more architectural work I would be all over TM and Enscape. I have been disappointed in their results when it comes to doing theatrical style work however, as that type of rendering wants a lot of darkness, a lot of focused lighting. So it's Redshift in C4D for me most of the time. But I like having TM around!
  7. Renderworks would be much more usable if one could export alpha channels. I love all of the render engines, but having an alpha channel in your back pocket is a lifesaver.
  8. You'll probably find them at turbosquid. They won't be in VW format but they will be highly detailed.
  9. This would be super helpful. Can the eyedropper please pick up and put down autohybrid settings?
  10. Can you post your hardware specs? My first thought is that your computer is running out of memory in the video card. But it is hard to say without knowing what you are working on.
  11. Depends on how you have your file set up, maybe the walls you are not seeing are classed separately and you can turn them off? Maybe you have a set up layer for the rendering that you can turn on and off? There is a disconnect between what needs to be rendered for a "sell," and what needs to be drafted for a build. But if you scroll through Insta or anything else where you see these renders and photos of interiors with the lighting just so and the prop books, shoes, and carefully draped blankets, that disconnect is pervasive.
  12. The modelling looks quite nice other than your tiling issues, which is a constant problem w/ vectorworks. I'd agree w/ @Markvl that maybe you use a floor object or something over the top that you can control better, perhaps just for rendering. It's a rather moody bathroom though, and while you are clearly trying to get the lighting effects from the actual sources there is perhaps not enough bouncing around to get you where you want to be. In film (and in rendering) we often take out the wall that is out of frame so we can get a big soft area light in there, which of course is a fake but is very helpful to get more photons bouncing around for your GI calculation (also a fake). Other than that I always suggest finding some sharp corners (window?) and giving them an edge fillet. Nothing in real life has razor sharp corners.
  13. I'd also like to add, because I'm all confused by it....Why can't we have a physical camera like the video camera, that when we generate a viewport from, uses that camera view for the viewport? Right now if I set up a camera, make a viewport and use the "place a copy on the drawing" that copy is not linked. So if I move it, I have to set the whole thing up again. I want to: Set up the camera in plan. Find the shot, see the shot on a viewport. If I move the camera, (XYZ move, pan, tilt, zoom, whatever) the viewport updates. Like a real camera feed to a control booth.
  14. This list is for the video camera object, not the renderworks camera. -Can we be able to list the pertinent information (camera name, focal length, height, etc) in 2d plan? Or is this a data tag job? If it is, how on earth do I make one? -Can the 2d field of view be extended to the focus distance? -Can all of the controls be not incremented by whole numbers? ie when setting up a shot, what if my perfect composition is between 18 and 19 degrees of pan? I can't enter 18.3. -Can we have composition helpers in the camera view (adjustable grids, etc).
  15. do you have a lot of libraries? That stuff in the resource browser can sometimes really bog you down.
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