UPDATE 2: (New clay render, and wire color separation pass of final scene)
Hi, everyone. The final render passes have been made, and I will be excited to begin some minor color correction and post processing of this scene today. Above you can find the latest, updated raw Clay render of the shot, which shows some minor changes, and new objects I added from yesterday's post (a pencil, and also some more shavings around the scene). Also, you can see the color separation pass, which identifies objects in the scene by random colors. This allows you to isolate certain objects in the scene in post, and makes it much easier to do color enhancements on just individual objects, if need be. It's a handy pass to have, rather than rendering out to a layered PSD, which could become very difficult when you have 100 layers to work with.
UPDATE: (Raw clay render of final scene)
Thanks for the feedback, everyone. I actually worked some more on this scene today, and feel I now have what I was after all this time, and will be ready to do the final renders this evening.
Attached above is the raw clay render of the final composition, which includes a lot of additional objects and details from the previous diffuse/direct light render. This clay pass illustrates the final lighting, and all of the object elements in the shot, with normal and bump maps applied. There's no DOF in this pass, but this is the actual camera angle and exposure which will be in the final beauty pass. The square piece added in the center is not a wood shaving, it's a piece of paper, which will make more sense once the fully textured version is posted.
I'll be running the first of several finishing passes for the final render this evening, then making the composite and completed image. The scene consists of 80,000+ objects, most of which are instance-scattered as debris and wood chips throughout. The wood chips are comprised of 10 different modeled forms, and 8 different variations of materials. Everything was modeled from scratch for this scene. Some objects were given away in the meantime as freebies, but they're all original models. I may, or may not, post some additional passes, but the final image is about ready to go. Thanks again for all the comments and support!
(Direct Lighting Pass Test - No Reflect/Refract or Env. Lighting)
Attached is a preliminary test render of the diffuse, direct lighting pass. This quick pass was just a test to check only the direct lights, color, normal, and bump textures. This render, obviously, does not include reflections, refractions, or environment lighting. Some tweaking to do, and a few more things to add before running a Beauty Pass, with other render elements.
So after much contemplation, test rendering, modeling objects and tools, and trying to organize this scene to be something to breath new life into my CGSociety and DA portfolio, I decided to completely re-think this scene. Instead of the wide-angle, sweeping view of a workshop, I've decided to get a lot more intimate with the shot.
The same as a good photograph, a good 3D render, in my opinion, is one which tells a story to the viewer. If there's no clear focal point, or objective to the piece, it's not going to be memorable, and certainly not going to appear cohesive. Originally, this scene was going to be a re-do of an older render I had made last year, when I was still in school. It was riddled with flaws (as is the case with all my work, but I digress), and I just wanted to improve upon it. However, one of the biggest, most telling flaw about the original piece was that there was no true focus to it. There was the chair, and the meaning I implied to the viewer, but I realized without my descriptive dialogue, the purpose was quickly lost, and the flaws began to scream "3D" to the viewer.
Aside from adding more objects to the original scene, and creating some better texturing, my redeaux of the project wasn't much better, because the same fundamental composition flaws had not changed. It was, and is, a confusing mess of a scene.
So, I decided to go back to the proverbial drawing board, and (hopefully) put together a scene that makes more sense, has a clearer direction, and is planned out better.
Attached is a screencap of the new composition; a scene that I hope will be far more intimate, detailed, and with any luck, successful. I will post more "behind the scenes" images of this scene as it progresses this evening.
I ran some test renders earlier, and still have some materials to tweak, and a few more details to add, which I'm hoping will bring out some character in this piece, and tell a bit of a story. There will be some "hidden" things throughout this scene, that you would really have to look for, but will carry a lot of personal meaning for me.
I'm using particles to scatter the wood chips, and some scripting to create more details as well. So far, there's 60,000 tiny little wood chips through the shot, comprising of 8 different modeled objects, to make up the dirt and shavings.
|Hello, everyone. My name is John, and I am currently a 3D modeler, as well as practicing digital sculptor, working independantly in the CG industry. Please check out my gallery, and/or drop me a note. Thanks.|