Battleship Edit Continues

Modelled by Giorgio Luciano
I realized that the background ship was tilted too much, even for a menacing pose, so I made an edit. This is more dynamic I think. I've finished the foreground boat in terms of lighting: a soft glow in the cabin windows, a spec highlight on the chain, and a hint of blur overall, justified by the misty weather. I hope to achieve some effects here too, with a jet of smoke/ a hint of fire to show that the foreground ship is sinking. Also, I've added froth to the ocean, for a realistic stormy look. The background boat light setup needs much more work, including the sails and a cannon firing.

Battleship Edit

I am working on this idea that the distant ship has fired cannons at the foreground ship. I want to use dynamics to create a fog. I am also starting to light the far off ship so that it is back-lit and mysterious looking. I have not gotten very far into lighting the distant ship, but I think that the glow in the front boat windows is working nicely so far.

This is a screenshot from the movie, Master and Commander. I want to establish a similar mood and imitate the misty atmosphere.

Modelled by Giorgio Luciano

April 2012 Updated Reel

This is a work-in-progress version of my reel. I am working to re-texture and render the garage interior of "Neon and Chrome."

I have not posted updates for a while, because I have started to spend more time on making paintings for  upcoming art shows. However, I will finalize the texture edits for the truck scene in the next few weeks and render up a new version of my reel in early May. Above is an example of the truck scene with the layers assembled: windshield and paint reflection, headlights, neon lights, florescent lights, key light pass and interior lights.


Credits
"Time Lapse" Bedroom environment modelled by David Vacek, design by David Tousek, and the rats are modelled by Dan Konieczka and Giorgio Luciano  
"Captain's Log: A Clear Night," modelled by Giorgio Luciano 
“Neon and Chrome” modelled by Christophe Desse and Matthew Thain
“Fruit Bowl” and “Bottle Collection” modelled by Jeremy Birn
Lighting, texturing, compositing, and animation by Sandra Herman 

Re-lighting Fruit Bowl

Modelled by Dan Wade.
I am trying to figure out how to create a glass shader with reflections and layers of translucency.

Revisiting Bedroom Scene

 Modelled by David Vacek
Working to add more grunge and a story, shared between a few rats of extraordinary size. Focusing on lighting and grungemaps that describe an afraid of the dark feeling. Also trying to draw more attention to the fur detail on the rats using spotlights. In the early stages of compositing, I am trying to figure out a way to push clouds by the window, for the time lapse.

Final Revisions of the Captain's Log Lighting Challenge

Modelled by Giorgio Luciano

Present Night Ship Edits:

I have created a dirtier texture using a lambert shader for my sunset scene and tweaked the translucency of the sails. For the star filled night scene, I think I need a few more passes to adjust areas that are too in the dark; which include the cannon hatches furthest away from the camera. I have also pasted a moon in the sky and revised my key light, to create a warmer feeling. There is a more realistic highlight on the water's surface, which was achieved by the use of a soft-box.

Earlier Sunset Ship Edits:
I want to achieve the look of back-lit sails from the setting sun. I've made sure that the sky is being reflected into the water and added a glow at the horizon line. Generally, boats in this kind of scene are flatly lit where the sun cannot reach. See the front of the boat, but maybe my version needs a little more light. Plus, I think there is some light leak happening at the ropes under the sails.

One Month's Progress: Captain's Log, a CG Talk Lighting Challenge

Modelled by Giorgio Luciano
I have started at the last minute this 3Drender.com mini-lighting-challenge of a ship lost at sea. It is due in early January, and the challenge is to describe a captains's log entry. This one is a ship lost at sea with a sun burnt crew suffering below deck. I mapped a sunset panorama; brightened with a warming filter, and set a directional light behind the boat.

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There are a lot of flaws to fix in the orange scene; like the weird uv-line showing on the side of the boat and the water texture is stretched. I am working on creating an ocean using fluid effects. The deadline has been extended two weeks, so I am considering some new approaches to the scene.

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I am getting closer to finishing my sunset version the scene. Some of the textures need reworking, but at this stage I'm focusing on the light set-up and ocean shaders for my sunset and night scenes. Need to figure out the settings for the shader I used on the sails. Looks much too shiny.

Fruit Bowl, Week 4, Rendering

Modelled by Dan Wade.

Starting to render; above is the the Beauty Pass with 40% ambient occlusion added. Then separately are the key, bounce, and rim lighting passes. It looks like I need to dull down the lights over the grapes. The next stage is creating my realistic wine bottle shader. Also, I have been moving back and forth to an older scene, a bedroom with an infestation problem. 

Fruit Bowl, Early Revision, Week 1-3

Modelled by Dan Wade.
November 29:
I am starting to revise my light setup. There are two new rim lights, one along the side of the far right banana and another focused on the orange to exaggerate the white specular highlight. I have added bump maps to both bananas to create depth in the bruises. I am currently working on textures for the grapes and cherries, to see if more detail can be seen at this distance from the camera. By the end of the week I plan to test render the shaders and finalize my light set-up. The bottles and self-made glass shader will have to wait.

Nov.19:
With a closer cropped camera and re-positioned bottles this week, I'm struggling to revise the banana texture. I have done a few passes with an older spotted banana, but found it difficult to place the dots in a natural looking way. Now I plan to work in layers to paint the stem and add some age this way.The glass is a downloaded shader, I will return to it later with my own shading network, (to the emphasize colour and surface thicknesses of each bottle individually). I've added more light to see the textures that I'm working on and adjusted the maps of most of the fruit. The plums, apple and pear have reflection maps and bump mapping. Only, the pear looks flat right now and the orange is plastic-looking. As well, I'm trying to match the lighting conditions in this reference picture. See the specular highlight on the pink lady apple.

Nov.14:
I've started to revise the light set-up; this version has a spotlight as the key light. It looks too even and dull at this stage, it will be a bright mid-day scene when I am finished. Also testing out the resolution of the apple and pear textures, and re-cutting the blanket UV.