Hunted phase 2 - low-level flight

[ra]

Hey there,

here is my latest render with some minor postwork...
Spaceships by ColaCola.se and ShareCG.



C&C welome

Greetings,
Axel

[Henry Blewer]

I like the displacements on the cliffs. I think I would add some of the sand from below into the cracks and along the flatter surfaces of the cliff face. This would help the strata and other displacements 'pop' a little more. You could do this by copying the sand surface layer and its component nodes. Then adjust the slope constraint to maybe 5 degrees with 2 degrees fuzzy. The coverage slider can be reduced until you are happy with the coverage.

[efflux]

Good work. Unusual render here. Why? because it has a vaste sense of scale. The ships obviously add to that but even without them I think you'd still sense it. There are too many detail renders in the galleries or at least a cove or valley with no sense of huge vista. This is all well and good but I love seeing things that feel huge.

[efflux]

Just another note about this sense of scale.

I get the impression that most TG2ers set up a scene with a camera and work away there without moving much. The scene has a focus they work on. You sense this in the final render. I don't work like this or at least try not to but it's hard. When I get precious about a view I move the camera. I think what is this planet like, what is beyond that hill, what will it be like if I move the camera miles over that direction etc. Then you have to think beyond a chocolate box scene. You also end up with an environment that gives you lots of material to modulate into other environments mainly because you are forced to make sure scales of things such as what happens in the atmosphere are much more corretly set up. One static scene with fixed atmosphere and lighting can look good then you move and it's all wrong.

[Henry Blewer]

Just another note about this sense of scale.

I get the impression that most TG2ers set up a scene with a camera and work away there without moving much. The scene has a focus they work on. You sense this in the final render. I don't work like this or at least try not to but it's hard. When I get precious about a view I move the camera. I think what is this planet like, what is beyond that hill, what will it be like if I move the camera miles over that direction etc. Then you have to think beyond a chocolate box scene. You also end up with an environment that gives you lots of material to modulate into other environments mainly because you are forced to make sure scales of things such as what happens in the atmosphere are much more corretly set up. One static scene with fixed atmosphere and lighting can look good then you move and it's all wrong.

I try to make my scenes so they are flexible. Sometimes I just want to render something without doing an entire new setup. Moving a camera of using the seed buttons make this possible.

[Tangled-Universe]

Just another note about this sense of scale.

I get the impression that most TG2ers set up a scene with a camera and work away there without moving much. The scene has a focus they work on. You sense this in the final render. I don't work like this or at least try not to but it's hard. When I get precious about a view I move the camera. I think what is this planet like, what is beyond that hill, what will it be like if I move the camera miles over that direction etc. Then you have to think beyond a chocolate box scene. You also end up with an environment that gives you lots of material to modulate into other environments mainly because you are forced to make sure scales of things such as what happens in the atmosphere are much more corretly set up. One static scene with fixed atmosphere and lighting can look good then you move and it's all wrong.

I agree. This workflow is especially essential when doing animations over larger areas. Working like this makes it easier to design scenes for animations as that is pretty different from still images. Also it's a good excersise.

However, if I'm working on still images I basically generate a terrain, sometimes put in some displacement stuff and start searching for POV's around the origin. I always work near the origin. If there's nothing interesting then I reseed terrain.
As soon as I've found my "chocolate box" (ghehe nice way of calling such a pov) I keep working on it and I actually don't care that much about how it looks outside my camera frustum. It's not guaranteed it looks awful beyond the chocolate box.

[inkydigit]

nice one Ra...were the jet exhausts post work?
great looking massive cliffs!

[ra]

nice one Ra...were the jet exhausts post work?
great looking massive cliffs!

Hey there,

yes, the exhausts and the motion blur are PW.

Thanks for your comments everyone!

[ra]

Hi,

phase 2...

[Henry Blewer]

The cliffs really stand out in this one. Did you use a compute terrain before adding the displacements?

[EoinArmstrong]

Superb dynamism in this pic - amazing sense of scale - superb stuff

[Dune]

Great image, very dramatic and powerful. How about some subtle extra color differentiation in the rock?

[ra]

Thanks everyone!

@njeneb:
The terrain is a fractal terrain, a twist & shear shader and a displaced image map shader. I wanted to achieve some other effect but liked how this was working out

@Dune:
Thanks for the input, I will try to do that in phase 3    

[Icegrip]

Very cool and looking great too!