They tend to add depth to a space scene that has few elements in it as even subconsciously, you perceive that these foreground specs are not moving at the same rate as the starts behind them. I like them, when don't correctly - ie, very subtly.
I wonder if Tobias uses them in his animations. Like I said, when it is subtle, you often don't even notice them but I do think they're worthwhile.
They tend to add depth to a space scene that has few elements in it as even subconsciously, you perceive that these foreground specs are not moving at the same rate as the starts behind them. I like them, when don't correctly - ie, very subtly.
I wonder if Tobias uses them in his animations. Like I said, when it is subtle, you often don't even notice them but I do think they're worthwhile.
Alrighty... I'll render a pass...
Watching in HD, I don't think I've seen any... however, I'm usually mesmerized by his models that I barely notice anything else, lol.
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Sometimes I do, but mostly in areas where there is some debris expected (like in an asteroid field, a nebula or in atmosphere. But it is a very subtle effect and probably wonAât survive any compression that youtube, vimeo or facebook does.
Sometimes I do, but mostly in areas where there is some debris expected (like in an asteroid field, a nebula or in atmosphere. But it is a very subtle effect and probably wonAât survive any compression that youtube, vimeo or facebook does.
Alrighty.
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The nacelle flash always puzzles me as to how big it should be. It seems the show's makers loved the effect at the start of TNG, but were then trying to subtly phase it out. In TNG, the nacelle flash was very big and in the intro sequence it flashed out the screen. In Generations they toned it down a lot. In Voyager, it's nacelle flash gradually got smaller. The Enterprise E's nacelles don't flash at all.
The nacelle flash always puzzles me as to how big it should be. It seems the show's makers loved the effect at the start of TNG, but were then trying to subtly phase it out. In TNG, the nacelle flash was very big and in the intro sequence it flashed out the screen. In Generations they toned it down a lot. In Voyager, it's nacelle flash gradually got smaller. The Enterprise E's nacelles don't flash at all.
Thanks.
Well, in TNG, it was huge in the those shots, because they wanted to hide the transition from the 6 foot model to the 2 foot model...
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I think it was the dyes that Starfleet used. They ran out of blue dyes once they finished building the Enterprise-A. She was pretty damn blue, yaknow. :shiner:
Why are the TOS phasers and Torpedoes blue and in TNG they're yellow/orange?? Any canon to back that up?
Improved technologies? Personally, I like blue the most, my favorite color, but yea, most likely to add some variation to Trek, but in the Trek universe, most likely due to technological improvements...
To quote someone by the name of Timo from trekbbs
One might argue that different colors denote different "calibers" of guns. There'd be a parallel to the real world there: early ships would have an assortment of different "calibers", but TNG era ships would all have standardized on a single "caliber" for various clever reasons. (By "caliber" here, I don't mean something fixed at construction stage, but rather a setting that can be selected in the middle of a battle.)
In TOS, the hero ship's phaser color changed from episode to episode; in TOS-R, it no longer does. Before TOS-R, it was possible to develop a system of sorts for the original colors/"calibers", so that blue might be the "caliber" you choose for fighting your strongest enemies, while yellow and red indicate reduced power status or the desire to squeeze off quick shots... And green would be the stun setting, for starship guns and handguns alike.
However it's anyone's guess.
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Instead of posting this in the Q&A forum, I'll just post it here, and hope someone sees it... what blending method would I use in AE for an AO pass?
You would use multiply, although technically you need to multiply it by your diffuse channel and then add direct lighting to that, like in the image at the bottom of this awesome article by Master Zap here:
You would use multiply, although technically you need to multiply it by your diffuse channel and then add direct lighting to that, like in the image at the bottom of this awesome article by Master Zap here:
Well if you read the article, you can simply multiply it over your beauty render, however that won't be "accurate" but it doesn't matter all the time to be fully accurate. I'm sure it'd look fine if you just multiplied it over yoru beauty
Well if you read the article, you can simply multiply it over your beauty render, however that won't be "accurate" but it doesn't matter all the time to be fully accurate. I'm sure it'd look fine if you just multiplied it over yoru beauty
lol.
I'll see what I can, because for some reason GI renders faster than AO for me... and I always hear it's the opposite...
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What are your GI settings and what are your AO settings? AO should for the most part be faster, but depends on the quality of your GI as well and the complexity of your model that you are calculating AO for. A detailed starship could take a bit.
What are your GI settings and what are your AO settings? AO should for the most part be faster, but depends on the quality of your GI as well and the complexity of your model that you are calculating AO for. A detailed starship could take a bit.
When using let's say Prologic's Galaxy Class, using GI as part of FinalRender, on default settings, which turns out nicely... maximum settings it does take time, but even then it's faster than AO on default settings in fact using a higher GI setting is faster than a lower AO setting...
Another question, what FOV on the camera do they use in this shot:
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Well, playing about with Prologic9's 1701, I get a pretty close match for 70A° horizontal FOV, but this will depend on the scale of your scene / the size of the model and the distance of the camera.
I don't know if these ~70A° correspond to any particular lens they were trying to emulate.
I don't have any experience with FinalRender, but how are you calculating AO? The most straightforward way would to be to globally replace the material (most renderers have an override materials option) and put an AO material in the diffuse slot or self illumination slot of a basic max material and render. Should go pretty fast. I'd make a screenshot but I don't have time to load of Max right now.
Why are the TOS phasers and Torpedoes blue and in TNG they're yellow/orange?? Any canon to back that up?
I would assume it's like the color of flames. Blue/white being the hottest/strongest and standard Red being the "coolest". IDK you just have to go with the times I guess. Back the 60s Red was the color of ray guns and the like. Nowadays everyone attributes blue to scifi weapons.
Your right to an opinion does not make your opinion valid.
I don't have any experience with FinalRender, but how are you calculating AO? The most straightforward way would to be to globally replace the material (most renderers have an override materials option) and put an AO material in the diffuse slot or self illumination slot of a basic max material and render. Should go pretty fast. I'd make a screenshot but I don't have time to load of Max right now.
Using FinalRender, the AO pass can be rendered right out during the main rendering... without the need to render over and over again...
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Showcasing video is coming... here is another screenshot... have about 2 more shots I'll do for this particular video... a warp entry shot, and an at warp shot...
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I sure hope the ship is at warp in that image. The Reliant is like the Enterprise refit, its warp engines only glow when it's at warp. That was true of all Miranda class ships until the CG models on DS9, when the engines glowed all the time (maybe those were refits.)
I sure hope the ship is at warp in that image. The Reliant is like the Enterprise refit, its warp engines only glow when it's at warp. That was true of all Miranda class ships until the CG models on DS9, when the engines glowed all the time (maybe those were refits.)
I'm just showcasing the model as is when you download it, didn't want to give any false impressions... once the model is released by Raul, or once I am finished with this animation, I'll make the lights blink, etc. but for right now it's just shown as is.
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Using FinalRender, the AO pass can be rendered right out during the main rendering... without the need to render over and over again...
Well if you are doing that to get your AO pass that means you are rendering a Render Element, and rendering the beauty pass over and over again which is why it takes a long time to output an AO pass. You are not rendering the AO pass but outputting it from the frame buffer. The reason why people are confused that AO takes so long for you is because you are not strictly rendering that and then comparing render time to your GI pass. If you were to render just AO (using the fr-dirt shader) then it would probably be pretty fast, but your method is up to you. If you don't have access to a render farm then using Render Elements in that way can be good, although frustrating if you need to fix one thing, then you have to render it all again instead of individual render passes. Each method has their strength and weakness.
I'm just showcasing the model as is when you download it, didn't want to give any false impressions... once the model is released by Raul, or once I am finished with this animation, I'll make the lights blink, etc. but for right now it's just shown as is.
I see. It's definitely a great model. I also like the lighting in your picture.
Well if you are doing that to get your AO pass that means you are rendering a Render Element, and rendering the beauty pass over and over again which is why it takes a long time to output an AO pass. You are not rendering the AO pass but outputting it from the frame buffer. The reason why people are confused that AO takes so long for you is because you are not strictly rendering that and then comparing render time to your GI pass. If you were to render just AO (using the fr-dirt shader) then it would probably be pretty fast, but your method is up to you. If you don't have access to a render farm then using Render Elements in that way can be good, although frustrating if you need to fix one thing, then you have to render it all again instead of individual render passes. Each method has their strength and weakness.
Hmmmmm... yea, I personally would avoid these kinds of effects, since they just don't seem realistic to space, even GI isn't realistic to space, but since people have said it adds more realism, I've done it... in reality the ships in deep space would be absolutely dark, unless there was a sun nearby, then they'd have really sharp contrasts between light and dark...
Hmmmmm... yea, I personally would avoid these kinds of effects, since they just don't seem realistic to space, even GI isn't realistic to space, but since people have said it adds more realism, I've done it... in reality the ships in deep space would be absolutely dark, unless there was a sun nearby, then they'd have really sharp contrasts between light and dark...
I'm confused, what's not realistic about Global Illumination in space? Light would still bounce from one surface to another and light it indirectly. Just because you are in space doesn't mean light is going to stop once it hits a surface. I have brought up the AO and GI point since you asked about it in the first place. I'm just trying to show you how to be more efficient if you choose to use them.
I'm confused, what's not realistic about Global Illumination in space? Light would still bounce from one surface to another and light it indirectly. Just because you are in space doesn't mean light is going to stop once it hits a surface. I have brought up the AO and GI point since you asked about it in the first place. I'm just trying to show you how to be more efficient if you choose to use them.
No, I'm not saying the discussion is unrealistic or anything, I'm just saying the way GI works just doesn't seem right for a realistic space shot... as it sort of creates diffused bounces from my experience... I'm sure GI does fit in a space scene, but to me, it just doesn't seem right... at least, how it appears in movies, like in TWoK, where one side of the ship miniature is bright as day from the studio light, then the other side is about half as bright, rather than it being a light/dark black contrast, like you see in real space shots... unless it's the shuttle next to the Earth, in which the Earth bounces light on the shuttle, but in deep space, it wouldn't be like that...
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I wonder if Tobias uses them in his animations. Like I said, when it is subtle, you often don't even notice them but I do think they're worthwhile.
Awfully bright space dust.
Alrighty... I'll render a pass...
Watching in HD, I don't think I've seen any... however, I'm usually mesmerized by his models that I barely notice anything else, lol.
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Alrighty.
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The nacelle flash always puzzles me as to how big it should be. It seems the show's makers loved the effect at the start of TNG, but were then trying to subtly phase it out. In TNG, the nacelle flash was very big and in the intro sequence it flashed out the screen. In Generations they toned it down a lot. In Voyager, it's nacelle flash gradually got smaller. The Enterprise E's nacelles don't flash at all.
Thanks.
Well, in TNG, it was huge in the those shots, because they wanted to hide the transition from the 6 foot model to the 2 foot model...
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That would explain it. I guess with the move to CGI they didn't need to hide a model swap anymore.
Improved technologies? Personally, I like blue the most, my favorite color, but yea, most likely to add some variation to Trek, but in the Trek universe, most likely due to technological improvements...
To quote someone by the name of Timo from trekbbs
However it's anyone's guess.
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You would use multiply, although technically you need to multiply it by your diffuse channel and then add direct lighting to that, like in the image at the bottom of this awesome article by Master Zap here:
http://mentalraytips.blogspot.com/2008/11/joy-of-little-ambience.html
Lot of steps to achieve one effect... lol.
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Well if you read the article, you can simply multiply it over your beauty render, however that won't be "accurate" but it doesn't matter all the time to be fully accurate. I'm sure it'd look fine if you just multiplied it over yoru beauty
lol.
I'll see what I can, because for some reason GI renders faster than AO for me... and I always hear it's the opposite...
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When using let's say Prologic's Galaxy Class, using GI as part of FinalRender, on default settings, which turns out nicely... maximum settings it does take time, but even then it's faster than AO on default settings in fact using a higher GI setting is faster than a lower AO setting...
Another question, what FOV on the camera do they use in this shot:
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I don't know if these ~70A° correspond to any particular lens they were trying to emulate.
I would assume it's like the color of flames. Blue/white being the hottest/strongest and standard Red being the "coolest". IDK you just have to go with the times I guess. Back the 60s Red was the color of ray guns and the like. Nowadays everyone attributes blue to scifi weapons.
Using FinalRender, the AO pass can be rendered right out during the main rendering... without the need to render over and over again...
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Before he releases his newly finished Reliant, he allowed me to put together a little promo as it were, so here is a small preview...
Shot kind of mimics Tobias' Reliant pass...
PS.
Not to be blunt, but I can't give this out, so don't ask.
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I'm just showcasing the model as is when you download it, didn't want to give any false impressions... once the model is released by Raul, or once I am finished with this animation, I'll make the lights blink, etc. but for right now it's just shown as is.
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Well if you are doing that to get your AO pass that means you are rendering a Render Element, and rendering the beauty pass over and over again which is why it takes a long time to output an AO pass. You are not rendering the AO pass but outputting it from the frame buffer. The reason why people are confused that AO takes so long for you is because you are not strictly rendering that and then comparing render time to your GI pass. If you were to render just AO (using the fr-dirt shader) then it would probably be pretty fast, but your method is up to you. If you don't have access to a render farm then using Render Elements in that way can be good, although frustrating if you need to fix one thing, then you have to render it all again instead of individual render passes. Each method has their strength and weakness.
I see. It's definitely a great model. I also like the lighting in your picture.
Hmmmmm... yea, I personally would avoid these kinds of effects, since they just don't seem realistic to space, even GI isn't realistic to space, but since people have said it adds more realism, I've done it... in reality the ships in deep space would be absolutely dark, unless there was a sun nearby, then they'd have really sharp contrasts between light and dark...
It sure is.
Thanks.
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I'm confused, what's not realistic about Global Illumination in space? Light would still bounce from one surface to another and light it indirectly. Just because you are in space doesn't mean light is going to stop once it hits a surface. I have brought up the AO and GI point since you asked about it in the first place. I'm just trying to show you how to be more efficient if you choose to use them.
No, I'm not saying the discussion is unrealistic or anything, I'm just saying the way GI works just doesn't seem right for a realistic space shot... as it sort of creates diffused bounces from my experience... I'm sure GI does fit in a space scene, but to me, it just doesn't seem right... at least, how it appears in movies, like in TWoK, where one side of the ship miniature is bright as day from the studio light, then the other side is about half as bright, rather than it being a light/dark black contrast, like you see in real space shots... unless it's the shuttle next to the Earth, in which the Earth bounces light on the shuttle, but in deep space, it wouldn't be like that...
Gigabyte RTX 3080 Gaming OC 12GB
1TB NVMe SSD, 2 x 1GB SATA SSD, 4TB external HDD
32 GB RAM
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