I'm just hoping they don't blow up the thing again and go for a different design after the first couple of episodes of season 8, considering the great job you've done with this model… :thumb:
I had that same thought while I was modeling. A nagging feeling of futility.
I have been lazy about posting updates. Shame on me. I have been creating new textures for this model, consolidating objects, UVs, etc. Here's progress so far...
Love your detailing and textures on the main console. Some of the curved motifs on that bookcase look a little low poly though, could use a few more edges in those areas.
Love your detailing and textures on the main console. Some of the curved motifs on that bookcase look a little low poly though, could use a few more edges in those areas.
You're right. Those designs have been bugging me. I had in mind to keep the poly count down as much as possible when modeling them, but I just might have to go in and increase the resolution a bit.
Updates. Yes I take forever But I am considering it done for the most part.
I do want to ask for suggestions with regard to lighting. Being a close interior space, I am finding it hard to get the lighting I want. So far there are no lamps in the scene. All light is produced by various emission materials on the light objects/meshes. I am sure there is some post processes I could undertake by rendering out various passes and compositing...but oh boy do I need to learn a lot where that is concerned.
I do want to note that I have posted the model and textures for download on my site http://wp.me/p10BYi-ji
Very cool. As far as the lighting is concerned it depends what you're after for an end result. If you're lighting via emissive materials within the scene you're probably creating a truer lightscape than what you see in the show which will obviously have studio lights in addition to the perceived in-universe lighting. It just depends on whether you're happy with that or want to get closer to how it appears in the show. You can always increase the strength of the light emissions as well to get stronger light effects coming from those materials, or add lights in to represent the studio lights as they appear on set. I however like the moody and atmospheric look you have now. Nice work on this.
Very cool. As far as the lighting is concerned it depends what you're after for an end result. If you're lighting via emissive materials within the scene you're probably creating a truer lightscape than what you see in the show which will obviously have studio lights in addition to the perceived in-universe lighting. It just depends on whether you're happy with that or want to get closer to how it appears in the show. You can always increase the strength of the light emissions as well to get stronger light effects coming from those materials, or add lights in to represent the studio lights as they appear on set. I however like the moody and atmospheric look you have now. Nice work on this.
:thumb:
Thanks for your input. I like the lighting, but my eye for that sort of thing is unrefined. I was debating adding "studio" lights, but was curious to see what it would look like with just the lights depicted in the control room, the in-universe lighting. There's plenty of light objects, so yeah they could be tweaked any number of ways for whatever effect desired.
From my experience in matching an entire scene in the TARDIS (albeit the Smith era setup rather than the Capaldi one), the lighting changed from shot to shot, so there's no "perfect" setup.
The main ambient light in the room obviously comes from the central column, both above and below the central platform. Rather than use emissive for that, I emitted light from a thick cylinder that covered where the central lights are (rather than create each individually, which takes much longer to render with basically no gain). I found this gave sharper/cleaner lighting than using emissive, and was less reliant on cranking your final gather settings to get good results, so can actually render faster if done right.
The other major source of lighting is the overhead roof lights (not the time rotor spotlights). This is where most of the variation in shot to shot lighting comes in. Often they'd seemingly only use one major source of light from the roof, so unless you're looking at the roof, try to only have one or two enabled. Often they'd use the ones nearest the door, where there's the extra light. I use a spherical area light for those, not too large a radius. You can mess around a bit with how deep you put them in those light fittings.
I don't think I emit any final gather from the blue/orange lights. They just need self illumination, and then you can add a glow to that in post. You don't gain much by having them emit light.
Given the number of edge lights, especially with the new ones, maybe stick to using emissive for those. They're not very directional, and would take a long time to render as lights (and add a lot of shadows that may not look nice). The roof edge lights are mostly for effect, and don't add a lot of light beyond the catwalk, and I think the new lights are just there to add a bit more ambient light to be more flattering to Capaldi.
From my experience in matching an entire scene in the TARDIS (albeit the Smith era setup rather than the Capaldi one), the lighting changed from shot to shot, so there's no "perfect" setup.
The main ambient light in the room obviously comes from the central column, both above and below the central platform. Rather than use emissive for that, I emitted light from a thick cylinder that covered where the central lights are (rather than create each individually, which takes much longer to render with basically no gain). I found this gave sharper/cleaner lighting than using emissive, and was less reliant on cranking your final gather settings to get good results, so can actually render faster if done right.
The other major source of lighting is the overhead roof lights (not the time rotor spotlights). This is where most of the variation in shot to shot lighting comes in. Often they'd seemingly only use one major source of light from the roof, so unless you're looking at the roof, try to only have one or two enabled. Often they'd use the ones nearest the door, where there's the extra light. I use a spherical area light for those, not too large a radius. You can mess around a bit with how deep you put them in those light fittings.
I don't think I emit any final gather from the blue/orange lights. They just need self illumination, and then you can add a glow to that in post. You don't gain much by having them emit light.
Given the number of edge lights, especially with the new ones, maybe stick to using emissive for those. They're not very directional, and would take a long time to render as lights (and add a lot of shadows that may not look nice). The roof edge lights are mostly for effect, and don't add a lot of light beyond the catwalk, and I think the new lights are just there to add a bit more ambient light to be more flattering to Capaldi.
Hopefully that helps you play around a bit.
Nice. Thanks for the ideas. It will be something I will have to try. It's been a fun project, but I am going to have to put it aside for a while. A little tired of looking so closely at the model
I haven't. Well, I just did, but before this reply I hadn't. It's a cool tribute vid. Didn't recognize my model with it all sepia like Thanks for the link.
Posts
I had that same thought while I was modeling. A nagging feeling of futility.
You're right. Those designs have been bugging me. I had in mind to keep the poly count down as much as possible when modeling them, but I just might have to go in and increase the resolution a bit.
I do want to ask for suggestions with regard to lighting. Being a close interior space, I am finding it hard to get the lighting I want. So far there are no lamps in the scene. All light is produced by various emission materials on the light objects/meshes. I am sure there is some post processes I could undertake by rendering out various passes and compositing...but oh boy do I need to learn a lot where that is concerned.
I do want to note that I have posted the model and textures for download on my site http://wp.me/p10BYi-ji
:thumb:
Thanks for your input. I like the lighting, but my eye for that sort of thing is unrefined. I was debating adding "studio" lights, but was curious to see what it would look like with just the lights depicted in the control room, the in-universe lighting. There's plenty of light objects, so yeah they could be tweaked any number of ways for whatever effect desired.
The main ambient light in the room obviously comes from the central column, both above and below the central platform. Rather than use emissive for that, I emitted light from a thick cylinder that covered where the central lights are (rather than create each individually, which takes much longer to render with basically no gain). I found this gave sharper/cleaner lighting than using emissive, and was less reliant on cranking your final gather settings to get good results, so can actually render faster if done right.
The other major source of lighting is the overhead roof lights (not the time rotor spotlights). This is where most of the variation in shot to shot lighting comes in. Often they'd seemingly only use one major source of light from the roof, so unless you're looking at the roof, try to only have one or two enabled. Often they'd use the ones nearest the door, where there's the extra light. I use a spherical area light for those, not too large a radius. You can mess around a bit with how deep you put them in those light fittings.
I don't think I emit any final gather from the blue/orange lights. They just need self illumination, and then you can add a glow to that in post. You don't gain much by having them emit light.
Given the number of edge lights, especially with the new ones, maybe stick to using emissive for those. They're not very directional, and would take a long time to render as lights (and add a lot of shadows that may not look nice). The roof edge lights are mostly for effect, and don't add a lot of light beyond the catwalk, and I think the new lights are just there to add a bit more ambient light to be more flattering to Capaldi.
Hopefully that helps you play around a bit.
Nice. Thanks for the ideas. It will be something I will have to try. It's been a fun project, but I am going to have to put it aside for a while. A little tired of looking so closely at the model
http://www.youtube.com/watch?v=XvpfIjCi2bo
I haven't. Well, I just did, but before this reply I hadn't. It's a cool tribute vid. Didn't recognize my model with it all sepia like