Caught in the Tuna Net

Fox Demon: Chusont'rai Shen-ro

My revelation with regards to lighting in Poser (I use 7 pro) began with the purchase of Blackhearted’s BH Pro Studio, over at Rendo. The tutorial alone in that product is worth the price, as I’m sure we’ve said here a bunch over the past year. Smile But the main thing I took away was using an IBL as a bit of fill light, and a different use of point and spot lights than most people start out with.

Point Lights

I used to think “Point lights = candles” or some other such specific point source. Well, that’s still true, but what I discovered is that you can get your textures to really sing if you use point lights and set a falloff range, like DistEnd = 6 (feet). Or whatever. (At least I think that’s close to the name of the parameter.) Rolling Eyes The trick is to position a light so the figure is near the edge of its falloff zone. Not for every light in the scene–that depends on the logic of the scene itself. And how bright the scene is supposed to be. And if the falloff is right but the light too dark, set it to over 100%. I will often set falloffs to just past the distance between the light and the main figure, with 120% brightness.

Set shadows to 0.77 to 0.88 or even lower, sometimes – not to 1.0. A 1.0 setting makes them not so much dark as just smudgy. They should be mysterious and transparent, not *black*–a sensibility I acquired as a painter. But I *always* use raytraced shadows on every light except IBLs (of course).

I do not put ambient occlusion on the lights–it tends to give you that X-files black-oil-eyes look with the effects of soot caught in the creases of everything. Yuck.

Spot Lights

I also discovered that you can do similar things with spot lights and get some wonderful looming-out-of-the-dark effects. Use a point light for the main light, set up an IBL (at about 40% brightness for starters), and then, if you need some more illumination with directionality, create a spot light with a very narrow End Angle, such as 20 to 45 degrees, and put it far away–like 20 poser-feet, so the light is spreading a lot by the time it hits your main figure, and use a falloff to just cover the back of the visible scene. Again, put shadows to 0.88.

Also, set all shadow biases to 0.333 or even 0.222. The default 0.888 comes out too grainy. I never use shadow maps.

I also use some helper scripts for lighting by SemiDieu over at RDNA to more easily create and delete lights. His IBL creation script will make what is called “Olivier’s IBL”, which lets you specify six colors for the IBL regions to match your scene! Very worthwhile. I generally love SemiDieu’s utility scripts.

And every time I add or adjust a light, I do a ray-traced test render at screen portal size and fairly low-quality settings, just to check things out. The thing that lets me know if the lights are doing their job, most specifically, is if the shadows give a proper feeling of shape, or “modeling” as it is used in painting. FYI, I will almost never, ever, have a main light straight face on, full face to the camera, either, for this reason–it comes out looking like a bad flash photograph and flat as hell, both in terms of modeling and texture response to the lights.

In the pic below, I used points, spot, and IBL as described. While it’s not the most compelling image in the world, the lighting works fairly well.

Clicky for larger…

Sorrows' Soldiers: Kerry

Mind you, I still do postwork. Poser lights may, even with a lot of effort, still not come out with a sufficient dynamic range of light and dark in the image, so some small adjustment in Photoshop may be required to get a more dramatic effect. I will also add a subtle color cast and pump up the saturation a little–not a whole lot, mind you–using Mystical Tone Tint & Color 2 filters, which have been worth every penny. The point of doing any of that is to hone in on the picture’s focal point and give unity to the image, using light, shadow, and overall tone.

(Oh…and please, please, do not get ultra-happy with the Photoshop filters. I swear, most of them should be tried out and forgotten. Forever. Or used very, very sparingly.)

The Captive Water Fae

I was writing to a younger friend who is trying to wrestle inspiration to the ground and get it to spit out a story that is hanging around. We’ve chatted about various issues over the year; amongst them is the on-again, off-again nature of her muse. Myself, I struggled through a ten-year dry spell, and did Julia Cameron’s course twice–lots of good tools there.
But this is what I figured out this morning about getting it jump-started, and I wanted to share:

I was thinking about your story-work this morning earlier and I thought perhaps you might like to take a different tack, one that lets you have more of a dialog with your Self (your muse, if you like).

Start with the thing that your heart goes to right off, the elf & the human together, yes? Then ask questions and wait for a reply (or a picture, which is a reply).

Example (not telling you what should happen, just trying to show what it might feel like):

Your muse: My elf and my human are sitting together in a sunny place.

You: What does it look like?

They’re on a stone bench in front of an old, old building, looking out over the overgrown ruins of high-tech city.

Why is it overgrown and in ruins?

They found it together while looking for something.

What were they looking for?

<muses dodges a bit> The human has a map in his hand.

Were they there because of the map?

Yes…

…and so forth.

It’s like playing interactive fiction with yourself. Just wait on the answers patiently. If the muse dodges, it’s because you’re supposed to follow it and go in a different direction. Eventually, it will get to telling you stories on its own, or showing you movies in your head—and then you have to write fast enough to keep up with them!

If you keep editing before you get the pictures or story out, you’re telling your muse that you don’t like what it’s saying and it will shut up.

If you consciously decide you want to go in a certain direction for…well, an ego reason, say (like wanting to be unique), and that’s not the story it has for you, it will shut up.

You have to trust it to tell you a story and let it have its head. Follow it. It won’t lead you astray, no matter how weird or mundane the stuff that comes out. What comes out is what you need to hear or be doing.

After all, your muse is not different from you. It’s still you, just a part that has learned to be quiet. Unfortunately, you have silenced the gatekeeper to your soul. You have to undo that in order to truly live.

And I gotta say, this is all related to the issues of trying to fit into a mold that isn’t yours, as opposed to seeing what kind of unique creature you really are. You won’t be all that weird or unsociable or unlovable if you let go and grow the way your supposed to. (If you were really *wrong* inside, you’d already be having major psychological problems and breaks—so I’m not worried.) In fact, you might be a little miffed that you’re really pretty normal, sane, and well-adjusted. Be glad for that!

The BPA Sent Help

Courtesy of Ed Averill of Austin, TX:

Frozen Zombie-Land (To the tune of “Winter Wonderland”)

Sirens blare, are you listening,
In a pool, blood is glistening
A horrible sight,
Surely a fright.
Screaming in a frozen zombie-land.

Gone away are the living
Lots of brains, they were giving
We’re shouting in fear
As they grow near
Screaming in a frozen zombie-land.

In the meadow we can stack the corpses,
Plenty of them all around the town
We’ll say: are they buried?
They’ll say: no man!
A zombies place just isn’t underground!

Later on, we’ll perspire
As we set them afire
We’re deathly afraid
Of the monsters we’ve made
Screaming in a frozen zombie-land.

Since I started this blog, I have completed the drafts of 4 books of urban fantasy, laced with science fiction, a modicum of erotica, and cyberpunkishness. My writing muse is pretty happy with me most days.

Along the way, I decided that I really, really wanted to be able to see my figments, and took up working with Poser, which I had put down three years ago, having been worn out by working as a merchant in the Poser community, and due also to getting a job after being laid off for 8 months. I was most grateful for the job at Real Magnet in Bethesda, but it was a very intense one and pretty much ate my life, as I was so tired after work that I did nothing creative at all for a long time, except a bit of jewelry-making.

Leaving Real Magnet for Amtrak opened up a lot of head space, apparently. In January of 2007, I believe it was, inspiration finally exploded. This is the deep, dark secret—no longer! I was playing Sims2, and having a blast. This apparently caused the figments to awaken, and some of them walked off the screens of the Sims and became far, far different from their original paper-doll forms, assuming depth, breadth, and their own voices and lives. It was like having a movie running in my head 24/7.

I let it out. It was the best thing I ever did.

And I finished the very first draft of the very first book inside of three months, I believe, about 300 pages (it’s since expanded, necessarily). Each successive one has gone slower and slower. They have not stopped, but it’s reached a steady walking pace that does allow me to do visual as well as verbal art. So, midway through book number four, in August of 2008, I went back to Poser. This time, I had some money, some energy, and the drive to depict. Again, the figments leaped off the screen of my mind an onto the computer screen.

Yesterday I posted my 101st picture on this web site, over in the 3D gallery. I have done more than that, but that’s 101 Dalmatians—I mean, images that are keepers. Now I can see my figments when I want to! And I have met new ones along the way, who are keeping me busy with book five.

I have no idea if I will ever publish the books. I have been published as an illustrator, some minor stuff including a short-lived comic, a book cover, and some gaming materials—so it’s not like I’ve never been there. The books need tidying up and a good editor. My dear AJ Savill has had a major positive impact on the first book, and helped the others mature into better works. Thank you, thank you AJ. Ms. Karen Fox has also taken up the mantle of reader, but as with other volunteers, can only do what the rest of her life permits her to do.

I have, meantime, been quite driven to depict. My dear Kay will attest to this, since I all but chase her away when I’m working. I think the point of this particular bit of autobiography is that for once in my life (a) I let the muse run away with me, (b) I’ve had enough mileage as a designer, painter, and writer (of non-fiction) that I’m no longer as bedevilled by doubts as I was when I was young, and (c) I am persistent. I think the latter is key. It’s not rocket science: you practice anything daily, and you will improve, even if you have no talent for it. (God knows, I learned how to bowl properly, and I have absolutely zero talent for that. ) If you have both talent and a desire to do the whatever-it-is, then practice will improve your work, if you are willing to learn and try even a little bit.

In the Virile Noir thread(s) on the DAZ3D forums, which LT Roberts and I host (more or less), we have had the very special joy of watching others, encouraged and helped, improve significantly in the past eleven months. And we have improved ourselves, as we were just noting the other day. I owe LT a lot, for his friendship and encouragement. Thank you.

So: KEEP TRYING, you artists. I’m watching you.

Yesterday, one of my friends on the DAZ3d Commons posted a picture in our Virile Noir thread, and wanted comments. She didn’t get many, sadly–but the people who are really good at critical assessments have been MIA for personal reasons (real life interferes now and then!). She got no comments except from me, and I felt like I needed to help her out, as that’s one of my self-appointed missions on that board.  Here’s a link to the picture: http://forum.daz3d.com/gallery/image_22542.jpg I do not include it as it’s her work and not mine to display, but you can see it in a new window if you like.

This is what I wrote to her. I feel OK about posting a private message because it doesn’t really include any personal details, other than what you could find online generally in that forum, if you were inclined.

This is hardly the whole shootin’ match, just a toe in the water on the subject.

* * *

Funny, I was thinking about how I could help you realize what you had in mind. I recognize that frustration! I think everyone experiences it–the trick is to be persistent in practicing and not worry about the quality so much as trying to execute it as best one can.

Once I got home I got a decent look at the picture (my work monitor sucks dead bears), and I doubt that your character’s androgyny is an issue. The folks who post in the VN thread–well, you’ve met them. They’re pretty broad-minded. However, there was a combination of issues that probably stumped them as how to reply, and our most helpful people are all missing in action for personal reasons right now. You’re stuck with me!

So I was thinking, instead of trying to “fix” that picture, let’s step back for a moment and see where you were trying to go with it–I was basically thinking the same thing you were.  Leaving aside the wonderful idea of a chair of men    perhaps you could tell me what you wanted to do or where you want to go for the next effort?

There’s always homework. I’m thinking that it might be good to put some images *into* your head to mix around and inform your thoughts. What films do you favor? What would be really useful is to watch some good films in the genre on DVD where you can stop them and really *look* at the scenes that attract you to absorb what’s going on there. And look at some really well-done comics and graphic novels, too.

Films that are good for studying are the orginal Blade Runner (of course!) just for its mood and camera work, and probably the original Underworld. I’m trying to think of others that go with your goth/magick/adventure sensibility. The two Hellboy films have been excellent visually (as well as just plain awesome). Batman Begins is not a bad one, either.

Of course, looking at this picture, I immediately suggest that you read ANY of Mike Mignola’s graphic novels–the Hellboy series–because he does mood and action and composition just so damned well. The Dark Knight graphic novel is awesome, and the original Watchmen is not to be scorned, either.

Notice that I did not include any video games, though there are some undeniably wonderful ones. However, if you are doing still art, video games (and, well, sometimes movies) get you nowhere–because the excitement is all in your own head and in the thing you’re doing, and not sitting in front of you, really, if you think about it. Example: if you were playing the chap with the enspelled SAWs facing the demon, that would be exciting. However, standing to the side to watch that showdown…not so much, necessarily. His situation doesn’t look dire: there’s plenty of room for him to run away, and the reason he’s fighting the beastie is just not apparent or sufficient motivation. Me, I kept thinking, “Run, you idiot, and call in the air strike!” He’s not backed into a corner, in other words. If he *were*–then people would be holding their breath. But you have him at a safe (relatively) distance from the demon–at balanced, opposite sides of the picture, which is a very static arrangement–and just fixing to gun it down. Where’s the fun in that?  OK, those were just my opinions, but do you get my drift, there? You would need to create some drama *in that moment.* The demon would need to be about to grab him–up close & personal–with the guns in its face, and the guy can’t get away because his back is up against the fire. Granted, that might happen in the next frame–but you needed to show that teeth-gritting edge to us. Really, it comes with practice and observation.

But, you might say, movies and comics are about a progressing plot, too–yes, as are stills, but they are required by the non-participatory nature of the medium to present more compelling single images or scenarios, especially in scenes of conflict. Also, good directors will make sure that *every* scene is well-composed and meeting their goals, not just setting up a plot and letting you figure it out on your own. Still art is more like movies in that respect. And comics are even more to the point: *every* frame has to contribute in some way, so you’re more likely to see good examples there.

Wow. Here is were I’d say, “Time to fire up the microwave. We’re going to watch some movies and find good examples.” How dare you be in Canada! LOL! Oh well.

So, tell me something about what you want to depict. If you can say it in words, that may help to bring it to the front of your mind so you can figure out what to show.

There is an aspect to doing the art that is like a marksmanship sport–or bowling, even! You an analyze what you want to do, figure out how to acheive that–but when it comes time to step out and fling that ball or raise the bow or gun, you don’t have time to analyze, you just go with the moment. You have to trust your subconscious to deliver the goods as desired–and that just takes repetition and training. Eventually, the *ideas* come easier, so you can have headspace while you’re working to think about technical details.

* * *

Anyhow, I think I’ll keep posting tips like this, at least to record them for future reference.