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marazano

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    17
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  • First Name
    ric
  • Last Name
    mara
  • C4D Ver
    R18.039 Studio
  • Location
    France
  • Interests
    art
  1. Mineral Reign texture Library

    Added 4 more materials in the library... Gold on Limonite, Native Gold Nugget, Native Copper Nugget, Native Platinum Nugget, More to come... .
  2. Mineral Reign texture Library

    Added 3 more materials in the library... More to come...
  3. Mineral Reign texture Library

    Added 4 more materials in the library... More to come...
  4. The Orrery

    Greta work ! lots of insight !. May be the materials are a little to clean as the design suggest a retro steampunk item, may be the feeling would be enhanced with some aged materials. But it looks really neat already !
  5. Mechanical Hand

    So many details ! Great work !
  6. Mineral Reign texture Library

    Added 4 materials in the library... More to come...
  7. Mineral Reign texture Library

    Added 4 more materials in the library... More to come...
  8. Mineral Reign texture Library

    Added 4 more materials in the library... More to come soon ...
  9. Mineral Reign texture Library

    Hi Sharescale These are good questions ;) ... When you take the photos you want the lens to face perpendicularly the plane of the material you are shooting, otherwise you will face increased DOF which will result into blurred parts in the result image and will make the tilling difficult. Ideally, all you shot in an image should be at the same distance of the lens or at least minimize as possible the distance bteween elements in a shot It is especially drastic when shooting in low lights in museums, because then you use a high aperture to get sme light in and teh dof is at his maximum sometimes. You should also shoot in raw which will allow you to shoot at a realtively high speed (twice the mm of the lens in speed for instance , shooting with a 105 macro needs at least a 1/200s speed , shooting with a 80 mm needs to shoot at 1:160s, at least , this will minimize the bluring due to moving while you shoot. You must also take in account the best stop of your lens, usually two or three steps above the minimum step which corresponds the higher apperture eg: with the 2.8 mm Nikkor, best shoot at 5.6 if possible. Try not to go to high in the iso not more than 400 or 600 in low lights if you don't want the reulst to be two grainy. As for a nikkor 105 mm micro ideal would be f 5.6, 1/200s 400 iso. A camera with a high sensor is desirable, but you can also shoot several images of the material and then gather 3 or 4 images together with photoshop automate photomerge, then downscale the image. This will result in more cripsy images. Once your shot is done import it into photoshop with camera raw, adjust the exposure, the darks and highlights, and don't forget to remove camera aberrations and vignetting (this will increase the usable surface of the texture that will be usable for tiling). the idea is to have a homogenous image without shadows if possible. I also like to use camera raw clarity tools which makes the image a bit more crispy, removes some blurred parts, but then it enhances the wide between black and white points. So you need to lower the white points and higher the black points at the same time to avoid flat white zones or flat black zones in the image.. Sometimes I repeat the camera raw process twice to get as close to the feeling I had of the subect I shot when I shot it, or for the purpose i'm aiming at... Once you did this and isolated the area of the photo you want to tile, just use the filter/other/offset in photoshop, shift the verticals, adjust the lights so the sides that are close and do not match, finallydo match better, and then use the stamp tool to make the junctions more natural. Then shift horizontally with the offset filter and repeat the process. You hknow should have the clean base tileable image you want to keep and start creating the other maps from it. Copy it and start doing the diffuse, you will turn metallic areas into black, and the rest as desired, keep it mind the specular map will bring the light to it, so the diffuse should feel somehow a bit flat (but no too flat though), without extreme shadow parts or burned to light parts. Copy the original once again and start doing the specular: for map it really depends on the material you want to create. Identify the zone where you need high or low specular, but usually you need to increase the luminosity of the the image, adjust the brightness and low the saturation a bit. Then make the roughness map in greyscale and identify the zones which will be rough and the zones which will be smoother. Make the rough ones to teh dars and the smoothers ones to a dark grey or higher depending on desired smootness of these areas. For the bump maps you'll use greyscale too, start lowering the contrasts between the very dark zones and the bright zones so they almost match and then use the clarity tool of camera raw to make the texture a little more crispy. Finally you end up creating the Displacement map, by identifying the zones of the images that will be lower and the zones which will be higher in the topology of your material. Use an aerograph brush on a multiplied layer to darken the lower zones, and an overlay and/or screen layer to brighten the higher zone. It's better to do this in several steps and not all on the same layer, to make smoother and detailed variations in your map. Once you are satisfied with your maps, import them in your desired material should it be a c4d material, Arnold, or like in my case Octane or any other material of your favourite renderer. Apply it on a base scene, check the result and make some adjustments on the texture (usually consists in finessing the saturation of the specular map, adding or removing strengh of the dark and bright zones in displacement map, etc...) And then, voilà, you are done and you should get a nice looking material. Of course there must be other ideas people may have in order to process these kind of images. I would gladly hear any suggestion on this as there are surely things I didn't think about or things I don't know. You can also go out and start looking at nature and man build stuff, there are good textures all around ;) ... Try also to think unorthodoxly, just don't shoot only the material you want the result for. Sometimes a pancake can make a very good base for a rough desert stone texture (no kidding). Mix different sources for original results... But keep having a look at the real thing you want to recreate, to have a direction to explore.
  10. Mineral Reign texture Library

    Added 6 more materials in the growing library... More to come...
  11. Mineral Reign texture Library

    Hi Dave Thanks for your kind words. Yes the goal of this library is to have rather unique textures with insight as well a being as close to the real thing as possible and also being quite graphic. Considering we are dealing with unique nature creations, the possibilities are endless... And thanks also for suggestion of petrified wood ! In fact I do have plans to add some in the library. And I will surely go to shoot some original photos of some that lay in the gardens the Natural history museum in Paris... I have some fossiles on the way too ... ;) I also know a shop in Paris who sell interesting items of real petrified wood, so i'll go ask them if can make some shoots... So know it is on my priority list of photos to get ;) ... The idea for this library, as you will see it growing, is to have a large interesting variety of different textures so petrified wood is something unique to build in for sure ! As for the images I used almost 100 % used I have shot myself with a Nikon D700 and a 105 mm Macro/micro lens. I'm pretty reluctant using photos on the net for the copyright reasons you mention. Even though the original photo is tweaked and cropped and patterned and modified in many ways that makes it unrecognizable from the original I don't really want to take some risks. To answer your question, yes I'm generating all the different maps f a texture from an original shoot as I do not have the material necessary to 3D scan Textures. So it's quite some work on some materials to get the desired effect, especially in the displacement maps but I guess it's the whole point of building such kind of library ;) ... Originally i was also reluctant to reuse some textures I already use to generate a new material. but now I see that it could be a good way to build up a lot fo variety in some materials like for purnice stones which can be of various colors and for Native metals (nuggets or veined for instance) . So I will probably reuse some to provide the user a larger variety of color choices that do exist in reality for some stones, and have some patterns be used for copper, gold, platinum, or silver if the kind of pattern fits to the actual way the mineral is actually crystallized in nature. The idea is still to keep it a real as possible and as graphic and usable as possible ... So thanks again for the petrified wood suggestion...
  12. Mineral Reign texture Library

    Added 4 more materials in the library... More to come...
  13. Mineral Reign texture Library

    Thank you spiralstairs I will offer a few downscale samples before the release so those who want to test them can enjoy a little preview... ;) Stay tuned, there are much more to come... And also feel free to suggest other mineral materials that I could implement in the library...
  14. Mineral Reign texture Library

    Added 6 more materials in the library. More to come ... Feel free to suggest any mineral material you would like to see implemented in this library...
  15. Mineral Reign texture Library

    Thanks everfresh ! I'm going to keep it growing ... ;)

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