• The key difference between PGDM vs MBA is that the former is a degree and the later is a Post Graduate diploma program. MBA is a 2-year management program and is granted by a University or an Institution affiliated to the University. While PGDM is a diploma program of 2 years granted by an autonomous Institution.The core courses in an MBA program cover various areas of business such as accounting, finance, marketing, human resources, and operations in a manner most relevant to management analysis and strategy. Most programs also include elective courses.

  • Well, I've had it render long hours on some images with no problems. Close-ups with transmapped hair with HQ render settings at 3500 pxl is pretty heavy stuff for it to pull …

    Got it extra faned from underneith and not had any heat problems yet, even with outdoors tempertures at 35C (95F). Had one of those 50 pound monsters on floor under desk and kept kicking my toes blue on it, so I switched to this one since I can just fold it and grab it with me when I go places. Better specs on this than on the monster, really, and works very well as one of a dual-monitor setup. .. :)

    But I do consider Reality to be an alternative to more expensive packages since Lux actually can run in the background as described. Only limit is I can only make use of it in more simple images. Even seasoned users of DS and R - like Supro - complains over long render times and I could really use that decay feature on the Mesh Lights, if it was there.

    Need to do some experiments with it since I do have R3 for Poser, but haven't used it yet to any extent.

    Been glancing at Lightwave, but there are two issues holding me back there - price and learning curve ..

    --- John ---

  • Judging by Friedland's computer specs, I'd say he's better off sticking to what he has (and knows more) than trying to relearn things with a new renderer.

    The i7-2860QM is a capable processor, but being a mostly mobile processor (and inside a much smaller enclosure), having it work for hours means a lot of heat.

  • I do get your point there, NovaDigital.
    You're talking to a former Photography- and Image Teacher .. :)

    What I'm referring to is an empty scene - not even rendering background - with a model lit by Reality's own Mesh Lights and materials redefined as Lux materials.

    One of the really serious flaws I've found with Mesh Lights are that (at least in Poser) although behaving like "Area Lights" there is no way to control falloff (or Decay). They just light the scene for ever with same intensity…

    There are also things still missing in the Poser version that is there in the DAZ version and you can only hope they will turn up sooner or later.
    Tho it seems like later is the guiding light there ..
    Compare features of versions and you'll find them pretty quickly.

    Of course, you can always set Lux to stop render at - say - 3000 s/p and that will set a farthest point of render for it.

    Machine wise I'm sporting a portable workstation with a 4-core i7-2860QM, 16 GB of DDRAM and a 3GB nVidia. Both Poser and Photoshop CS 5.1 runs smooth as teflon. Especially Photoshop I can work with files up to 1 GB without it even breathing heavier in the up-sloaps. After Effects with loads of procedural effects, Optical Flares and Element 3D plug-in's in up to 200-plus layers is no problem either, so if that's not enough for Reality - there's only one solution.

    It goes ... :dodgy:

    --- John ---

  • Agreed that render times with Lux can get rather out of hand if you're not careful. However, in my experience, what I've noticed to be rather consistent with those who admonish the render times is that they're still thinking in terms of lighting their scenes like Daz/Poser scenes. They will often have five, six, hell even a dozen lights in the scene … not realizing that what they're trying to accomplish can be done with one, maybe two lights in Lux.

    A lot of people also aren't aware of some of the little things about Lux that can seriously complicate their render times. Such as the fact that if the geometry exists in the scene, Lux will calculate for it. Even if it's not in the camera frame ... or it's covered by clothing like feet in shoes, hands in gloves, the outside of walls when using IBL with an interior scene, etc.

    Adapting a workflow to include Lux is a delicate thing sometimes. It really requires you to think in two mind sets ... one as an artist for composing a scene and one as a photographer for lighting. And yes .. Lux's ability to continue renders without Reality being open is a huge boon. With the export function, you can open Reality, export the scene for Lux and move on. You never even have to open Lux in the first place if you don't want/need to. Then, just open Lux on its own and pick up your scene to render. Couple that with the render queue (which admittedly, I would like to see improved a wee bit, so that settings like Film Response are carried through each file in the queue) and you can develop a pretty smooth flow of producing scenes at any pace you like, then batch render in the background while you do other things.

    Of course, your render times are also going to be hugely dependent on your machine, too. If your sportin' 4gigs of ram on a dual core, Lux is probably going to give your machine a stroke. The graphics card acceleration is a step forward, but still needs some work, in my opinion. Whereas, if you're kickin' 32gigs of ram on a six/eight core rig ... and happen to have a strong ATI card to boot, you'll be able to push renders out like a vending machine, even at larger sizes. Not to mention what you could do if you had two of those machines to network. heh

  • With a physically biased render engine like Reality where light behaves as light I guess it would be more possible, and your image is more along the lines I was thinking.
    Actually, I've given Reality a thought, but the downside is those really looooooong render times …

    I render big, like at least twice the size of your image and that would take Reality like forever to finish.
    Sure, very simple scenes with just a model and not much more could be doable, agreed. Found that you can stop the Reality render, quit Poser, go to the folder where the Reality files are and doubble-click on the Lux-file. Then Lux picks up the render from where it stopped and can do it's thing in the background, leaving Poser free for other work.

    One possible way out of rendering for an eternity ... :)

    --- John ---

  • @'Friedland':

    Anyone ever tried this effect with transmapped hair ? Is it even possible ..?
    Apps at hand: Poser PRO 2014 and Photoshop CS5.

    –- John ---

    Not sure about exactly how you would approach it with a pure Poser render, but the effect is certainly possible.

    You can see a rather quick and dirty version of it in the image linked below. This was done a while go with Reality 1 and Luxrender 0.8. I can only imagine that now, having access to Reality 3, the effect could be done far better and probably easier.

    This was a simple matter of giving the upper zones of the hair a matte translucency and setting a spot from behind, adjusted to just barely reach the edges of the model. I don't actually even remember what hair model I used in this one or what the settings were specifically. I'd have to dig up the Daz file for it.


  • Well, there was benefit for both then. That's nice to hear it helped you improve some as well.
    Going to do some exploring on this and if I find a good and re-usable way (most probably PhS) I'll put it up here at A3D, but it will be something to tinker with when nothing else is on.

    Been glancing at some of the higher end 3D apps but should I go for any of them I need the time to invest in learning, so by keeping it simple I kind of force myself to find solutions by being restricted. That's not always bad .. :)

    Thanks again for your participation !

    –- John ---

  • No problem at all. Actually, this was quite the experiment.

    It allowed me to refine my hair preset. It think it's way better now with hair strands. I did have to turned up the diffuse strength past the limits, but now I have the hair look I always wanted and without vray. :)

    Turning off transluency and properly using opacity maps helped get rid of that darkness on the base of the skull.

    So, thank you.

  • Wows … you really went through some lengths there for this demo. Thanks, matthacker ! :)

    _>I believe it is possible, but it will require some wickedly awesome skills.

    Yes, wicked skills is perfectly understood and having Poser do this kind of magic is having it go places those app engineers never intended for it.
    Tried some things but to no avail. Part of the trick is to not have ghosts of the core showing behind the strands and a transmap that reads pure black so it doesn't render any kind of visible "edges" across the tips of the strands.

    But still, it doesn't take it all the way…

    Since I don't have Vray, which would obviously been an asset here, I don't really know how to go about it other than doing a number of renders with different settings and see where layering them in PhS using blend modes and Luminance adjustments can take it.
    I don't expect it to be perfect just by doing that since next step is to have it interact with the lightsource behind it.
    In all honesty I don't think I've ever seen this kind of effect in any 3D imagery more that to a certain point in some really hi-end productions with tools you can only dream of.

    But I do thank you very much for putting in the work you did. It was an education.

    --- John ---

  • I believe it is possible, but it will require some wickedly awesome skills.

    I think you will need at least three multiple render passes (AOV) - with the just the figure, then one with the 'core' hair (the ones that are blocking the light) and another one (the outer edges of the core) that's generally more translucent than the core hair.

    But I think you could do it (somewhat) with a shader. I think Vray's hair and fur material implementation is capable of doing such effects. It's technically just layers of layers of thin translucent materials on top of each other (kinda like foliage). It might even be doable with SSS, but SSS with transparency is a real performance hog in DS so I never went that route.

    This is just a basic hair, with diffuse, velvet and some transluency.

    For this shot, I dial down the opacity color (from 255,255,255 to 128,128,128) - effectively halving it. But then I boosted diffuse and specular to twice the strength.

    You can see more light are going through the hair, although it's not perfect (the most outer edges of the hair disappear). I'm using the diffuse texture in the transluency color map.

    A shot with an IBL light (actually, just UE2 without any HDRI) and ambient occlusion.

    These are in DS, but I believe the same can be applied in Poser.

    This is with SSS - render time increased from 4 minutes to 30 minutes.

    This is with ambient turned on - 4 minutes. It's a hack of course, but still pretty close. You'll notice the hack has more brightness where it shouldn't (the back of the hair that doesn't receive light)..

    I'm reused the diffuse texture to control the spread of colors for SSS and ambient strength.

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