3D-Daz Daz3d Art - Show Us Your DazSkill

5.00 star(s) 12 Votes

Ataly

Member
Jan 25, 2019
100
1,047
Did you render it on your Laptop?? Thats impressive AF (feeling sorry for that poor lappy :D)
If you don't mind me asking, how long did it take to render that scene??
Yeah i'm sorry for him too, but y700-15 is a solid model, so he's facing it well (⌐ ͡■ ͜ʖ ͡■)
And for the rendering time - ~1h in 1920x1080, and it used 3,5GB out of 4GB of GPU memory. Hair has been optimized with scene optimizer, and only 55% of image was converged.
 

brynhildr

Compulsive Gambler
Jun 2, 2017
6,530
57,355
This pose right here, was an hell on earth to fix. Since the original pose I believe wasn't meant to be for two females (rather one male and one female with different scales. So probably the one fucked got scaled down, somehow), I had to fix it. And I still didn't do perfectly the job (since you could say that there are some "floating feet" there) :rolleyes:

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Powerline75

Member
Nov 7, 2019
399
4,254
This pose right here, was an hell on earth to fix. Since the original pose I believe wasn't meant to be for two females (rather one male and one female with different scales. So probably the one fucked got scaled down, somehow), I had to fix it. And I still didn't do perfectly the job (since you could say that there are some "floating feet" there) :rolleyes:

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it's not bad, at all, actually! As for the "floating feet" part, you can always ... cheat! Just either nudge the floor a touch or two, up the Y axis, or set the toes to bend less, so THEY touch the floor. The latter, if done with the right camera angle, makes for an even more intense fucking vibe sometimes
 

brynhildr

Compulsive Gambler
Jun 2, 2017
6,530
57,355
it's not bad, at all, actually! As for the "floating feet" part, you can always ... cheat! Just either nudge the floor a touch or two, up the Y axis, or set the toes to bend less, so THEY touch the floor. The latter, if done with the right camera angle, makes for an even more intense fucking vibe sometimes
Yeah, I thought about not bending too much the toes but the iray preview didn't gave me that.. "problem". Only after returning and see I ended up finding the truth. I'll most likely fix that in local, for myself and if I manage, why not, sharing it again here c:
(I'm the kind of guy who doesn't hide any kind of mistakes that he make xD)
 

Powerline75

Member
Nov 7, 2019
399
4,254
Yeah, I thought about not bending too much the toes but the iray preview didn't gave me that.. "problem". Only after returning and see I ended up finding the truth. I'll most likely fix that in local, for myself and if I manage, why not, sharing it again here c:
(I'm the kind of guy who doesn't hide any kind of mistakes that he make xD)
I can relate. Normally, in Poser, I pick my camera of choice, set the angle, and, then, shift around the remaining preset view-angles, to finetune things, or, if necessary, hide glitches and pokethrough problems. I think you can always set a camera in DAZ, if you have the correct camera angle, set it to copy the active viewport angle, to lock it in place, then, with the "perspective" vioew option, move around to fix things up
 

Powerline75

Member
Nov 7, 2019
399
4,254
And another one... Iray is behaving so damn good today, and I have been ... creative, with my Photoshop post-editing... enjoy!

P.S.
Yes, the film grain is intentional, and was added later on. If anyone's interested, I can share the process, and add the Photoshop brushes that create it.

artistic3.jpg
 

Nomec104

Active Member
Jul 28, 2017
684
3,978
And another one... Iray is behaving so damn good today, and I have been ... creative, with my Photoshop post-editing... enjoy!

P.S.
Yes, the film grain is intentional, and was added later on. If anyone's interested, I can share the process, and add the Photoshop brushes that create it.

View attachment 460255
Actually im interested mate :) since it turned out pretty damn good.
 

Powerline75

Member
Nov 7, 2019
399
4,254
Actually im interested mate :) since it turned out pretty damn good.
Well, since you are...
First, from the raw render... artistic0.jpg
the process is as follows...
First, duplicate the image as a new layer, add unsharp mask to the duplicate (roughly around 100% strength, 6 pixels radius and 22 threshold levels, but that drastically changes depending on the render's own resolution. The smaller it is, the lower the values before it turns ugly. Adjust to taste). Then, again on the duplicated new layer, lower its saturation to minus 80 (through image-adjustments-hue/saturation/contrast), set the layer blending mode to overlay, and the layer opacity to 25%. Merge down, and set saturation to plus 10, with the same method as above.
Second, on the "select" menu, color range... in the following order, select highlights, copy-paste, midtone, again copy-paste, then, finally, shadows, again copy paste. IMPORTANT! Always select and copy, with the main image layer highlighted. The layer palette structure should look like this...
layer palette.JPG
Now, highlight the shadows layer (layer 3 in the picture), give it a gaussian blur filter, value of 5, set its blending mode to overly, and the layer opacity to 25%. Then, the midtones layer (layer 2 in the picture) give it a gaussian blur filter, value 7, set its blending mode to lighten, and its opacity to 25%. Finally, the highlights layer (layer 1 in the picture), give it (again, dh!) a gaussian blur filter, value of 10, set its blending mode to screen, and (yet again, duh!), layer opacity to 25%. Flatten image.
Third step, duplicate the so-far result, and create a gradient. Very bright, pastel hues of red and black (or, pale pink, and super pale blue, to be exact), like this...

gradient1.JPG

make sure the gradient options (not the editor itself) are linear, normal mode, 100% opacity, and ALL tickboxes active. Then, draw a line from the top end to the bottom of the canvas. Set that layer to overlay blending mode, and opacity between 15% and 25%, depending on how dark your render is. Darker needs higher opacity, and vice versa. Flatten image.
Four, duplicate the image as a new layer (Yes, I know, again! duh!), highlight the duplicate, image-adjustments-black and white. From the presets, select "neutral", then, edit "fade black and white". Leave opacity to 100%, chamnge mode to "screen". Now, on the whitened out, super bright layer, set blending mode to multiply, and opacity around 50%, or adjust to taste. Flatten image.
Five, you guessed it, duplicate layer, image-adjustments-photo filter, select either one of the warming or cooling presets, leave dfault values in the other options. On the same layer, image-adjustments, variations. Here, you'll need to either brighten up shadows and midtones, or only shadows, or brighten up shadows and darken midtones, and, adjust highlights to taste, as well as saturation, but, whatever you do (this step is where you can get as creative as you like), do NOT, I repeat do NOT, change the hues, AT ALL! Afterwards, set the layer to color mode, opacity at 50%, duplicate that dupliate layer, change its mode to luminosity, and flatten image. You should get something like this.

artistic1.jpg

Now, from here, you may want to work further, using one, or several pre-made actions, before the final step. And, describing my particular method may be useless to anyone using different actions, or software incompatible with them.
For the final step, with a flattened image, go to image-adjustments-hue/saturation, and on the drop-box, pick "sepia". Lowersaturation to where the yellow tint is almost completely gone, but leave some for that "old film" effect, and, this is where the brushes come handy. create an empty layer (or a number of empty layers, depending on the specifics of the image) over your now almost monochrome image, and, on each, use one of the options from the brushes that are below. Use black on some, white on some others, and play with the opacity of each layer, to hit a convincing, plausible vintage film grain effect, and, you're done. Word of advise here. When it comes to working on similar effects, the rule of thumb is "less is more". be subtle, and be reasonable, because, unless you pay good enough attention to the graph photoshop provides with image data, you may easily slip and go beyond clipping bounds on luminosity, contrast and saturation, and, if you work on high resolution images, it's easy to miss the damage until you examine your final result.

P.S. this is a bit overdue, but, as I was writing the original response, I lost power.

P.S. 2
I forgot to add the brushes, and I can't seem to be able to attach files other than media... anyway, the brushes are legally available on Deviantart... or, you can go to the actual DA page, .
 
Last edited:

Nomec104

Active Member
Jul 28, 2017
684
3,978
Well, since you are...
First, from the raw render... View attachment 460274
the process is as follows...
First, duplicate the image as a new layer, add unsharp mask to the duplicate (roughly around 100% strength, 6 pixels radius and 22 threshold levels, but that drastically changes depending on the render's own resolution. The smaller it is, the lower the values before it turns ugly. Adjust to taste). Then, again on the duplicated new layer, lower its saturation to minus 80 (through image-adjustments-hue/saturation/contrast), set the layer blending mode to overlay, and the layer opacity to 25%. Merge down, and set saturation to plus 10, with the same method as above.
Second, on the "select" menu, color range... in the following order, select highlights, copy-paste, midtone, again copy-paste, then, finally, shadows, again copy paste. IMPORTANT! Always select and copy, with the main image layer highlighted. The layer palette structure should look like this...
View attachment 460307
Now, highlight the shadows layer (layer 3 in the picture), give it a gaussian blur filter, value of 5, set its blending mode to overly, and the layer opacity to 25%. Then, the midtones layer (layer 2 in the picture) give it a gaussian blur filter, value 7, set its blending mode to lighten, and its opacity to 25%. Finally, the highlights layer (layer 1 in the picture), give it (again, dh!) a gaussian blur filter, value of 10, set its blending mode to screen, and (yet again, duh!), layer opacity to 25%. Flatten image.
Third step, duplicate the so-far result, and create a gradient. Very bright, pastel hues of red and black (or, pale pink, and super pale blue, to be exact), like this...

View attachment 460332

make sure the gradient options (not the editor itself) are linear, normal mode, 100% opacity, and ALL tickboxes active. Then, draw a line from the top end to the bottom of the canvas. Set that layer to overlay blending mode, and opacity between 15% and 25%, depending on how dark your render is. Darker needs higher opacity, and vice versa. Flatten image.
Four, duplicate the image as a new layer (Yes, I know, again! duh!), highlight the duplicate, image-adjustments-black and white. From the presets, select "neutral", then, edit "fade black and white". Leave opacity to 100%, chamnge mode to "screen". Now, on the whitened out, super bright layer, set blending mode to multiply, and opacity around 50%, or adjust to taste. Flatten image.
Five, you guessed it, duplicate layer, image-adjustments-photo filter, select either one of the warming or cooling presets, leave dfault values in the other options. On the same layer, image-adjustments, variations. Here, you'll need to either brighten up shadows and midtones, or only shadows, or brighten up shadows and darken midtones, and, adjust highlights to taste, as well as saturation, but, whatever you do (this step is where you can get as creative as you like), do NOT, I repeat do NOT, change the hues, AT ALL! Afterwards, set the layer to color mode, opacity at 50%, duplicate that dupliate layer, change its mode to luminosity, and flatten image. You should get something like this.

View attachment 460334

Now, from here, you may want to work further, using one, or several pre-made actions, before the final step. And, describing my particular method may be useless to anyone using different actions, or software incompatible with them.
For the final step, with a flattened image, go to image-adjustments-hue/saturation, and on the drop-box, pick "sepia". Lowersaturation to where the yellow tint is almost completely gone, but leave some for that "old film" effect, and, this is where the brushes come handy. create an empty layer (or a number of empty layers, depending on the specifics of the image) over your now almost monochrome image, and, on each, use one of the options from the brushes that are below. Use black on some, white on some others, and play with the opacity of each layer, to hit a convincing, plausible vintage film grain effect, and, you're done. Word of advise here. When it comes to working on similar effects, the rule of thumb is "less is more". be subtle, and be reasonable, because, unless you pay good enough attention to the graph photoshop provides with image data, you may easily slip and go beyond clipping bounds on luminosity, contrast and saturation, and, if you work on high resolution images, it's easy to miss the damage until you examine your final result.

P.S. this is a bit overdue, but, as I was writing the original response, I lost power.

P.S. 2
I forgot to add the brushes, and I can't seem to be able to attach files other than media... anyway, the brushes are legally available on Deviantart... or, you can go to the actual DA page, .
Thank you very much
 
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5.00 star(s) 12 Votes