Forgive the DA link: too big to post here:
Wow! That’s pretty awesome! How long did it take to render? And is that Iray or Filament?
(Also - no apologies to linking to DA or any other site!)
540x540 on the render so about 1.5 frames per minute, 150 frames in under two hours. IRay - rendered as a series of images.
Adobe Premiere Elements to put them together. (and add the signature block)
If I remake it at a larger resolution, I’m adding a tiny bit of glossiness to the skin.
I am redoing this at 1080 for several reasons: –Get rid of the black wings –I don’t like the skin, it’s too matte. –Though I tried it with emissive lighting, I couldn’t get the background to look right, so I stuck with HDRI since it’s outdoors. I did pick one with better light, though. Since I’m rendering at 1080 instead if 540, its 4x the render time, so at two hours in, I’m 50/150 frames done. Preview Image:
Well, that frame looks fantastic! Topaz Labs has some plugins for Premier that does some pretty decent video upsampling. May be worth looking into?
I have most of their suite of photo utilities but I don’t do video (yet ).
It really does look great. I’ve tried my hand and a couple of small animations, but my god the amount of time it takes for me I am just not sure it’s worth it lol. I would have to get separate systems just to try and run something like that.
Updated hi res version
This was easy to make.
I started by picking a model and an ending pose and expression. I created a camera, set the view to where I wanted it, and locked every parameter of the camera. XYZ, XYZ rotation, scale and XYZ scale all locked.
The trickiest part is here: I added a null object and a tiny primitive sphere. I parented the sphere to the null and moved the sphere to -5000 on the X axis. I set the sphere’s Y parameter to be identical to the Y parameter of the camera. Then I selected the eyes and had them point at the sphere. Then I rotate the NULL to 90 degrees and the eyes seem to be looking at the camera, only the sphere is far enough back that the eyes don’t go crosseyed.
I expanded my timeline to 150 frames and set the cursor to the last frame. I made sure the model was selected and added a keyframe. I added another keyframe at 90 frames in - same pose. I added the same keyframes to the null. Then I went back to the start of the timeline and altered my pose to be looking away. (the starting frame is automatically a key frame, but I made sure it was.) I changed the expression to something more neutral. I rotated the null so the eyes worked with the starting pose and made sure there was a keyframe on the null at frame 0. At this point I have a starting pose, eyes that turn to look at the camera, a change in pose to look at the camera and as change in expression. All the motion starts at 0 and ends at 90 then stays static through 149. Now I go in and just add another expression around frame 50 I add some eye blinks (Eyes Closed pose control, but not all the way - that never looks right) and between frames 90 and 150 I make some very small parameter changes to the pose controls at a few spread out frames between 100 and 140. This keeps the motion from being too smooth and adds a touch of realism.
Then add a dress - dforce it to the animation and freeze it. SAVE here. Add hair, dforce it to the animation.
Light it - in both of these cases they’re HDRI lit to keep the lighting in the background in sync with the model.
Render it as a series of images using Iray. 150 frames at 1080 took 6 hours or so. (540 took less than 2 hours)
SAVE here and exit Daz if you want.
Load the images into Adope Premiere - 1 frame per image - add a watermark/signature layer and export as an animated gif.
Good job! I’ve done a bit of editing in Premier and After Effects Those took a while before using a good PC. Now that I’ve got a good one it’s a tough sell for me to tie up my PC for that long even with what I have.