Please, pardon my english as it’s not my native language.
So I’m semi-new to blender/3d softwares and recently I’ve been working on this scene for a client (Tattoo Artist).
It’s a attempt of recreation of Michelangelo’s Sistine Chapel work as you can tell. And I would love some composition tips too!
I’ve been struggling with the fluid simulation on the balls for two reasons:
I would like them to be drooping;
I would like them to be a little more paint like;
My way of getting close to that was to make a particle system with a instanced metaball. The problem is that it doesn’t look very realistic and I can’t get them drooping and I sure would love some help on that. I guess the right way of doing that is a Fluid Simulation but i couldn’t get it to just cover parts of the round-cube. It always covered all of the mesh…
Also, I’ve been struggling to get a decent depth of field in this scene. I’ve tried multiple setting of the “f-stop” and I just can’t get it right. My guess is that my depth (of meshes) is good, so thats just messing it up.
I’ve done some post-processing and i’m gonna attach the print of it, so I can get some feedback on that too.
I like the concept and models. One thing that is to consider here and eventually change - focusing the viewer’s attention. As it is now - an eye is drawn to shiny particles and some metal parts, human hand is barely visible - was this your intention? If not - what is to be the main focus? You can try different lights and cooler material colors for the hand and mechanic part - to get the viewer to concentrate on that.
DOF in blender is directly related to scale. Are you using meters? If so, is your hand 2 meters long? Looking at the grid that is what I would guess. A four meter hand will be really hard to get DOF on just like taking a picture of a car that is close to buildings. You would need to use at least a 200mm lense and have a good 25-100 m distance between your subject and the background to get a noticeable blur (this is coming from a photographer’s expierence). However if your hand was 152.4 cm then you’ll be able to quite easily get DOF on that. I’ve never worked with meatball so I don’t have anything helpful to say about that.
To my eye, the most-important consideration must be that the intended subject – the hand, and what it is touching – must be the brightest and most-contrasty element of the scene. And probably, larger and closer-to-the-camera than all other objects.
When I first saw this image, I thought to myself, “someone must have attached the wrong image to this post … this has nothing to do with the Sistine Chapel!” I didn’t see the hand, or see that it was supposed to be touching something. My eyes were instead drawn to “the brightest things in the scene,” which is a galaxy of floating-things. I quite-literally never noticed the very thing that you most wanted me to see.
The general composition is that of four parallel diagonal arrangements, which is good. But the touch-point, itself is “the key take-away of the entire scene,” secondarily the two things that are touching. Everything in your composition needs to emphasize these two specific things: the point of contact, and the things that are about to touch.
Cool idea for a scene (would vey much like to see it animated (the floating droplets and stuff) )
How about adding some air to this - now the scene seems as in a perfectly clean vaccuum - i would experiment in adding some very slight volumetrics (it could give a godray efffect or some glow around the centre , not sure if this would work but worth trying out)
also adding some tiny dust particles (golden perhaps) would boost the intimate atmosphere of the shot i think - it also works great with DOF giving the macro photography feel
I’m not sure about the black balls if they should be so perfectly spherical - maybe deform them like the golden ones to look more like fluid with no gravity.
Anyway great work and I expect that tu turn even greater - featured prediction
Jarek D. (DJ)
- featured prediction 