Texture help needed.

http://www.freewebs.com/dfstormbringer/update.jpg
http://www.freewebs.com/dfstormbringer/update.jpg

Heres my latest render updates… 7 days into using blender FINALLY got the ice how i want it to look… now to the mountains texstures… now that im able to focus on something other then the ice for once…lol.

My CURRENT problems are mainly with the insides… the console… using transparencies… and single planes… ive managed to wedge the gauges and such into the console… but… there HAS to be an easier way of getting my gauges image… and placing it onto the console… i thought about doing multi single user textures and materials… if thats possible… i know the materials are… but i dont know about the texts… and the faces… being the console has had a few boolean opperations to it… most the square faces are now triangles… and thus 2 faces… making it impossible to have it show the squaree texture properly… or is it?? i dont know… im a noob so im here for help.

My SECONDARY problem… ALSO in the cockpit area is the screens… the center one and the two on the left side are mirrored somehow… so the text read on them are backwards… is there a way OTHER then centering the cursor ont he plane and rotating the screen 180 degreze? being they are at an odd angle… such adjustments are time consuming… and i was wondering if there was a faster fix to the situation.

As about the first problem: not sure to understand, UVmapping could be a solution if I guess correctly.

As for the second problem: add in your scene an Empty object, because to give the right orientation to your picture, you can Map the texture to this Empty. How => In the Material context buttons, go to the second tab called "Map input’, and push the ‘object’ button instead of the ‘Orco’ default; then put the exact name of the Empty in the ‘object’ field on the right of the button.

What does it do exactly? Well, if you rotate your Empty 180° around a particular axis, the texture linked will also ‘rotate’ 180°. It works also for texture placement, scaling, rotation… A cool tip indeed when you have lot of textures to be set a particular way!

Another way to go is also to UVmap your planes with the pics you want. Perhaps is it more straightforward, but needs more skill, while the Empty trick is dirtier but easier too.

Hope this helps,

This definitely looks like an application for compositing in the Sequence Editor. I don’t know but that you are now trying to do it all as a single render?

Here’s what I’d do:

(1) Render (if necessary) each one of the console-displays and other artifacts as separate images, say PNG’s or TGA’s. Make each one exactly the way you want it, occupying the entire screen with no orientation or other issues: just a full screen image of what this particular console display would look like if you were staring right at it square-on.

(2) Render the background(s), also with nothing in them. This is what you would see out of the spaceship window, without the spaceship.

(3) Now render the spaceship window-glass, as a translucent object with the shiny surface-effect that makes it look like glass. (This means you must have an Alpha setting that’s fairly low, and ZTransp in the material.)

In each case, use the following Blender settings: - On the render window, select Premul. (Not “Sky.”) - On the same window, select RGBA. - Select an output file format of .PNG or .TGA; not .JPG. These settings give you the all-important alpha channel, which represents transparency information. This is what enables the AlphaOver filter in the sequence editor to know which pixels belong to the “in-front” layer, and in the case of translucent layers, how translucent they are.

(4) Now put some planes in 3D space for each view that is somewhere outside the window. Onto each one, attach the appropriate image as its texture. Now the various images are displayed on those planes. Orient and size them as desired. Render these, and only these, as before. You can do them all in one shot. Anything that should appear to be “outside of” the window should be in this shot.

(5) Now for the things that are inside the cockpit; same way. If you want them to be translucent, set Alpha accordingly. Anything that should appear to be “in front of” the console/window should be in this shot. If you want any sort of display-hardware, put it in this shot too.

(6) Now read up on the Sequence Editor! What you’re going to do now is to put the various image elements as “strips” starting with the backdrop on the bottom. After each two, put the AlphaOver filter to merge the previous two strips. Then add one more strip and another AlphaOver.

What you are doing is exactly what Hollywood does when actors perform in front of blue-screens; optical printing. Imagine setting a bunch of strips of film together, with masks and so-forth, one in front of the other. When you assemble the layers from top to bottom in the Sequence Editor (which really should have been named Video Editor or Compositor), the order is thus:

(9) AlphaOver (8-7)
(8) All displays which appear inside the cockpit.
(7) AlphaOver (6-5)
(6) Cockpit.
(5) AlphaOver (4-3)
(4) Cockpit window.
(3) AlphaOver (2-1)
(2) Shot (combined) of all displays which appear outside of the cockpit window. (That is, of the various translucent planes with their images already attached.)
(1) Backdrop.

Do test-renders along the way as you assemble the strips, to be sure that the desired translucency-effects appear. For example, make sure that the backdrop is visible behind the image planes. (If not, the planes aren’t translucent, or the alpha-info isn’t there.)

If you want the image-displays {step (5), sequence-editor layer (8)} to cast shadows upon the insides of the cockpit, then you must include the shadows in the {step (5)} layer which contain those displays. This is done by including the console and/or window objects, or the relevant parts of them, in those renders but with ShadowOnly turned on, This will produce a layer which contains the displays, and the shadows that are cast upon the console/window by those displays, but not the console/window itself. When printed, the shadows will appear to be cast upon the console/window. Some people would choose to produce entirely separate “shadow only” layers and you can do that, too.

Any elements within the cockpit that are to appear “in front of” any of the displays, however slightly, must be rendered separately in the same manner and composited in at the appropriate point. Look for artifacts like these in the finished image, and if you find any, just generate the appropriate new shots and sandwich them in.

(Obviously you should make many copies of the original .blend file since you might need to re-create any of the layers at will.)

Ummm… first week with Blender, eh? Well, welcome aboard.

Believe me, this is much harder to explain than to do. Trust me on that. Please.

What this buys you, in exchange for a lot more human-time setting the whole thing up, is not only vastly shortened render-times but also the ability to “tweak” the display to get it just-right without having to wait hours or days to “tweak” again. Any part of it can be edited individually.

Note: Anytime I use the word “layer,” I am not talking about the twenty-odd buttons that are used to turn things on and off. I mean a separate rendered file entirely; a new “sandwich layer of film.”

um… ok… uh wow. thats… alot of info o.O

ok… first off… the rotating the blank object with a texture. um… if it has no defined angles… how does it know where to put the textures? and secondly… if i have to rotate the object to get the screen the right way… wouldnet it have been easier to just rotate the plane it was on to begin with??? which is why i was asking if there is a way to flip the texture around to where the front faces the right way WITHOUT doing that… like a command or a button that rotates/flips the textures horiziontally as opposed to the single 90 clockwise rotation of the texture edit setting.

as for rendering the image into seperate layers… i have the finished objects on a layer and turn them off while im editing… so it dont slow down the machiene… which saves me time in the check editings and those renders at 25% scale only take 15 seconds or so… its the finals that take forever lol… and beside… if i was going to layer the images… id have dont it all in photoshop as an intended 2d image… but… this is an actuall 3d rendered model… thats an actuall cocpit your in… of a 3d vehicle. and the 2 screenshots at the top are of different angles of the vehicle… the cockpit view was just achieved by placing a camera inside the thing. and in time i plan on HOPEFULLY animating… and even making it a possible game render. both which cant be done by doing them all as individual still layers.