Winter feast

Hi, this is one of the projects I want to learn new things with and to increase my level and build a portfolio.
We’re having a snowfall right now and it’s all a very cool coincidence. Almost for the first time I’m excited about my video card because I’ve been doing 3d for a long time and now I’ve started a new stage in my life where I’m not just doing work, but doing it for myself, having fun with it.

I also switched from octane to cycles at last, in the X version it’s an awesome tool, and the post processing k-cycles adds to the pleasure of the experience. I did a lot of excess work, hitting the resource 3090 to the max, but even with this project I’m discovering the nuances of working with cycles.

Have a happy holiday!





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You’re on the #featured row! :+1:

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This is so cool :clap: :clap:

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I featured you on BlenderNation, have a great weekend!

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i like this one. realistic!

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Very cool, what’s your workflow for the skies and how to match them to the scene, camera, lighting, etc?

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Hi! These are regular HDRIs, I have 3 cubes with volumetrics added to the background, but only one seems to capture the entire sky. In general in my work I try to stick to realism in the setting of light, camera and everything in general. I say realistic, not physically correct, because in my opinion, physically correct refers to researchers and inventors, while I still try to be an artist, in one way or some others.

A couple of concrete examples - I adjust the light so that it has power correlating to the real world, but based on the “eye” of course, not on units of measurement, because I am not trying to correlate the size of the light source with its power 1 to 1. And the rules are the same for any rendering engine. I put the world light first, then I look separately at the power of the other light sources, each separately from the other and from the world, and then how they work with each other. The same thing with their color, some are warm, some are white on the contrary, otherwise you can not see the color difference, and the whole picture is filled with yellow, as an example.
And also using different camera latitude, depending on the desired composition, as well as the fact that the normal camera with ±35mm latitude will be at a height of 1.6m from the ground, and then adjust the angle.

I saw in one vid that dude put a lot of light pass for transparency and translucency, about 50 for each; 0 roughness caustic, 25-50-80 for clump, because the advice to put the minimum I saw a couple of years ago, it’s good when you need to squeeze maximum efficiency for interior in a working project, but as the quality and desired result, limits them.

UPD. I also add sharpening and noise effect in photoshop, in addition to the rest of the light correction, because I don’t like a perfectly noiseless picture, it looks fake. On these renders the sharpness is probably higher than normal, but I’m discovering new pages in my work for myself and these are kind of extreme values.)