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Thread: First LW-2018 dev: "The Angry Sea ..."

  1. #16
    This is some of the best ocean render in Lightwave so far, and it fits well in with your previous work which is very impressive. I’ve been on the ocean for many years (in my previous life), so I have a good knowledge on how it looks like.
    It is very nice from an artistic point of view, but it is not real. As Prometheus mention, there is too much foam compare to the wave heights and on a nice sunny day. I know most people tries to get a Deadliest catch kind of look, but there are many “wavy” days out there with no foam at all.

    But I will follow this progression, and I would love to see an animation.

    Here is a tip on how to create an endless detailed ocean mesh. (If you don’t know it already).
    1. Create a rectangle in top view.
    2. Split it up using the knife tool so there are more details near the bottom.
    3. Use the Taper tool and form it as a triangle.
    4. Send it to layout and use Follower to make it follow the camera in X, Z and Heading channels.
    5. Apply the displacement maps using world coordinates.

    Click image for larger version. 

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  2. #17
    A.K.A "The Silver Fox" Gungho3D's Avatar
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    Quote Originally Posted by Reco View Post
    This is some of the best ocean render in Lightwave so far, and it fits well in with your previous work which is very impressive. I’ve been on the ocean for many years (in my previous life), so I have a good knowledge on how it looks like.
    It is very nice from an artistic point of view, but it is not real. As Prometheus mention, there is too much foam compare to the wave heights and on a nice sunny day. I know most people tries to get a Deadliest catch kind of look, but there are many “wavy” days out there with no foam at all.

    But I will follow this progression, and I would love to see an animation.

    Here is a tip on how to create an endless detailed ocean mesh. (If you don’t know it already).
    1. Create a rectangle in top view.
    2. Split it up using the knife tool so there are more details near the bottom.
    3. Use the Taper tool and form it as a triangle.
    4. Send it to layout and use Follower to make it follow the camera in X, Z and Heading channels.
    5. Apply the displacement maps using world coordinates.

    Click image for larger version. 

Name:	LW ocean.jpg 
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    Hey Reco - loved your feedback, the "Deadliest Catch" comment had me laughing all morning

    The art of it ...
    Great to hear you differentiate between what is being aimed at artistically as compared to a straight out simulation ... after all, the title is "The Angry Sea." If it helps, think about this as "we've made it to the eye of the storm!" So maybe not such "a nice a day."

    But definitely (without the results looking ridiculous), the aim was to make the rendered images look interesting, hopefully to evoke something within the viewer and maybe elicit a response ... something like that.

    But I do understand when sometimes artistic exaggeration has gone too far and been "over-stated" or over-dramatized.

    A "Frustum" based mesh solution
    Yes, a version of what you have suggested will probably be part of a final, open ocean solution.

    However, even with this technique: the best case / best use of a frustum based mesh approach is where the camera viewing angle and camera field-of-view combine to reduce the total count to an acceptable level. There are combinations of the two (I know, I've tried) which for now result in too many poly's.

    But your suggestion has merit and I intend to combine it with other poly-reduction methods - thanks for taking the time to illustrate via screen grabs.

  3. #18
    Very pretty sea renders, the foaminess is quite effective, though the open water doesn't quite look right. It's quite easy to build a sea material in 2018, i just find the foamy part is the hardest part to get right, as it needs to be heavy on simulation.

    Reco, I love your camera cone based sea, that's a really sweet idea for polygon reduction, i did the scaled disk, it never occured to me to just do the camera distance cone.

  4. #19
    The images are absolutely interesting Gungho3D.
    I hope you succeed with what your trying to achieve. And as I mentioned, I hope we can see an animation in the future.

    Reco

  5. #20
    I’m glad you liked the technique Tobian, but it is not my idea. It was developed during the Titanic time and was a part of the Arete software for Softimage. It was later ported as Nature FX to Lightwave (32bit), and still a part of the Sitnisati Dreamscape for 3Ds Max. https://www.afterworks.com/DreamScape.asp

    Here you can take a look at the mesh solution.
    http://docs.afterworks.com/DreamScap...#_Toc469405796

    As with Nature FX the mesh angle will adapt the cameras field of view.

    Reco
    Last edited by Reco; 08-28-2018 at 04:45 AM.

  6. #21
    Yeah i get the idea, I just hadn't seen the trick used before, put the geometry just where it's needed, in the FOV, and set the procedural to global mode, so if you pan the camera the procedural, it only looks like the camera is moving and the procedural will travel through it.

  7. #22
    A.K.A "The Silver Fox" Gungho3D's Avatar
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    Here is a proof-of-concept dynamic water plane, the shape of which locks to the camera viewing screen.

    WIP so far:
    1. It can handle pitch, heading and FOV ok
    2. Displacement tests with "world coord" textures (not in examples below) works well

    Still to go:
    1. Requires a little more TLC to accommodate camera banking
    2. There's something weird happening with the vertical FOV locking
    3. It is a pain to set up, but thereafter is ok to use
    4. Setting up a "max range/distance" has eluded me so far, although I have tried

    How it works:
    1. Basically a four-pronged ray trace from camera to an intersection plane gives me the XYZ coords needed to track the camera frustum on a proposed ocean surface and then "pin" a subdivided mesh to those exact coords.
    2. Everything is done via Nodal Motion + Expressions. As can be seen, this is a vanilla LW 11.6.3 solution - I did that deliberately
    3. The mesh used for the dynamic water-plane is a simple, subdivided flat sheet - yes, it would be better to have much greater mesh density much closer to the camera

    To actually use at this early stage:
    1. Requires a matching but much lower density mesh to follow "off screen" - otherwise there is lighting/colour bleed (can really see it in image #5 below)
    2. Camera can't as yet be allowed to "see" beyond the unseen intersection plane (collapse of the dynamic plane follows)


    Thoughts, comments, feedback welcome ...


    Screen grabs:

    1. Angle #1


    2. Angle #2


    3. High Angle


    4. Telephoto


    5. Extreme Telephoto #1


    6. Extreme Telephoto #2


    7. Super wide angle + Octane fisheye "distortion" set to 100%






    Click image for larger version. 

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    Last edited by Gungho3D; 09-07-2018 at 09:50 AM.

  8. #23
    A.K.A "The Silver Fox" Gungho3D's Avatar
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    Still pushing forward with "The Angry Sea". The original "Titanic" angry sea displaced subdivided mesh has now been replaced by the new "frustum" based approach I've been working on …


    You can click for larger image ...



    Click image for larger version. 

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    Attached Thumbnails Attached Thumbnails Click image for larger version. 

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