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Helios F92/2 from Leti 60M projector at f/2. Biotar optical scheme. A beautiful renderer like the Biotar 2/50, not swirly like the Biotar 85. Sharp wide open (it better be, no aperture), lovely pinkish old style coating.
Render of a bangle project. Brief was design a bangle inspired by a car ... Rhino and Flamingo render.
Exported with Mineways, rendered with Blender. Now I need to learn how to make the windows transparent. :)
My 3D Portofolio
Menyediakan jasa pembuatan perspektif 3d, murah dan cepat
Segera hubungi :
email : sobat_lama007@yahoo.com
hp : 0812 9489 4000
blog : eben3d.blogspot.com
jasa render 3d, 3d murah dan cepat, 3d artist impressions, buat 3d rumah
My 3D Portofolio
Menyediakan jasa pembuatan perspektif 3d, murah dan cepat
Segera hubungi :
email : sobat_lama007@yahoo.com
hp : 0812 9489 4000
blog : eben3d.blogspot.com
jasa render 3d, 3d murah dan cepat, 3d artist impressions, buat 3d rumah
"Remember Me" (Dontnod, 2013): Rendered at 3840x2160, CeeJay.dk's SweetFX v1.4 with Boulotaur2024’s Injector (settings by Omnipotus), Film Grain Filter removed (texmod), Free Camera (freecammode). In the 'ExampleAdriftGfxConfig' file, 'SuperSampleCount' is set to '2'. Image cropped to 2269 x 2160.
A global illumination result from a render I am working on. May actually look better than the final render!
We discovered rather late in the day that the builders quote for rough build didn't include rendering the building (to be fair we thought it was cheap) so we had to dig deep into the contingency budget. Pleased with the result though - it'll look better once it's painted with limewash.
I just installed SolidWorks 2009 the model render PhotoView 360 is fantastic, so easy to apply materials........... hard to tell its computer generated.
This is my first effort with it...
Another 'what if' render. One of the Baldwin 'baby face' diesels in early and late Seaboard Air Line colors. There were only 9 of these ever built and on the SAL, they were only used for branch line passenger trains. This would make for a nice departure from my streamliners and allow me to build some old woodsided baggage and passenger cars that could also be used with steamers (hint hint). The top photo shows the citrus scheme (my fav, but I've already done the citrus 'Silver Meteor'). The bottom shows the late 'mint green' scheme, which is a bit deceiving because at the first hint of sunshine this scheme faded to essentially white. They both have advantages and disadvantages and maybe if I ever build it, I'll have weighed them and choose. This is a pretty simple WIP with scarce roof details and a few pieces in colors that don't exist, but easily substituted (like the orange nose curve).
This is the one. I have been looking for this. There are others that I haven't found yet within the existing archive, but this is the one I saw and knew it was true.
This is a photograph of a construction hoarding. It is a detail of a rendering of the new Whitney Museum in the meatpacking district in NYC, currently under construction and due for completion in 2014. Most of this is real: the street and the High line, the brick building. I'm not sure about the foliage. In this detail, the computer-generated new Whitney building is out of shot.
The men are real too, except they were photographed a long way away, a long time ago. They are two of the "Business People" included in a pack of imagery created some time in the 1990s by RealWorld Imagery. You can see the images here: www.imagecels.com/thumnail/201/201.html - these men are labelled PEOPL114 and PEOPL159 (the latter has been mirrored from the original).
RealWorld is based in Albuquerque, New Mexico, and the original contact sheets are (c) 2000 InterDimensional Publishing. That's all I know about the source of these images. Repeated email enquiries to RealWorld have gone unanswered.
At some point in the last decade, RealWorld's imagery escaped onto the net, and has become the default set for every visualisation artist and studio I've spoken to, pirated and shared across thousands of hard drives. They've marched across hoardings from Shanghai to San Francisco. They've been to the Olympics. They've owned condos and worked in highrise office blocks. They have stood in for the future, time and again.
I don't know who they are. I'm pretty sure they don't know they're here either. But there they are, here and there, endlessly replicated across the network and across architecture.
A cloud head rising over the mesa in Dulce, New Mexico - that is exactly the same, in every detail - as one photographed in Queenstown, New Zealand.