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Here is the Workflow to get the Matcap Material from zBrush to mental Ray material:
norman3d.com/blog/?p=11#more-11
Thanks Norman, I've max 2010 and it's a little bit easier:
- Screenshot from your Zbrush Material, crop and save it.
- from he Norman's tutorial:
"Change the “Default Scanline Renderer” to mentalray. Open the Material Editor and pick a default material. Change the Self Illumination value to 100. Now you can click on the diffuse slot and pick the “mr Gray Ball” map. In the “Gray Ball Image” slot you will have to put the Shading Map you grabbed earlier."
The part with *.mi file can be ignore in 2010. The correct/actual name i have for the "Gray ball Image map" is "Environment Probe/Gray Ball (mi)". For this example I didn't use a standard material but a Arch&Design material with a normal map. It works fine.
Info about the pic above.
#1 Picture of the model from zBrush
#2 Same Model in 3ds max with the new material method
#3 Lighting für mental ray
#4 Compositing in Photoshop with AO and Zdepth
JPEGMini Pro is an integral part of my digital photography workflow. Read all about it in an upcoming article on the blog: hikinginfinland.com
Karomi Technology - Offers high value Workflow Automation Software in India. Get your business process management automated by using our Workflow Automation Software in India from www.karomi.com.
Cannes is a city located on the French Riviera. It is a commune located in the Alpes-Maritimes department, and host city of the annual Cannes Film Festival, Midem, and Cannes Lions International Festival of Creativity. The city is known for its association with the rich and famous, its luxury hotels and restaurants, and for several conferences. On 3 November 2011 it hosted the 2011 G20 summit [Wikipedia.org]
Over two years ago, I posted an image of my workflow. Today, I decided it was due for an update.
This is the perfect "Portable yet Powerful" combination, version 2!
Kết quả sau 3 ngày chuyển qua Lr làm
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Photo: Blue
Model: Polly Thanh Thảo
Location: Quận 7
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Contact: 090 3883 869
Gmail: dsltn.seeya@gmail.com
Yahoo: dsltn.seeya
© István Pénzes.
Please NOTE and RESPECT the copyright.
7th., March 2010, Distagon 50mm at the closest distance.
Hasselblad 503CW
Carl Zeiss Distagon 4.0/50
Kodak T-max 100
T-max developer 8 min. @ 19 Celsius
Coolscan 9000
Prepare for bug close-ups...
This is the end of a small alligator clip on my X/Y/R specimen stage for photographing moths and other small creatures.
Workflow from
ubio.bioinfo.cnio.es/biotools/iHOP/examples/wf-iHOP.xml
as published in
by José M. Fernández, Robert Hoffmann and Alfonso Valencia
Workflows automate the task of associating CAPA issues to Teamcenter deliverables through sophisticated trace links
The 2nd app in my workflow I use is Photogene... More on how I use it at:
digitalchemicals.blogspot.com/2014/02/ipad-photography-wo...
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About. Me - about.me/edwardconde
Workflow: logartis.deviantart.com/art/Workflow-animation-of-Slum-30...
ps + tablet
My facebook: www.facebook.com/logartis.info
My website: www.logartis.info
Large size | Original uploaded size | My portfolio | My manifesto
No, not a tilt-shift photo, just practicing my CR2 -> DxO Optics -> DNG -> Adobe Camera Raw -> Adobe Photoshop CS4 workflow (I'm planning on using DxO mainly for the geometric corrections - they should make a Photoshop plug-in just for that).
Strike a Pose Workflow Review
“Lightroom Preset Collection for Portraits”
Today I’ll be reviewing a new product from Sleeklens.com, collection of Lightroom development presets and brushes they are calling “Strike a Pose Workflow“. These tools are specific to ... [read more...]
www.bigsunphotography.com/strike-a-pose-lightroom-presets...
I get asked a lot how I made the Burning Hand Shot. Here is basically my workflow from camera to finished project omitting the flames added between steps 2 and 3
you can see the final here::
A simple workflow for converting a Digital Object Identifier 10.1093/nar/gkl320 into a PubMedID (16845108) using the NCBI eSearch utitlity.
NCBI services consume and produce complex data types. In Taverna, inputs (e.g. Database name, DOI, Return type in this example) have to be merged into a single string using the perversely named "Input Splitter". Outputs have to be split using the Output Splitter, which appear when you right click on the service in Taverna.
Workflow available from www.cs.man.ac.uk/~hulld/workflows/DOI2PMID.xml and via a simpler RESTian style: eutils.ncbi.nlm.nih.gov/entrez/eutils/esearch.fcgi?db=Pub...
This workflow was created and runs in www.taverna.org.uk/
© István Pénzes.
Please NOTE and RESPECT the copyright.
7th., March 2010, Distagon 50mm at the closest distance. I'm developing a bad habit to fill the last few pictures of every roll with camera porn. I'm sorry....
Hasselblad 503CW
Carl Zeiss Distagon 4.0/50
Kodak T-max 100
T-max developer 8 min. @ 19 Celsius
Coolscan 9000
The Halloween workflow involves making a series of sketches, which are subjected to a complex and secret review process, then the winner is rendered in pumpkin flesh. During the design phase, stock of candy has been known to dwindle. Alcohol is not to be consumed until one actually has a knife in hand.
This screenshot deconstructs by 365 day 31... I've never worked with textures before, but I decided that this image would benefit a textural addition.
1. I opened the original image in Ps, increased the exposure to make it a bit brighter (cancelled out by the new textures so it came back to its original exposure).
2. Opened the texture I got online and pulled it onto my image, using the soft light blending mode. I created a mask and masked off my face to keep it relatively clear (the brush had a 40% opacity I believe)
3. After doing that, I felt it looked better with a bit more contrast, so I made an S-Curve in the curves layer, and bumped the vibrance because I wanted to try the overlay blend on top on the soft light texture.
4. Same texture on the top, only in overlay blending mode, at 70% opacity, then masked out my face again on the forehead and "front" of the face to make it look like I was emerging. Again used a lower opacity on the masking brush, about 50%.
Final Shot here.
Hope this helps! I'm not claiming to be any sort of expert, that was just how I did it. This is far more processing that I usually do, I like Zack Arias' philosophy (well, I heard it from him) that you gotta get it right in camera.
...and if you have any ideas/feedback on how you'd do it, I'd love to hear!
Here I hone in the mildly interesting and really interesting shots. If I've taken multiple shots of the same subject in rapid succession, then I'll choose the best of the litter. I'll begin to start editing and cropping here and it's very often at this state that a style or theme emerges. In this particular case I started thinking about a series of square crops. I'm left with 26 photos.