You must be talking to me, it was my thread.

Good job on the animation btw, it looks like a bit of work you put into that.

Yes, I'm going to use that outfit, the Jessica Wrap, in some renders for an Alien girl character, Muuta, that I've been working on for LF. The morphs are all done for that one; custom head with match centers stuff, and a custom body with a ton of options (including a redux of my Eldritch Breast Morphs set I made for LF under the name EldritchCellar... I was working on her textures when I got distracted by SuperGirl(Woman) for V4...

Anyway I think that wrap is a nice replica.

But Suddenly!

Technical non narrative notes: I'm working on the JCMs for the skirt body handles and V4 rotations. I discovered some interesting things. It seems that if you use a donor rig part to drive a handle you can have a crosstalk JCM and a handle JCM (identical) drive JCMs in the respective actors (even though they are in fact the same conformer donor actor), just utilize a different name for the crosstalk controller dial in the conformee. Weird stuff, you learn something new every day. You would think there would be doubling up of the morph but not so. And proper individual deformations whether instigated by the conformee or the the conformer. A bit difficult to explain.

As far as the JCMs go I've figured out not to go overboard, it's impossible to predict all the various deformations and it makes sense to make on the fly fixes/adjustments in mudbox for each final pose for render purposes. Much faster than simulations in my case. And you don't end up with that weird, stiff, not obeying gravity properly thing that is such a fuss in various poses, specific to gravity for that pose. Easier to just make custom morphs on a render by render basis. The JCMs I'm making are just addressing some low level obvious clipping and bends. Conformers don't have the advantage of self collision automations of course.

The fit to the SG(W) custom shape. Notice how close the waist fits.

Unlike many of the things you show Rokket, where you rely on the simulations to fit (thus you're at the mercy of offsets, and hence you get that inflated floaty look around cloth perimeters, see your underwear fit and your sleeve fits around the wrists to understand what I mean, everything is offset from the body quite a bit, so it looks like its inflated or floating) I manually do all of my fits with morphs pretty tight and then use morphs to fix clipping over top. This will only work for stills though...

For example... see how offset the underwear is. Just one of those nitpicky things that irks me about dynamics or just alot of Poser clothes I see in general. Floaty Stay Puft clothes. There's really no practical way to get away from it without making tons of adjustments, which isn't so bad for stills... I guess most can't be bothered with it.

Anyway, still working on the JCMs... and then some straight movement and shaping morphs. Because this isn't redistributable and is for my own personal use I can get away with quite a bit as far as sensible neat dials and cheats. A bit a relief actually... I will have to make some panties for certain images though. I've gotten pretty good at modeling underwear though, I use the Blender plug in RetopoFlow for that. It's basically Quaddraw with a shrinkwrap and displacement modifier and a bunch of bells and whistles. I'm thinking she'll have like polka dotted old lady drawers that'll be strangely incongruous with her plentiful curves, hence hopefully unintentionally (intentionally sexy). For full outfit stuff the V4 body suit leotard will cover, with a few adjustment morphs.

Still quite a bit to do but the dials for the skirt will be wrapped, at least enough for starters, tonight...

Narrative thoughts. Picking up again from here...

https://www.renderosity.com/forums/comments/4444002/permalink

The next series of images/renders (coming soon!) will be more Polaroid snapshots from Kris Kristofferson's private collection. As a refresher remember that this is from issue 6 of the SuperGirl(Woman); Infinite Crisis, Enduring Catharsis series. Which takes place, primarily, in the murky bayous of Louisiana.

Meanwhile

Did you know...

This version of SuperGirl/Women appears as an alternate version character in the DC Multiverse, an inhabitant of Earth K 1101. This particular version of Earth is Dystopian in nature, with the United States playing a more overt Totalitarian Imperialist Matriarchy role in the world theater. There's some ambiguity in the roles of many of the super powered individuals who call Earth K 1101 home. The government of the United States is very frequently adversarial in nature; many of the heroes have more of an anti-hero slant, and many of the villains aren't as one sidedly evil in intent. Themes of oppression and freedom are prevalent and there's plenty of questions of a morally ambiguous or philosophical nature. The parallel timeline to earth 1 would be the late 1970s.

It should also be noted that in this alternate timeline Superman does not exist and his role is filled by Supergirl/Woman; Kryptonian name Kara Zor-El.

This plot line originally appeared on DC's Vertigo imprint in the late 1990s and ran successfully until the early 2000s. Executives at DC chose the Vertigo imprint due to the adult themes depicted in the series.

Writing and art duties were divided amongst various well known DC artists, the initial run of 6 issues was helmed by relative newcomers Dan Fulci on Pencils/Inks and Chastity Thirstwhistle handling the writing.

In 2003 DC released an omnibus Graphic Novel edition that collected the adventures of Earth K 1101 Kara Zor-El under the title 'Supergirl/Woman; Infinite Crisis, Enduring Catharsis. It appeared with a memorable cover drawn by UK artist Brian Bolland which depicts a disheveled, crying, and obviously hung over Kara Zor-El applying lipstick to her lips while gazing at herself in a mirror in a seedy public restroom. The logo for Supergirl has the word Girl struck out with a slash of red lipstick and Woman scrawled in femine cursive beneath in same. The forward to the omnibus is a thoughtful meditation on the narrative by renowned feminist and social critic Camille Paglia.

From the back cover of the Trade Paperback version, a review blurb from noted sequential art/Comics writer Alan Moore (the Watchmen, Saga of the Swamp Thing, V for Vendetta)

Kris and Kara at a pivotal moment in the plot line for issue 6. Kara hears some kind of strange noise coming from outside the house during one of their private moments, (for reasons that will be revealed later her super powers are sporadically reliable,  often times not working at all) Kris in a heroic fashion dons his boots to go and investigate. Little do they both realize that in fact it is the monstrous Solomon Grundy

Solomon Grundy

Who was spying on Kris and Kara's lovemaking from outside their window, perched awkwardly on an ivied trellis. Solomon is romantically obsessed with Kara and in a fit of rage drags Kris off into the swamps as a hostage... insert plot conflict genesis. And yes Howard the Duck is involved.

To be continued,

Nuff Said!