I think Boni animated an email and it is evolving over time. Boni used the graph editor to make a nice curve.

I don't know if the OP is getting what's needed, but I sure am. I've wanted to learn how to do this for a long time.

Can you animate transparency? Just have a character walking along and fading to nothing?

Sam, I thought La Femme supports dragging body parts around, especially limbs, without disrupting the torso, etc. V4/Sasha-16 certainly does. It's great.

parkdalegardener,

Yes, those filters are common and not too expensive.

That's the easy part. As you point out, taking two shots as identical as possible is the problem.

I don't believe you need two cameras. You just shoot with the lens in "non-polar" mode, then twist the filter and shoot again. I still don't see how this can be solid, even with a tripod, since there will be a second or two or three between shots, and if shooting a live subject ... well, there will be movement.

The reason I keep fantasizing on a two-aperture or two camera setup is: some automation to take both images at the exact same second. Even then, the polarized shot will take longer, since less light gets through.

I guess BB's post adds up to "deploy the diffuse map and drive roughness, glint, wetness and height with procedural." Is that correct?

Naturally, if indeed Emily-like results in an extreme closeup can be achieved this way, hurrah! To hell with all the double photography and post-production.

Still ... you have to pull out your camera to shoot at least one set of images, right? For the diffuse? How much more work is it to produce the polarized partner shots? {I keep visualizing a purpose-built dual camera to take both shots at the same time}

I have not heard back from Adam at 3d.sk about the feasibility of adding the second shot.

::::: Opera :::::

This one: I plugged in the huge micro-displacement map that downloads with the Emily2 project.

In this case, I plugged the map into both bump and displacement nodes, and set the value for each at .003

I'm sure I could fiddle all day with this research project, but the real question is how to get these resources from vendors.

::::: Opera :::::

Turns out Poser WILL allow the attachment of giant .exr raw 16000x16000 displacement maps! I'm rendering now.

Meanwhile, can any shader gurus translate this into a material room shader? As seen on this page: Download page: http://gl.ict.usc.edu/Research/DigitalEmily2/

[image changed for clarity]

shader tree2.jpg

[side thought] All this is moot if merchant resources vendors don't include the final maps, or at least the two images]

Anyone know how to solve the eye situation with this mesh?

I turned down the specular value to .2 in this one:

::::: Opera :::::

I was afraid to attach that micro displacement file. It is stupendous. 16,000 x 16,000 pixels. Will poser allow raw .exr files like that to be attached in the material room?

Hilarious. After all the trouble to get a great specular map, I connected it to the spec node but left the value at zero! I've upped it to .75, highlight size .01 for the render below ... it's Emily resting from a workout, sweating.

This is an older Emily. She agreed to be scanned again, 7 years later. I like the added character in her face.

Download page: http://gl.ict.usc.edu/Research/DigitalEmily2/

Loaded the .obj into Poser.

Opened the .exr texture files one by one in Affinity and saved them out as 100% .jpg. The files are 6000x6000.

Attempted to engage both the supplied eye files and also a typical poser eye texture on “eye-inner” and “eye_outter” but unsuccessful. I don’t know how to get the eyes. So I have nothing on the eyes. Somehow the eyelashes got their map.

Firefly Render, high settings with EnvSphere, one difuseIBL and one area light. GI engaged.

This is my amateur shader (please be kind!)

Note: there is a displacement map! Should both bump and displacement be engaged? I don’t know.

Note: on the page linked above, there is a summary shader scheme, including one for displacement which engages an included file “00_displacement_micro.exr” which is 16,000x16,000 in size. Naturally, being greedy, I wonder if poser can digest that! Sure, you could reduce the micro-displacement file, but doesn’t that defeat the purpose?

ironsoul, that LightColab page you linked talks about the issue you just raised ... >>>The problem I found is the cross polarized image was much darker than expected (loss in the capture process ?) <<

"Another issue to be aware of is that the proportional amounts of the diffuse and spec will be off slightly. This is because the parallel polarized image lets 100% of the spec through, but blocks 50% of the diffuse, meaning that the spec will be 2x brighter, in relation to the diffuse, than it would in a photo without any polarizing filters. You can observe in the images above that the skin looks oilier than it normally would. Once aware of this, it is easy to adjust for it in your comp by either brightening the diffuse or darkening the spec a bit. In the animated image below, you can see the effects of brightening the cross polarized "diffuse" pass and the resulting composited image."

Adam at 3d.sk responded to my email and says he will discuss with his photography staff.

ironsoul, I watched the video you linked, and will drill down on the other links you just provided. I sent Adam (levius) another email with more information, and links.

I guess I am obsessed now. I am dreaming of EmilyPoser.

::::: Opera :::::

bantha, that was my specific thought: the model CAN NOT MOVE. I wonder if the pros on Emily had a camera that could shoot both at the same time.

I'm going to go back and read the Emily information, but in general:

1. what does one need to get a polarized file? A special lens or a special filter or a special setting on the camera?

2. is "taking the difference" a simple thing a person could do in photoshop, and then export spec, normal and bump maps?

{I know many are pursuing procedural bump and spec, but I am still interested in actual maps, for the moment}

:: og ::