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ilvansims3conversion · 1 year

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Conversion process/tutorial for freefall water wall

As inquired by @dailycard, I’m sharing the conversion process for my recent creation: Freefall Water Wall. This guide is NOT intended for beginners as I only show what I think the important steps. If this is the first time you tried to make a conversion, I suggest you try something like Pixel Jackpot’s 4to3 wall decor video tutorial first.

This tutorial will cover:

Using counter shader (part C step 9)

Using phong alpha shader and UV scroll parameter (part C step 6-8)

Making occluder shadow (Part D step 4-15)

This tutorial will NOT cover:

Setting up TSR Workshop (TSRW)

Making object mask

Tools used:

1. Older TSRW (I used the 2.0.86.0 version) for:

Cloning TS3 object base item you want to work on

Importing mesh, because sometimes you can get an error when doing this in the newer TSRW

Changing shader

Adding shader parameter

2. Newer TSRW (I used the latest 2.2.114 version) for:

Exporting TS4 mesh & maps

Changing footprint

Changing bones position

Changing occluder shadow

3. Milkshape & its plugin for TSR Workshop 4. Photoshop

Part A. Prepare the required resources.

A1. In NEWER TSRW:

1. Open the Sims 4 small freefall water wall object. Copy the object’s name, description & price information to a notepad txt file.

2. Export the object mesh. In my case, there is only hLOD available. Considering the mesh is quite low poly anyway, I believe it can be used for as the mLOD as well. The sunshadow is not necessary whatsoever.

3. Export the diffuse map of material 1 (fountain body) & 2 (waterfall effect) as png. Material 0 diffuse map is not necessary because it’s just for drop shadow.

4. Open a similar looking object that has an occluder shadow. I used TS4 Romantic Garden’s Thriumphal Arch of Gluteus Maximus because it has an empty center & covered the upper part (I tested them in game first). Note the value for each of occluder entry (number 3). For this, I just took a photo each with my phone for convenience.

A2. In OLDER TSRW:

Open a Sims 3 object that fit perfectly against a wall. I used the bookshelf modern high 1x1. Export its hLOD mesh and name it along the line of “Wall Fit Reference Mesh”. I suggest using the older TSRW because sometimes I got an error when exporting in the newer version.

Part A check list:

Object’s name, description & price in a notepad txt file.

Small freefall water wall TS4 hLOD mesh as wso file.

Fountain body diffuse map as png file.

Waterfall effect diffuse map as png file.

EACH of occluder shadow entries value as notes/pictures.

Wall fit reference TS3 object mesh as wso file.

Part B. Editing the resources.

B1. In milkshape:

1. Import the small freefall water wall TS4 hLOD mesh. Then import the wall fit reference TS3 object mesh. Your workspace will looked like this:

2. Go to Groups tab. Double click each of the upper “Group 0″, “Group 1″, and “Group 2″ to select them.

3. Go to Model tabs. Choose Move (Number 2). Change the Z value to 0.08 and click Move (Number 3). The waterfall should clip slightly through the reference bookshelf.

4. Go back to the groups tab. Double click each group again to deselect the upper group 0-2 (Number 1). Select the lower group 0 and click delete. Select the lower group 1 and click delete (Number 2&3).

5. Export as “hLOD edit”.

6. Delete the “Group 0″ (red box). Select “Group 1″, rename to “Group 0”. Select “Group 2″, rename to “Group 1” (green box). Export as “mLOD edit”.

B2. In photoshop:

1. Import your fountain body diffuse map png file. Your workspace should looked like this:

2. Add the hue/saturation & levels adjustment layer.

3. In the hue/saturation adjustment layer, under the master control I changed the saturation value to -100 and lightness to -15. Save as “multiplier map” in png format.

4. You can also use the level adjustment layer to tweak its brightness and make the (optional) “specular map” in png format. I didn’t do this step as the lion fountain I’m using as clone doesn’t require it.

5. Make the masking map in png format. This is more of trial & error though, so I will not explain much. Here’s the mask map comparison I created as reference against the original diffuse map:

Part B check list:

1. Combined these item in milkshape:

Small freefall water wall TS4 hLOD mesh as wso file.

Wall fit reference TS3 object mesh as wso file.

To make:

hLOD edit mesh as wso file.

mLOD edit mesh as wso file.

2. Edited the “fountain body diffuse map as png file” in photoshop to make:

Multiplier map as png file.

Specular map as png file (optional).

Mask map as png file.

3. Unused part A items:

Object’s name, description & price in a notepad txt file.

Waterfall effect diffuse map as png file.

EACH of occluder shadow entries value as notes/pictures.

Part C. Building the object. In OLDER TSRW:

1. Clone the fountain france statue 2x2 TS3 object. Under the project tab, input the object’s name, description & price. Change the item flags. In my case, I do not change anything because I want the waterfall fountain to be found and placed similarly to the lion fountain. Save your project!

2. Go to textures. Choose the 2nd swatch dropdown option. Click on the smaller dropdown option on the left of it and choose delete.

3. Import your mask map. Do the same to your multiplier & (optional) specular map. Make sure your overlay & stencil maps is empty. You can also change the pattern now or just leave it the same as default. Save your file.

4. Go to mesh tab. Import your “hLOD edit” and “mLOD edit” mesh.

5. Select the “Shadow high level of detail”. Click on the generate shadow mesh. Choose the “160 vertices, 92 faces”. In my case, I can do the same for “Shadow medium level of detail”. Ignore the weird white square for now. We will remove it later. Save your file.

6. Select the “High level of detail” from the drop down menu again (Number 1). Edit the Group 2 material (Number 2). Choose the Phong alpha shader (Number 3). When prompted, choose YES! (Number 4)

7. Click the blue “+ Add” to show a new property window. Choose the UVScrollSpeed from the drop down menu. Click OK.

8. Replace the alpha map & diffuse map with “waterfall effect diffuse map” (Number 1&2). Make empty the Specular map (Number 3). Change the UV scroll speed parameter to 0 ; -0,8 (Number 4). When prompted to update the material definition to all LOD, choose YES (Number 5).

NOTE: If the object animation played in a different direction than intended here, change the UV Scroll Speed Parameter to positive or vice versa.

9. Go back to the main mesh tab, now choose to edit the group 1 material (number 1). Change the phong shader to counters shader (Number 2 & 3). If prompted to use the common values for this shader, choose NO! (Number 4). Click Done (Number 5). When prompted to update the material definition to all LOD, choose YES! (Number 6). Don’t forget to check if the changes has been made in the Medium Level of Detail. Save your file.

Part C check list:

1. In the “Project” tab: Edited the object’s name, description & price.

2. In the “Textures” tab:

Imported multiplier, specular (optional), and mask map.

Make sure your overlay & stencil maps is empty or disabled.

Change the pattern (optional).

3. In the “Mesh” tab:

Imported hLOD and mLOD edit mesh.

Generated the sunshadow in “Shadow High” and “Shadow Medium Level of Detail”.

Change the Group 2 Material to phong alpha shader, add the UV Scroll Speed parameter to 0 ; -0,8, import the alpha & diffuse map, and empty the specular map.

Change the Group 1 Material to counter shader.

Part D. Finishing the object. In NEWER TSRW:

1. Open your saved project. Go to the Slots tab (Number 1). Edit the Footprints (Number 2). Select the first 160 vertices (Number 3&4) and click calculate (Number 5). Change the Z value of 0,0114142708 to exactly 0. Change the value of -0,425990343 to exactly -0,425 (Number 6). Click OK (Number 7).

2. Expand the bones group (Number 1). Select the fountainTop entry to edit (Number 2). Change the Translation Y to -0,1 (Number 3). Click OK (Number 4). Save your project.

3. In the Misc tab, change the floor cutout bounds length to 0. This will remove the weird white square from before.

4. It’s recommended to create a new save file now as we will be editing the occulders. Expand the lights section and edit the Light 0 to show the Lite Editor Window (Number 1). Manually replace every occlusion entry value with the ones you noted/took photo of (Number 2). In my case the entry listed here is up to 8 occulders while the reference only had 6, so you can just delete the entry 7 & 8 using the - button.

NOTE: When manually inputing the value, use the tab key to quickly switch to the next value. You can also opt out the last zeroes from the value. If the original value was 1,51974000; you can just input 1,51974 and the zeroes will be automatically added after clicking OK.

5. The occluders should looked like this now. Try familiarizing yourself with each of the occluders by clicking on the light 56 entries one by one before we edit them to fit the object.

6. This is what I think how the occluder value works. Since I couldn’t find other sources, please let me know if I am incorrect. This is based on our occluder #1.

7. Now I want to change the starting point z value so it could fit much better. This whole part is a trial and error process. I changed the value from 0,444477 to -0,1.

8. Referencing to Pocci’s Blog, for the green note I wrote the value are more accurately called inversely proportional (as in 1/n). For example if I know the height of the object is exactly 3 tiles (n), equate 1/3 and I can input the value 0,3333333 to get the perfect height.

9. Next, I think the thickness of the object was 1/3 tiles, so using the equation 1/n and input 3 as the Y-axis z value without changing the - mark.

10. Lastly, I want the pair occluder to be closer, so I changed the pair offset value from 0,733... to just 0,28. Now we are finished with occluder #1.

11. Let’s jump to occluder #3 as it was the mirror of occluder #1. We can change the value similar to the occluder #1 while preserving the - value only for the orange circle shown below:

Occluder #3 result:

12.For occluder #6, the starting point is okay. We just need to change the plane size, shown red below:

13. Occluder #5 is similar to occluder #6, but with extra step fixing the starting point. Shown red below:

14. For occluder #2, I wanted to move it to the ground because when placed near the ceiling, the shadow they cast seemed less noticeable anyway. The values changed are shown red below:

15. For the final occluder #4, you can either delete them or fixing a few value shown red below. They intersect with the ceiling anyway so they won’t be noticeable if you delete them.

16. DONE! Export your file & test in game :)

thanks for @sims3tutorialhub for a few initial references I used :3

PS: this tutorial does not fully reflect the final published version of the conversion object I made, i.e. it has 2 more variations than described here.

#sims 3 tutorial #ts4 to ts3 #sims 3 conversion #tutorial

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iwilltrytobereasonable · 5 months

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So I’m at Peets and was glancing outside and realized the glare from cars outside coming through the door glass didn’t look like a bunch of rainbow rays from the bright spot, but like a dipole field pattern, and what?!

And of course that’s fascinating! I took off my glasses and same phenomenon! But going outside, glare from the same spots looks more like a standard wave diffraction pattern - a bessel function with some rays. So I think it’s something about the door glass and the angle the light is refracted through it, probably the polarization from reflecting off the cars?

…and now I’ve got slowly recovering spots in my vision because I was staring at specular reflections of sunlight

#nerd sniped myself

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tanadrin · 1 year

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it seems like sometime around the early 2010 game engines got really good with certain lighting tricks. like, a combination of things like specular and bump mapping and transitioning between indoor and outdoor areas visually. and it makes a huge difference in da:i, even though polygon count isn’t much higher or anything. i wonder if it was just iterating on existing technologies or if the performance of graphics cards hit a new milestone around that time or what.

anyway, i forgot how pretty da:i is. and it’s an eight year old game i’m playing with the graphics settings mostly turned down pretty low!

#dragon age #da:i

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ralucasalmostgone · 3 months

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Sailor Moon's hair

tbh, I had it, especially the texture, in middle school

quite a lot

that's how my real hair folds and unfolds itself at that age

then I ask to turn it blonde and it was grey/ash-brown on the outside, blonde on the inside. same Sailor Moon texture

then the mother saw it in its full lenght and she had it cut

then it turned into Irma's hair colour and then Will's red

and then orange

and then it just got stuck changing colours

then I got photographed from the back throughout the years and it has an anime specularity when orange or dark brown, it doesn't matter

---

I think it just looks like that when it's long anyway: the hair texture

but the current white hair acts as an albedo surface, so it just reflects light in order to change colours so easily / it's metallic/gold;

the albedo surface is akin to snow reflecting light (snow has a 70% albedo reflecting coefficient)

(white hair, white as snow) - REV 19

it's the white of metals that shows up on camera. that's why it looks anime-like.

but it's its reflective surface that truly makes it change colours both in person and on camera.

I played around with metaphysical/physical stuff too much as a child ha ha

prophetically

then we got the bust to finalise the Sailor Moon character...

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neelgamesartanddesign · 3 months

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Practice 1: Development Project 1

Development 1(Memory & Nostalgia) Blog 2

From Hot Wheels to Hyperreal: My Process Demonstrating and Finishing a Toy Vehicle Work of Art

In my last blog, we travelled through the making of a stunning scene in Unbelievable Motor 5. Now, buckle up for the following adventure segment: changing a dearest Hot Wheels vehicle from cherished, lifelong recollections into a photorealistic highlight for our virtual world!

Demonstrating Lunacy in Blender (Levels 41-60):

Reference Gathering: Before jumping into Blender, I accumulated a mother lode of references. Artstation offered an amazing cluster of staggering vehicle models, and I even snapped some high-goal photographs of my dependable Hot Wheels sidekick. These references turned into my directing stars, guaranteeing each bend and detail was caught with precision.

Network Sorcery: Blender's instinctive connection point greeted me wholeheartedly. I started by shutting out the fundamental states of the vehicle, beginning with straightforward shapes and chambers. With each keystroke, my digital Hot Wheels began to take shape slowly.

Circling the Circle: With the fundamental structures set up, the time had come to refine them. I utilized Circle Slices and Expel apparatuses to add unobtrusive bends and characterize edges, giving close consideration to the exceptional highlights that make my picked Hot Wheels vehicle unique.

Smoothing the Ride: When the harsh chiselling was finished, I embraced Blender's strong Subsurf modifier. This supernatural instrument streamlined the lattice, killing unforgiving edges and giving my vehicle a smooth, clean look.

Detail Criminal investigator: The real fun began here! Utilizing reference photographs as my compass, I added every one of the multifaceted subtleties that rejuvenate a Hot Wheels vehicle - the famous fire decals, the little spoiler, the mind-boggling headlights. Every component, fastidiously displayed and situated, added a layer of authenticity to my virtual work of art.

Sensation of Substance (Levels 61-80):

Surface Expedition: After getting my 3D model ready, it was time to start a new quest: tracking down the ideal surfaces. Substance Painter turned into my jungle gym, offering an immense library of materials and instruments to rejuvenate my vision.

Base Manufacturer: Beginning with a fresh start, I established the groundwork for my surfaces. I replicated the vibrant hues and reflective surfaces of my chosen Hot Wheels paint job using base colours and metallic maps.

Decal Dynamo: Time to release the decals! Substance Painter's natural decal framework permitted me to consistently apply the notable Hot Wheels flares and different logos, guaranteeing wonderful arrangement and fresh detail.

Enduring Hero: Nothing says "authenticity" like a hint of mileage. Utilizing unpretentious unpleasantness and soil maps, I added scratches, dust, and unobtrusive defects, changing my unblemished model into a vehicle with a story to tell.

Final details: The last venture in Substance Painter included baking my surfaces onto the model. This fundamental step blended every one of the layers and subtleties into a solitary, consistently applied textural show-stopper.

81-Level Unreal Rendezvous:

Import with Certainty: Furnished with my finished model, I got back to Unbelievable Motor, the stage for my virtual vehicle to sparkle. Bringing in the .fbx document was a breeze, and soon, my computerized Hot Wheels emerged inside the recognizable Stunning connection point.

Material Matters: Unbelievably strong Material Manager permitted me to improve the surfaces. To get a very realistic look, I changed the specular values, changed the reflections, and added some subtle subsurface scattering.

Lighting the Way: To make any 3D object stand out, the lighting must be just right. I painstakingly shaped the lighting in Stunning, utilizing a mix of directional lights, regional lights, and even post-handling impacts to make an emotional, yet grounded, climate for my small scale show-stopper.

Initiating the Story: The last step was making a phase deserving of my computerized Hot Wheels. I constructed a straightforward course utilizing Unbelievable's calculation devices, adding surfaces and props to make an energetic, eye-getting scene.

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loadluna313 · 2 years

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After Effects Ray Traced 3d Deprecated

This is a high level overview of all of the features you can use in the High Definition Render Pipeline (HDRP). This document presents the features in the following categories:

Basic example for doing hardware accelerated ray tracing using the VKKHRaccelerationstructure and VKKHRraytracingpipeline extensions. Shows how to setup acceleration structures, ray tracing pipelines and the shader binding table needed to do the actual ray tracing. Ray traced shadows. Adds ray traced shadows casting using the new ray. Introduction to Ray-traced 3D, how to activate it, the 3D layers it adds, and the many options that are available in those layers. Adobe After Effects Features. I try to give some volume to a composition with extruding, depth of field Enabling Ray-traced 3D I got this: “After Effects error: Ray-traced 3D: Out of paged mapped memory for ray tracer. Your project may exceed card limits. Try closing other applications. Try updating the CUDA driver.” My card is a MSI using a NVIDIA GTX 1060 6gb.

How can you fix Ray-traced 3D error??Optix.dll file: https://www.reddit.com/r/AfterEffects/comments/32ok72/gtx970cuda/. Vatsal isc handbook of physics pdf download.

Project

Platform support

You can run HDRP Projects on Xbox One, PS4, and compute Shader compatible devices for DirectX 11, DirectX 12, Metal, and Vulkan.

Virtual Reality

HDRP is compatible with VR and optimized for single-pass rendering. For more information about Virtual Reality, see the VR documentation.

Camera-relative rendering

Use HDRP to render distance GameObjects with large world-space coordinates in a more robust and numerically stable way than the built-in render pipeline. For information on how HDRP achieves this, see the Camera-relative rendering documentation.

Dynamic resolution

When you use dynamic resolution, HDRP can render at varying resolutions. To do this, it either uses hardware features, if available, or renders to render targets that are equal size or smaller than the current viewport. This helps maintain a stable frame rate in your Unity Project. For more information on dynamic resolution, as well as the types that HDRP supports, see the dynamic resolution documentation.

Volumes

Use Volumes to localize environmental Scene settings and post-processing effects. You can have multiple Volumes inside a Scene, and make effects like fog density, sky color, or exposure depend on the position of the Camera. For information on how to use Volumes in HDRP, see the Volumes documentation.

Materials

HDRP Shaders allow you to use the following features:

Opaque/transparent surfaces.

Different blend modes for transparent surfaces.

Transparent surfaces that work with fog.

Refraction and distortion for transparent surfaces.

Material types.

Anisotropy, for surfaces that have highlights that change when you view them from different angles, like brushed metal or velvet.

Iridescence, for surfaces that appear to change color as you view them from different angles, like soap bubbles or insect wings.

Metallic, for surfaces only lit by specular lighting and take the base color input for specular color. For example, aluminum, copper, and steel.

Specular Color, for surfaces that you want to have a colored specular highlight.

Subsurface Scattering, for translucent surfaces that simulate light interaction and scattering, like skin or plant leaves.

Translucent, for surfaces that simulate light interaction, but do not blur light that transmits through the Material.

Pixel and vertex displacement, for surfaces that you want to displace based on a height map.

Emission, for Materials that you want to act as a self-illuminating light source.

Decals, for surfaces that you want to project a Texture onto.

Detail mapping, for surfaces that you want to add micro details to.

Lit Shader

Use the Lit Shader to easily create realistic Materials and includes options for effects including subsurface scattering, iridescence, and translucency. This is the default Shader in HDRP. For more information, including the full list of Shader properties, see the Lit Shader documentation.

Layered Lit Shader

The Layered Lit Shader combines a main Material with other tileable Materials in order to produce visuals with a similar quality to a single high-resolution texture, but at a lower performance cost than a Lit Shader using the single high-resolution Texture. For more information, including a full list of Shader properties, see the Layered Lit Shader documentation.

Unlit Shader

The Unlit Shader allows you to create Materials that are not affected by lighting. Unlit Shaders are perfect for visual effects. For more information, including a full list of Shader properties, see the Unlit Shader documentation.

With the Shadow Matte option in the settings, we can have the surface receive shadow without lighting. We have Opaque or Transparent shadow with alpha for each of them.

StackLit Shader

The StackLit Shader improves on the Lit Shader in favor of quality over performance. This Shader coats surfaces more accurately than the Lit Shader, and, unlike the Lit Shader, allows you to use multiple Material features like anisotropy, subsurface scattering iridescence, and hazy parametrization at the same time.

Hair Shader

The Hair Shader is purpose-built to accurately render realistic hair in your Unity Project. It uses an improved Kajiya Kay lighting model which features better energy conservation and provides you with more flexibility. For more information, including a full list of Shader properties, see the Hair Shader and Hair Master Stack documentation.

Fabric Shader

The Fabric Shader allows you to render realistic fabric Materials in HDRP. You can use the cotton wool or silk lighting model to create a wide variety of fabrics. For more information, including a full list of Shader properties, see the Cotton/Wool Shader, Silk Shader, and Fabric Master Stack documentation.

AxF Shader

The AxF Shader supports the X-Rite AxF measured Material format. The AxF importer, available in Unity Enterprise for Product Lifecylce, automatically populates an AxF Material when it imports AxF Assets. For more information, including a full list of Shader properties, see the AxF Shader documentation.

Decals

HDRP allows you to apply decals to surfaces in your Scene. To apply a decal to a surface, you can either use the Decal Projector component to project the decal onto the surface, or assign the decal shader directly to a Mesh and then place the Mesh on the surface. For more information, see the Decal documentation.

HDRP also supports Decal Layers which allows you to control which GameObjects receive decals or not.

Terrain Shader

The Terrain Lit Shader is compatible with the built-in terrain system and supports up to eight layers in a single draw call. This Shader uses the same lighting model as the Lit Shader. For more information, including the full list of Shader properties, see the Terrain Lit Shader documentation.

Lighting

Light types

The HDRP light types use physical light units to help you light your Scene in the most realistic way possible. To assist you in creating physically-accurate lights, the Light component Inspector includes icons alongside the Intensity and Temperature properties. Each icon displays the real-world light source that the value of each property currently represents. Each icon is also a button which you can click to access a list of preset values that match real-world light sources. For lights to behave properly when using PLU, you need to respect HDRP unit convention (1 Unity unit equals 1 meter). The HDRP light types are:

Directional

Color temperature

Colored cookie

Shadowmask support

Spot

Color temperature

Colored cookie

Shadowmask support

Cone, pyramid and box shapes

Point

Color temperature

Colored cookie

Shadowmask support

Rectangle

Color temperature

Colored Cookie

Shadowmask support

Tube

Color temperature

No Shadowmask support

Disk (Baked only)

Color temperature

No Shadowmask support

For more information, including the full list of light properties, see the Light component documentation.

IES Profiles and light cookies

HDRP supports the Illuminating Engineering Society's (IES) file format for describing the distribution of light from a light source. HDRP supports the IES profile for Point, Spot (Cone, Pyramid, and Box), and rectangular Area Lights. You can also mix the IES profile with cookies and even use the profile and cookie mix for light map baking.

Reflection probes

HDRP supports cubemap reflections that take surface smoothness into account. HDRP cubemap reflection optionaly support a fake distance based roughness. This helps you produce realistic reflections in your Scene in real time. For more information, see the introduction to Reflection Probes

Planar reflection probe

HDRP supports Planar reflection probes that take surface smoothness into account. This allows you to to create effects that mimic a shiny mirror or a wet floor. HDRP includes accurate filtering for planar reflection that is close to being physically-based.

For more information, see Planar Reflection Probe.

Screen-space reflection and refraction

HDRP provides a screen-space solution for reflection and refraction. It uses the depth and color buffer of the screen to help simulate the path that light travels to the Camera and uses this to calculate accurate reflection and refraction. You can use this feature for transparent materials too, such as windows or water. For more information, see the screen-space reflection and screen-space refraction documentation.

Screen-space global illumination

HDRP supports screen-space global illumination (SSGI). SSGI is an algorithm that accesses the indirect diffuse lighting that the environment generates. It works in the same way as the Screen Space Reflection in that it uses ray marching to calculate the result.

Screen-space distortion

HDRP provides a screen-space solution for distortion. Distortion is similar to refraction except that it is purely artistic driven. For more information, see the distortion documentation.

Exposure

HDRP allows you to calculate exposure using several methods. This includes:

Histogram exposure

HDRP's exposure implementation computes a histogram of the image which allows you to select high and low percentile values to discard. Discarding outlying values in the shadows or highlights helps to calculate a more stable exposure.

For more information, see Exposure.

Metering mode

HDRP's exposure implementation includes a metering mask. This includes a texture-based mask and a procedural mode.

For more information, see Exposure.

Emission

HDRP Materials support light emission, which allows you to make a Material into a self-illuminated visible source of light. Global illumination takes emission into account and you can use physical light units to set the intensity based on real-world lights.

Shadows

HDRP uses multiple methods to calculate shadows:

Shadow cascades: HDRP uses cascade splits to control the quality of shadows cast by Directional Lights based on the distance from the Camera.

Contact Shadows: HDRP raymarches inside the depth buffer to process these shadows. That way, HDRP captures small details that regular shadow algorithms fail to capture.

Micro Shadows: HDRP uses the normal map and ambient occlusion map of a Material to estimate the shadows that those maps would cast if they were Meshes.

To decrease aliasing for the main cascade shadow maps, you can apply different filters to them, like PCF or PCSS.

For punctual and area light shadows, HDRP allows for dynamic resolution based on how much screen the light covers. HDRP rescales the content of the shadow atlas when it would be otherwise full. For more information on the filtering algorithms that HDRP uses, see the filtering qualities documentation.

In the advanced settings of the shadow maps, there is also the possibility to apply a tint on the shadow or the penumbra of the shadow.

Sky

In HDRP, you set up the sky inside a Volume, so you can change sky settings, or even the type of sky itself, depending on the position of the Camera in the Scene. HDRP allows you to separate the visual sky from the sky that you use for environment lighting. HDRP includes the following built-in sky types for you to use in your Unity Project:

Gradient Sky: Renders a simple sky with three color zones for the top, middle, and bottom sections of the sky.

HDRI Sky: Constructs a sky environment based on a cubemap texture you set within the HDRI Volume component.

Physically Based Sky: Simulates a spherical planet with a two-part atmosphere which features exponentially decreasing density with respect to altitude.

Procedural Sky: Produces an environment based on the values you choose within the Procedural Sky Volume component. This is similar to Unity’s built-in render pipeline procedural sky. This sky type has been deprecated, but you can still use it in your HDRP Project. For information on how, see Upgrading to 2019.3.

HDRP is able to handle multiple skies seen by different Cameras.

Fog

In HDRP, you set up fog, inside a Volume, so you can change fog settings, or even the fog type itself, depending on the position of the Camera in the Scene. You can set the color of the fog yourself or use the color of the sky. HDRP fog affects Materials with both opaque and transparent surfaces. HDRP implements an exponential fog with optional volumetric effects.

Light Layers

Light Layers are LayerMasks that you specify for Lights and Meshes. Lights only illuminate Meshes that are on Light Layers that you enable on the Light. You can also use Light Layers in the shadow map settings to decouple shadows from lighting. For more information on Light Layers, see the Light Layers documentation.

Light layers In the shadow map dropdown can also be used to control which object receives a shadow from which light. By default both Light Layers and Shadow Map Light Layers are synchronized so the result is coherent (When an object receives light it also casts shadows). For more information on Shadow Map Light Layers, see the Shadow Light Layer section

Screen space ambient occlusion

HDRP includes a screen space ambient occlusion effect that approximates ambient occlusion in real time. It approximates the intensity and position of ambient light on a GameObject’s surface, based on the light in the Scene and the environment around the GameObject.

Screen space specular occlusion

HDRP also provides an extension to the screen space ambient occlusion effect which supports directional information. HDRP applies this directly to indirect specular lighting.

Physical light units

HDRP uses real-world physical light units, so you can easily light your Scene in a realistic way. For more information on physical light units, including a list of which units HDRP uses, see the physical light units documentation.

When using physical light unit, the intensity of lights can be really high and cause precision issue and clamping of highlight.To counteract this effect HDRP use pre-exposure. Pre-exposure apply the camera exposition from the previous frame before storing the lighting information.

Ray tracing (Preview)

HDRP uses ray tracing to replace some of its screen space effects, shadowing techniques, and Mesh rendering techniques.Real time raytracing effect are currently in Preview and behavior could change in the future.

Ray-Traced Ambient Occlusion replaces screen space ambient occlusion with a more accurate, ray-traced, ambient occlusion technique that can use off screen data.

Ray-Traced Contact Shadows replaces contact shadows with a more accurate, ray-traced, contact shadow technique that can use off screen data.

Ray-Traced Global Illumination is an alternative to Light Probes and lightmaps in HDRP.

Ray-Traced Reflections is a replacement for screen space reflection that uses a ray-traced reflection technique that can use off-screen data.

Ray-Traced Shadows replace shadow maps for Directional, Point, and Area Lights.

Recursive Ray Tracing replaces the rendering pipeline for Meshes. Meshes that use this feature cast refraction and reflection rays recursively.

Ray-Traced Subsurface Scattering is an alternative to Subsurface-Scattering that can make use of off-screen data.

Camera

Post-processing

HDRP includes its own purpose-built implementation for post-processing to produce exceptionally high-quality graphics. You can use post-processing to apply full-screen filters and effects to the Camera to drastically improve the visuals of your Unity Project with little set-up time. For an overview on HDRP post-processing, see the post-processing documentation.

Accumulation motion blur

HDRP includes a recording API which you can use to render effects such as high-quality accumulation motion blur. This technique creates the final 'converged' frame by combining information from multiple intermediate sub-frames. This API allows your scripts to extract the properly converged final frames and perform further processing or save them to disk.

For information about this feature, and for some example scripts, see Multiframe rendering and accumulation.

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Anti-Aliasing

HDRP includes the following anti-aliasing methods to help you remove aliasing effects with performance and quality in mind:

Multisample anti-aliasing(MSAA): Samples multiple locations within every pixel and combines these samples to produce the final pixel. You can use an alpha to mask out an area to use MSAA. This is the most resource intensive anti-aliasing technique in HDRP.

Temporal anti-aliasing(TAA): Uses frames from a history buffer to smooth edges more effectively than fast approximate anti-aliasing. It is substantially better at smoothing edges in motion, but you must enable motion vectors for this.

Subpixel morphological anti-aliasing(SMAA): Finds patterns in borders of the image and blends the pixels on these borders according to the pattern.

Fast approximate anti-aliasing(FXAA): Smooths edges on a per-pixel level. This is the least resource intensive anti-aliasing technique in HDRP.

Physical Camera

HDRP uses a physically-based Camera system that works seamlessly with the other physical features of HDRP, such as physical light units, to produce physically-accurate, unified results. A physically-based camera works like a real-world camera, and therefore uses the same properties. This allows you to configure an HDRP Camera to mimic the behavior of a real-world camera, with expected results for effects such as exposure and depth of field. For more information on HDRP's physically-based camera, includings a description of how to use it, see the Camera component documentation.

Custom Post-processing

HDRP allows you to add your own custom post processes integrated with the volume framework. They can be injected after opaque and sky object, before the temporal anti-aliasing pass, before builtin post processes or after builtin post processes. For more information, see the Custom Post-processing documentation.

Custom Passes

Custom Passes allow you to inject shader and C# at certain points inside the render loop, giving you the ability to draw objects, do fullscreen passes and read some camera buffers like depth, color or normal, see the Custom Pass documentation.

The Custom Pass API allows you to render GameObjects from another point of view, like a disabled camera, within the rendering of your main Camera. This API also comes with built-in support for rendering Depth, Normal and Tangent into an RTHandle.

You can also use this Camera override to render some GameObjects with a different field of view, like arms in a first-person application.

Custom Pass AOV Export

This feature allows you to export arbitrary data from custom pass injection points using an extension of the Arbitrary Output Variables (AOV) API in HDRP. An example use-case is for exporting “Object IDs” that are rendered with a custom pass. For information about the feature and example scripts, see the AOV documentation.

Path tracing

Path-traced depth of field

HDRP includes a depth of field mode for producing path-traced images with high-quality defocus blur. Compared to post-processed depth of field, this mode works with multiple layers of transparency and does not produce any artifacts, apart from noise typical in path traced images. You can fix this by increasing the sample count and/or using an external denoising tool.

For more information about this feature, see Depth-of-field.

Path tracer convergence

HDRP includes a recording API which you can use to render converged path-traced images. This technique creates the final 'converged' frame by combining information from multiple intermediate sub-frames. This API allows your scripts to extract the properly converged final frames and perform further processing or save them to disk.

Path-traced sub-surface scattering

Path tracing supports subsurface scattering (SSS), using a random walk approach. To use it, enable path tracing and set up SSS in the same way as you would for HDRP materials.

For information on SSS in HDRP, see subsurface scattering.

Path-traced fog

Path tracing now supports fog absorption. Like SSS, to use this feature, enable path tracing and set up fog in the same way as you would for standard fog in HDRP.

For information on fog in HDRP, see fog.

Tools

Render Pipeline Wizard

To help you set up HDRP quickly and correctly, HDRP provides the Render Pipeline Wizard. Use the wizard to fix configuration issues with a single button click, and create a template Scene that is already configured with default Scene settings. For more information on the Render Pipeline Wizard, including a description of how to use it, see the Render Pipeline Wizard documentation.

Render Pipeline Debugger

The Render Pipeline Debugger contains many debugging and visualization tools to help you to understand and solve any issues quickly. For more information on the Render Pipeline Debugger, including a description of how to use it, see the Render Pipeline Debugger documentation.

LookDev

The LookDev is a viewer that allows you to import and display Assets in a good, consistent lighting environment. Use it to validate outsourced Assets or to showcase your own created Asset with HDRP. For more information on the LookDev, including a description of how to use it, see the LookDev documentation.

Debug modes

HDRP includes debug modes that to help you debug your assets, your lighting, and your scene.

Lighting debug view

To help you to debug lighting in your Scene, HDRP includes various lighting debug view modes that allow you to separate the various components of the light into multiple parts. These debug modes are also available in the AOV API to allow recorders to export them:

Diffuse

Specular

Direct diffuse

Direct specular

Indirect diffuse

Reflection

Refraction

Light layer debug mode

HDRP includes a light layer debug mode that displays the light layers assigned to each GameObject or highlights GameObjects that match the light layers of a specific Light.

For more information, see the Lighting panel section in the HDRP debug window.

Volume debug mode

The Render Pipeline Debug window has a Volume panel which you can use to visualize the Volume components that affect a specific Camera.

For each Volume that contributes to the final interpolated value, the Volume panel shows the value of each property and whether or not it is overridden. It also calculates the Volume's influence percentage using the Volume's weight and blend distance.

For more information, see the Volume panel section in the HDRP debug window.

Quad Overdraw and Vertex Density

This debug tool is made of two parts:

Quad Overdraw: This highlights GPU quads running multiple fragment shaders caused by small or thin triangles.

Vertex Density: This displays pixels running multiple vertex shaders.

This is useful for Meshes that are far away or highly detailed. This debug tool can help you find GameObjects in your scene that may require LODs. This mode is not currently supported on Metal.

After Effects Ray Traced 3d Deprecated Free

MatCap mode

In MatCap mode, HDRP replaces the functionality of the Scene window's Lighting button with a material capture (MatCap.md) view. This mode is particularly useful to navigate and get a sense of the Scene without setting up the Scene lighting. For more information on the MatCap mode, including a description of how to use it, see MatCap mode

Backplate

From the HDRI Sky, you can directly project the bottom part onto a plane with various shapes such as a Rectangle, Circle, Ellipse, or Infinite plane. To match the scale of the GameObjects in your Scene, you can vary the pixel footprint.

Light Explorer

The Light Explorer allows you to select and edit light sources: Directional lights, Point lights, Spot lights, Area lights, Reflection Probes, Planar Probes and Sky and Fog volumes

After Effects Ray Traced 3d Deprecated Pdf

Graphics Compositor

The Graphics Compositor allows real-time compositing operations between layers of 3D content, static images, and videos.

This tool support three types of compositing techniques:

Graph-based compositions guided by Shader Graph.

Camera stacking compositions: Multiple cameras render to the same render target and the result can then be used in graph-based composition.

3D composition: Insert composition layers into a 3D Scene to create effects like reflections/refractions between composited layers on a 3D GameObject.

Overall, this tool allows you to compose a final frame by mixing images and videos with 3D content in real-time inside Unity, without the need of an external compositing tool.

For information about the feature, see the HDRP Compositor documentation.

Programming

Material architecture

HDRP supports forward and deferred Materials. Deferred Materials are more efficient than Forward Materials, but support a slightly limited set of properties. Forward Material have no property limitations, but are slower to render than Deferred Materials.

HDRP's Material architecture allows you to add your own forward Materials and includes a list of rules you must follow to compile your Material in HDRP.

After Effects Ray Traced 3d Deprecated Files

Lighting architecture

HDRP uses a hybrid tile and cluster renderer for forward and deferred rendering of opaque and transparent GameObjects. This creates a local light list to allow HDRP to render a high number of Lights. Use the forward renderer to light more complex Materials, such as those that use subsurface scattering or are anisotropic. Use the deferred renderer to increase the processing speed of lighting for common Materials, such as standard Lit or Unlit Materials. For more information on HDRP's lighting architecture, including an explanation of tile and cluster rendering, see the lighting pipeline documentation.

Control on Shadow Update

HDRP provides an API to ask a light to update their shadow maps. All you have to do is set the shadow map update mode to OnDemand and call RequestShadowMapRendering() in the RequestShadowMapRendering class.

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After Effects Ray Traced 3d Deprecated Video

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needleworkreve · 2 years

Photo

@mack3030 @xldkx (full flickr album)

I’ve been fielding questions from friends that don’t make cc or do 3-d imaging about how these screenshots mean they stole meshes and did the behind the scenes work to doxx people. So I did a bit of an ELI5.

CC is made up of a few parts,

the mesh, or form that makes the item look 3-d;

the UV Map, or textures, the part that has color;

the programming that allows it to work.

When we recolor something, the texture is split into 3 more layers:

the diffuse layer- the picture

the normal map, also called bump map, an embossed layer that adds dimensionality without polygons;

the specular map, also called spec map, way of telling the game engine where to add shine and how much in what way. (I have a deep dive into spec maps here)

When they talk about baking a watermark into the normal map that means that they are changing the bump map to have a very slight difference that won’t show very much in game, but will in their image editor. Assuming they keep a database of serial numbers and who they sent them out to, it would be easy to keep track of who got what. This is what is meant by “trackers in the cc.” It isn’t a key logger or something, it’s more like how you know if the cash you are handling is legal tender.

Watermarks are so old that the term comes from the parchment and papermaking trades of the Middle Ages. They would take a stamp and press it into the damp sheet and create a thinner area. This would create a mark that would be distinct to the shop that made it and would show when held up to the light. Such things are still employed today by paper makers. Someone who is experienced at editing images and making images wouldn’t need to ask how to make a watermark. It would take experimentation to get it looking the way they wanted it, but it wouldn’t require them to consult about how to do it at all. They might want to see if there’s an easier way or post about how they do it asking about how others do it so they can compare.

In the example about the doll, they are concerned about the level of detail in the doll’s mesh. Every object in the game, including the sims and their clothes is made up of polygons (called polys) that at their most basic look like a pyramid. The more polys something has the more complex it is and the more detailed it is. Think about the way that Mine Craft is compared to The Sims 4 and Grand Theft Auto. If you look at the doll, it is extremely detailed. I can see parts of its eye, the way its cloths wrinkle, individual strands of hair. She says that it has 2,000,000 polys and she would like to get them down to about 20,000. This would reduce the complexity by 99%.

The doll in the Twitter post looks unchanged to me from the original model she purchased, but with a diffuse layer. If 99% of the polys had been removed from that promo shot, then I wouldn’t be able to see the details in the hair and the face in the same way as the mesh shot. I am a rank n00b at blender, but it seems to me that after removing all that detail from the mesh, it would lose most of what attracted me to it in the first place. I would probably be better served by making a new, simpler mesh and then adding the unique details on the diffuse layer. The fact that she’s asking for help to remove this much details suggests that using the decimate tool is too hard for her or that creating a new mesh inspired by this one is beyond her skills.

And finally we come to the lamp which she is wondering how to unwrap. Unwrapping the UV Map is the process of making flat shapes that can be made to cover the mesh. Imagine taking your clothes apart at the seams to lay the pieces flat. This is a basic task someone who was able to make such a complicated lamp would’ve been able to do. There are multiple ways to approach this, generally you’d go for a long trapezoid for the lampshade and various sizes of rectangles for the base.

To sum up: Given these three examples, there is no way she would’ve been able to make the hundreds of items in her back catalog. If she had attempted to make even a quarter of them, she wouldn’t have needed to ask these questions.

#cowbuild #patreon paywall #sims4 doxxing ring #sims 4 #paywall #doxxing

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candysims4 · 3 years

Photo

“Oops, I did it again! I played with your heart, got lost in the game.” 🎵

A new wip/coming soon item, and finally I’m back creating a shoe!! I’m so happy with how it looks, turned out so glossy and looks like latex, that obviously is a reference to Britney Spears’s “Oops I Did It Again” ICONIC outfit.

THE HISTORY BEHIND THIS ITEM: I was looking thru the new meshes and them see the Square Heels... The first thing that came to my mind was “I need to do a boots with it”, while I was thinking in a design for it the music player started to play “Oops, I did It Again”... Well, you got it! hahaha

More photos, details and release date bellow the cut! * THIS POST IS PROGRAMMED! *

For these boots I did 25 swatch colors, all plain colors. As usual it’s base game compatible and made for female frame.

The photos bellow shows the boots in-game without edition, HQ mod or reshade:

These boots use specular map for having this glossy look, so this “shine” follows the light of the game.

So, I’m thinking here, are you guys interested in an opaque version of these boots, with a leather like texture?! 🤔 Maybe I’ll set a quick poll for decide it...

And this wip will be released tomorrow (Saturday, 5th June)!

As soon I wake up (just to remember, this post it programmed), I’ll finish the last details and the previews, for posting it Saturday.

Also, I have another wip, that’s a hair. You can see it here!

I’m so anxious for see the amazing looks you guys will do with it! <3

See you guys later with more hair updates, XOXO <33

#s4wip #ts4wip #s4 wip #ts4 wip #s4cc #s4 cc #ts4cc #ts4 cc #s4ccwip #ts4ccwip #work in progress #s4 work in progress #ts4 work in progress

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winterpower98 · 3 years

Note

Ok but what if the Traffic trio go back in time and meet the Jorney to the West crew?

This is the Time-traveling shenanigans I was waiting for LET’S GO! (I haven't finished the book yet, I'm just at chapter 14, so the JTTW crew might seem a bit OOC)

Ok, first of all, let’s say that the Traffic Light Trio meets the JTTW gang after they had to deal with Red Boy (I’ll call him that for now just so it’s easier to tell him apart from RedSon).

So our band of colorful kids finds themself pretty much lost in what looks like a forest with no idea of when they are. They opt to walk around for a bit in the hopes of finding something that might help them, and they do find someone.

Not too far away from where they appeared there’s a camp with a water demon and a pig demon bickering amongst themselves and a meditating monk.

Surely these aren’t the same monk and demons that traveled west with the Monkey, right? Aaaaaaaannndd MK is already gone talking to them. Great

The monk and the demons are startled by the new human but, thanks to MK’s charm, they quickly fall into a pleasant conversation.

“What bring you here in the middle of the woods young one?” “Oh, me and my friends, we ... we’re traveling to a nearby town! Yup, that’s it!” “And where are your companions?” “They’re ... looking for food”

So now Red and Mei are left hiding somewhere (there’s no way in hell Red is going anywhere near the monk, especially because he couldn’t see where the monkey was) while MK happily chats with the pilgrims.

Meanwhile, hidden by the tree’s fronds, the Monkey King silently observed everything happening. He saw the three younglings appear out of nowhere and he saw the demon and the girl hide not too far away from their camp. The only reason why he didn’t spring down and took care of the demon yet was because of the young boy that was chatting with his master.

There was something about the kid's aura that was so familiar. Almost like looking into a mirror, but not quite like a reflection.

So, now truly curious about this kid, the monkey jumped down from his hiding spot and in front of the boy.

Now, the first reaction that the monkey expected out of the kid was panic, but what he got instead was eyes full of admiration and his name pronounced without any fear.

So this kid not only knew who he is, he's not scared of him? Well, there's a first time for everything.

And the Monkey wasn't the only one surprised by the boy's odd behavior, his gleefulness did not go unnoticed by the other demons and the monk (who already knew this was going to bost the monkey's ego by several times and would probably cause some problems).

Wukong, now truly amused by the kid's antics, asked him to call for his friends and MK's happy-go-lucky attitude was quickly replaced by hidden panic.

He knows that Monkey King and his companions had to fight RedSon and would surely recognize him even if he's several centuries older now. The problem is that he doesn't know if the pilgrims had already fought Red or not, and now that he thinks about it he should have tried to gather that information while he was talking to the monk.

So now MK is trying his best to come up with an excuse as to why his friends couldn't come to meet them, and he was utterly failing!

Seeing that things were going downhill for her friend, Mei decided that they might as well be done with it, and went up to the camp dragging behind a complaining Red.

As soon as the green girl and the fire demon were in sight, the pig and the fish took a defensive stance while the monk became several shade paler. The monkey, on the other end, kept looking rather amused.

"What are you doing here? I thought Guanyin had looked you up somewhere. Don't tell me she let you out on good behavior?" And before Red could spat out some insult at the monkey, Mei slapped a hand over his mouth and answered for him. "Yup! Red here is been a really good demon! He's hanging out with us now!"

With everyone a tad bit calmer after Mei's lie, the two groups sat at the opposite sides of the camp and kept for themself.

Now, after the whole incident with the young version of the Traffic Light Trio, the two mortals and the demon find out that the artifact that allowed them to go back in time needs a whole day to recharge before it could be used again. Which meant that they had to wait till the next night before they could go back home.

Be in the past for a whole day wasn't a problem for MK, the change of seeing his idol in his glory days was too good to past, but Mei and Red were less thrilled about it. Zhu Bajie had been looking at Mei since she set foot out in the camp and, while she wasn't exactly new to this type of attention, she definitely wasn't a fan of it. Red was currently having a glaring contest with the Monkey King, Wukong's gaze clearly saying "try anything funny and I'll make you taste my iron rod" and Red responding with a "fuck you" look.

The air was dense between the two parties and it stayed that way up until everyone went to sleep.

The next day the JTTW gang set to travel again, followed by the two mortals and the demon, in silence.

But the silent peace was interrupted in the afternoon when demons decided to attack the traveling group with every intention of kidnapping the holy Tang priest.

Mei and Red had no problems defending themself, one with her jade sword and the other with fire, but MK was not doing so good.

Since they met the pilgrims MK did his best not to use any of Monkey King's powers, because he didn't know if it would mess up with the flow of time if his mentor find out he had a successor before he decided he wanted to retire.

So he was now fighting with his bare hands and he was getting quickly tired out.

Red: Noodle boy what are you doing! Use the staff! MK: But, Monkey King- Mei: We'll deal with him later!

And so, the Monkie Kid manifested the as-you-wish cudgel and set off to fight again.

Now, the appearance of a second golden staff did not go unnoticed. It distracted Sandy so much that a demon manages to get a lucky hit on him, but he was quickly killed by the fish.

After the fight was over, and the demons that weren't killed run away, the monkey approached the MK.

The soon-to-be mentor standing right in front of his successor, like a specular image, and asked him why he had an identical version of his golden cudgel.

Knowing full well that lying to Wukong would be futile (if not extremely stupid) the kids had no other choice but to tell them the truth.

And so they explained everything, from MK becoming the monkey's successor, to Red joining their side, and the artifact that led them here.

The monk and the pilgrims listen to them intently, but they didn't truly believe the story these kids were telling them.

When the Traffic Light Trio was done explaining their story, Wukong started to laugh. And not because he didn't believe them, on the contrary, he was sure that 99% of what they told them was true! No, the Monkey was laughing because "he wanted to retire". That had to be a joke right? Why the hell would he ever retire!?

After the monkey's laugh finally subsumed both parties started to happily chat, with the pilgrims asking questions about the future and the youngest three doing their best not to answer those questions.

But sadly, the time artifact was finally fully charged and it was time for the Traffic Light Trio to go back home.

So after some quick goodbyes and farewells (very quick on Wukong's part) the two mortals and the demon grab a hold of the artifact and get transported back home.

Several days after their little trip back in time, MK can't get Wukong's words out of his head. "Why would I ever retire?"

With time people can change and MK knows how much the Monkey King changed during his journey west, but there was a weird feeling that went along with the words the young monkey spoke, and he couldn't stop thinking about it.

#someone who can actually wirte #I beg #please turn this mess into a fic #lego monkie kid #monkie kid #monkie kid au #time artifact au #journey to the west #jttw #traffic light trio #winter answer #winterpower98

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deniisu-sims · 3 years

Note

Hi! I was wondering when converting s4 to s3 how do you make the multiplier and specular? Thank you for your time!

Hmm, okay, how to explain it without taking too much time...

THE MULTIPLIER

All right. While many people prefer to re-bake a multiplier on Blender (and you can find bake tutorials VERY EASILY), I actually REALLY LIKE the painted-on wooden texture of many EAxis objects, so I extract a diffuse from my object of choice:

(as I told in a previous post, I actually extract two, a high contrast one for the mask, a low contrast one for the multiplier, and I make the mask FIRST.)

PNG is fine; I only had to extract a diffuse in DDS once, because EAxis screwed with the alpha.

I make my mask (it’s basically selecting different colored parts and filling it with color channels, that’s for another time), then I add it as a new layer over my multiplier diffuse:

See the bottom right corner? Two layers!

But before playing with the magic wand, I go to Layer 0 / Background Layer / whatever it works on your image editor, and I desaturate the multiplier. In Photoshop, it’s Image > Adjustments > Desaturate.

My multiplier layer looks like this now.

While it LOOKS like it’s finished, now I need to check if the average color of a certain part of the texture is middle grey, or RGB 128, 128, 128 (some people go for 133-133-133 to avoid flat blacks, assuming the risk of getting overblown pure white recolors, but that’s a matter of TASTE).

For that, I’ll reactivate my mask layer and use the magic wand to select the red channel, THEN I hide my mask layer again. Do not forget to set tolerance as 0, no anti-aliasing, not contiguous.

If you do it right, your selection will look like this

Now it’s just a matter of using the eyedropper tool to click on a not very bright, not very dark part of the selection and see if it’s 128-128-128 or very close to it (126 to 130 is an okay margin).

In this case, it’s a little too dark, so I go to Image > Adjustments > Brightness/Contrast and I fiddle only with the Brightness slider until getting close to my result (you CAN use the eyedropper without applying the changes, just look at the upper right corner to check the new value. For this selection, I used Brightness +38.

(Some textures, especially when too light, need to be darkened by Adjustment > Curves, but that’s more of an outright Photoshop tutorial than just fiddling with stuff. Practice, practice, pratice...)

All right, it looks like this now, with only the part of the multiplier that will be affected by the red channel brightened:

If your item has only one channel, then save your multiplier, it’s finished (and you really didn’t need to paste the mask as a new layer to help with the selections, since a one-channel mask is fully red, but it’s good to get into the habit)

For every other channel, press Ctrl + D to deselect everything, reactivate your mask layer, select the new channel, repeat everything. But IMPORTANT: different channels WILL require different Brightness values UNLESS you got a monochromatic diffuse, and not every item comes with a plain swatch.

In this case, my second channel needed an adjustment of Brightness +28, just to prove what I just said about different channels, different values :)

Since my example only came with two colors, I save it as PNG for now. I only convert to DDS when it’s over 1024x1024 or I’m pretty sure that the DDS compression won’t fill my texture with artifacts. Even multipliers with transparent or translucent parts work with PNG just fine.

THE SPECULAR

You’ll NEED a finished multiplier first. Yes, really.

The fastest way is to select everything, go to Image > Adjustments > Brightness/Contrast, and hike the Brightness to +100 or +110 and up the Contrast a little.

LIIIGHT.

Than you go to the Channels tab of your Layers window and add a new Alpha Channel by clicking this button:

You’ll have a brand-new Alpha 1 channel that’s fully black. That’s fine, keep it that way.

Select the RGB channel, you’ll see that your specular will have a faint red tint - no worries, that’s just to show that your Alpha is also active.

Now, you’ll have to save it as a DDS, no ifs or buts:

ALWAYS keep the Alpha Channels option ON, or else you’ll have an item that’s always shiny because no alpha means a fully white alpha, which means the game will force the brightness of the original, hyper-brightened texture ALL THE TIME. Black alpha, and it means things only get shiny if you add a shiny pattern in CASt.

In the next window, choose DXT5 compression.

And that’s... the basics. Checking if it gets noisy, if it needs more adjusts after you import it to TSRW, etc, are matters of practice, getting familiar with your image editor, and developing a good eye for subtle color changes. But the necessary parts are those that I explained, and they’ll work great in 95% of the cases!

(the other 5% are for when you need a translucent part in Phong Alpha shader to not be recolorable because Phong Alpha overlays SUCK, when TSRW messes with your textures no matter if it’s PNG or DDS and you’ll need to save a texture as 8.8.8.8 uncompressed DDS and replace it with S3PE, and all sorts of... annoying issues)

Also credits for @enable--llamas for finally showing me a way to make speculars that WORK.

This is a tad slapdash, but hope it helps!

#tutorials #simmingberryland

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foxymoxynoona · 2 years

Note

Maybe it was the universe way of telling me to shut the fuck up😂. I had it in my notes, I’ll try again: take 2, action 🎬

Okay it was so fucked up to hear Sasha tell her story. It was the first time she actually mentioned what specifically happened out loud and that her family was involved… awful is an euphemism.

And from a narrative standpoint, I love how it almost feels like their roles have been reversed, as if their journeys were two parallel lines and at some point they became specular. It makes more sense in my head and maybe I’m imagining it, but what I mean is Sasha starting to get better (sloowly but she’s at least accepting help) and jk shutting down. And it also relates to how they’re so similar yet complementary to each other.

Side note: Sasha is such a real and relatable character. The rush of having a goal and running towards it as fast as you can knowing it will burn you out and the feeling of “if not me then who” to fix the world problems you clearly cannot fix on your own. There is an Italian Netflix cartoon (really particular because it’s entirely dubbed in Roman dialect) called “Tear along the dotted line”, it’s the same genre as Bojack Horseman, so it makes you question your existence in 20 minutes. Point is, there is a scene that really made me think of these specific issues Sasha is dealing with in which there is the main character as a child freaking out because he was good at math at first and he thought his math teacher put all these expectations on him but as time went on things got more complicated and he didn’t really understand anything anymore (honestly me lol) and he was panicking about his math teacher being let down by him not getting good grades. So his friend tells him he is just one out of hundreds of students, the math teacher doesn’t really care, and says “don’t you see how great this is? That you don’t need to carry the weight of the world on your shoulders, that you’re just a blade of glass in the middle of the meadow? Don’t you feel lighter?”

Anyway, hope things will get better soon for Sasha. And for JK too, hopefully REALLY soon cause I can’t take it anymore, what happened to shy little cute boy I miss him😭

🌸

That sense of lightness is totally what she needs, and the realization that she is both special and also not, that it’s just her the chosen one to save the world. Guilt is a running struggle for both of them throughout the series 💔❤️‍🩹

If the universe is trying to stand between us it needs to gtfo. It’s too fun hearing your thoughts!

#flux #asks #🌸anon

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dustofbrokenheart · 3 years

Text

The Covenant: Fall Bonfire

Caleb Danvers x Reader

Word Count: 1,135

The sun had been out in full force that day, which made for a specular sunset. Beautiful hues of pink, orange, and purple melted together in the sky like something out of a vaporwave mural, the quickly fading light promising a perfect night sky view.

Fall was an interesting season for trees in New England; one day the leaves would be in full autumn bloom and by the next the entire tree would lose them, all the crunchy brown leaves laid on the ground.

Caleb had been busy for most of Saturday helping his mom rake their property. Normally, they would’ve paid someone else to do it, but he thought it might be a good opportunity to get his mom out of the house. Understanding that he would likely be tired after working all day, and that his mom would want to do dinner with him afterwards, you tried telling him that it was fine if you guys didn’t see each other that day.

Still, he insisted that he wanted to see you regardless if he was tired or had to wait until after dinner. You suggested a bonfire at your place and he agreed without hesitation. Since you had come up with the idea, he insisted on contributing everything else that was needed. You reminded him not to worry about wood as there was plenty of it to burn at your family’s home, but that didn’t stop him from promptly showing up at the doorstep at eight o’clock, arms full of fire wood.

“I’ll put this out back and come back for the rest of the stuff.”

You led him around the outside of the house to the backyard. He dropped the wood next the firepit and jogged to the car, returning with a bag that had matches, lighter fluid, and stuff for s’mores.

“I know they’re your favorite,” he said with a smile. He dug around and pulled out several packs of chocolate. “Hershey’s is classic, but I thought it could be fun to experiment with these.”

He showed you a bright orange pack that you instantly recognized as Reese’s cups. You couldn’t tone down your big, goofy smile no matter how you tried. Caleb wasn’t a super flashy guy by nature, but he was very intuitive and him remembering that s’mores were a favorite of yours reminded you how lucky you were to call him your boyfriend.

“It’s perfect, Caleb. Now all we need is some good tunes.”

“Damn,” he muttered. “I forgot about the music.”

He sighed in agitation and started talking under his breath, putting himself down. Caleb was so used to being seen as perfect, and he held himself to such high standards, that if he did something and failed to meet expectations, he considered it a failure. You were working with him to loosen up his perfectionism, but it was something he was still working on.

“Hey,” you said interrupting his frustrations with a kiss. “Everything’s fine, okay? I’ll grab my radio from inside and it’ll be fine.”

You ran into your room, grabbed the boombox, and were back outside with Caleb in a flash. You turned it on and flipped to your favorite station while he got the fire started. When he got it going, flames licking up the logs and the wood cracking, you worked together to spread the blankets on the ground. The pillows were added last in a fluffy heap.

Now that it was properly dark out, the orange flames were mesmerizing to watch as were the fingers of smoke that danced up in the air.

Caleb speared marshmallows on two roasting sticks, handing one to you and keeping one for himself. Caleb circled the fire searching for the perfect spot to roast his marshmallow. You simply stuck yours directly into the flames, holding it there until it lit up. Pulling it back, you circled your lips and blew it out with a single puff of breath.

Happy with your charred creation, you set it between two graham crackers and stuck in a piece of chocolate. Caleb looked at you in minor disapproval as he slowly turned his marshmallow. He crinkled his nose.

“I don’t know how you can eat yours black.”

“I’ll have you know, this is the best way to eat a s’more,” you protested with your mouth full.

He shook his head and checked his progress. He finally finished his golden masterpiece and followed your assembly process. He closed his eyes in ecstasy as he put it in his mouth.

“Now this is the way to eat a s’more,” he groaned. He finished the rest in one bite and stuck another marshmallow on the roaster. “I’ll make you one and you’ll see.”

“I really like mine charred. Honest,” you crossed your heart. “But I won’t say no to you making me one.”

You kneeled behind him as he sat, slowly turning the roasting stick, and plastered yourself against his back, wrapping your arms around his waist. He made another golden beauty and put the s’more together for you, this time with the Reese’s cup inserted inside instead of the Hershey’s.

Even though the new combination had sounded good when Caleb described it earlier, but you were still surprised by how yummy it was. In fact, this version may top the original.

“Try some, it’s super good.”

You held out your hand to him and he moaned as he chewed. Licking at your fingers, he smiled enticingly at you and you couldn’t resist him. You playfully jumped him, knocking both of you to the ground where you landed on the cozy pillows and blankets from earlier.

You planted a big kiss on his lips from your position hovering above him. His lips parted to allow you access to his mouth and he surged underneath you, his hands tightly gripping your thighs. The heated exploration delved into increasingly bold licking and petting.

Afterwards, you two were cuddled together, your head resting on his pecs, gazing at the stars overhead. Caleb absently stroked your arm with one hand while the other pointed out constellations.

“There’s the Big Dipper, and Orion’s Belt is over there next to Eridanus...”

Hearing you yawn, he stopped talking and went still. “Am I boring you?” he asked quietly.

You popped yourself up on your forearms and slapped his chest. “Of course not! I’m just really cozy right now.”

He relaxed as you laid back down to cuddle with him. Caleb resumed his stargazing, his voice further soothing you until your limbs tingled and turned to liquid.

In the background, an acoustic song played softly on your radio and the distinct smoky smell of burning wood drifted around you. It was a calm autumn night and you were in your loving boy’s arms.

It truly was a perfect night.

_______________

Here’s a short piece for Caleb. All the Sons would make good boyfriends, in their own ways, but Caleb is the closet to a fairytale boyfriend type. Hopefully this wasn’t too cheesy and thanks for reading!

#the covenant #caleb danvers #caleb danvers x reader #imagines

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