![daz studio exit full screen daz studio exit full screen](http://2.bp.blogspot.com/-lP13yBXkZ1s/VUwcfW3fY-I/AAAAAAABCUw/1l9LeH4UbfA/s1600/6.jpg)
Next I started to draw over the character. If you struggle with characters then Daz Studio is your man (or woman) This can really create nice 3D painterly snow, especially if there’s a bit of noise to your brush. If it’s a day time scene I’ll add a second clipped layer for highlights. This is a common procedure for me when doing snow. I then used a medium-blue soft brush to add shadow to the snow. Once I made the blue-ish snow I put another layer on top, clipped to it, which was a Multiply layer. This stage really brought the painting to life and brought it out of the pure 3D realm. I used a solid opaque brush which was like a rounded-edge square and I would often lasso areas to give a flat bottom and use it as a ledge to dump my snow over. You can’t go too wrong with snow, just put it where you like it. This is probably the most fun part of the painting. You want to get rid of the 3D-looking parts where possible, which is essentially any edges that are too fake-looking. I also started to paint out/blur/smudge some of the edges in the overall image. As you can see, given that I really wanted a strong foreground read, this helps a lot. I then inverted the selection and painted in some extra atmosphere behind it which I set to screen in layer blending mode. After that I filled the selection with anything just so I had a mask for that entire building. If you look at the previous image showing the ID render pass you’ll see that I have used those IDs to select everything in the foreground building. I did not render a reflection pass or Z-depth, just the image itself to paint over. I then bring all the renders into Photoshop and get my layers organized. If you need to select window panes then you can just make all the glass in the scene have an ID and that’ll save you selecting each piece of glass later. Material IDs can be useful with glass for example. I also made sure to render out an object ID pass, as well as a materials ID pass, so I could select things more easily in Photoshop. This is one of those many times where you have to make the call between 2D and 3D and it usually comes down to how long you have. It’s really not necessary as snow can just be painted, but seeing as it was already in the scene and I liked it, I just wanted to let the 3D do all that for me. I then turned the displacement back on and rendered the snow in pieces. I turned off the displacement and left it to render for about 15 hours. Also the fog would really cane the render time so I had to scale back.
#DAZ STUDIO EXIT FULL SCREEN PC#
I had originally wanted to go to 6k but because of the displacement, and because my scene wasn’t 100% set up to render efficiently, it caused my whole PC to crash. I rendered the final image at 4,500 pixels. The main hurdles are largely out of the way, with the exception of detailing out Scrooge himself, so for the most part we can relax and enjoy watching it come together. Once again, we need to keep referring back to our initial goals and make sure we’re staying on course. This is where the piece can really come to life. Now we’re into the final phase of the project.