Areas of water are lighter near the coast.
Areas of land near the coast have their material made up of a shader.
Areas inland have their material made up of a texture.
So, how would you achieve a similar effect?
There are at least two different ways of going about it.
Test your theories!
The landscape was made with Erosion (free) > http://www.konkeptoine.com/
There will be a walkthrough/ tutorial next week.
Ian
Hi, Ian. Great idea for a challenge. I’ll bet you used Konkeptoine’s Antiqua for the light area near the coast.
Tim
Hi,
Here’s my contribution :).
Started with two lights and the default camera.
The island geometry was created with Image2Mesh. The ocean layer is an Ubershape plane.
I made the sea black and made the island luminant white. A second camera was added and looks directly down on the island and ocean. The image rendered from this camera was used for several camera maps. The image was first blurred in Photoshop so that the edges are soft and extend slightly out from the original island outline. The image is then applied as transparency (strength: 0.51) and diffuse (strength: 0.14) camera maps, projected from the second camera. These maps were applied to the ocean object.
A third camera was duplicated from the second one. It was used to camera map the island object with a green texture created in Photoshop.
The ocean was then textured using a master material I normally use.
The island was textured with some Konkeptoine shaders (where a modified version of the black and white image from the second camera was used to taper off the textures reactively). So as the Konkeptoine shaders taper off as we get to the centre of the island, the camera mapped Photoshop texture takes over.
Way to go Aziz! That works for me 
It was certainly the hard core way to go about it. Reactive shaders are the way to do it (the whole lot) but I also like your projection map techinque, I know a few people that map like that, especially for animation as it reduces noise you can get in percedurals.
Mapping with falloff would also work.
And Tim was right, I used Antiqua, it’s not just for ageing objects, great for terrains and many other things. It’s certainly become on of those plug-ins (like bebel, encage, revolver, scrim, lightrig) that once you start using it, you wonder how the heck you lived without it.
Ian
Hi Ian,
I bought Antiqua as soon as it came out but was mainly using it to get occlusion shadow like effects. When Konkeptoine released the (very easy to use when compared to Antiqua) free occlusion shader, I stopped using Antiqua :shrug:
But I remember wondering about the possibilities of using Antiqua for other things, e.g. wave foam along a shoreline. Need to reread the manual…I could be misremembering what Antiqua can do.
Aziz.
Hey Aziz,
Going waaaaaay off topic…
Do you still use Occlusion or do you do your contact shadows with GI now?
Antiqua is fantastic for ageing objects (which, lets face it, is plane fun), the Boolean feature has endless uses on top of that, and for me, the ridges and caves options seem to be made for landscape texturing. If only shaders and maps could talk to one another…
Ian
Sad story :sad:…the poor occlusion shader is currently sitting in a dark folder.
All my contact shadows are generated with GI now. I’m an EIAS GI addict, using it even when I don’t need to…only the complaints from my G5 (and the ticking clock) make me turn it off in a render.
You said, “if only shaders and maps could talk to each other”…you must mean aside from using maps as a reactive base. Could you elaborate?
Hey Aziz,
I still use a mixture of the Occlusion 2 shader and GI, they take approximatly the same ammount of time to render (I think GI is about 10% faster with the same number of rays). It just depends which one looks better.
And yes, imagine if a shader could be linked to the alpha channel of another map (in the way that After Effects works), or imagine if the area that a plug-in effects could be based on a map in the material editor rather then weight maps or reactive zones. It would just be a more streamlined (and less buggy) way to work.
I guess it’s half way towards a nodal texturing system, which though powerful are generally implimented badly from an interface point of view - perhaps the only way to do them, I’d need to look into that -. A system like AE’s halfway house would suit me fine.
Ian
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