this height field thing

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Offline hobold

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« Reply #90 on: October 11, 2020, 01:00:27 PM »
"Approaching the Druse"

I decided to fully embrace the plastic look for the next animation project. Not because it is good, but because I want to see what it looks like. The supersampled height field is subjected to a low pass filter before rendering to suppress noise. Among other side effects, this softens all edges. Just like cheaply mass produced plastic.

By the way, opening a YT channel has had an effect on how I regard my graphical tinkerings. In the past, I would often abandon partly rendered animations, in favour of giving those computer cycles to the next experiment. Recently, I find myself thinking "Wait, I have an audience now. Is this something they might want to see?" before I cancel an animation project.

There is also the allure of social media ... but I think after a few strange days I successfully resisted that particular temptation :) . FractalForums is my place for interaction with a community, not YouTube.

Offline hobold

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« Reply #91 on: October 15, 2020, 01:32:08 PM »
"Slanted Palette"

A more artistically perceptive friend has long been expressing dismay at my ever present rainbow colors. I regard my pictures more as visualizations rather than artwork, so I only have mundane requirements: some contrast between adjacent cells, some balance between emphasis on large and small structures.

Nonetheless, their feedback had spawned a background process looming in my mind, so to speak, to think about the essence of my standard "rainbow colors with accents". I eventually found that essence, I think, and managed to generalize my semi-automatic palette generators.

I probably re-invented another wheel with a ball-shaped color space that I call "HIC" (Hue/Intensity/Chroma), which is probably too weird for anything other than automated picking of colors for cellular visualization styles. My old rainbow palette is at the equator of that color sphere, and the black and white accents are at the south pole and north pole, respectively.

But now that I have mapped the whole globe, I can rotate the color sphere under my palette. The attached image is an example.

In the long run, I could use smaller spheres inscribed in the whole color ball, and animate those smaller spheres. So the palette would slowly change over time, but always retain its qualities for good visualization.

Offline hobold

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« Reply #92 on: October 15, 2020, 08:05:31 PM »
Huh? These are not minibrots.

Just a procession of strange waves. An unexpected consequence of a weird height profile function.

Offline gerrit

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« Reply #93 on: October 15, 2020, 08:10:21 PM »
Looks edible.

Offline 3DickUlus

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« Reply #94 on: October 15, 2020, 08:23:58 PM »
"Slanted Palette"

...

I probably re-invented another wheel with a ball-shaped color space that I call "HIC" (Hue/Intensity/Chroma), which is probably too weird for anything other than automated picking of colors for cellular visualization styles. My old rainbow palette is at the equator of that color sphere, and the black and white accents are at the south pole and north pole, respectively.

But now that I have mapped the whole globe, I can rotate the color sphere under my palette. The attached image is an example.

In the long run, I could use smaller spheres inscribed in the whole color ball, and animate those smaller spheres. So the palette would slowly change over time, but always retain its qualities for good visualization.

...a brilliant approach  :thumbs:  looks nice too  :awe:

Offline hobold

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« Reply #95 on: October 15, 2020, 10:30:45 PM »
"Shock Slivers"

The rainbow palette still hides in there, if you know what to look for. It is camouflaged fairly well, though.

Offline gerson

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« Reply #96 on: October 15, 2020, 10:58:12 PM »
@hobold Beautiful images here.

Offline hobold

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« Reply #97 on: October 18, 2020, 04:18:44 PM »
@hobold Beautiful images here.
Thank you!

I got a bit sidetracked into variations that ended up not looking all that good. I guess this is a preemptive apology for the next zoom animation due in a few weeks (in my defense: it worked much better for still images).

Anyway, I returned to the more tried and tested looks for now; and focus more on secondary design decisions (such as colour palette, or altitude of the virtual camera).

Offline hobold

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« Reply #98 on: October 19, 2020, 01:37:07 AM »
And here is a brief glimpse of the new colours in action.

Offline hobold

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« Reply #99 on: October 21, 2020, 04:03:41 PM »
"Brick Berry Thicket"

The animation crawls on, towards the finish line. It probably won't be a big hit. But still frames do look interesting enough.

Offline gerson

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« Reply #100 on: October 21, 2020, 08:31:14 PM »
Good to undersea contest...

Offline patched

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« Reply #101 on: October 22, 2020, 02:35:34 AM »
I'm in awe at the nacre

Offline hobold

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« Reply #102 on: October 24, 2020, 04:19:02 PM »
I'm in awe at the nacre
Thank you for putting those colors and materials into another context. Without assistance, this would have never occurred to me. :)


And while I am at "would have never occurred to me". Recently in another thread, I illustrated my road to cellular coloring in geometrical terms. Let me briefly re-iterate here, so that I can point out one more generalization that should be interesting.

1.
Tracking the smallest (orbit point) distance to target (trap point) enables differentiating between different domains ("cells").

2.
Tracking the 2nd smallest distance, too, to target lets us recognize cases when two domains are having a close battle over one pixel. When those two distances are nearly equal, we have an indicator that a pixel is near a cell boundary, i.e. an edge. This is what cellular coloring does.

3.
Tracking a total of three smallest distances lets us recognize pixels that are near the end of an edge, i.e. near a corner.

Not sure yet how to visualize those corners. I take that idea fresh from the oven, and pass it on quickly for everybody else to experiment, and so that I don't burn my hands. :)


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