In my opinion, Poser is one of the most powerful pieces of portrait generating software. So I use it, study it, and share my findings with you.
At the moment I can offer you:
- Changes and Additions – to the series. Each serie comes as a chain of online posts as well as a single downloadable PDF, which are kep in sync. Information and insights that came up after publication of a serie is presented here, until the series and accompanying PDF get an update themselves.
- Which Poser version? Discusses the differences between the various varieties of the software, mainly to guide you in making the choice which suits your needs best.
- What about Poser? Presents the purposes and history of this fine portrait generating software. Just in case you’re curious.
- Material Room
On textures, colors, shine, reflection and you name it. Including the issues to handle when deploying external rendering engines, like Vue or LuxRender (via Reality, Pose2Lux, …).
- Hair Room
Dynamic hair can be waving in the wind, move due to head and body animation, or just be dressed the way you like it. From this place I can tell you how.
- Cloth Room
Dynamic cloth or clothes can wave in the wind and move due to animation as well. Frankly it’s one of the least understood but also most powerful feature of Poser. This is the place to find out how it works.
Producing the final result is what it all comes down to. Here is how to do it, tips, tricks, performance but also attention for external renderers like LuxRender (via Reality, Pose2Lux, …).
That’s what Poser is, after all. The articles on this shelf help you to deal with CPU, RAM, performance, speed, settings for Poser and Windows, and the like. Most things might apply to Mac as well but I’m not in the fancy details for those great pieces of work. One can’t have everything.
For everything which does not fit well in any of the above.
Nothing on rigging or modelling? Nope. I’ve had my share of that and I concluded that I didn’t like it. I’m not a constructor, I am a composer creating scene images and animations from existing components.
A man’s got to know his limitations (Dirty Harry aka Clint Eastwood, in Magnum Force, 1973).