An Amazing CGI Personal Project Sharing Of Liu Yifei Likeness As Mulan

An Amazing CGI Personal Project Sharing Of Liu Yifei Likeness As Mulan

Realistic performance is not the whole of 3D art. 3D technology is constantly developing. This is the important driving force for 3D character artists to create. In film and television works, the visual development of characters is the most crucial step. Jung-Won Park is a 3D character artist from South Korea, specializing in 3D modeling, character modeling and rendering. This time, we based on the Mulan, the 2020 movie, we will create techniques such as creating realistic and delicate skin textures and high-quality 3D character model rendering. The main used software and renderer are Maya, Arnold, ZBrush, Substance Painter, Mari .

1. Model creation

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Before the model is created, the reference material collection and basic model adjustment must first be performed. Then, perform basic model disassembly UV, heavy topological operation, and detail engraving. This step is very important.

2. Texture Drawing

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Draw a model, refine the color texture, and drawing texture of the head and neck, face, forehead, arm and other body parts. Then draw clothing, accessories, and swords. If you don't know the material of any item, please check your reference picture or find a satisfactory reference.

3.Displacement map

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The Displacement map is the most important part of the entire texture drawing process. Zbrush & Mari software is required for collaboration and in-depth analysis of TexturingXYZ displacement map settings.

4. Camera principle and lighting

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Camera principle and lighting adjustment, this step can make the works infinitely close to the real world. It is necessary to properly set and test the ratio of scene to real world, camera parameters, and basic lighting.

5. Highlighted texture creation

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Create highlight texture, including marking the model's highlight position, making primary high-light reflections & secondary high-light reflections, and perfecting the highlight texture.

6. Skin material

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The skin material is made to match the principle of light as much as possible.

7. Eye creation

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The creation of the eye is believed to be a diffcult things for many students. First, create eyeball models, iris materials, and perform UV splitting, use PS to create scleral texture to create scleral materials. And finally, handle inner corner detailing.

8.XGEN fur creation

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XGEN makes fur, which is the only way to pursue delicate results. Before making a production, first analyze the fur making ideas. Then, create the upper eyelashes, eyebrows, fluffy hair on the face, the top area of the hair, the hair of the forehead bangs, the hair on the face, and the fine hair on the back of the neck. Among them, the use of Fibermesh for hair styling, the application of random expression of hair distribution, increased hair volume, and the creation of ponytail will be the focus of learning.

9. Body and clothing materials

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Use UDIM to create displacement texture for apparel gloves and master Substance to Arnold. Draw the displacement texture of the arm, highlight texture, and perfect the hand coloring material.

10.Posture adjustment

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Model rigging and posture adjustment, adjust Pose in Zbrush, learn to use Maya's "transfer".

11. Light rendering

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Light rendering can be combined with a variety of advanced rendering, such as Arnold. Apply HDRI lighting, add lighting layouts, adjust DOF & chromatic aberrations, handle rendering noise and finish.

Skin, detail, light

There are 3 core contents of character visual performance. Rendering how to obtain high-quality image performance, in the texture part and the rendering part of the work of the model artist's level of high judgment, Park Zhengyuan's skin, hair, lighting rendering performance is called crafts level.

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SSS skin texture production,

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Maya 2018 Arnold's Method of Making Motion Vector Blur in AOV Channel
Maya 2018 Arnold's Method of Making Motion Vector Blur in AOV Channel
Yesterday, I found that the Arnold of Maya 2018 has a directional error for the motion vector blur method made in the AOV channel. The motion blur method I wrote earlier applies to Maya 2016 and earlier versions, so I spent a little time studying it today. The problem has been solved now, and will use a small case to explain the production steps. Step 1: Creating the ball as a simple animated scene. Step 2: Turn on motion blur: Render a reference to motion blur. Step 3: Follow the method given in the official Arnold documentation: Change the camera's Shutter Start and Shutter End to 0.5 (why changed to 0.5 because my motion blur type is Center On Frame). Step 4: Create a channel for AOV motion blur: Here I will create two motion blur channels: The first is the motionvector channel that comes with Arnold. The second is to use the custom motion vector AOV of motion vector shader (giving the aiMotionVector material in the AOV channel). note: MBlur is named according to your preference. The setting of aiMotionVector was wrote in the previous article. Step 5: Render this image to see two motion blur conditions. It can be seen that both the motionvector and MBlur motion blur channels in our AOV channel are in the wrong direction. Step 6: Next I will officially explain how to solve this problem: From the beginning. A: Turn on the Motion Blur button in the render settings: I chose the Center On Frame mode here. B: Change the Shutter Start and Shutter End in the camera Arnold attribute to 0.5, respectively, corresponding to the Center On Frame mode. (Note: When rendering the motion vector AOV, the camera Shutter Start and Shutter End should be the same value.) C: Create a new MBlur_2 channel in AOV (to compare with the previous MBlur.) D: Open the material editor and find the two nodes aiMotionVector and aiVectorMap under Arnold's material panel. 1) Connect the outColor of the aiMotionVector node to the input of the aiVectorMap node. 2) Then connect the outValue in the aiVectorMap node to the DefaultValue in the Shader property of the MBlur channel in AOV. Change the XYZ mode of the Order in the aiVectorMap node to YZX mode and remove the hook of the tangentSpace. 4) In the aiMotionVector node, enable Encoding Raw Vector. E. After the above steps are completed, start rendering the image and view it in Nuke. As shown in the figure: Maya's default motion blur is basically the same as the MBlur_2 channel we made in AOV, and the motion blur adjusted by Nuke is basically the same. Of course, I also found a bug in the Arnold renderer, its motion blur channel does not solve the shadow of motion blur, there can be seen in a big picture that attached below.
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2018-12-26
Animated Short Film "Survival" Scene Production Analysis
Animated Short Film "Survival" Scene Production Analysis
This time, our . It also encourages outstanding artists to make good works and promote the production of their works, and let more people know them and their excellent works. This article brings about the production and analysis of the animated short film "Servival" produced by CG artists Li Yicong, Sun Ningning, Xing Luyue, Shi Tao and Li Yongcong. The software used is Maya, Arnold, AE, Nuke and so on. A brief introduction to the short film The short film tells that in a city where energy is exhausted after the end of the world, a lonely little robot relies on finding a waste battery in the city every day to live alone, until he finds that the city has no more disposable batteries to use, but he has no choice but to go home. Packing up the luggage, reluctantly pulling his own stroller, leaving the city, embarked on the road to find new energy. The specific production process Previous period The script is written by members and then determined through multiple discussions based on the technical level and conditions that can be achieved, and then the character design and scene design by the pre-art. Memories Modeling I found a lot of references during modeling, and I used to make up for a mechanical principle for a while. However, the animated character and mechanical design are not exactly the same. Consider the functions of action binding, emotional expression, and plot. Figure 1 is a partial reference of the character. The mapping is mainly used for Ddo and Mari. Role model Light rendering Scene one One of the scenes is the home of the robot, which lives in an abandoned train station. This lens acts as an empty mirror to ease the rhythm and explain the living environment. The robot looked for a day's battery, and the harvest was not much. Because it was far away, it almost lost a life on the way home. The lighting is set in the evening, except that it feels very dull, and it also implies that the small robot has lived in this city for a long time. On the other hand, the evening light effect, the light ratio is strong, the angle between the light, the camera and the object is relatively small, and the surface of the object will produce a beautiful Fresnel reflection. The figure below shows the material properties of the railway. Here you can use three or more textures to represent an object, color map, reflection map, and normal map or bump map. If it is close-up, you need to add a roughness map to make the object produce more rich changes. Backlighting also works well for translucent objects, such as the dirty old glass on the bridge, the grass on the ground, and the semi-transparent effect of all the plant leaves on the vine. In addition, the grass adjusts the wind output in SpeedTree and then imports it into Maya for material adjustment. Special plants need to be created in SpeedTree. Add force field to shape the plant into the shape and growth trend that you want, and then export. Creating plants in SpeedTree allows you to export wind animations to Maya, and plants can move to increase the authenticity of the scene. SpeedTree Software Plants imported into Maya Create a render layer in Maya, put all the objects into the new render layer, and then add the Arnold base material for layer coverage so that the entire scene is the same material and the texture is ignored. Benefits are, First, when lighting, it can be not affected by the texture of the surface of the object. It can observe and adjust the position of the light and shadow well, and use light and shadow to compose and shape the volume of the object. Second, remove the texture, refraction, etc., the test rendering speed is fast, the adjustment can get feedback quickly. Here you can see that this picture is not completely retrograde, the light source is to the left. At the time, when lighting in the scene, I hope that one side of the locomotive can produce a bright surface, and the lower left corner is too bright, so that the light of the whole scene is too average. Adjust the lights and start making material adjustments and renderings. If you find that many places need to be adjusted after rendering, you can reduce the sampling of all aspects, in order to save rendering time, after many adjustments to the screen you want, if you want the work more realistic and reduce the rendering time, you can use a . In Arnold, it is generally necessary to separate several layers, Scene 2 In the home of the small robot, this is a parting scene, where the warm shades of light are used to make a warm and sad feeling, so use the Maya spotlight to simulate the sun's rays, let it produces a light fog to simulate the atmosphere, which can increase the drama and authenticity of the scene. Scene 3 Post-production and composite editing The short film uses Arnold to render a multi-channel synthesis scheme with a total of 13 layers, which is finally synthesized in Nuke and AE.
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2019-09-06
Using Arnold For Maya To Make A Work "Empress"
Using Arnold For Maya To Make A Work "Empress"
This work was invited by 3D Artist Magazine, and then according to a portrait of a Chinese ancient queen, the following will explain the whole process of production, using the Maya, Arnold renderer, ZBrush, Photoshop, Nuke and so on. 1. Collect reference pictures Finding reference pictures is a very important part, and this part has cost a lot of time. 2. Making Model The model is first built in Maya and then placed in ZBrush for engraving. Except for the more complicated models (such as decorations on the hair, chairs, etc.), the other ones are first carved in DynaMesh in ZBrush, and then Decimation is used. Master reduces the number of faces and then exports. 3. Making maps All textures are done in Mari. Face skin first finds a female face projection, simply remove the pores, because the pores wrinkles are carved in ZBrush, so you can export the ZBrush displacement map to Photoshop and turn it into a High Pass image as the skin texture is superimposed on the skin. The hardest part of the clothes is to look for references to the above patterns. Once it is determined that the production is very simple, first put the shading and then cast the pattern. Remember to divide the layers among Mari, so it is very convenient to adjust later. 4. Making materials Here we use the gray mold to adjust the displacement and bump, then adjust the highlight, and finally the color and SSS. 5. Making hair The hair uses the Xgen that comes with Maya. After combing the hair, comb it with a comb and adjust it with several different tools. Eyelashes use another method of creating Xgen, creating a guideline and then generating eyelashes. 6. The final rendering This work uses the Arnold renderer, set as follows, The rendering output format is EXR, and finally, the Nuke compositing is imported. First add all the colors, highlights, and sss together, then use Mask and various condition layers to adjust the brightness, color, saturation, gamma and add atmosphere. Translated from an article written by 3D artist, Lu Ang
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