Behind The Scenes: Sagittarius(1)

Behind-The-Scenes-Sagittarius

Fox Renderfarm, a powerful but affordable maya render farm, brings you a sharing of behind-the-scenes of Sagittarius made by Maya from 3D artist Zihao Zhou. This article introduces how to use the animation CG model production process to restore a 2D original painting Sagittarius, and tells the whole creative process, especially sharing some special places' processing methods and skills.

This artwork contains many elements in the early stage, so it is necessary to consider clearly in the planning of the early stage of production, otherwise it will affect the later model production. Zhou divides the whole work into several parts,

  1. Character skin: human head, body, horse and monster head.
  2. Equipment: protagonist equipment, wings and soldier equipment.
  3. Building

Scene construction

Construct the entire scene with simple geometric objects, and make some adjustments after determining the position of the camera lens, and try to place all the objects as well as possible. The location of the light can also be tested to find the most suitable place. It is necessary to make some model objects in ZBrush and put them into the scene as soon as possible to enrich the scene. Don't pay too much attention to the lights and details.

Behind The Scenes Sagittarius 40

Behind The Scenes Sagittarius 1

When everything is there, you can start making more accurate models to replace things in the scene. During the construction process, gradually adjust the shape or the position of the wrong part. In the production of this scene, I used to separate the equipment into separate Maya and ZBrush for production. There are two main reasons for this.

  1. There are many symmetrical objects in the equipment (although it will definitely break the symmetry later), but the previous symmetry can be improved efficiency (making high-precision models directly in the scene will be inconvenient) .
  2. Do it separately in each Maya file. It can save some time for testing the material effect later, you can put the main scene lights into a single Maya equipment in the file, you can increase the speed of rendering. Of course, in the end, the scene effect in the lens shall prevail.

Sculpture

In this step, you can sculpt the protagonist's face, muscles and monster head (except for the symmetrical sculpture of muscle, human face and monster face, which is convenient for making the overall effect, and then break the symmetry later), the muscle part uses an existing body. Use the mask and move tool in ZBrush to adjust the desired appearance, and put it in the scene to match the position of the body. The head of the protagonist and the head of the monster are also placed in the placeholder model before the scene is replaced. The horse's body also needs to be sculpted with muscles, but it will be covered with a large area of hair in the later period, so the sculpting need not be too detailed.

Behind The Scenes Sagittarius 3

Behind The Scenes Sagittarius 4

Behind The Scenes Sagittarius 5

Refine equipment

Equipment is produced separately. When this large piece of equipment is determined, the next important thing is the pattern on the body, and there have been many versions of this pattern. In the production process, depends on the topology pattern of the equipment. Here I use Maya's own topology tool to first select the model to be adsorbed, click the magnetite, and then click quad draw to draw on the model.

Behind The Scenes Sagittarius

Behind The Scenes Sagittarius

Behind The Scenes Sagittarius

Then add a line in the middle of the drawn shape, and put the added line in the direction of the normal (to turn off the suction command) so that the pattern is there, then only need to extrude the thickness, pay attention to the corners wiring.

Behind The Scenes Sagittarius

In addition to a larger pattern, some small patterns attached to the surface of the equipment are needed to enrich it. This level is actually to find some suitable black and white pictures of the pattern on the Internet for stitching to make a continuous square picture, and then expand the equipment. UV, stick the pattern to the position corresponding to UV.

Behind The Scenes Sagittarius

Behind The Scenes Sagittarius

Then paste the black and white pattern into the ZBrush replacement channel (need to flip the V direction), adjust the extrusion height, and take a look at the effect. Of course, the patterns on the equipment can be stitched using some online pattern materials.

Behind The Scenes Sagittarius

Behind The Scenes Sagittarius

The production of the armor part is more troublesome, because the shoulder armor looks like a broken metal effect, so first make the shoulder armor large, and then use the ZBrush grouping to divide the shoulder armor into multiple groups, and rewire the regrouped part. The effect of broken metal can appear. Of course, it is still necessary to manually adjust the gap between each piece of metal. By default, the gap size is the same, which is not good-looking.

Wings can first find a wing and place it to see the effect, and then replace it with your own wings.

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Maya Tutorial: How to Make An Axe(2)
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When I feel that there is no problem with the overall shape, I can start the middle mold of the detailed blade part. Continue to refine the three structural parts that were just split. We have refined the structure of the three parts. At this point, the basic shape of the entire model has basically reached the structure in the concept map. If these details are attached to the basic structure, if it is not easy to make in Maya, you can use the advantages of ZBrush's rapid sculpting for quick sculpting. This stage is just a transitional model, there is no need to sense volume or sculpt, like some smaller details, I just quickly generated the basic shape attached to the details on the whole. These are very time-consuming if they are directly modelled in Maya or 3ds Max, so what we need is to use the advantages of each software to quickly achieve the final effect. The software used is not important, the effect is the final. The specific operation is also very simple: - Masking - If the generated thickness is too thick, adjust the thickness and generate again - Separation model - Then adjust the shape according to the original painting. We need to take the topologies of the models planned in ZBrush into low-polygon models and import them into Maya for further mid-model refinement. Finally, some detailed models such as nails and ropes are put on, and then the models are merged, and the preparatory work is done for the model carving. At the edge, I deliberately added some notches and bumps to make this axe look like it is often used. Summary When making this model, there are more cumbersome parts. Don't be afraid. Just break the 2D concept map into many small parts, and then distinguish the priority and make it step by step according to the previous plan. Then sculpt some worn details to the model in ZBrush. Then you can go to ZBrush to carve some broken details. In this process, you need to pay attention to the overall structure and don't make too much detail. Do it first, then do it again, otherwise, the model will look too trivial. There are no details everywhere because they will distract the viewer. We only need to have relatively large damage in the distant view, middle-level details in the mid-range, and close-range views to see the texture of the details, and all the things can be combined to form a very beautiful model. When making a model, you will need to make the main character first, and then other accessories. The overall model's picture needs to be coordinated, instead of focusing all the energy on a broken sculpture. We need to use damage and details to set off the subject, not to make those details too attractive.
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