Behind The Scenes: Sagittarius(2)
Three main buildings were built according to the position in the original painting, and then the entire background was spliced out with these three buildings. This step is relatively simple.
Then put the objects made at this stage into the main scene, adjust a few materials, such as metal, leather, SSS materials, give the corresponding model, add an HDR skylight, and test the entire scene.
Now it's time to break the symmetry between the character's head and the monster's head model. This step needs to enrich the details on the skin, such as adding some wounds or something.
At this time, you need to split the head UV. Use ZBrush to export the displacement map to view the effect in Maya.
The ZBrush export displacement method is as shown above: first connect the displacement map exported by ZBrush in Maya. You need to open the subdivision level in the object properties. In this way, the object can restore the display effect in ZBrush.
When the model with refined objects is put into the scene, you can start to adjust the lights. Decrease the intensity of HDR light and use it as a secondary light source, with a film light source as the main light source, and adjust the effect of the light and dark boundary line in the sun with parallel light. The effects at this stage are as follows.
Use of character XYZ
Here you can start to try the smallest level of detail processing on all objects, such as the XYZ replacement texture of the skin, the metal texture and damage traces of the equipment itself, and the skin after the XYZ replacement, as shown below:
The effect of making detailed equipment:
The model is almost finished. Now it ’s time to split the UV. Here, UDIM is used to facilitate textures, a set of UDIM, a set of background, a set of skin, and then the cumbersome UV process.
SP texture production
After splitting the UV, the textures are created. All textures are made in the substance painter. A set of UDIM models are directly imported into the Substance Painter. As long as the options shown in the figure above are checked, they will be automatically recognized. When making textures, it is mainly due to color changes. The color changes should be rich but they cannot cover his original main color. Of course, the roughness changes are also very important. The following picture is the effect of Substance Painter.
The skin needs to be color maps, roughness maps, and rough range maps in the Substance Painter. The color maps are obtained by mapping the real face skin (the same method as XYZ). The roughness can be converted using the previous XYZ three-channel conversion then overlay some random ALPHA textures. The rough range is to control the position of the highlight, and it is hand-drawn. Generally, the forehead, the tip of the nose, and the highlights on the cheeks are more obvious.
Maya texture connection
After the three pictures are drawn, you can add the rough range in Maya, and paste the roughness below:
The color map is attached to the arrow in the figure below, and then radius gives a red color (light transmission effect).
We also need to apply the XYZ displacement and ZBrush-derived displacement that we created earlier to the displacement channel,
After the first pass of the texture, you can test the rendering, and then you need to adjust it according to the picture effect. Then the monster's head also needs to draw a map. Just like the human head, it needs three pictures of color, roughness and rough range.
The next step is to replace the wings. The method of wings uses patch stitching. First, make a single feather map in three or four different positions, and then stitch it. What it looks like at this stage,
Xgen hair production
Let's start adding hair, XGEN for hair, each part should be separated into different Maya files when making hair, and then integrated into the main scene. Mainly how to import into the main scene, first clean the Maya file of the Xgen hair that is made separately, leaving only the growth bodies and the grown hair, and then directly import the cleaned Maya hair file in the main scene, and the imported file will be prefixed with a name. The prefix cannot be deleted, otherwise an error will occur.
When rendering, you need to add AOV channel as a later auxiliary layer.
The entire scene is divided into the foreground and the background for rendering separately, and the later scenes are stacked together to facilitate the final effect adjustment. Finally, the final picture is rendered,
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