Behind The Scenes: Sagittarius(2)

Behind-The-Scenes-Sagittarius

Scene refinement

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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.

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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.

Biological refinement

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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.

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At this time, you need to split the head UV. Use ZBrush to export the displacement map to view the effect in Maya.

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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.

Lighting

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.

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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:

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Equipment refinement

The effect of making detailed equipment:

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UV

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

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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.

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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.

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Maya texture connection

After the three pictures are drawn, you can add the rough range in Maya, and paste the roughness below:

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The color map is attached to the arrow in the figure below, and then radius gives a red color (light transmission effect).

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We also need to apply the XYZ displacement and ZBrush-derived displacement that we created earlier to the displacement channel,

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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.

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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,

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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.

Rendering

When rendering, you need to add AOV channel as a later auxiliary layer.

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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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White mold,

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And the detail,

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Maya Tutorial: How to Make An Axe(2)
Maya Tutorial: How to Make An Axe(2)
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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2021-04-01
Maya Tutorial: How to Make An Axe(1)
Maya Tutorial: How to Make An Axe(1)
In this article, Fox Renderfarm, the best cloud rendering service provider in the CG industry, shares a tutorial from 3D artist G on how to make an axe with Maya. G is a 3D artist and has been engaged in model making for the game industry. Before entering the CG industry, he also made many mistakes that the beginners would make. In the process of making some 2D concept drawings into 3D works, he gradually realized that as a 3D artist. From flat thinking to three-dimensional thinking, it is necessary to have a good analysis and judgment ability for the understanding and grasp of the sense of space, especially when the 2D concept map is produced in 3D. G will mainly show the production process of the model and explain how to decompose the 2D drawing into a 3D drawing. I hope this article will be helpful for beginners. Reference I looked for a cool weapon concept map as a reference. The concept map of this axe has beautiful lines and a simple structure, which is very suitable for 3D. Before making it, I will observe the concept map first, and then have a blueprint in terms of structure, proportion and colour scheme. Take the following picture as an example. This axe looks very sharp, and the middle position is thicker, forming a strong contrast. Moreover, we need to infer the thickness and curvature of the side from the ratio and contrast of light and shadow, which is very important. Compared with the two weapons, the first one I personally feel is that it is not a knife, because it does not have a sharp blade similar to figure 2, so it must have a heavy texture. In addition, there are sharp thorns on both ends. I can imagine the way this weapon is used. It should first stun the opponent like a hammer, and then pierce his vitals with the spikes. It's bloody to think about it. Since this weapon is very heavy, I would imagine that the person using it should be very strong and domineering! Preparatory work is very necessary. If you need more, you can find more reference pictures, such as the thickness reference of the side, otherwise, the model will be unreasonable. Modeling My habit is to decompose the weapon according to the structure of the original concept painting before making the model, especially for this very complicated weapon, this step is more important. No matter how complicated things are, as long as they are broken down step by step, they will not be so complicated. The important point is that you should not directly make it on the basis of the concept map. If one of the structures has a problem, then a lot of repeated modifications are required, so that you need to redo it. This will be a waste of time and will lengthen the production cycle. Therefore, the early disassembly analysis is very important. In this project, first of all, we need to determine the main shape, which is basically divided into two parts: one part is the definable thing, the handle, etc.; the other part is the main body of the blade. My principle of production is the structure must be made with the least amount of surface in the early stage. What can be determined is that some parts of the above picture, such as the handle and the bottom of the lower end, are cylindrical, so you can make all these simple things first, and give a reference to the width of the blade. The main body of the blade is as follows: The main structure of the blade is composed of two red areas as a basic structure, and other details can be ignored. Therefore, the structure of our first step is as follows: The model of the blade must be made with the least number of faces, and the whole structure must be made first before the other things. This production step requires a lot of patience and time because we need to modify the shape as much as possible to be similar to the concept map in a small number of faces. Because this low-profile model will be a draft of our final effect. Of course, you can also import the reference image into the background image as a reference. For Part two of the tutorial, Maya Tutorial: How to Make An Axe(2)
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2021-03-31
How to Make Realistic Characters in ZBrush and Maya(2)
How to Make Realistic Characters in ZBrush and Maya(2)
The best render farm Fox Renderfarm still shares with you the post about how to make realistic characters in ZBrush and Maya from 3D artist Yi Chen, and this is part two. Yi Chen showed us the workflow of his latest realistic female character. Software used includes ZBrush, Maya, Mari, Substance Painter, Xgen, Arnold, etc. About part one, please click here. Texturing After the high polygon model was carved, I re-split the model's UVS into 6 UVIDs and changed it to 4K accuracy. This step is mainly to draw textures in Substance Painter and also to ensure that the high-poly displacement details will not be lost in the final rendering. If you are using Mari to draw textures, then I recommend using 2 sheets of 8K accuracy. Before using Substance Painter to paint colors, we can still use Zwrap to use some scanned model textures as background colors to improve work efficiency, and then further describe the colors and details of various areas of the face based on it. In this step, I drew the Base Color, Specular, and Thinkness maps. The Thickness map will be used as the weight map of the SSS skin to locally control the intensity of the skin subsurface scattering. Please look forward to the process of material setting and lighting rendering next time. Thank you for watching.
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2021-01-07
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