Maya Tutorials: Production Process of 3D Artwork Batman(1)

Maya Tutorial Production Process of 3D Artwork Batman-1

CG character artist Nealxia shared his "Batman" project and explained in detail the production process of models, UVs, textures, renderings, etc.. Your TPN cloud rendering service provider, Fox Renderfarm hopes these experiences can be helpful to you.

Introduction

Batman is a superhero under DC Comics, and in my heart, he has always been a shining image representative who grew up with me. The first time I knew Batman was the Batman game. I was immediately attracted by his mysterious, cold, dark temperament. I still like this role very much now, and I always look forward to the opportunity to do memorable work for my idol. Finally, I finished this work in my spare time last year, I hope you like it.

References

Before I started, I collected a lot of material about Batman. The styles of the picture materials are both realistic and cartoon. In the end, I decided to use Nolan’s film "Batman: The Dark Knight" as the model since I really like this movie.

Maya Tutorial Production Process of 3D Artwork Batman-2

Modelling:

After determining the appearance of Batman, we must determine a basic model. I found one from previous projects as a basic model. If it’s too time-consuming to make from scratch, the best way is to use the resources at hand to apply what is suitable, and do it yourself if it’s not a proper one. Displacement pump or normal can be used in the production process to show the details of the model.

The process of making Batman armor is done in Maya. After determining the approximate shape, the armor is added to the character model. Building these hard armor models in Maya is quite quick and convenient: first, create a plane, and then continue to extrude the edges of the plane model with the Extract Edge command, and continue to cut until you achieve the effect you want.

Maya Tutorial Production Process of 3D Artwork Batman-4

Maya Tutorial Production Process of 3D Artwork Batman-3

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Maya Tutorials: Production Process of 3D Artwork Crazy Fans(2)
Maya Tutorials: Production Process of 3D Artwork Crazy Fans(2)
Modeling Part of the role modeling is basically done in ZBrush. But before ZBrush, a low-poly model is made. Most of the scene props are done in Maya. In terms of characters, I decided to exaggerate at the beginning, so I can’t make the character too realistic. If it is too realistic, the expressive power of the picture will be greatly reduced. Therefore, in the production of the character, I will exaggerate its characteristics abnormally, but I cannot. If it is too much, it will become too cute which is not what I want, so I positioned the picture as a cartoonish realistic style. The prototype of the fans referenced Paul Bell, the greatest manager in WWE history, and then made some modifications on his basis. The clothes are basic models made in Maya, then imported into ZBrush and sculpted using ZRemesher. Hamburg still uses the previous brushes, but with an extra Alpha. The drink is carved with InsertSphere and Dynamesh. The body still uses those brushes, and finally puts them together. The role of the player is based on the French team’s Ribery. In order to be similar to him, I collected a lot of his information and added more exaggerations when carving the model. The method of making player roles is the same as that of fans. The shoes are done in Maya. the football referee-Colina is a reference to the role of the referee, I believe everyone who likes football knows him. Since he is far from the lens in the picture, the carving is not very detailed. Those fans who are farther away are even more omitted because they are too small and there is no need to make them too detailed. The scene is made in reference to the Maracanã Stadium in Brazil, and the style is also a bit more cartoonish. The fans first made a set of very low-poly models, and then shuffled, copied, and copied them. Don't place them too neatly and randomly. The clouds in the sky are made using materials in Photoshop and then pasted on a flat surface. The airship is first modeled, and then rendered(Fox Renderfarm suppports Maya cloud rendering) separately for later compositing. Lighting After the model is finished, start testing the lights. The time is daytime, so the light first uses a surface light to simulate the sunlight source, then turn on GI, turn on the physical skylight of VRay, and control the light intensity. Texturing Photoshop and Mudbox are used in this part of texture making. Before casting, it is best to choose those with few highlights and shadows or trim off the highlights and shadows. Continue to modify and adjust until you are satisfied. Make bump highlights by color, plus the normal map baked before, and use these for basic textures. There is no difficulty in making clothes and props. The main thing is to control the highlights of different materials, and the texture will be different. Grooming The system is mainly produced by Hairtrix. There are many ways to make hair, but I am more accustomed to using Hairtrix, and personally feel that this is pretty easy to use. Layered rendering Compositing & Post-production The main thing in the post-production is to control the atmosphere. Just look at the excellent works of art, movies, magazines, photography, etc., to enrich your control of the atmosphere of the picture and the feeling of color. This also requires long-term accumulation.
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Maya Tutorials: Production Process of 3D Artwork Batman(2)
Maya Tutorials: Production Process of 3D Artwork Batman(2)
Armor modelling When making the armor model, it needs to pay attention to some places. Adding two more lines at the edge, especially the corner, so that after smoothing, it will achieve a better final effect. The heads of the characters are all done in ZBrush, which can sculpt out tiny details. Its delicate brush can easily shape skin details such as wrinkles, hair strands, pimples, freckles, etc., including the bump models and textures of these tiny details. ZBrush can not only easily model the shapes and textures of various creatures, but also export these complex details into Displacement and normal maps. There is a principle to follow when carving objects: from simple to complex, from whole to part. When drawing with a brush, I use move brushes, standard brushes and clay brushes. The move brush is used to adjust the overall head shape, the standard brush is used to adjust the shape of the facial muscles, and the clay brush is used to shape large areas. I prefer to use the Layers function in ZBrush when drawing the model. It can record the details of the painting very well. When you change the details of a certain layer of skin, it will not affect the details of other layers. Strength of each layer can also be adjusted according to the final effect of the model. Three brushes When sculpting a character's face, you can first sculpt it in ZBRUSH, draw the texture and then perform the rendering test. If there is any problem, you can directly adjust it in ZBRUSH. Note that when making this adjustment, you can't make too many changes, otherwise the texture may change. Because this is just a personal project, there are no restrictions on the use of textures, so in order to show more details of the skin surface, I try to use 4K textures. UV I usually use Unfold3D to make the UV of the model. Its UV splitting function is easy to use and the speed is fast. However, the character models of this project are all split UVS among Maya. The face of the model uses Maya's Cylindrical Mapping tool. Cylindrical Mapping is convenient for creating UVs on the faces of the characters. Texturing and rendering In terms of the texture of Batman's armor, I want to be more modern, so I didn't make the pictures very old, and there was almost no hand-painted texture. The main reason was to modify some realistic materials. The hair is made using Maya’s Shave plug-in. In order to make the hair fuller, I added several layers of hair, because a layer of hair is difficult to cover everything, like a hairdresser, slowly comb until you are satisfied with the effect. The lighting is a combination of global light and three-point light source The three-point light sources include the main light, auxiliary light, and backlight. I mostly use area light and parallel light for lighting. The basic method is that the brightness of the main light is 3 to 5 times that of the auxiliary light, and it slowly transitions from warm light to cold light. The rendered image was completed in Photoshop. The visual effects of the snow were done with Maya particles, and the motion blur was turned on for more realism. Final effect:
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2020-08-18
"Coffin Dance" Produced by Peru Animation Studio According to Ghana’s Dancing Pallbearers(2)
"Coffin Dance" Produced by Peru Animation Studio According to Ghana’s Dancing Pallbearers(2)
The TPN-Accredited Maya render farm will still share the production experiences of the CG artwork "Coffin Dance" and "Cookie Cat" with you. Hope that helps you. How about other artworks created by your studio? Marsha Pavlich: "Cookie Cat" is also a social short film with a similar purpose to "Coffin Dance". We hope to produce eye-catching animations to attract more people's curiosity on social media. So I thought of the character created in the past-cat biscuit, if I use it to imitate human actions, it must be very interesting. After that, we chose to reproduce the most popular scene in the classic movie "Flash Dance" in the 1980s-the dancer starring Jennifer Bells, dancing with water while stretching out the chair. So we wrote a short story for the film, let the cat biscuit go through the sweets production line, and sprinkle chocolate and dragees to make it look more delicious. The animation is mainly produced using software such as Maya, After Effects, Substance Painter, Phoenix FD, and V-Ray. The biggest challenge is mainly the fluid simulation of chocolate. In order to make the flow of the chocolate natural and at the same time look delicious. We tested it back and forth several times. In addition, we want to make the behavior at each stage appear organized and tell a story smoothly. Just like the first cat biscuit is topped with chocolate, it can't reach the second stage. The scene still has chocolate sauce. So we cleverly used the characteristics of the conveyor belt to solve this problem, so that the picture looks like the character is leading to the next stage and let the things leftover from the previous stage disappear. Another important point is music. We chose a classic and interesting singing style. After all, the rhythm of the music will affect the action and speed of the character, so we must first confirm the style of music. Can you share with us your production experiences? Marsha Pavlich: Every project can always bring us new inspirations or learn new technologies. For example, in "Coffin Dance", in order to create a cyclical character dynamic similar to that in the hit movie, we tried many new techniques to make the characters dance in their respective positions to create a perfect loopit animation. In addition, different ideas were created in cooperation with Studio Uku. We shared different views and knowledge in the process learned from each other and inspired each other. This experience is great! Where did your inspiration come from? Marsha Pavlich: In the studio, we want to create stories or animations whenever we have the opportunity. The inspiration is based on personal experience, favorite animations or movies, special days, and even some factors of Internet popularity. For example, we created a simple animated story on the eve of Valentine's Day and released it on the day of the show. At that time, the cat Cupid, who was different from the cute image, was designed with a bit of rebellious and rogue character, and the story developed in an interesting direction. Could you share your creative skills with us? Marsha Pavlich: - Only exaggerated actions can show the cartoon style. The most important key to making cartoon style is the "exaggerated" character dynamics, which is also an interesting part of the animation. After all, animated characters are not limited by the physical rules of the real world, so as long as the movements are natural, the audience will pay. Therefore, when creating, you can ask yourself if you can make the character's actions more exaggerated to show your style. - Extract creative nutrients in life All-natural characters are inspired by real life. The best way is to observe in life and begin to pay attention to minor movements and details that are not normally found, such as raised eyebrows or bent fingers. You can also search for references on the Internet, or shoot videos to watch your actions. Could you share with us the CG industry in Peru? Marsha Pavlich: Peru’s animation industry is booming and has gradually become one of the competitive industries. Many large-scale projects have been made public, such as animated films, albums, etc., and some are in progress. However, due to the impact of the epidemic, the animation industry has also been affected to a certain extent. It is just that our country has gotten rid of the worst moment. I believe that Peru's powerful creative energy can attract the attention of the world. Would you share with us your next step? Marsha Pavlich: We hope to become one of the most important local animation studios and show our creative strength. Therefore, we set our goal on the development of original animation and look forward to attracting young people through films, albums, or short films.
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