To Rebuild Avatar With Arnold For Maya

In 2009, a sci-fi film Avatar swept the world. This film won a lot of honors, but as a CG enthusiast, the greater fun is still exploring the production process of this film.

Arnold for Maya of Avatar

In Avatar, many characters and scenes are made using Maya. Today we will introduce the Avatar as a case by Arnold and Maya to introduce the software.
1. Collection of materials
Material collection is an important step, and the more time you spend collecting material, the less late errors will be. When making the Avatar model, I used the web to collect a lot of real material and video reference. You can add some of your own understanding during the production process. You can also try different brush strokes when post-production in ZBrush, and finally unify the whole character. Here are some of the materials I collected.

Arnold for Maya of Avatar Arnold for Maya of Avatar

2.Maya basic model
Use Maya's own box as the basic model, first adjust the general proportion, and then start from the large-sized model parts, so that you can grasp the overall feeling of the character in a relatively short time, and easily modify the scale. As far as possible, the wiring should be as clean as possible. It is not necessary to describe too much detail. In particular, pay attention to the structural turning of the head to facilitate engraving later.

Arnold for Maya of Avatar

Step 1: This role, gives me the feeling is a combination of feline and human face, the upper part of the face is a lion, the lower part is a human. I decided to put more effort into her lower half of the face and tried to understand the upper half of the cat's face. After analyzing these things, we can grab some of her characteristics to start modeling.
I made a simple model, this time there are very few lines, it is very convenient for you to adjust the feeling. At this time, the proportion and position of the character's lower jaw and facial features were fixed.

Arnold for Maya of Avatar

Step 2: Add one line while adjusting and perform local detail processing.

Arnold for Maya of Avatar

Eye, eyebrow and cheekbones, here are the low mold and final wiring diagram.

Arnold for Maya of Avatar
  1. Adding ZBrush details
    According to the previous reference to determine some of the details of the role structure, subdivision in ZBrush, improve the number of faces of the model to add some details to the model. For example, pores, texture of the lips, etc.
    Step 1: First perform Maya's cleanup to check if there are more than four sides. Export the obj model without problems.

Arnold for Maya of Avatar Step 2: Import ZBrush to add details. Use a few skin brushes. Detail breakdown and detail addition.

Arnold for Maya of Avatar
  1. Mapping the texture
    Because there is already a film and television as a reference, the texture is closer to the content of the film. Here are some of the material I collected.
Arnold for Maya of Avatar

You need to make sure the uv is correct before drawing the texture. I am using the UVLayout plugin to split the model UV. Pay attention to the position of the tangent at the time of splitting, try to put it in the place where it can't be seen, so as to avoid the seam problem. The mapping of the texture here is made by combining Mari and ps. In order to quickly grasp the process of drawing textures using mudbox here.

Arnold for Maya of Avatar

These are the uv splits using plugins. It's worth noting that sometimes splitting out is not ideal and needs to be re-edited in the Mayauv editor.

Arnold for Maya of Avatar

The overlapping parts in the red part of the figure can be adjusted in the uv editor. The final result is as follows.

Arnold for Maya of Avatar

After the UV editing is done, it is necessary to draw the texture and draw it here using the mudbox.
Firstly, subdivide the model and then export obj. The second is to open the mudbox and import the model. Select a brush.

Arnold for Maya of Avatar

The shader looks at your personal habits and can switch between viewing highlights and non-highlights. Select the brush and click New Layer on the model to select the map size and format as needed.
I am here to choose 4096*4096 size for clarity. And named as the background color, in order to put the background color on the model, to prevent the back when painting the map. The new layer adds the pattern, which can be adjusted in conjunction with the layer blending mode. To achieve the right results.

Arnold for Maya of Avatar

Generate textures and export them after making multiple adjustments. And add textures in ps. And the root layer is created to generate the corresponding 3s highlights and bumps.

  1. Rendering
    Light setting: The first step, we basically use the most basic three-point lighting principle to first adjust the intensity of light to achieve the required intensity. Note that this is the arnold renderer that is utilized, so the default light is attenuated with light. The lighting test of the advanced model (the model without the map) pays attention to the contrast of the cool and warm of the light.
Arnold for Maya of Avatar

The three-point lighting is generally the primary light source auxiliary light and contour light, pay attention to the contrast between the main light source and the contour light. There is also an application with skydemo light to simulate the surrounding environment.
Setting of the shader ball: In order to better express its texture and skin characteristics, we will use the corresponding skin material.

Arnold for Maya of Avatar

The first step: Since the texture has been drawn before, the respective skin layers whose inherent color is blue are also adjusted according to the inherent color. Connect all the textures to the corresponding properties of the shader and adjust the parameters.

Arnold for Maya of Avatar

Here, five textures are connected to the skin's three-layer highlight and normal map. Then adjust and test the lights.
Render channel output: Render the corresponding channel, which is more convenient to adjust later.
They are id, normal, highlight, ao, sss, etc.

Arnold for Maya of Avatar

Channel synthesis: The rendered layer is synthesized in ps, the ao channel is synthesized by the method of the film stacking, and the highlight channel is synthesized by the screen method. The normal channel can be synthesized in nuke to re-adjust the light. It is possible to directly adjust the eyelashes and adjust the background lighting effects and color in the ps.
Adjust the desired effect with the final adjustment.

Arnold for Maya of Avatar

Author: Xiao Zhen Xing

Welcome to join us

render farm free trial

Recommended reading

How to render large scenes with Redshift in Cinema 4D


Arnold\ V-Ray\ Octane\ Conora\ RedShift, Which Renderer Is The Best?


How to Render High-quality Images in Blender


How the Redshift Proxy Renders the Subdivision


China Film Administration Release New License Logo


Maya 2018 Arnold's Method of Making Motion Vector Blur in AOV Channel


Corona Renderer Learning - Denoising


Redshift for Cinema 4D Tutorial: Interior Design Rendering




Arnold for Maya Tutorial: How to Render Wireframe
Arnold for Maya Tutorial: How to Render Wireframe
When making some work, we need to render some special effects, such as only showing the wireframe of the model. In this article, Fox Renderfarm, your best cloud rendering service provider, will show you how to use Arnold for Maya to render the mesh, show the model in wireframe or show the individual wireframe alone. Arnold renderer First, you need to modify the settings in the Arnold renderer, and then open the Hypershade to select the shader aiWireframe, the shader that implements the wireframe. aiWireframe Let's look at the properties of the aiWireframe shader, the detailed values: Edge Type is divided into Polygons, Triangles, Patches; Fill Color: This is the colour of the entity of the model itself. After testing, this node is connected to SurfaceMaterial for transparency and masking, but it has no effect, so, the node should be able to accept RGB information. About the LineColor the LineWidth, shown as below, Settings of aiWriteframe The setting of this material is used as backup content for later use. We use this node as transparency information, to link the rendered material transparency node. We add the basic Arnold shader aiStandarSurface to the model to be rendered, and we can choose to adjust the colour in the basic shader. The key step is to connect the aiWriteframe shader we made earlier to the Opacity node of the basic shader. aiWriteframe link transparent node Next, we need to remove the Opaque node from the basic attributes of the model. A model can easily adjust the Opaque node in Arnold. But if there are many models, it will waste a lot of energy and time to adjust each model in turn. In Maya, you can adjust multiple model attributes at the same time through the attribute bar. Remove Opaque in the attribute The method of batch adjustment of model attributes is in the AttributeSpreadSheet of GeneralEditors under windows. The detailed selection of the attributes of the model is to render the first AIOpaque in the Arnold window, and then click to enter 0. 0 is off and 1 is on here. Modify model properties in bulk Let's take a look at the test results. The picture on the left is the rendered reb colour effect, and the one on the right is the effect with channels. So, regarding the grid now that it can be displayed transparently, how to achieve a mask effect that blends transparency and opacity? First, use the same method to make the first shader, and then use Maya’s most primitive basic shader: surfacesShader, this can control the masking effect very well, we use the made aiWireframe to link the Out Color of the surface shader so that we can achieve the transparency effect of the mask. You can see the masked transparency effect below, Basically, this is how it is made. Of course, you can also use this method to make other effects. Hope to help you.
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.
How to Make Realistic Characters in ZBrush and Maya(1)
How to Make Realistic Characters in ZBrush and Maya(1)
In this post, the best render farm Fox Renderfarm will share with you a tutorial about how to make realistic characters in ZBrush and Maya from 3D artist Yi Chen. Yi Chen showed us the workflow of his latest realistic female character. Software used includes ZBrush, Maya, Mari, Substance Painter, Xgen, Arnold, etc. This is part one of the tutorial, part two will be continued. Introduction I am a 3D artist. Today I will share the production process on how to create realistic characters. The model is made using Zbrush and Maya; Mari and Substance Painter are used to make textures; Xgen is used to make hairs, and Arnold is used for rendering. A Male character: Gathering references Before starting to make the model, I will analyze the concept map and collect a lot of pictures of women. Because this work does not refer to a specific picture, I could combine and match many of your favorite elements, including clothing, hairstyles, makeup, jewelry, etc. Then starting with simple sketching and compositing in Photoshop, it is better to have a concept map at least before production. Modeling I’m used to determining the size and scale of the model before making the model. According to Anatomy, the vertical length of the head of an adult is between 22-24cm, and the diameter of the eyeball is generally between 2.4-2.5cm. And when making a model in Zbrush, we need to set the focal length of the Zbrush view camera in advance according to the picture material. The most commonly used portrait focal lengths are 85mm, 100mm, 135mm, and 200mm. Some original photographs usually include the specific focal length value of the picture. If it is a reference picture, we can roughly determine the focal length range by observing the leakage range of the front person’s ears. The gif below can be used as a reference basis. Of course, this is only a reference for the focal length of a portrait. If it is half-length or full-length, the focal length will be different. To create the model based on the reference material, I directly used Zbrush to sculpt Blocking, and the number of subdivided faces was kept at about 50 million, level 7 so that the flow model used for rendering at the lowest subdivision level can be controlled at about 12,000. After the model was modified, I continued to use the UV split tool that comes with Zbrush to make the UV, and then manually adjusted it to the appropriate position. Then I used XYZ pore material + Zwrap plane to project the pores, and then projected some undesirable areas in Mari. Next, it was time to output the grayscale images of the three channels of R, G, and B in Mari and extrude the bumps on the surface of the model through Zbrush to get fine pores. In this step, the model used a 16-bit 8K precision texture map.
Fackbook Customer ReviewsFoxrenderfarm

Powerful Render Farm Service

    Business Consulting

    Global Agent Contact:Gordon Shaw


    Marketing Contact: Rachel Chen