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Creating a Hyper-Realistic CG Character in 3D

NEON is my terminal projection for the intermediate level at Recall Tank Training Center – Online. Based on a concept by Young Qin, information technology was very suitable for me as I wanted to intermission into making 3d characters just however be able to apply some hard surface techniques that I love

NEON is my terminal project for the intermediate level at Call back Tank Training Centre – Online. Based on a concept by Immature Qin, it was very suitable for me equally I wanted to break into making 3d characters but still be able to use some difficult surface techniques that I dear and have passion too. In this article I will be explaining the procedure I went through, things I wish I did and fifty-fifty the mistakes I did too.

I hope that this commodity would be clear and useful for anyone making a character bust. Allow'south Bound IN..!!

Reference

In the kickoff, I effort to collect as many references and similar artworks as I could, to help me accept a clear idea of what I will exist modeling. In some 2d sketches, some areas are just full of ink and hatches so y'all will have to figure these areas out and find other parts to model and put at that place.

In my case Neon is a queen with a mechanical torso. This helped me to narrow my search in artworks to just Hydraulic pistons muscles and cables, not gears and wires. This step is important considering having a clear thought of what you volition do will saves a lot of time of going back and forward and causes the feeling of lose therefore requite it enough time in the project'south schedule.

Blocking In ZBrush

In ZBrush, I start blocking the whole model; organic, clothes and hard surface parts using Dynamish or Sculptris Pro Way.

I showtime blocking out the large forms first and so the small ones. It is preferable to block the organic-hard surface parts (metal parts in her jaw, the crown on her head, breast and shoulder pieces)  equally clean as possible because I will use this geometry in the retopology procedure and the more they are clean the better result I will have.

The wires, cables, and pistons I just block them using archaic shapes and snap to curve Castor in ZBrush because it is easier for me to model and add details to them in Maya later.

Retopology

I import the model and start doing retopology in Maya. I use a technique that I learned from my friend Nicolò Granese. I do a retopology for each slice individually, then I use crease for the desired edges where will exist a hard edge, subsequently subdivide the piece, finally, I chamfer the creased edges.

by Nicolo Granese

Modeling The Caput

In this part, I start sculpting the head trying to lucifer the reference I have.

After that, I used the XYZ multichannel maps from Texturingxyz. In addition to the amazing maps and textures they have. They as well have great tutorials and example studies that helped me a lot.

After that, I used the XYZ multichannel maps from Texturingxyz. In addition to the amazing maps and textures they have. They too have great tutorials and case studies that helped me a lot.I used Zwrap to use the displacement on my model by post-obit this killer workflow. I tend to use a large breakup noise from ZBrush equally the start layer of the skin and then import the deportation maps using this astonishing UDIM Importer

Then I start sculpting some wrinkles, skin folds and details in another layer. Finally, I starting time breaking the symmetry in my model in a third layer.

Annotation: When exporting the Displacement maps, information technology is better to consign the XYZ fine details and the sculpted details separated in unlike displacement maps so that u tin can control the amount of both details separately. Otherwise, the details might seem at the aforementioned level which is not accurate.

Modeling Head Surface Parts

This is my terminal touches on the model. I utilise SPline to model the cables, I employ my own generic kitbash to fill the gaps in the model and at the tiny details similar screws, cablevision heads,  structural parts, and pocket-size pistons.

Notation: it is highly recommended that y'all first edifice your own kitbash if you are doing a hard surface model it will make life much easier and faster and practiced looking results too. I keep a dissever file with all the kitbash I did to re-import it and utilise information technology in another project.

By this stage, I beginning to recollect about interesting parts and expert-looking angels in my model where I might put my cameras.to commencement enhancing and pushing them furthermore and to determine which details should be modeled and others that I might apply equally normal in the texturing phase.

Arranging the Scene in Maya

Ever remember to adjust the scene and rename the objects correctly before it gets much more crowded. I learned to split my project into three primary groups; Left, Right, and Middle. Also, I make a grouping for the cameras and another ane for my initial lights.

Texturing The Body

I mainly prefer to apply Substance Painter for texturing the hard surface models. I notice it much easier and faster in terms of painting all the maps together (unequal, spec, gloss, bump )

Just earlier jumping into Substance I tend to apply basic shaders inside Maya and settle downward my chief color palette. Some times a catch a picture that I love its color palette and use Adobe color bicycle to excerpt its Raw colors and use them in my model.

Here is a list of tips I use while texturing.

• Reference, reference, and reference.

  I ever tend to find references for the material I desire to utilize. And analyze information technology in terms of color variation, roughness, and clothing.

• Color variation

  I adopt to use ii to three degrees of the same color to give it a variation, and it depends on the level of vesture and the number of scratches.

• Anchor points

  I utilize anchor points technique so that the newly added details got the same effect of scratches and article of clothing as the modeled one.

Skin

For the pare, I apply XYZ Multichannel maps. I used Zwrap again to apply the albedo/Lengthened map to my model using the same killer workflow. Afterward that I use foundry Mari to set up some areas, enhancing some details and add together makeup to my character. I too paint the residual of the maps (specular, glossiness and SSS Mask) inside Mari

The specular and glossiness maps will demand some modification, then I plug them into a remap node and start manipulating them until I got satisfied with the results. it is just a thing of trial and mistake.

Pilus

For the hair, I used Xgen. I only start drawing the guides and painting the density and mask maps. I prefer to separate my hair into multiple descriptions to give me ameliorate command.

it was really hard for me because it was my kickoff fourth dimension and I had to learn past the difficult style I went through a lot of problems and sometimes I had to remake the pilus but here are some general notes about creating hair with Xgen.

• Set up the project correctly and don't use infinite or underscores or dots in the naming
• Make a scalp for the hair ( the mesh that the hair will grow from. You lot don't take to
• Apply the collection for the whole model.
• UVS should be clean and in 0-1 space
• Don't delete the history of the hair.

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Lighting and Rendering

For the lighting, I like to start looking for similar renders or artworks that I like and try to mimic the fashion they are lightened.

In my case, I used Vray for Maya. I used a cardinal light, Fill light and two rim lights. I besides use an HDRI from HDRI Sky. At that place are some theories about lighting it really helped me decide where to put key light and other lights. Always start with the key calorie-free and and so the rim and the fill lights.

Last Renders & Turntable

Clay Render

Acknowledgment.

I want to thank all the people who helped me throughout my project. My teachers Biren Venkatraman and Marco Menco for the critic and their feedback. besides my friends Arash Hadavi, Simon Almeida, Nicolò Granese, Dina Salama and Shady El-laithy for e'er giving me a fresh eye and guiding me.

And special thanks to my married woman for her continuous support.

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Khaled Osama

My proper name is Khaled Osama I'g a educatee at Thinktank Grooming center. I came from an architectural engineering background. I worked at FullMoon Studios (Arab republic of egypt) every bit an environment artist.

jonesbecruily.blogspot.com

Source: https://discover.therookies.co/2019/12/06/creating-a-hyper-realistic-cg-character-in-3d/

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