r rrr r aine when you add bump
ca vot-t K tf ve w terpte i c c e o i y out t - fi n 5 an t'Hi -ifl bef n tr 'ace ear arte c I imhAJ cai tfw angle done V you reaSy am lo tafce your bold maps me distance, try searctanp j gt for i.cC 'ciCi f.epr lt lt 4o irr r s - gt o coud Vvtto 4 o Save o.r nz't.i ma s because t gt a tfi -i.H to co or Are cnec i ces . 'ha ef s to fa Mor a i ir e socefc er ste s off to re na - ar st gt c ear shaken
Parametric Head Creation
Everyone wants to build their own ultimate head model just once. Either you manage to build your ultimate head model, with perfect topology and UV mapping, or you don't. Either way you probably never want to do it again If you do succeed, then you want to reuse your model again and again. You want to retarget it to any shape head you need. You want to be able to lower and increase the resolution as you want. You also want to keep all the rigging and animation data you build up on one project...
Real Skin
irf et gmif g m fit ma n m ng thai has tor faiung good look tor skin alook ma faked some mproved 1 Quafcfr I 30 renders the of me tr t lucency properties of sfcin Combine these 9tsr decade By mat I don t mean better tafcts h ne e occasion and enage-based HDR ghtwg design I mean gt ener simulation at kgnnng modets we even wrote our own spherical behavior Wtm hinds m mere are four harmowc shaders . and you get pretty good skin areas of igntmg simulation that tum out to renders I remember the...
R
------- --_ause of 8-bit color, sometimes you see banding in greyscale imagery Sorry, the resolution just isn't there To counter it, and because Maya shaders pick up more than your eye detects, I create a fogr layer The fog takes down the image a little I sample an average grey and fill an entire layer with 30 opacity Time to plug it in after just nie mvert and 30 seconds worth of work this is pretty L cular I w H p ug our togged greyscale invert into a simple Blinn with spectacular I win M'uy...
I Nlc
When all else fails go back to your Lambert. Eyebrows can be nasty areas for a texture artist. If the temple has too sharp a drop-off, you will get streaking as in this case. This will take some artistic elbow grease to get
B
To really dial in the hidden eyelid, I'll order up a temporary shape with the eyelid closed. I am also going to start the painful process of removing eyelashes. Unfortunately, I have to do some cloning. I Warp as much of the upper eyelid photograph as I can. I want as much pure photograph to clone from as possible. The trick to cloning is using 90-100 opacity. You don't want to clone at lower level transparencies, which will produce fogged photography The reason I don't recommend cloning is...
Monika Kubickova
Once you have one eye socket, you have one eyebrow. Once you have one eyebrow you have two eyebrows and two eye sockets, then you can place the nose. The nose, lips, and the rest of the face are pretty straightforward Warp Overlay blend mode and feather the hard lines. Remember, no cloning Once you have the brow, you can start on the nose. Keep checking registration with a Lambert overlay. The nose has several key anchor points the tip of the nose the edge of each nostril and the brow. For the...
I V
u, nnant The rtnwnside here is that this can also introduce noise as we du lt sh th. We have two problems with taking just the luminance or blue component- ine o f photographs. For that reason, I have included a we have low-frequency and pigmentation inform i ion mixe n as, wej pro s fli m how much- Let's tackle the low-frequency information first-it s the eas s prob em re ionsp t0 remove Here is a C QS lt J to solve. The methods that apply bump mapping a des gned as thHowrreq y remQva Qf 6g b...
Info Pgl
amp Step 17 Manually selecting projection maps You may want to override the automatic selection of projection map for a specific region of the face. To do this, I have designed the shader to look at the vertex color channel after it has done its automatic calculations. We have four different photographs being combined at once, and they are coded with four colors red green blue and yellow. If there is nothing in the vertex color channel then automatic map assignment is carried out. You can...
H
This is one of the basic snapshots we take of the head. It starts with the head straight photo, then head angied forward and backward. 3 4 photo and finally side photo. This is a very useful photo as most 3D modelers work in front and side viewports with front and side references in the background and have a hard time adjusting the curvature of the cheek bones, chin, lips, and forehead. With this photo they can just rotate the side viewport a little, set up the model in the same position and...
Ok
0 Step 9 Materials and filtering It's worth a final look at our blended diffuse map in false color. Here, 1 have equalized the red, green, and blue channels to have equal representations. Looking closely at the differences, we have lost a lot of the obvious specular shine on the front of the face. But, what is really pleasing is that the blue-green fringe you can see at low angles on the photograph left is almost completely eliminated on our blended map right . So, we have been very successful...
Shave Her Scalp
kin or alt from me shoulder l tos w goose p mp .s mounded I M continually use tms patcn 10 ss ot her - gt ad ift a um Warp tup-fioppinfl l te to create large areas of plwlo t r id a Piece of a photo that will get you a long way fen sample can get me through the sides and the back. The shoulder samp i und r.SCalp. I am going to make th,s aice and clean l can reuse the bald map on a lot more characters Once you build a side patch you can resample it. The back head slides right on. I add another...
Info Tna
Now we have the accurate camera positions we can go ahead and do the final fitting. You should not have any problems making the model fit exactly to all the photographs from every angle. Here, I have just finished the final fitting of the left ear. You should be very careful to make sure that the mesh model fits just within the projected photo outlines. You don't want any surrounding color to map onto the model this will cause errors to occur in the automatic map balancing. You should be...
Bringing It All Together
This first Creative ESSENCE title brings together a collection of the very finest professional artists with current experience m re-creating digital humans. It represents a new format and a new series for Ballistic Publishing. A series that we plan will become a ae-iacto resource for professional and aspiring artists around the world. It's been a lengthy processes getting the right mix of assets, amsis, ana' maienai. This is especially important as we intend to make the core assets developed in...
J
Th s ts me very fust shot and too aimost an hour to get m lt s one ng t To t ne-tune the ugni ntensmes soft-Do a positions and makeup reqw a tot of patience e too se ef snots and made sm after each of mem The idea s to get perfect diffuse and even ngm on t gt om sides of me face hich sounds much easier than it is in me e a e realized there as a slight difference in right cheek makeup intensity . cnanshot IS tne most important photo tor head modelino 55 2 , en a saPt00K several shots horn the...
Info Kpb
There are several ways to create eyelashes but for this process each strand of lash was drawn and implanted using Nurbs tubes. There are several ways to create eyelashes but for this process each strand of lash was drawn and implanted using Nurbs tubes. A wetness layer along the lower part of the eye is a detail that is so sm it is difficult to see, but numerous small details can be combined to r a character that looks more realistic. ate This is the final render in Maya using the 4th Level of...
Photoreal Textures Paul Fedor
The ESSENCE journey Starting in a photo studio in Prague in the Czech Republic, our model Monika was captured by the crew at 3D.SK from every angle in preparation for transformation into a photo-real digital character. From there, Hong Suck Suh in California created the 3D model based on Monika's features and passed the model along to Paul Fedor also in California who combined the photographs and 3D model to texture Monika as a beautiful woman, as an aging woman, and finally as an injured and...
X
o Step 10 Shrink, pelt, relax and repeat A tip here is to shrink your UV faces to a really small size so the pelt simulator can pull your mesh apart successfully. It can take a lot of playing around to get it to work. You will have to run a relax periodically followed by the pelt simulator again. Fortunately, this is fast to do. As soon as you are happy with the result you should exit out of the pelt mapper and continue refining your mapping with the Relax tool targeting face angles and edge...
Monika Kubickova
_ gt _ Far R amp tt IfrSflvSMJ Rendei Elements R ytiacei Advanced Lighting amp Single Every Nth Frame f C Active Time Segment 0 To 100 C Range 0 t To TOO j Output Size ZZZZI Custom 3 APeiture Width mm 136.0 t Width 11664 Z 320x240 720x486 I Height 12496 tjj 640x490 800x600 ImageAspect f0W i 8j P.xelAspect TO C J Force Software Rendering l Shade Selected W Atmospherics W Effects W Displacement f Video Color Check Render to Fields Area Lights Shadows as Points r Force 2-Sided r Super Black...
Facegen Customizer
Model fitting and projection mapping With a good generic model and UV mapping, we can move on to combining the photographs into a single texture. First, we need to alter our generic model to match the photographs. Hong Suck Suh and Paul Fedor show the best practice for doing this in the traditional way modeling by hand with the photographs as a reference and then morphing the photographs to fit a plane projection onto the model. I will show an alternative approach here, and highlight advances...
Monika Kubickova
Publishers of digital works for the digital Aldgate Valley Rd Mylor SA 5153 Australia Creative ESSENCE The Face. Copyright 2007 by Ballistic Media Pt book may be reproduced or transmitted in any form or by any mpl , A r,ghts reserved Mr written consent of the publisher. All artworks are copyright nn7 k 'ectromc or mechan r P3rt of this or copyright holders. Every effort has been made to ensure the cr dite h Credlted artists h W,thout Prior if any errors have occurred the editors and publishers...
Head Model Coordinates
Perfect generic models and UV mapping There are five main stages I recommend for creating a photo-real, textured 3D model. They are generic modeling photography UV mapping detailed model fitting and texture generation. You can group the four steps into two stages generic modeling UV mapping and detailed photography texture baking model refinement. The first two steps, generic modeling and UV mapping, are basic characteristics of a head model and are independent of any actual textures or...
About Face
The first thing to know about modeling the human head is what makes a face look different whether it's age, gender or race. It's then a matter of concentrating on catching all of the unique features of the reference or what you want the model to look like. It's also important to remember that no model will look right without some knowledge of human anatomy. Creating a human head is pretty simple, but the hardest part is matching and adding characteristics to the model. Small changes can make...
Editorial
Welcome to the first book in our new Creative ESSENCE series. This series of how-to books is for mid- to advanced-level artists. Creative ESSENCE is all about the essence of bringing 3D characters to life. Each book will focus on a single topic. All books in the series will also be complemented with DVDs and web releases of the valuable digital assets developed and illustrated in the books. Over time, we hope that this series will become the de-facto material for teaching methods and providing...
Uv
This is the picture of a model that has been imported into a tool called UVLayout www.uvlayout.com . UVLayout unwraps the UV by minimizing the distortion and makes the adjustment easier by showing each UV's distortion level in colors. Lastly, we bring the model back to Maya to readjust the Seam part, and the parts which UVLayout did not cover. The UV process This is the base-level cage model, I get to the more detailed models through subdivision arid adding d tails, ihe model at this stage More...
Info Nls
The result of a well-placed spherical projection map is pretty good forth face. You can enhance this if you temporarily apply a Spheriphy and Relax modifier 3ds Max modifiers to your head. As we will show lat you can then continue to manually clean up the mapping in UV space O Step 4 Problem areas and edge distortion In the close-up of the eye region, we see lots of overlap which we can't have. We need to have a unique area for every triangle unless we deliberately want to reuse the same 2D...
Gimp Lens Distortion Head
O Step 3 Designing the line structure Nose amp Mouth O Squeezing the lines on the corner of the mouth gives enough lines to create open mouth shapes for facial blend shapes. On the nose area make sure the line follows the wrinkle which starts from the side of the nose and ends at the chin. The structure of the ear is very complicated. There are many different approaches to modeling the ear, but with this model it was drawn Q Step 5 Do I look fat in this model This half model was built by...
Pretty In Pixels
Lights, makeup, lights, camera, action Our most popular reference website in the 3D.SK family of sites is Female Anatomy for Artists. It's fairly easy to guess why as human anatomy is the foundation for most types of fantasy illustration or 3D artworks. The website is focused on figure drawing, anatomy study and posing rigging of 3D models. For our regular photo shoots, we typically shoot full-body shots of models in various poses from classical figure drawing poses, action fighting poses,...