In addition, a sample for the diffuse textured I painted for the ground and the shading mixing the road with some wet areasįinally, I build a shader for the dots and lines comic patterns, using ramps, ai Range and UVTransforms to place the patterns through the camera and being affected by the lights in a different wayĪt the end, I composed all the AOV layers from the car, road and the city projection in nuke After rendering the car, the ground and the city separately, I saved the exr files with all the AOVs. Then, I lightened the scene in Arnold using around 15-20 lights. My idea was to paint and project the whole city through the camera and don’t waste time on modeling to push up my painting skills. Next, I just placed some blocks inside Maya as the basic city structure. Anime studio pro 9 shading software#Don’t get me wrong, I love the software but in this project the focus will be shading and comp, substance is great, quick and easy. I usually only use Substance Painter for masking and baking in my worklfow, but in this case I didn’t want to spend much time on that. So, first of all, I just unwrapped the Uv’s and textured the car quickly. My main references from the movie, downloaded from animation screencaps and property of Sony Animation. The next images are just for breakdown purposes Anime studio pro 9 shading full#(Please, click on the images to see them at full size) My friend Joaquin Alme modeled a cute low-poly Delorean some time ago and I just thought it would be fun to do some stuff mixing those two concepts and trying to keep the look and feel of Spider-Verse as a main reference.Įverything has been done using Maya, UV Layout, Arnold, Substance Painter, Photoshop and Nuke. As many others, I felt in love with that movie. I worked on this personal project to explore and try new workflows and techniques and bring my own approach to what Sony did in «Spider-Man: Into the Spider-Verse». I did the renders with multiple AOV and tweaked them in a pretty basic final comp, adjusting saturation for each channel, color correction and so onįinally, there’s some nodes used for the red moss shadingĮsta entrada fue publicada en 3D, character, fan art, shading, surfacing, texturing el por DidacR. You can see some reduced samples of some textures from the arms, red moss and more next: At the end I did almost 80 texture for all the channels of the character combined in several UDIM. The most fun part was painting every texture by hand, adding every layer of paint, rust and surface imperfections without any kind of procedural masks. I just designed three types of really basic and low-poly shapes for moss to be scattered manually over the corners and some areas using mash My main challenge in this project was trying to achieve and stylized look for the texture combined with realistic shading, aiming to do all the moss and vegetation without any xgen or hair/fur plug-in, just pure displacement and I’m pretty happy with the results. The aim was to do an extremely detailed work on hand-painted texturing and push my skills as fas as possible with a pretty basic geometry in terms of shapes. This is the original concept from Mikhail: You can take look at the final renders and some of the process. and basically did all the texturing, shading, lighting and the final comp. Most of the modelling was made by my friend Joaquin Alme I modelled some stuff like the roots, branches, helmet etc. This is my last personal project based on a concept of the great Mikhail Rakhmatullin.
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