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The making of Bane

By Yoongkun Kim
Web: Open Site
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Date Added: 12th September 2014
Software used:
Photoshop, Maya, V-Ray, ZBrush, Misc

Sculpting in ZBrush

This is one of my favorite steps in this project. After I finished the modeling work in Maya, I re-imported all the clean meshes into ZBrush then started to add details. I studied lots of reference images from the movies and Google images. At the beginning, I planned to use Marvelous Designer to create clothes because it is a really cool tool, and I wanted to learn how to use it, but I decided to sculpt in ZBrush by hand. I just wanted to practice sculpting more at this point.

For the fine details on the shirt, vest and pants, I used the Surface Noise tool in ZBrush, which is very useful for adding fine details. I used UV mode, where I unwrapped the model in ZBrush with the UVMaster, then applied an alpha image. At this point, I used a 16-bit displacement image from Surface Mimic. You can purchase highly defined Color, Normal and Displacement images from there which is really nice. When I used the Surface Noise tool, I added in a Layer in ZBrush so I could edit the intensity after I applied the Noise to the mesh.

I also added more stuff to the mesh using the IMM brush. I modeled in Maya then created an IMM brush in ZBrush, then just dragged the meshes to where I wanted to add them very easily.

1918_tid_03_bane_sculpting_02.jpg
The final Bane ZBrush sculpt


1918_tid_03_bane_sculpting_03.jpg
Adding surface noise in ZBrush with an alpha image


1918_tid_04_bane_uvlayout.jpg
Creating IMM brushes in Maya

UV Layout

When I'd finished the modeling and sculpting, it was time to unwrap the UVs. For the UV work, I used the Headus UVLayout most of the time. You can work in symmetry and it's really simple and easy to use. I installed the Maya plug-in for Headus too, so I can send meshes between these two applications.

When I unwrap the UV, I try to unwrap them noticeably, which means when other artists see the UVs, they should know which shell is which part of mesh. Then other artists can work in 3D mode and UV mode without any confusion.

Also, I used the Maya plug-in called UV deluxe which is really useful when you edit UVs in Maya. You can transfer UV tiles, match the size of UV shells, and so on. It saves you a lot of time when you work on UVs.

I organized UVs in other tiles, but I did not use multi UV tiles, instead, I used different materials for each of the UV tiles. I just moved to different tiles to see clearly.

1918_tid_05_bane_mari.jpg
Unwrapping UVs in Headus UVLayout, and then cleaning them in Maya

Texturing in MARI

For the texturing, I used MARI. It's a really great tool for texturing, and I really enjoy the texturing stage when I work with it. In MARI, I worked with lots of layers with masks, color adjustment tools and procedure layers. I really love to work with layers because I can change everything whenever I want to change it, I can test with lots of color or blend modes or the size of procedure patterns. In MARI, you can try with lots of brushes, and also import any images to project onto your texture layer. I use lots of texture source images and alpha images. I also use alpha images a lot when I work with
mask layers.

The other benefit in MARI is that you can test shading with several shaders and lights. Create one type of shader, and then connect texture channels like Diffuse, Specular and Normal. This is good to check what the final look is going to be. The look is not going to show you exactly the right look in Maya with lots of render work, but it helps you to work on
the texture.

1918_tid_06_bane_shading_01.jpg
MARI is great for texturing in 3D or 2D mode. Also you can control layers to change all the details




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