Before I started, I researched hair a little more, but it turned out pretty hopeless. So, I thought, why don't I try Maya's default hair? I want to say I am not the best with the Hair tool, but it was really what I wanted for this work.
First I created one curve following the head, and then duplicated it one by one. It sounds boring, but I was able to achieve what I wanted this way, which was really good for me. I created the first hair system by growing some hair on a cube, and continued by deleting all the hair from the cube. Then I applied it to my hair curves, before tweaking it until I was happy with the result (Fig.06).
Next was the cloth. I started modeling a T-pose cloth base mesh, and after some sculpting, I tried to pose it because cloth changes a lot when it's in a different pose. Then I went on to sculpt the finer details (Fig.07).
For the skin I used mental ray's fast skin. Scattering Depth was the most important thing; it changes the most for the SSS result. It does depend on your model's size, so you need to test it before tweaking it. I know I should have done more accurately layered textures, but this already looked pretty good to me (Fig.08).
For posing, I used ZBrush Transpose Master; I find it really handy when you have many subtools. It's quick to pose your character.
The very last bit to cover is the rendering. It's something huge that can really affect the final atmosphere of your work. For this work, it was quite a big challenge for me, because there were two characters that were interacting with each other. I didn't want them to just be lit; I wanted people to be able to focus on the emotions in their faces and body language.
I had two key lights, as well as two rim lights for each other, and one strong area lit from the back. Over all I chose a cold color, but used a little bit of warm lighting on the bearded man's face, with the colder lighting on the young guy, to show hopelessness and desperation (Fig.09).
I didn't do all the render passes; I just rendered out the depth channel for the depth of field in photography. I then added a background from some mixed photos. The important thing was that the light needed to fit my rendering.
I finally added some little dusty bits in the depth of field (Fig.10).
Thanks for reading this and I hope to see you soon.
< previous page