Â For the shirt and the rest of elements, I took photographs of all the possible things that I could use (Fig.10).
Back in Maya, I assigned a neutral white shader to start with the lighting tests. I used 3 lights, as follows (Fig.11):
One light above his head acting as main light (light 1)
One bluish backlight (light 2) that accentuates the volume of the head
One bluish fill light coming from the left of the image (light 3) to reduce the dark areas of the character
You can see the effects of this lighting setup in Fig.12.
At this point, I decided to add an HDR sphere to make the lighting with more variations. In Photoshop, I merged different HDRs and placed the light sources of those HDRs to match the lighting that I previously created in Maya. I also duplicated some light sources from the HDR and changed the hue and intensity (Fig.13). I then mapped the HDR to an invisible sphere.
As this FG lighting would be added to the previously created lighting, I reduced the intensity of the initial Maya lights in order to finally get a similar light intensity with the FG sphere just added (Fig.14).
(ID: 144491, pid: 0) Needse on Wed, 29 August 2012 1:21pm really kool tut very informative great job thanks
(ID: 63696, pid: 0) Liang Wang on Sun, 20 November 2011 3:13pm How do you make detail on the neck,such as crease.just through the alphas?what is the meaning of the "masking by intensity ", who can help me.
(ID: 37664, pid: 0) Koooorl on Fri, 11 March 2011 12:03pm Wau very nice and professional pipeline and great result !!! Congrats!
(ID: 36141, pid: 0) Comeinandburn on Fri, 18 February 2011 9:58pm this is an outstanding workflow making of, thanks I learned a lot. I really like how you used photo sources for the brush alphas, it really looks awesome.
(ID: 36047, pid: 0) Andre Ferwerda on Thu, 17 February 2011 10:50am Thank you for sharing this. Some really nice tips in here that I can use.