Keep up-to-date with Free tutorials!!

 

Sign up to our twice-monthly newsletter today for the latest tutorials, interviews and product information.

Sign me up to receive third-party emails from 3dtotal's partners, too!

- Latest news
- Exclusive Shop Offers
- Preview early content
- Plus much more

 

Not Ready to take that step? OK, Why not just Subscribe to the RSS Feed

 
submit tutorial
1 | 2 | 3 | 4 | 5 | 6
Project Overview: Nina from Black Swan

| Your Rating:
rating star fullrating star fullrating star fullrating star fullrating star full
(26 Votes)
| 142911 Views
| 1 Comments
| Comments 1
Date Added: 7th August 2013
Software used:

Posing

For the posing I used Transpose Master to avoid any problems with the fibermesh SubTools. I mainly just transposed the leg and moved some of the other body parts like the head and arms to avoid symmetry.

Materials

I kept it really simple with the materials, since I knew I was going to do most of the work in post-production. Most SubTools got basic material 2, except for the fibermesh, which got basic material 1 with some extra specularity, and the body, for which I used skin shader 4.

1761_tid_img14.jpg
Materals and shaders


Render and Post-Production

To render the image, I used a simple three-point light setup, and started taking out passes.

First I took a render pass with the main light and no shadows. That's the base I usually work on. If I think some parts are too dark in that render, I also take a pass with just the fill light. I just used the skin shader 4 and basic materials for this one, mostly.

Then I rendered the image with each light, this time with Shadows on and took only the shadow pass of each one.

Next, I turned off the PolyPaint in the whole sculpt, gave all the SubTools a Blinn material and, in the material settings, I took Ambient and Diffuse all the way down to 0 and gave it a low specular value. This way, I only got the specular passes with specular lighting and all the rest was pure black.

The next step was to make masks. I like to have masks of everything as it makes my life way easier in post-production. I gave each SubTool a flat material with a different color, contrasting as much as possible with the surrounding SubTools, and rendered that.

Finally, I gave all the SubTools a sketch MatCap or other shader that easily gave me a cavity pass, and took the chance to turn on Ambient Occlusion, ZDepth and SSS. I took all those images and moved on to Photoshop.

In both images I took out a lot more passes that only concerned some materials I'd made and wanted to keep in the final image. I would consider them exceptions. Those below are, I think, the ones that matter most.

1761_tid_img15.jpg
The main passes for this image





< previous page continued on next page >

 
1 | 2 | 3 | 4 | 5 | 6
Related Tutorials

Making Of 'Thrull'

by Gavin Goulden
published on 2009-12-09

Keywords: character, creature, monster, thrull,

rating star fullrating star fullrating star fullrating star fullrating star half (7)
Comments 1 Views 184077

Making Of 'Happiness is a Blue Bird'

by Jose Manuel Oli
published on 2009-12-09

Keywords: scene, character, human, male,

rating star fullrating star fullrating star fullrating star nonerating star none (2)
Comments 0 Views 50214

Making Of 'Female Cleric: From First Concept to Final Render'

by Arno Schmitz
published on 2013-04-02

Keywords: character, female, cleric,

rating star fullrating star fullrating star fullrating star fullrating star half (33)
Comments 1 Views 179544

Modeling a magic character

by Guzz Soares
published on 2014-12-19

Keywords: ZBrush, character, 3ds Max, Photoshop, Hermione

rating star fullrating star fullrating star fullrating star fullrating star full (31)
Comments 0 Views 33236
Readers Comments (Newest on Top)
avatar
Prometenn on Tue, 13 August 2013 12:32pm
Great making of!
Add Your Comment..