Once that phase was completed I focused on the environment. For detailing the main assets of the environment, such as the pavement, planks of wood and stone and brick walls, I resorted to ZBrush again. I applied some brick, stone, and crack alphas to achieve big and fine details, and used the Standard and Move brushes to get rid of the unreal perfection of the base models (Fig.03).
All UV unwrapping was done in UV Layout. Though ZBrush unwrapping tools have become very powerful in the latest versions, I still prefer the full control that UV Layout offers, even if the sculpting pipeline in ZBrush becomes a bit awkward.
Ptex texturing mechanics aside, I believe good unwrapping will not only save a lot of headaches in the texturing process, but establish the conditions necessary for good texturing.
I used to create at least three texture maps for every object: diffuse, specular and bump, but in some cases shaders had to be extended with displace and/or sub surface scattering maps. All diffuse texture maps were done in MARI 1.4v1, while specular, bump and sub surface scattering maps were done in Photoshop CS5, and displacement maps were extracted from ZBrush (Fig.04).
In many cases, specular, SSS, and even some bump maps can be extracted through their diffuse parent map. I make as much use of masks as I can by texturing in a non-destructive way in Photoshop. That way I can reuse almost every layer in order to recreate specularity and sub surface scattering.
In MARI I try to follow the same philosophy; masked shader modules being my first choice. Although I render an occlusion pass in post-production, I also use baked occlusions to add some dirt on texture maps. In MARI I directly paint a dirt channel making use of the Masked Ambient Occlusion feature in the Projection palette.
The scene was lit with a main light, rim light, fill light and GI. I rendered six main passes, these were AO, DOF, MainLight, ID mask, Character light and Fill light (Fig.05).