Now all the light reflexes and reflections have adhered to their seats. In total, there are three major multicoloured light source Area, one subsidiary Omni and four large coloured reflectors in the scene (Fig.22).
This particular phase of work was the most tedious thing I've ever done on a computer. I had to put 3.000 spheres in their specific place in three dimensions. In creations like this, I avoid creating copies as it violates the "natural" movement needed. Because of this, I worked on this process in short two to three hour increments, several times a day over the course of a week. By the end of the week, I almost changed my mind about creating the water by hand, but I finished it. The most offensive thing in the final scene was a large piece of cut, which was disturbing in the composition. More focus was required and a little help. I would like to thank Abramyanc Karen for "a lesson on the water", which enabled me to extrude the water from the part of the model.
I began to shape the general form of water. Next, I specified it, and made the transition from water to a piece of cloth. This is the part where the fun started (Fig.23 - Fig.27).
Here is the result of all the work. At this point, most of the work is done, now I need make it all in the water. For this, I exported it all into a file format .Obj and downloaded it into ZBrush. Then I applied the Unified Skin modifier with maximum detail and minimal (0) smoothing. After that, I went all over the surface with a smoothing brush. It was impossible to apply the initial smoothing and it lost many of the small details. If done manually, it takes 10 times longer, but all the necessary details are stored giving complete control over the process (Fig.28).
This is the wave that I ended up with (Fig.29).
To create the hair I used the plugin Ornatrix, which is a very flexible plugin that I was very happy with. However, because it is not associated with V-Ray or mental ray, I had to render it in skyline and then connect it via the alpha channel (Fig.30).
I then used Overpaint in Photoshop. Thanks to Elena Vuytsik for helping me with this! (Fig.31).