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Making Of 'Enforcer'

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Date Added: 21st September 2010
Software used:
I modelled the pistol, grenades and knife with the same kind of approach. Weapons were UV-mapped in the same fashion as the other objects (Fig.11 - detailed weapons).

Fig. 11

Detailing the Meshes

The fun part began here! I exported all of the parts separately and sculpted all deformations and shape details in ZBrush. When I was done with the detailing, I baked the displacement maps in ZBrush and applied them directly to level 0 or 1 subdivision of the base meshes in 3ds Max. I painted away any baked artefacts in Photoshop (Fig.12 - detailed character clothing geometry).

Fig. 12

Texturing Fabrics & Mechanical Parts

First I set up a temporary scene where I baked AO maps for parts that I thought would need them (Fig.13 & 14 - AO & baked).

Fig. 13
Fig. 14

I started with the fabric for clothing and accessories, as I felt this would be the hardest part to get a nice looking material that would work fine in close-ups, too. I started digging my closets at home, looking for various materials that I could scan - camera bags, old military belts and T-shirts. I then scanned them in at high resolution, after carefully flattening and tightening the material under a large book. This way I was able to get very neat textures that had even lighting and no lens curvature, blur or optical artefacts (Fig.15 - scanned textures).

Fig. 15

Next I made the textures tile-able. After this I made normal maps and displacement maps for the canvas materials in CrazyBump (beta version - I really need some money to buy the final version!). Stitches and dirt were made with separate texture layers so that I could achieve good, detailed fabric patterns in close-ups too, without wasting too much memory (Fig.16 - stitch setup; Fig.17 - stitch map setup, similar for colour, displace and other channels; Fig.18 - textures for mechanical parts).

Fig. 16

Fig. 17

Fig. 18

Texturing Skin

Colour textures for the skin were created in Photoshop, mostly painted, and I also used some noise and skin patterns from photo material (Fig.19 - head textures). The majority of the skin details originated from the displacement map of the head, which I processed with levels, and after that I ran a high pass filter on it to get neat skin details. I then overlaid this image on top of a pretty low resolution colour layer. This saved me the hassle of creating a bump map, too, as I used displacement to render all the high frequency "bump" details (Fig.20 - head displacement map).

Fig. 19

Fig. 20

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Readers Comments (Newest on Top)
Nawras on Tue, 21 September 2010 9:41pm
very nice
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