-------..--_ause of 8-bit color, sometimes you see banding in greyscale imagery Sorry, the resolution just isn't there To counter it, and because Maya shaders pick up more than your eye detects, I create a "fogr layer The fog takes down the image a little I sample an average grey and fill an entire layer with 30% opacity Time to plug it in after just

30 seconds of work f\ Step 2: Blinn nie mvert and 30 seconds worth of work this is pretty L^cular I w H p ug our togged greyscale invert into a simple Blinn with spectacular I win M'uy works m conjunctlon

?h foa to^revent youf 8-bit banding or at .east control it .never ,lke 2 l hpSZsetting and tend to work at lower bump depth levels wheyn using BIinns Sometimes with the SSS you don't even have to tog the bump.

Zbrush Extract Bump Map

O Step 3: Nose and lips

Like I said, I hate bump maps. The usual areas that get kind of funky are the tip of the nose and lips. If you go back into your bump map, you can tone down your trouble spots. Sampling your average grey, go in with a 9% airbrush and ghost in a little grey over the tip of the nose and lips. In another 30 seconds, your bump is touched up and done.

o Step 4: Lips

The power of hi-res photography is at your fingertips. At Sony we had all the high-tech toys including photogrammetry-based scanners to the ATTOS which NASA uses. The ATTOS will give you 50 million vert clouds with details like fabric-weave, pores, and pieces of dust. So you can have hi-res photography in 30 seconds! In fact, our character ZBrush pipe has toasted our scan pipeline. Because we protected the detail of the photograph it now can be used for extraction i other maps like the bump, normal, or displacement.

86 ESSENCE The Face


Getting the bump

Q Step 5: Blinn

The Blinn is a nasty white glove test of your bump it your bump can hold up against the Blinn. it says a lot about your bump Tr s ma is giving us extraordinary detail everywhere. Look at the eyebrows *hich sometimes you have to beef up You can even detect Momka s eyelashes, and the peach fuzz on her face! You can easily mix this high-frequency surface detail together with major displacement flows ¡n ZBrush. There's no excuse for not having exact, highly-detailed normals or displacement maps.

O Step 6: Back to the Lambert

The bump will react differently from the Blinn, to the SSS shader The B nn really toasts the bump the La and the SSS duils it even further Pull renders from be thorough the Lambert dials it dovs nbert to the n itiitin u 11> p any to

Head Displacement MapEyelash Extensions High Res Texture

Q Step 7: Photogrammetry

Using hi-res photography is basically "photogrammetry". Everything you put into your photograph will be revealed in the bump. The one reason I am such a "Texture Nazi" about cloning is because you will see it in the bump. If you forget to erase a line or leave clone marks it will show in your bump. If your photo has compression it will also show in your bump.

Monika Kubickova
0 0

Post a comment