Back in Maya, I assigned a neutral white shader to start with the lighting tests. I used 3 lights, as follows (Fig.11):
- One light above his head acting as main light (light 1)
- One bluish backlight (light 2) that accentuates the volume of the head
- One bluish fill light coming from the left of the image (light 3) to reduce the dark areas of the character
You can see the effects of this lighting setup in Fig.12.
At this point, I decided to add an HDR sphere to make the lighting with more variations. In Photoshop, I merged different HDRs and placed the light sources of those HDRs to match the lighting that I previously created in Maya. I also duplicated some light sources from the HDR and changed the hue and intensity (Fig.13). I then mapped the HDR to an invisible sphere.
As this FG lighting would be added to the previously created lighting, I reduced the intensity of the initial Maya lights in order to finally get a similar light intensity with the FG sphere just added (Fig.14).
在这一节中，我将集中讨论头部和手臂;其他对象只是使用“标准”着色器。对于头部和手臂，我使用了射线着色器，“misss fast skin”。首先，根据分配的颜色，我调整了颜色和重量/半径值。最后，我没有使用纯色来处理所有的颜色框，而是复制了基本的纹理，并在Photoshop中做了一些调整，以匹配我之前选择的颜色。这给着色器增加了更多的变化(图15)。
In this section of the article I'm going to focus on the head and the arms; the other objects simply used "standard" shaders. For the head and the arms, I used the Mental Ray shader, "misss fast skin". First, with the colour base assigned, I adjusted the colours and the weight/radius values. Finally, instead of using a solid colour for all those colour boxes, I duplicated the base texture and made some adjustments in Photoshop to match the colour that I had previously chosen. This added more variety to the shader (Fig.15).
The base colour texture was 4096 by 4096 pixels. The other textures were 2048 by 2048 pixels, to reduce texture memory.
For the render, I separated the scene into different elements and made a render for each one: head, shirt, hands, cigar, table, chair, poker chips... I prepared a different file for each render layer, adjusting the render attributes to show only the parts that I wanted to see, and affected by the things that could affect it. This helped me to reduce the render time. It would have been impossible to render everything at once. Finally, I merged all that layers in Photoshop (Fig.16).
I also made the fur using some layers/files. I created a file for each fur type, and then rendered with Maya's renderer, not Mental Ray. As I was going to composite the fur, I configured the render to show only the fur. The rest of the image would be black. Finally, I merged all these layers in Photoshop using the Screen blending mode (Fig.17).
Finally, I added the smoke of the cigar and the background in Photoshop. Both are from photos that I took for this very purpose. And the result is the final image (Fig.18).
In this image I created what I wanted to create. There are perhaps some things that I could have made better (I would change some things), but in general I'm happy with the final result. And of course, I had to stop work on it at some point. To this image I applied many things that I have learned in my years of 3D experience, and from it I learned many things that I hope to be able to take with me into my future projects.
Well, this has been a general overview of the project.Thanks for reading!
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