Maria Pan­filova on adding pre­ci­sion to your écorché mod­els

char­ac­ter artist Maria pan­filova ex­plains how she lights and ren­ders her projects in Maya

3D Artist - - CONTENTS -

It is im­por­tant to main­tain pro­por­tion ac­cu­racy for an anatomy model, so I used Image Planes for all views

1 US­ING IMAGE PLANES

It is im­por­tant to main­tain pro­por­tion ac­cu­racy for an anatomy model, so I used Image Planes in Maya for all views – side, top, front, back. The ref­er­ences were from the book An At­las of An­i­mal Anatomy for Artists. First I made sure that bone pro­por­tions were right and then made mus­cles.

2 AU­TO­MATIC TOPOL­OGY AND UVS

Clean and per­fect topol­ogy isn’t al­ways nec­es­sary. I make topol­ogy us­ing Zremesher and UVS with UV Master in Zbrush; it saves a lot of time. But I also edit them by hand in Maya to make it cleaner. I split UVS into UDIMS so I can set up all tex­ture sets as sin­gle ma­te­ri­als.

3 MULTIPASS REN­DER­ING AND IN 32-BIT

I set up AOV passes in Red­shift Ren­der for com­posit­ing in Pho­to­shop. For ex­am­ple, I can add or re­move re­flec­tions, add more shad­ows and so on. I make RGB masks for ob­jects to be able to work with them sep­a­rately. 32-bit EXR for­mat has a large range of colours which al­lows for mak­ing bigger ad­just­ments.

4 US­ING AN­I­MA­TION FOR REN­DER SET UP

Be­cause my work had plenty of still frames, each view needs to be easy to switch and it needs its own light­ing po­si­tion. So I set keys to the cam­era and lights and any other pa­ram­e­ter I needed to be dif­fer­ent. It also helps to ren­der all frames in one ses­sion.

5 US­ING A DEC­I­MATED MODEL FOR REN­DER­ING

Some­times, I don’t use a dis­place­ment map but I want to keep all de­tails. For tex­tur­ing, I used a first sub­di­vi­sion mid­dle poly mesh. For ren­der­ing, I used a dec­i­mated mesh, but the UVS are the same. If the mesh is heavy for a view­port, then turn on bound­ing box in Draw­ing Over­rides.

6 THREE-POINT LIGHT­ING

Three-point light­ing is a com­mon scheme and works great for me. For fill light, I use dome light with an HDR image at very low in­ten­sity. I set a key light more from the top-side and the back­light from an­other side. I try not to put the light near the cam­era be­cause it be­comes too flat.

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