![]() The only minor airbrushing is applied to the hair and feathers, and a couple small composite mask bleeds around the rock. Final renders we created in Maya Mental Ray and composites in Photoshop. Textures were started in Photoshop and finished in Zbrush and Cinema 4D Body Paint and are all hand painted. The models were started in Maya and finished in Zbrush. I decided I finally wanted to wrap up this project so I spent a week wrapping it up and putting together renders for this composite. It took me down some rabbit holes between not having a strong enough computer to complete the sculpt at one point, obsessing over color detail from all angles thinking about maybe a 3D print or animated poster which lead to wanting to attempt a real hair sim (which ended up being a deep deep rabbit hole, but I settled on a sculpt with a little paint over in the final image here). It’s always been my experimental piece so a lot of the stuff on here I hadn’t tried before at the time. Ihave no idea how long I ever actually spent on it but probably way too long. I started this project a long long time ago and have worked on it on and off. I wanted this image to fall somewhere between surreal and realistic much like the character and comic do, so hopefully it achieves this. The Maxx is a very abstract character that changes form quite a bit from image to image, but this my culmination of the character existing in the Outback of Pangaea. If you have to many large smooth areas they will show up, if you have to small of details they will disappear into them ass and not be visible.This is my take on Sam Keith’s The Max. To start viewing messages, select the forum that you want to visit from the selection below. You may have to register before you can post: click the register link above to proceed. This is going to effect the look of your clouds quite alot. V-Ray for Maya V-Ray for Maya :: General If this is your first visit, be sure to check out the FAQ by clicking the link above. you don't want ONLY either of those you want both. ![]() What we want is a big lump shape with small details and large billow details at the same time. Now set your renderer to IPR so we can see real time updates of the displacement changes (make sure to turn on displacement in the Vray RT renderer) and start tweaking the noise parameters and UV mapping settings on your object. You can fix this by middle mouse clicking and disconnecting the alpha and attaching just one channel of R,G or B to the displacement node.ģ. ![]() If you try and use a fractal to drag onto the displacement node by default it will attach the alpha channel out and you won't get any effect. The vray displacement settings will NOT work anymore.) Then you can refine the displacement smoothness and resolution by selecting the object you are displacing There should now be a Displacement Map drop down in the attributes for it. Color balance and turn up the alpha gain setting till you see the displacement. ![]() ![]() To remedy this select your displacement file node. if you have a large object you may not see your displacement. (REMEMBER MAYA DISPLACEMENT IS BASED ON OBJECT SCALE. Then create a noise node and middle drag it to the displacement node. default click and drag a noise node onto your lambert material and Select displacement. In your hyper shade create a displacement node. Once you have a combined shape that is a single object of spheres apply a lambert material (reason for this is we are going to convert the displacement to polys and you can't do this if it's a vray material)ģ. This actually works amazingly well!!! Then once you have a cloud shape you like simply go to modify>convert fluid to polygons). UPDATE: Another cool way I just discovered to get your base cloud starting shape is to use maya fluids with a texture from my maya fluid clouds tutorial. (If you use the spheres plugin it will generate nurbs and you will have to convert them to polys and then reduce it's poly count before use. ![]()
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