Hello, Bobbie. I'm afraid that these techniques are new only for me, but can explain if you are interested. The light setup is quite simple: two target direct lights, the first for the sun, and the second as the fill light (was set to not affect specularity). (Recently I have read the book by Nicolas Boughen about lighting in 3ds Max, that has proven very useful. It tells how to achieve great results with minimal computing resources, like emulating the global illumination with correctly placed standard lights and area shadows) The grass on creature's back, which was created by Hair&Fur modifier, demanded a little more attention. Because generated hair do not cast shadows properly, I was forced to convert them into mesh and render shadows and ambient occlusion as separate passes. I also tested the vector displacement mapping on head model. It has proven itself not very precise (notice the bloated ends of the top jaw's "teeth"), however the result is more predictable than with standard displacement. VD can be useful if you need an animatable model, but for static renders it cannot compete with decimated meshes in terms of quality. The clouds are made in 3d, with particle system, and I am not pleased with the result. Looks unrealistic and increases render time considerably. I should pick the less uniform transparency texture for them next time. For mountain tops I used the combination of verical gradient and Falloff map as a blend mask for snow. Worked quite well, though the snow material could be better.
Thanks for sharing. I appreciate it. I'm a Maya/Zbrush user myself though I've never been able to get decent renders out of either program. XC I understand the principles, it's all the settings-fiddling that drives me bonkers. That's why I like Octane. I still have never been able to get decent-looking 100% 3D work which is why I like to combine it with 2D. I'd say my work is 10% - 25% 3D and the rest is done in Photoshop.
No problem. I am happy to discuss any of techniques or insights I came with.
I can advise you to try learning hair and fur generators. Now I started learning them myself, and they look very promising. They can save lots of time in tasks like making furry characters. The procedural generation is very powerful, lets you specify many parameters like separate colors for tips and roots, kinkness, clumping, etc. I am not sure about Maya default fur, but the plugin Shave&Haircut has the same functions both in Max and Maya. It has a real-time "grooming" engine, enables to style hair and fur directly in viewport through use of brushes. Moreover, the current 4R3 version of Zbrush has its own FiberMesh system. The styling is really simple with ZB sculpting brushes. The results can be exported as geometry, then converted to Maya splines using a free script: [link] Shave&Haircut can import these splines through "recomb from splines" command. Once I'll make some decent examples, I'll post them on DA with the explanation of technology, and maybe shall make a tutorial if there will be enough free time.
Good job.!!.
Well I'm getting my computer hopefully this week so we'll see if I can't show you how Lightwave get's it done.
I also tested the vector displacement mapping on head model. It has proven itself not very precise (notice the bloated ends of the top jaw's "teeth"), however the result is more predictable than with standard displacement. VD can be useful if you need an animatable model, but for static renders it cannot compete with decimated meshes in terms of quality.
The clouds are made in 3d, with particle system, and I am not pleased with the result. Looks unrealistic and increases render time considerably. I should pick the less uniform transparency texture for them next time.
For mountain tops I used the combination of verical gradient and Falloff map as a blend mask for snow. Worked quite well, though the snow material could be better.
Anyway, thanks again.
I can advise you to try learning hair and fur generators. Now I started learning them myself, and they look very promising. They can save lots of time in tasks like making furry characters. The procedural generation is very powerful, lets you specify many parameters like separate colors for tips and roots, kinkness, clumping, etc. I am not sure about Maya default fur, but the plugin Shave&Haircut has the same functions both in Max and Maya. It has a real-time "grooming" engine, enables to style hair and fur directly in viewport through use of brushes.
Moreover, the current 4R3 version of Zbrush has its own FiberMesh system. The styling is really simple with ZB sculpting brushes. The results can be exported as geometry, then converted to Maya splines using a free script: [link] Shave&Haircut can import these splines through "recomb from splines" command.
Once I'll make some decent examples, I'll post them on DA with the explanation of technology, and maybe shall make a tutorial if there will be enough free time.