Scorpion Production Workflow
By_ kenichi
I used Silo to create the basemesh. In general, I did not use triangular polygons. I think it’s best to construct using square polygons as much as possible, because it helps to prevent errors. I planned in advance a certain amount of what I would do and divided the polygons correspondingly. The number of polygons increases four times with each subdivision, so if you use a low number of polygons in areas where a detailed final image is not required, it will avoid unnecessary polygon divisions. This also saves memory consumption. It is important to find out in advance in the maximum number of polygons for the workable range with the specs of your computer. This is because if you know the final number of polygons, you can use a reverse calculation to work out the approximate number of polygons that can be divided for the basemesh. If you have a lot of memory in a 64-bit system, you don’t have to worry so much about this issue, but from the perspective of improving memory efficiency too, please try this. It would be good if the Local Subdivision function from Version 1.0 were still available, but unfortunately it isn’t, so you need to be careful here.
STEP 2:
After finishing the basemesh, it’s time to start the actual sculpting. Creating multiple layers while working makes for easier corrections later. It is also a good idea to use original stamps and stencils.If the specs of your computer mean that you cannot perform much segmentation, make effective use of techniques such as bump mapping. I used bump mapping in this project. I could not sculpt detailed bumps, so I created them with maps.
STEP 3:
Next was UV unwrapping. The reason I didn’t perform UV unwrapping at the beginning was because I knew that I would change the form many times while sculpting. Had I performed UV unwrapping at the start, it would have resulted in deformation.For this reason, I recommend that you perform UV unwrapping when sculpting is close to completion.In this project, I used a free application called RoadKill. This is an extremely powerful piece of software that performs unwrapping automatically. One of its features is that it does not cause any deformation at all during unwrapping. In the future, this will become shareware. After unwrapping, I used the Layout tool in Maya's UV editor to optimize the UVs and avoid having excess space. Multi-UVs were not required for this project, so it was relatively simple.There is one thing that you need to be careful of at this time. Slightly separate the piece from the top of the border of UV coordinate 0, or make sure that the pieces do not overlap each other. This will help avoid errors during the painting and map exporting that are performed later on. I think it would be good if you separate the piece by several pixels.
STEP 4:
This is the hair production work. I created many base hair patterns with polygons, which I then positioned manually. This is not a very smart work method, so use your own tools where appropriate. After creating about half, I mirrored and randomized them.
STEP 5:
This is the final step. I used mental ray. The shading network can be seen in the image. There was no reaction from the bump map, so I used an external plug-in, mix8.Layer for mentalray 1.1. This has a function like the layers in PhotoShop, so that different shaders can be overlapped. Here, bump could not be joined to the SSS shader, so I created a new shader, assigned Bump and Specular attributes to it, and then used it to multiply the base SSS shader. When I was putting together this network, the MyMentalRay website was very useful. I recommend taking a look at it.
For the texture, I used 4K for everything. On Mudbox, the data was divided into multiple layers, but in the end, they were integrated for output.I used more or less the basic settings for lighting and rendering, so I’ll omit the explanation here.That completes this brief description of my workflow.
If you have any questions or feedback, I would be delighted to hear from you. Thank you very much.
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