The Final Input

scifi_aqsThe Final Input
CGTalk Lighting Challenge #18
Modeled by Juan Carlos Silva
Textured and lighted by AQS

Here are the different layers:












Ambient (quite dark but it does contribute)






Nuke Nodegraph


Nuke Nodegraph


A work I did for my final assignment in Zbrush modeling.

Asian Sculpture Anatomical Study in Zbrush

I took some pose reference from a cambodian sculpture and did a half-body anatomical study in Zbrush to strengthen my knowledge in human muscle anatomy!

Head Anatomy Study in Zbrush

A quick study in Zbrush. Just the major muscles!

Dragonhead Clay Modeling

My first try at clay modeling! It’s always great to work with traditional media before going into digital software, just like painting.

Simulation: Dandelion Clock (W.I.P)

Here is a simple simulation of a Dandelion clock done in Maya. I used particle instancing for the seeds. Once they are instanced and planted using an emitter (using goal U and goal V), I delete the emitter, then proceed to simulate the flight using fields.

Right now there is only one vortex field, so the simulation looks robotic. Turbulence would do the job to create variety!

Got to rig the plant itself too!

Fia (3D Still)

Zbrush, Maya, Mental Ray, Photoshop

This was originally the character meant for project Affinity, prior to having a talented character designer on the team to redesign the female lead.

The work made use of Zbrush 4R3’s dynamesh, retopology and fibermesh, Maya 2013’s nHair, fur, subsurface scattering (fast skin material), Mental Ray’s IBL and final gather, and finished in Photoshop CS6.

Here are some of the render passes and maps used in the fast skin shader.

The sculpting phase was most enjoyable as you get to subdivide and shape your character. Polypainting was used to generate the color maps, while fibermesh was used to groom the ling hair. The challenging part was to retopologize the model after using dynamesh.

The model, displacement, normal and texture maps were brought over to Maya. Spotlights were used for a general studio-style lighting, while indirect lighting was supplied by IBL and some final gather. Mental ray approximation nodes were used to optimize the render, while several multiplydivide nodes were used to control weight maps for the skin material. Render layers with pass contribution maps and layer overrides were then set up.

The render passes for hair and skin were slightly tricky and did not composite as expected. To work around this, I heavily depended on the matte pass to isolate elements so that I can apply adjustments and paint enhancements.

The final image had some lens blur and film grain filters applied.

As it is my very first time dealing with Zbrush and digital humans, I must admit that the work isn’t great and possesses lots of room for improvement. But hope you like it!