The fully calibrated Hyperskin displacement augments and replaces your current displacement by amplifying the quality and realism of your original skin detail to another level!Īfter having the Hyperskin maps in hand I quickly sculpted an underlying supportive layer in Zbrush to accentuate the remarkable high-quality detail and exported my supportive layer to use as a Zbrush displacement layer. You arrange to have your model and current maps sent in and let the team at TexturingXYZ create photo-realistic 16k displacement maps based 1:1 from the pore detail information you’ve set up. "That’s the current workflow, but now there is another level to which you can bring realism by using TexturingXYZ’s Hyperskin." I've sent the resulted maps to them so they were able to work from that as starting point for Hyperskin. Large, Medium, and Small clumps followed by noise breakup, randomly cut the tip length a bit, more noise as stray hairs and cut the strays.īefore being involved with the XYZ team in this project, I did a first pass projecting a multichannel pack in Mari and played with individual RGB channels, Displacement, Bump, and Micro in Maya to get the right skin pore feel. Here is an example of the modifier setup on the base hair. Xgen hair was split into nine grooms, braid, hair, fringe long, fringe short, vellus, plus the brows, upper and lower lashes, and also the sweater has its own groom. Even grab a mirror and look at the monitor screen reflection. I strongly recommend to take multiple screenshots during the modeling process, flip, rotate, look at them upside down, whatever you can do to trick your eyes into seeing your work in a fresh way. Q: Any tips regarding the likeness or technical aspects you would like to share?Ī: I found that going between DCCs for modeling helps because you see things differently in the way the model’s surface is lit in either app. I then went into Zbrush to refine everything. I then used Maya, matching camera angles and then modeled/sculpted a base mesh to match her proportions through those cameras. Q: How did you create the base model of Emma?Ī: I started looking for images references online, and grabbed as many reference materials as possible of Emma, but also clothes, hair, and everything that could help me for the project in order to start in the best conditions. Roja, it's time to talk about your project! That's a total of a 800 million polys that could possibly be displaced at rendertime. The base model had 3 UDIMs, Hyperskin generated 3x 16k maps. The team carefully analyzed the images to match as closely as possible with Emma's skin type and micro features. We decided to help him with this, and worked with the Emma Watson's image references he provided us, to produce a brand new set of fully calibrated displacement maps. Roja was interested in Hyperskin and kindly contacted us, we gladly wanted to support his project and collaborate with him! It was also a good use case for our Hyperskin team to test, once again, the accuracy of our technology and our latest build at the time.Ĭreating a CG likeness of a famous person such as Emma is, without any doubts, the most challenging task to achieve in CGI. Roja took the necessary time to work on the likeness and other crucial aspects before jumping into the tedious detailing process. Hyperskin and the need to reach a new level of realism. As a self-taught Artist going from 2D animator to HOD in movies and cinematics, he followed the evolution of technology and pipeline over the time while moving from job to job, always driven by passion.Īs a character modeler, facial rigger, specializing in facial blendshapes, Roja recently took the opportunity to dig into lookdev and this project is the result of many months of hard work, pushing his own boundaries as a complete Artist. He is now working as a Head of Creature, with a strong interest in multiple-disciplines such as facial rigging, modeling,Texturing and Lookdev.Īfter +20 years of experience, Roja Huchez is an industry veteran knowing the importance to get things right, in the right place to produce the best visual images possible. Roja Huchez started his career in the early 2000s, working at first as a 2D designer, drawing and animating (on actual paper!) and continuing his path working on some movies such as Avatar, Fantastic Four, and more recently on The last of us part II.
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