We will use this model for our demonstration Here’s a final render of a 3D Character by Marco Nogueira. If you are new to rendering, you might be wondering, what are render passes? What is compositing? Let’s have a proper look at that. We will take a look at some of the most basic ways of setting up your render so you can get exactly the passes you need for compositing. We’ll separate the different passes and layers of a model to later bring into Nuke for Compositing. In this guide, we will focus on creating a set of renders from Arnold, the standard industry software for 3D rendering. Though the process is complex, it’s still something you can master with some guidance. Rendering has become a standard practice with the need for computer imagery on more and more productions.
Styles vary from photorealism to a more animated feel. Rendering is the act of turning your 3D information into tangible images that can be shown on screen. Finally, the tutorial concludes with shading the hair groom using the Arnold Standard Hair shader, as well as setting up a leather and cotton material for the clothing.Click here to learn more about InFocus Film School’s 3D Animation and Visual Effects Program
The workshop advances from there into some procedural techniques that will push the look of the skin using specific nodes in the Hypershade window. Once the eyes are in place, Sefki demonstrates how to set up the skin shader, plugging in texture maps and fine-tuning values for a photorealistic finish. The look-dev process begins with the set up of the shaders for the eye geometries, including the sclera, iris, pupil, caruncle, and meniscus, using the Arnold Standard Surface shader. Starting in Maya, Sefki shares his techniques to light the character model, utilizing area lights, HDRI maps, and light blockers to establish the right mood before adjusting the camera to achieve the very best likeness of his digi-double. This comprehensive workshop by Sefki Ibrahim demonstrates how he approaches the look development of a digital double, and covers his complete process for lighting, shading, and rendering using Maya and Arnold. Whether it’s in movies, TV shows, music videos, or video games, digital humans are everywhere.
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