Making of 'Ingrid Bergman'

Reference

Finding good references is the key to creating a good likeness. For this I always use screen captures from movies because sometimes you can find shots where the character turns, plus the camera distortion is always the same and predictable. The only drawback is the low image quality, but in my case that's totally fine because you can't find high resolution images of Ingrid Bergman anyway! (Fig.01)

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Modelling

I used an old base mesh and jumped straight into ZBrush for tweaking. I kept the reference image open and tabbed between that and ZBrush when sculpting. This process is a lot like life drawing, where you alternate between looking at your work and the model!

After I was satisfied with the sculpt, I imported the file into Maya and tried to match the camera with my reference. I then made a direct comparison in Photoshop by placing the two side by side. This process can take quite a while, especially if you are repeating the process with different reference images to make sure the model is accurate from multiple angles.

The eyes are important as a tracking point when matching your camera, since their size and location are usually the same on every human. So it's generally a good place to use as a reference because you know, with some certainty, that it is one of your only constants.

Try to keep the textures as simple as possible, because otherwise they will interfere with the model (Fig 02 - 04)

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In my opinion the mouth area is the most important part of nailing a likeness, so I composite my 3D render into the lower part of the face on my reference image and (hopefully) it still looks like Ingrid Bergman. (Fig.05)

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Eyes

The Eye ball consist of 2 parts, the inner part used a SSS material and the outer part used a PhongE material. The Attribute on SSS doesn't seem to matter that much, as long as it gets the Scattering effect it should look fine. Fig.06-08)

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Texturing

Texturing was probably the easiest part of this model. Both the epidermal and specular map images pictured here are actually the original size that I used, even for the 2500 pixels wide render. The dark area above the lips is because of her skin tone in that area, so it's not necessarily the same with everyone! (Fig.09-10)

Notes

For the high resolution image I used a photo texture as a bump map; for the standard one I usually only use procedural fractal in Maya. The map that I connected to the ambient slot was a samplerinfo node connected to a ramp, in order to simulate the "peach fuzz" effect. The scale parameter in the SSS shader is dependant on your model size (my head model is 2 units wide, and I used 40 as the scale value).

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Hair

I used Shave & Haircut to create hair, and it's the most frustrating part of creating this image. My only suggestion is try to avoid using it and use the standard grids and transparancy map instead.

As for my hair setup, I created couple of hair nodes for different part of the hair, and rendered using the buffer method for much faster (less realistic) result. The lighting setup was different than the head because it wasn't giving me the result that I want, because of that I had to create fake shadow for the head, and composite the hair in post. (Fig.11)

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Lighting

I used 3 Area Lights with Final Gathering for the head. For the Final Gather setting, the Max Radius and Min Radius are the ones that really affect the results, and they depend on your model size... Unfortunately, I'm not an expert on this so I can't really explain the specifics...

Because of the SSS bug in Maya 2008 (very slow to render and produces weird artefacts when rendered with Final Gather!), I rendered the head and hair in Maya 8.5 instead. (Fig.12- 14)

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The background was rendered in Maya 2008 with a different lighting setup. (Fig.15)

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Demo Reel link: http://falsehorizons.com/max/maxwahyudi_demoreel_final.wmv

My Website: http://student.vfs.com/~3d68max

Vancouver Film School - Animation & VFX
Vancouver Film School's Animation & Visual Effects department offers 3 intensive programs: 3D Animation & Visual Effects (one year), Classical Animation (one year), and Digital Character Animation (6 months).

Max Wahyudi's demo reel "As Time Goes By" was created through VFS's 3D Animation & Visual Effects program.  Students specialise in either 3D Animation, Visual Effects, or - as in Max's case - Modelling.  The program is helmed by animation veteran Larry Bafia, who was Commercial Animation Director at PDI/Dreamworks, and worked on films like Antz, Mars Attacks!, and Mission Impossible II.

VFS student films and demo reels regularly screen at festivals around the world, like SIGGRAPH, Animex, and Anima Mundi.  Graduates of the Animation & VFX programs are Oscar and Emmy winners, and work on productions like WALL-E, Iron Man, Transformers, Battlestar Galactica, and The Dark Knight.

For more information about VFS's Animation & Visual Effects programs, please visit www.vfs.com/animationvfx.  To watch more student films and reels that will amaze you, visit www.youtube.com/vancouverfilmschool.
 

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