Making of 'Instantaneous Eternal'
Reference & Concept
We sought materials from movies, games and books in order to find out how knights looked in that period (Fig.01).
We drew our concept art first, as it was then convenient for the following 3D work. We could also modify it quickly if we were unhappy with any of the original concept (Fig.02).
We then created a low poly model with Silo. Silo is a very popular modelling software with good performance for the basic outward character (Fig.03).
We then took the low poly model into 3ds Max, where we set up simple bones and the controller. A complicated rig setting was unnecessary because we only wanted a fixed pose (Fig.04).
We placed the character into the desired pose (Fig.05).
We created the flag using the cloth system in 3ds Max, instead of sculpting in ZBrush. As a result, the flag is more natural-looking (Fig.06).
We then created more details for the model. We hoped for the final work to show extraordinary detail (Fig.07).
We created an exquisite belt, buttons and armour. Carefully, we sculpted the pleats in the robe with ZBrush (Fig.08).
We then divided the UV for the model. It was a very complicated task for such character. Fortunately, we found Unfold3d which divided the UV automatically - and fast. We classified the UVs. Each object ID was in token of a UV set, taken into Unfold separately (Fig.09).
This image shows how Unfold divided the UVs automatically. After UVs were divided correctly, we baked the lightmap using Vray. We used Lightmap instead of UVTemplate because Lightmap can show a better and more old-fashioned appearance. We also created a Dirtmap with the plug-ins in Max (Fig.10).
After baking, we were then able to see the details of the model through the Self-Illumination material in Max (Fig.11).
We used dirt maps from 3DTotal Textures: Vol.3 to finish the texturing stage. There were 72 pieced textures which had over 3000x3000 DPI, in total (Fig.12).
We then created the armour for the knight. First of all, we made a few chains. We rendered the Z channel using a camera from a vertical angle, then took a displacement map with this Z channel into Maxwell (Fig.13).
This was our first time using the Maxwell renderer. Its powerful rendering ability impressed us profoundly. Maxwell gave us all of the things that we needed!
The image below shows the settings of metal armour material (Fig.14).
Next, we set the physical sky and time. Then came the final rendering (Fig.15).
Final Render (Fig.16)!
We sought for reference materials (Fig.17).
We put the images together and unified the colours, adding in the shadows and highlights (Fig.18).
At last, we modified the colours and details. Then the work was finished! In Photoshop, we suggest using a 16bit/channel instead of 8 bit/channel if many adjustment layers are added, so as not to lose colour details.
This was the process that we used for this work. Thanks for reading!