Making Of 'Soldier'
Hi, my name is Wesclei Barbosa, and I'm from Brazil, and currently work for Tv Globo and I want to show you how I created my image "Soldier" using 3dsmax and ZBrush.
The idea behind the image was, to not have any blood and flesh between the skin and the skull, as this image is not about horror. The idea is to portray war inside of the men....the soldier is dead, but he just doesn't know it, so he just keeps on fighting. The cigarette shows that he likes and has fun with the war.
For the modelling process, I've used poly-by-poly on the head and box modeling the rest.
To model the dog tags, I've used a spline like guide and with the spacing tool, I distributed some spheres in the spline.
To get the hole in the face and in the helmet, I've created a polygon object and used it in a boolean operation. After getting the hole, I corrected the face model to get it back quads again.
After doing this, I started the modelling of the skull, using the poly-by-poly method and some references I gathers, I ended up with this result. So I can now apply the shell modifier and use this as a base mesh in Zbrush.
After modelling the helmet and a shirt for my soldier guy, I ended up with this final model to take into Zbrush.
Ok, so I have exported the head and the skull model into Zbrush in order to add some more detail to them. Starting with the head, I've put some scares and skin pores, and also some adjustments in the facial expression
Working in the same way as before on the skull, but this time, I've done a unwrap UVW in 3dsmax. So here you can see the mesh and the displace map with some adjustments in Photoshop
So with having the model done, I can start on the texture process for this guy. Using real photos, I projected some planes, mapped with these photos as the textures onto the model.
And here is the final textured head.
To increase the details on the face texture, I've exported the cavity map from ZBrush to use in Photoshop.
And here, you can see a flat render from Zbrush.
To light my soldier guy I've used just an omni to back light it and a MR spot to key light, with a mapped sphere to simulate the environment.
Rendering and Post Production
To render him out, I've turned on the final gather in Mental Ray, and to use in post production, I've rendered a ambient occlusion pass. So in Photoshop, I've used this pass with a multiply blend to get more details in the shadows.
With some other adjustments, here is the final image.
Hope you like...