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S N O O K E R 2 0 1 9
SCULPTING & PHOTOGRAMMETRY
- Photoshop
- Unreal Engine
Packages:
- ZBrush
- Maya 2018
- Wrap 3D
- Crazytalk
- 3DXChange
- XNormals
- Character Creator
- Substance Painter
To create a Character Production Pipeline to generate 127 realistic heads.
To be accomplished using a combination of Scan Data, Modelling & Sculpting, Texture Painting and Optimisation. To reach a level of optimal quality despite a very short timeframe.
Project Brief:
Character Pipeline Process:
Developing the characters for Snooker 19 demanded a lot of art packages and the know-how to utilise each one to their full potential - whilst keeping to a strict set of milestones.
The process took several weeks to iron out to a point where we could reliably use it to generate batches of Character Heads like an assembly line.
The simplified process was finalised like this:
ZBrush:
Scan Data Cleanup (Heads)
Wrap 3D:
UV Transplant from Cleanup Data to a Base Mesh
Maya:
Body Vertex Point Correction
3DXChange + Character Creator:
Attaching default body and rigging
Maya (Part 2):
UV Transplant and further correction
Substance Painter:
Texturing and Normals Correction
Photoshop:
Hair Mask Generation and Map Correction
Unreal Engine:
Replacing a designated basic model in-game, and hooked up to a model database
ZBrush Sculpting & Scan Data Reconstruction
The original Scan Data would often have irregularities, particularly around the earlobes, eyebrows and the entire back of the head. This would mean reconstruction by adding clay in targeted areas, and using a number of stamps and cloning methods to rebuilt what was lost from the initial scan.
Wrap 3D - Mesh Combination Process:
The next step was to attach the cleaned up ZBrush heads to a Base Mesh (that also included an accurately proportioned body). For this, I devised my own specific plot point map, and applied it to each character in Wrap 3D.
This was a good example of a stage that required a refined technique and couldn't be done first time. It took a few attempts to perfect this process.
UV Transplantation and Mesh Augmentation:
As our original scan data was provided by two different sources, we had to implement two pipeline process that ran side by side. One involved a lot more UV transplanting and vertex manipulation, and the other demanded more details to be added (with utmost precision) during the Sculpting process.
Character Texture Maps:
Base Colour Map
Normal Map
Ambient Occlusion Map
Customised Hair
Mask
Here are some of the models I developed using both methods; designed and optimised to plug straight in.
Once implemented, they would be attached to the base body and connected to the existing rig.
B A C K T O M A I N P A G E
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