Renderman textures movie#
Renderman textures skin#
Renderman textures free#

Renderman textures free#

To simulate this effect on the characters, I used PxrColorCorrect node to extract the luminance of the base color map and set a threshold to drive the subsurface shader Mean Free Path Distance. Parts covered by light-colored paint absorbs and scatters light while darker painted parts like the eyes tend to not show the effect at all. The non-Exponential Path Traced subsurface model was perfect for simulating this effect because it provides very accurate path traced results and adds an extra Bleed slider to artistically control the look a bit further. Subsurface scattering plays a huge role in creating the characteristic Pop Funko Games toys’ vinyl look.

I exported the color maps without the foam and a RGB mask to have control over the look of the foam directly in the material. To create the ocean texture, I used a combination of Substance masks and maps to generate a foam mask and make the crest of the waves a bit brighter, pushing the natural subsurface look that oceans usually have. Substance Painter was used to create and export those maps. Other than a flat color for the parts, I painted a very subtle roughness map and added small bumps to the normal map, just to break a little bit the infamous computer graphic specular look and match the character’s feeling a bit more with the final product. Since they are the main selling product I didn't want them to look used or damaged in any possible way. I wanted to retain that pristine vinyl toy look. Much of the texturing process was as straightforward as it could be for the characters. Some of the pose studies we did for Quint. It was really a fast and interactive turnaround workflow. Once I was happy with the pose, I would let the scene converge to a desired level of quality and in combination with the interactive denoise tool and send the screenshot for approval. Using RenderMan IPR during this process was an extremely helpful tool, not only would I get a fast idea on how the pose would look like in final lighting and shading conditions, but I also would catch any displacement penetrations and errors that might occur if the pose was pushed too far. Together, Funko Games and I would explore a range of poses to see what would better fit both the cover scene and the playing cards illustrations. One of Quint's poses showcasing a very basic skeleton rig.

Renderman textures skin#

I didn't have much time for this task, so I decided to paint the skin weight as good as I could and fix any skinning errors that might appear, with Maya's Sculpting tools. To be able to pose the main character, Quint, I decided to create a very basic bone structure and skin it using geodesic voxel mode. Then I used Maya's Sculpting tools to refine the shapes a little bit more.īOSS spectral waves with Sculpting tools were used to shape the ocean model. Selecting a subdivided plane and adding a SpectralWave system to it enabled me to fiddle with the parameters until I found a desired wave pattern look. So I resorted to Maya's Bifrost Ocean Simulation System (BOSS). I did a preliminary sculpt of the ocean in ZBrush by hand, and it turned out so bad I won't even show here. Just a portion of the deck, to be precise.Īll the unique models used in the final image. I didn’t 'need a bigger boat,' in fact, the one I needed was way smaller. Since the boat would only be visible in one angle, I didn't bother to model anything more than what was necessary for the scene.

Renderman textures movie#

For the props and set modeling, I created a reference board with frames from the movie and the concept in pureRef – an amazing free software that lets you have your reference or mood board organized and visible at all times – and start modeling asset by asset using Maya's polygon tools, keeping in mind not to over-detail and keeping the stylized toy look that the project required.