Foundry On The Road | How Image Engine Used Mari To Texture Logan

hello everybody my name is sherry Wojtek and I'm the current texture lead here at image engine in Vancouver and today I'm going to be talking to you about the texturing process for Logan just going to play a quick video to kind of refresh your memory about the film which won't work there we go while I talk before I get into the texturing I've got to walk you a little bit through the beginning process of how we came to use the data that we used for these digi doubles on Logan the first thing the team did production and Martin culpa the visual effects supervisor who you saw in the video before was did the research on on digi doubles that have been done in the past like these types of movies here they landed on using ICT which is a capture company it's well regarded down in LA and they use a light stage like this to capture the likeness of the actor the quick demo of the light stage in action you in return we received these highly detailed very accurate models from ICT as well as a whole bunch of texture maps for use and so much reference images that I couldn't possibly show them all to you here so the next stage is obviously to get a really nice model before we can move on to texturing the modelers took all of the reference images the scan data and they they fixed the model to be a really good CG model as you can see here the eyes are very soft so they fixed all of those that could be animatable and so on it's a quick turntable of the final model 4 X 24 and then the next stage for me was to get some nice UVs on this model before I could start texturing however the ICT textures that we received matched to the ICT model UVs so the first thing I've got to do is get those textures to work on the in-house image engine model the modelers helped me out with this quite a bit by lining up the ICT model that you see there with our image engine model almost precisely we actually did have quite a few renders before we had it lined up we had to go back and read transfer textures three or four times and you could tell the difference like something was always just a little bit off whenever they weren't lined up properly so I ended up with picking this and then we ended up with this this is on my image engine models a model you beasts so in the end I ended up with all my textures transferred that I thought I would need to start this project so now I can get to the fun part painting and Mari before I start any project I of course do my homework and I find sorry this is the just a quick close-up to show you a preview of the incomplete texture data the first thing I do is gather all the reference and images that I think I'm going to need to begin the project the obvious place for me to start is with the reference images and the textures that we received from ICT that's the obvious point of reference for me to complete all of my work however I still gathered tons of other human reference for skin textures and that kind of thing and additionally we found more scan data online such as texturing XYZ and surface make because we had to hand paint the rest of the head the face I mean the hands and so on and just extra details for filling in all of those holes which I'll get to in a minute so in the end you can see my Mari image manager and how much stuff I gather whenever I'm painting a project like this this isn't even everything I tend to clean out my Mari and an image manager as I work so this is just a snippet so I'm just going to start by showing you a little bit of projection painting in Mari and how I would start painting the color I took that ICT image which see me pull over into the projection plane here and I'm just going to start cleaning him up and filling in the holes painting out the hair because that we ended up doing a real groom on these characters and I'm constantly just checking my scale to make sure that I'm not painting too out of range of what's already there Logan actually had an extra scar that we were missing in the first scan that we had so I had to paint that back in on that kind of thing and then I'm going to use the rest of those sexers to fill in the holes for the scalp and the rest of the body and so on and in the end this is my final Logan color and UV and flat texture view clothing and everything so the next part is talking about displacement and specularity now we had these two great maps from ICT and because they both have very detailed poor detail we want those to line up exactly like poor to poor detail in order to get the best results in the render so I didn't want to sit there and hand paint these and then try to line it up manually so one thing that Mari allowed me to do was paint with a multi-channel EXR I took that displacement and I dropped it in a channel and the specularity in another channel and I added the occlusion just because I thought I might need it um so with that I could do painting like this using Mari and then I can just tell Mari which information I want for each Channel so I'm doing the same thing I did for the color I'm just cleaning things up removing the hair and so on and then I'm just gonna set my channel read to tell me okay I just want the specular out of that to show up and you can see I'm painting with that funky looking map that I have to tell Mario I want and then I can share that data with my displacement Channel and then just switch it to tell it what I want and it saves me a lot of time and a lot of headache trying to do both maps independently there you can see where I'm switching it back and forth between distance back just to give you a little preview and then back to specular here's just a snapshot of how works in Mari using the layers you can see in my spec channel there's a layer that I'm using as my cleanup and then I'm just dropping it into that displacement layer and it automatically gets updated any changes that I make throughout the course of the project another thing that Mari does it's really great for me is that it allows me to this is the same process and I'm just painting down in the displacement instead of specular but I can switch to shaded view which allows me to kind of spot check my work as I'm going along and it's really great because I like to work in both so I can switch back and forth really easily from the flat view which you see here to the shade of view which you see here and this is great for making sure my scale of my pores are correct but I'm not painting down too softly that kind of thing and it just gives me a really nice representation of what we might see in the final shader you I'm just turning it off and on to show you how I can kind of spot check my work as I'm going as well and just a quick preview of side-by-side comparison for you I've shaded versus flat view and then the next most important part that is using the same function is that on Logan we had two characters we have Logan who has scars he's older that kind of thing and x24 is his younger clone with the slightly bigger nose now because we have two characters but they're the same actor yes we a different scan data for their main part of their face but why am i going to redo the same the same thing twice like painting his ears to scalp his body and so on so you can see I'm kind of showing you a preview of something that I just shared between all the characters for all of my passes so I painted on Logan for instance and I fix cleaned up his scalp his ears and so on and then I just copied that and had it connected to my other characters or x24 so I'm basically doing two characters for the price of one which is really great um because then as we worked on the project and we made a lot of changes and what they devolved like at one point we had to fix the ears we weren't happy with it it wasn't close enough to Hugh Jackman's ears I went and fixed it in that one layer and it automatically updated in the other and I didn't have to think about it I could just export both and that was the only part of how to think about it was really great this is just a quick texture build up cleanup pass on Logan just to show you the process and the same thing for x24 and just a quick breakdown of one of the shots from the film to show you how some of this work fits in you so moving on to the looked at part of texturing and getting this guy done this is what I ended up with this these are my final key passes displacement specular in color so now I need to show you how we got from that to that it's not as simple as oh those three passes are done we can just get it done so first thing I had to do become best friends with my looked up artists and I can't stress this enough communication is so important whenever you're working on something like this we definitely got on each other's nerves at some point but in the end we worked really well together and are still really good friends this is just a little preview of some of these supporting textures that are created for Logan to get it to look that amazing and the look of us isn't all of them but I'm gonna go through some of the key ones just to kind of talk about it a little bit but before those the first thing we did was grade the textures into the right color space this made a huge difference there was a point where you can see the before grade is kind of yellowy which kind of indicates like maybe a little bit sick feeling but after we got the correct grade matrix node that we applied in Nuka we were able to get a much nicer render those much more realistic it made a huge difference the next thing we do is we took that displacement map that I cleaned up and we split it out and the findest was so fine you can't even see it but it's just thinking about super fine detail on the surface and then we split off the broad displacement which we're going to use as a true displacement on the character area maps because these help define subsurface specularity bump intensity even the way the skin reacted under the hair it all made a huge difference in the final render specular roughness because you have different shiny versus not so shiny bits wetness masks cuz everybody's got that wetness around their eyes and a sculpted ipsla sihiem displacement from modeling and a micro detail map because it added this little extra softness to the specularity especially at the glancing angle of this place and here because hair color in a hair color mask because Logan had gray hair but it wasn't all over and I gave them a mask of different values just so that they could tweak it and comp as well as looked of even that so far as wet maps with sweat displacement because we were going for true realism and so I created a mask for the individual drops versus the area because we wanted that extra Sheen and then like a true sweat displacement here you can see I looked at render and in the shot where this way it just helped him fit right into that shot and a quick breakdown of that you so just to show you a little preview of the shader graph node this is gapper our image engine proprietary tool on the on your left is the wide view that includes the hair the clothing everything and then I just blew up the skin shader the main one that I'm talking about so you can see where all the textures are going in and how a crazy complicated that could get with all of those but I broke it down into something very simple that you can understand a little bit so you can see how the specular roughness goes with multipliers of those area maps and then all of that goes into spec and bump and displacement to create different areas on his face so for instance where he was a little bit more oily we respect was I'm sorry the bump was a little bit less that also contributed to how shiny the spec came out and so on and so forth using the fine displacement and the specular maps and then the sculpt displacement is added to that broad displacement that we created to create the final look of the surface of the skin there's a great looked over in der of X 24 and Logan and I'm showing this to go back to that light stage reference that we showed in the beginning just to give you an idea of how much we paid attention to every angle up spec and subsurface on the characters to achieve the realism that we we ended up with in the film so the next big thing with the Logan the next 24 was character states throughout the film they're getting clogged they're getting shot all of that fun stuff so you can see how we didn't want to include this in the base so we created all these blood and dirt masks to create these states of the characters and one great thing that I used Maribor for this is that I could build them up but still keep them separate so that I could always have that first state and then he went on to a next state where he got shot again or bled a little bit more and so I could preview that and then give that to that look to have artists and he could build them up as well and we can get these great just States with blood all the way up until the end spoiler load when he dies and this is a quick breakdown of how those blood masks work this is called Logan's Run in the film at the studio and even this shot right here one thing mari let me do is I back projected that into the full CG character using the shot camera data and then just the plates and brought all of that information in tomorrow so that I could get the exact blood drips that were on the real Hugh Jackman to work on this on the CG Hugh Jackman and rounds might be effects supervisor was even like it looks like you projected the plate how did you do that it's like what that's exactly what you same thing for x24 blood mass that we can just build up again and I can preview them in Mari before I hand them on some I looked up artists to make sure they look nice and that's it weird that part on the next bit I'm gonna talk about is just a little show you how committed we were to making these characters look as realistic as possible four X 24 there's a shot where he's walking down the stairs revealing himself for the first time to Logan and that was our arm our pride and joy shot so we sat there and studied the reference that we received over and over again so one of the first things we did because x24 had a prosthetic nose we didn't like the nose so we replaced it with a real one because it was too fake for us so we did that we even added more forehead lumpiness because it was just a little too CG and smooth and even as much as adding some really subtle wrinkles that you can see here I'm sure Hugh Jackman would love that I made his wrinkles deeper but and even going as far to add this little scar that Hugh Jackman has that didn't show up in our scan data because the his eyebrow was in the way so didn't scan and I think we redid that scar three or four times until we had it just right and here's a quick breakdown of that shot you that's it thank you for coming you

Channel: Foundry, imagination engineered

Views: 7,858

Rating: 5 out of 5

Keywords: Mari, Foundry, Imagination Enginereed, Tutorial, VFX, SkillUp, colour, color, studio, presentations, software, learn, vfx career, creativity, texturing, texture, painting, tools, paint, asset, 3d, cg, vr, SIGGRAPH, 2018, Substance Painter, aftereffects

Id: WL0UJPXm-do

Length: 18min 32sec (1112 seconds)

Published: Fri Sep 28 2018