How a CG Master Creates an Eye for VFX

foreign we can tell that you have spent quite a lot of time with this particular project there it looks absolutely crazy good I keep calling this particular character Sergeant at pepper because I just for some reason never quite remember the name of the character there but perhaps you can actually present to us the project that you've been working on every time I pick up a personal project I'll try to either develop a new skill learn a new software or try a new artistic approach this time just fell in love with the the self-portrait of John Singer Sergeant kind of what it's approach how painters get that kind of change of detail where like the face is more detailed than everything else and how to interpret that in 3D which isn't just don't refine it as much because that would kind of appear cheap to me like if I was to do that so I ended up going with rendering the clothing as fog I kind of like transitioning from realistic cloth to like a cloudy Smoky thing but in the process I was like I also kind of want to learn a bit about eyes um because eyes are the most in my opinion at least the most important part of character um I've got an eye that I put in an art station a while ago but that has like some technical thoughts of it like it looks okay from a distance there's some weird stuff going on like there's this little bit of the eye right here which is like completely blowing out to White and so I was like okay I kind of want to spend a bit of time really refining my eye setup and getting something that's like medically accurate even though CG everything's an approximation of an approximation so it's only so accurate it can go without spending years I was getting tired of the projects towards the end it had been five months of of my free time uh with a few breaks in there in terms of actual work this is 140 hours of of work 108 of which recorded I believe effectively three or four weeks if I was working on it full time that's not that much time really when you actually think about it like 140 uh hours like that's less than my Elden ring play time which putting that within perspective makes me kind of regret some of the choices of my life there but and I I straight up gave up on matching the reference like I did a a like you know VFX workflow for modeling where I started off obviously sculpting I didn't do scans because I can't do a scan of a guy's been dead for 100 years there was tiny little things that couldn't quite line up on them because of different focal lengths and um distortions and I could not be bothered to to solve that so I just kind of kept it hey it looks generally like him uh but this eye is in the wrong place and not slanted enough and his mouth is I think still 100 symmetrical how could you obviously one of the challenges when you when you're modeling a self-portrait is as much as Johnson Sergeant is an incredibly talented painter and he's an absolute master of lighting he definitely beautified himself a little bit so all of the reference doesn't really look like this image um so that kind of made it difficult when matching it up because he actually looked more like this so it's like the planes are a lot softer and his eyes are a lot further forward um than what he painted himself and all of his self-portraits have that is like painted a little bit more handsome in a way that's kind of what we all do when we take pictures of ourselves right we have set the lights in a very specific way so that we look our best we choose the angles that are going to make our face look at the best as well you know like we're sort of all beautifying ourselves not just through a painting or like 3D but like also through like photography and like stuff so that's pretty much exactly what he did there the original selfie Pelt uh selfie filter was absolutely a paintbrush I really want to dig deep into the eyes there you know I do want to be mindful of year on time but uh oh that's fine I I don't value my free time spoken like a true character yeah there's a reason I do like hundreds of hours of streams give us like your five minute potted history right there so that uh people who don't know who you are can have a good idea of the kind of work that you do went to University uh physical Bournemouth um and went through basically one thing to do every role at some point I started off wanting to do animation um so I did two years of just downloading Rigs and making stuff with it then found out wasn't very good at animation so I moved on to modeling then found out my modeling was passable I can sculpt organic stuff but I struggled on like the topology and like the tacky stuff at least back then so then I moved on to comp I've basically tried my hand at every Department in VFX uh after that I went into the industry my first job was at MPC uh as a grim artist my first movie was the greatest showman better luck with your next job actually quite a lot of fun to work on but yeah after three years of Groom I moved to previous was a 3D journalist in previous for six months then I moved to children's TV where I was a senior like Dev artist children's TV turned out is isn't really my thing but the team was fantastic then moved on to uh actually moving to Montreal uh to come to MC episodic where I was a uh looked FTD again did that for almost a year and now I'm at digital domain where I've been for two months at this point could you uh explain to us what is the exact role of a look Dev artist it is a role that moves around a bit there are some studios that will call it look development and what they mean is a different job entirely but look Dev in the typical VFX sense is we create shaders materials let's say you're a modeler or a texture artist you give us flat colors and geometries which have all the correct shapes so shading is or look Dev anytime you're dictating how light reacts to something you're doing a little bit of so texturing is is just data for look Dev to play with basically um so we can take a sphere and turn it into glass turn it into metal turn it into wood whatever you want um texturing will will give us the color information for that um but yeah so basically if it's something that you wouldn't be able to see in flat lighting it's something that look dev has to do subsurface is the big example of that but refraction would also count on a typical production do you also create the textures or do you have a dedicated texture artist it varies heavily between studios in the case of the studios I've worked at we are a separate Department we have texture authors there are times where look Dev will make their own textures if they have the skill set um it's one of those areas where um this is a separate conversation kind of but it's good to be a generalist sometimes even if you're in a specialist role if you can do other stuff you're like normally very valuable just to be like hey this guy can go do this other thing we don't need to budget for someone else if sometimes it'll be procedural texturing as well where the Shader is making the color and adding noises and stuff to make it feel like a different thing you'll notice here that this isn't just Maps being plugged in to a Shader that's something that quite a lot of people think or mainly students will be like hey yeah look Dev is when you plug your Maps into the Shader so yes but also now more often than not we will get given at least in in VFX we'll get given what we call ISO Maps or isolation maps to just a mask essentially black and white in this case I didn't make very many I made one for the teaser which is the nose and forehead I made one for the blackheads which this allows me to darken the skin color and I made one for the wetness which allows me to add a little bit of like water layer around the eye and stuff I very much recommend getting to the habit of you paint your textures but you paint them with the mindset of hey I can adjust these in my Shader as well I can augment them I can add stuff together because if you try to do a finger in texture every time you want to make any change you have to go back to your textures re-export it repaint whatever you need to do if you've got textures that are a solid base and you augment them in Shader it's much much faster feedback which is normally where looked if we spend most of our time it's extremely rare for me to work on a Shader where I don't like Hue shift or saturate or desaturate texturing work because ultimately if I make this more reflective all that color is going to look completely different now so we have to adjust everything back and forth there's people who's in charge of doing at the modeling and there's people who are in charge of doing the attack string there's other people who are in charge of doing let's say the lighting for a particular shot and you're kind of in the middle of all of those different and you're sort of bringing all of that together in a way right we we make sure that what the model is in texture artists do reacts the way that lighting expected to because if Shader does if shaders do a bad job lighting when they light something it won't react correctly like if you was to make if you got a room that's entirely made of metal and you put the same light in it it's going to look completely different from a room that's like padded the light is the same the lighting is doing the same stuff but if that Shader is wrong lighting will not get what they want and then client and comp won't get what they want and it just ricochets through so you're sort of the glue in the middle of all these different people doing all these different disciplines there yeah after what we do you move into shot based work where you've got lighting where they don't light for an asset they light for a sequence they light for an environment so where that last step before you're like hey this isn't assets anymore this is other thing it's one of those where every single department is incredibly important to the next one in line and eventually we we all work in surface of comp and so yeah the job I've looked at is just to make sure what lighting do reacts the way we all expect and then if they if they get that they can do something great for comp and then they can do something great for client and edit them and every other step that's in between that we always forget about let's talk about the eyes then I really want to get into that yeah very quick disclaimer and I encourage you to definitely keep this in the in the footage this was entirely self-indulgent and made my life hell uh I guess you can go insane with accuracy but the amount of control it gives you it also takes away another place it's like painting maps for this is a nightmare and the moment this deforms would be even worse I love the renders by the way where you can see like the red and in like the back there perhaps you could actually uh set up the stage what have you done here and why is this so special I watched an unhealthy amount of medical videos which means I've seen some things I'm not gonna unsee I just wanted to see hey like with with eyes we normally oversimplify them because they are inherently extremely complex what happens if we just go [ __ ] it and just try to make it as it is so I wasn't watching tutorials I wasn't watching other people's approaches I was like how is an eye built like what is the shapes there's some simplifications I've had to make and there's definitely people out there of them way more complex versions of me I've not seen them but there's no way this is the most complex eye out there it's over simplistic in a few areas nice as a modeling but in terms of the shading there's some variation that I just didn't add that I should have all of the texturing for this entire eye except the sclera is uh this this is the only map of the iris uh every every other detail is geometry so all the fibers within the eye all that sort of stuff is is pure geometry and this is for coloring that I had like the texture that you just drawn a series to get a little bit of a different color so that map will be easy to explain once I talked about what stroma is but it's controlling the density um the density of the structure of the the iris we'll we'll talk about the the bits of anatomy everyone does now so you got the sclera which is the white of the eye you got the cornea which is the clear Dome over your iris you've got the iris and you've got the pupil that's that's the bits that everyone always has in there in this stuff the way they approach people might change you might do a black texture or you might just make a hole up to you you also have the meniscus and the crankula which a lot of people are aware of but might not name for chronicle is the fleshoop in the middle men meniscus is the wet layer around the eye my Meniscus is something I'm not very happy with for kind of want to fix it but it's too late now this project is long long gone for me the the bits where people don't normally do is the cornea has a physical thickness it's not this like infinitely Deep thing that goes all the way to the back of the eye it has a variable thickness as well so the very front of the cornea is slightly thinner than the sides so inside that is a fluid that fluid has a very slightly different index of refraction it's called the aqueous humor this fluid um and it's what supplies your eyes uh with all the nutrients the fluid inside the eye is doing that job for you that actually makes a big a difference because like when you look at ice from like three quarters or from like a profile you can clearly see that there is refraction happening there it's not you're not just seeing through it as if uh the coronary was just a painted glass and then it was Hollow on the inside you can actually see if you look at an eye from like a three-quarter from like from like a profile you can see that the iris starts to get really uh distorted you know like as if you're actually looking at like something within a bathtub there you know like we tend to just like fake it but in your case you're like no like I'm gonna do this so that this is as physically accurate as I can in VFX that refraction is is actually kind of the standard like we we have the render budget to always do refraction the difference to this setup is normally that refraction we just do one Thin mesh well technically not very much because it closes at the back but one layer of polygons at the front and then it has effectively a glass or a water Shader on it which will do the refraction for us and that is fine it works fine it doesn't need to change and definitely simplifies the entire process but in reality The Colony has got thickness and it's got this fluid behind it from a distance we'll still look pretty pretty much the same as refracting a single layer but in real life there's this different indices of refraction where the cornea is bending like one way and then the flu is bending it slightly a different way there's also a structure of the lens which is obviously in the pupil uh makes very little difference I've added it anyway for me it helps with the red eye effect good to this it helps me get the the correct falloff granted there's a little bit fakery Happening Here my guy would be completely colorblind because there was a render bug I couldn't get rid of without coloring the lens red or tinting it red the eye refracts red naturally but I had to enhance it because it was blowing out to White for some reason but yeah so we have cornea the actual geometry that's building this we have Kanye lens fluid which is just the cornea scaled in uh with a very slight overlap one of the things of CG rendering of fluids um something that people would be aware of if they've done like a glass of water or something water has to overlap the glass or the corner in this case because otherwise the random doesn't know how to handle it it's called the actual name for his nested dielectrics basically a nerd term for light doesn't hit the the glass and then have a gap before hitting the water it goes directly into it so it bends the light by this IR minus this one blah blah blah cool maths stuff that I don't understand um there's there's a physics side of it which is wild the renderer will handle it for you as long as you've got that overlap and correct iOS on all the objects which you can find the values for very easily but yeah so we have this now because this has a thickness uh the refraction wouldn't look correct on its own um it would actually not refract enough so you'd end up with an eye it doesn't really change it look more like transparency so that's why if you do a thickness you have to have the fluid on the inside uh otherwise it's not going to work I'm going to so there's the shapes a little bit more clear um so I've made it slightly thinner at the front just because that's the way it is in real real life the blend between the cornea and sclera in real life is one continuous bit of tissue the cell structure changes but it's still one continuous piece so you would never break that as a separate geometry yeah the the blend itself has a specific name called limbus uh l-i-m-b-u-s which is the dark Rings you get around eyes uh in some eyes is the limbus having a color in most cases it's going to be blue or black but Iris blends to the back of the limbus it's like one continuous piece so this is an area where my model is making an approximation because screw modeling that was one piece it would be a nightmare to shade and texture so we have a mesh that gets thicker towards where it meets the the iris they overlap slightly and that just allows me to have this blend be a little bit more organic without showing the same mesh twice we are doing two surfaces essentially like if you texture transparency this is still like Gap in between where there's physically nothing and you're not going to render a fog inside that'd be way way too heavy you have to kind of offset that transparency on the inside which in real life you don't do in this case what that meant is I have the like a map that goes from conure to sclera and then that map is essentially just saying um you know adding the transparency adding the the refraction I use that same map to just tint the sclera so that because it's the same map as it Blends it subtly shifts in color towards that blue or black uh which means in your renders you get the black shadow here but the nice surface here uh this is something that's missing in a lot of people's renders um because they just color it all black or they don't color at all we naturally get like whenever the lighting's dim you get these black rings even even stronger that is coming just from coloring the sclera and the Shader handles the rest when the light hits it it's able to pass through a little bit because it is still transparent then you get the subsurface and it Blends back in um and it gives quite a natural uh follows which you only see at glancing angles it's always there but you see it more glancing it's quite important to how someone reads an eye um and it's one of those things that if you ask someone to draw an eye they'll they'll always do the the gradient but they won't always do this or the the glow that you get on the opposing side and that sort of stuff where if you build something physically you you get that and you don't even have to think about it you just it just happens in VFX we can kind of just build things as they are and sometimes we get happy side effects of hey this actual physical phenomenon is now happening because we're just simulating light going through something that is as close to reality as we can get it a great example of that being the the whole d-neg double negative and Interstellar thing where their rendering of a black hole became actually informative to the scientific Community because they were doing crazy stuff that people just didn't try before that who explored this is our boat uh VFX occasionally stumbles into that most of the time we're faking stuff too so we don't find stuff like that all the time um but it's a it's a it's one of the areas where the the two kind of workflows of optimize versus build as is and suffer with the render times uh that's where they kind of differ so much so the iris in terms of its structure quite complex but there's three parts that CG artists have to care about you have the stroma which is the colored bit you have the fibers within the eye which are all like your little muscle fibers and that sort of stuff and you have the back of the iris I can't remember if it's got a name there's a part of it that you can see that does have a name which you can see in this render this little brown ring uh this is called the pupillary rough everyone has it but not always completely visible this is the back of your iris wrapping around the pupil there's a really cool fact about this with eye colors but I'll get to that moment but basically the the Strummer lets light through quite easily your eye the entire function of it is to get rid of light except for the pupil so you can focus so if light was going completely through your iris it'd be really hard to focus so the back of the iris is heavily heavily pigmented like light does not get through that thing it's I think the most pigmented part of the body like is so dense and that just basically acts as a light blocker nothing can get through it the reason that's important is because different eye colors allow different amount of light fruit blue eyes effectively what you're getting is light is able to go completely through it and just hits the back of the eye with darker eyes light doesn't get through it as far that becomes important in one very small way which is something you can apply to your eye texturing if you're just doing polygons those fibers that are inside the eye are physically inside that Strummer you shouldn't be able to see all these fiber lines when you've got brown eyes they they are hidden they are completely opaque so if we go to for example this eye you've got blue and you can see all these fibers that are inside it but the moment you get any bit that's brown you can't see these fibers anymore that's because the the melanin is blocking all that light so if you see a brown eye text to that yeah so if you see a brown eye texture it has all these fibers drawn on it's it's not physical it's not how it works which is why a pet peeve of mine which is something I fell into myself uh when people make an eye out of Groom it's completely completely not how eyes are built groom is yeah in the eye but it isn't the eye so the fibers on the inside is something I did in Groom so I have in my scene very horrific uh setup which is this if I hide the Strummer these are being rendered as geometry in Arnold but I did this using Yeti basically I just have a little pipe on on the people and grow hairs out from there to like the length would be required and let's add some random wibbles this isn't physically accurate at all to how they should be but it'd be very painful to do it any other way I would need it to attach all these different points and that that would be a nightmare this is actually deceptively simple to set up it's literally just a fully procedural no guide curves hair grow out from the center outward yeah yeah exactly and this is like pretty much tires magical which isn't how eyes are but this is one of those areas where it's like it's not worth the time so I could just grow it all out the same length this middle structure we see here this little guy so that is the pupillary rough I was talking about earlier uh the back of the iris this is shading like basically subsurface but very very dark and now the whole thing about being able to see it we saw it in a reference a moment ago so this person is quite pronounced this is one of those small things where regardless of your eye color this will be brown because it has to be every eye will have this it's just a case of is it exposed uh in this case this person is recessed you can see a little bit of it here there's a very it's a little bit over there yeah yeah um it's also quite a chaotic structure some people more pronounce than others this person is very pronounced um if you search people are rough you'll mostly get images of people with like distorted uh roughs where it's like actually affecting their Vision you'll all have this and this is from what I can tell where the fibers or a lot of the fibers attach uh it's like a little lip for them to to grab onto structurally it's it's actually insanely simple but it's it's cool stuff in terms of the the stroma so this has a few requirements I've I've kept it high poly uh I didn't need to worry about optimizing it this isn't necessary I just wanted to have areas that kind of overlap and I didn't want to bother with Vector displacement so I have areas of the mesh where it kind of goes under itself did you hand cop that battery yeah hand sculpted um so I've got it in zbrush um I do have displacement to add all this stuff in as well if I just go get rid of the cornea get rid of the fluid Omega what about those fibers that I can see that you sculpted the stroma is naturally distorted quite heavily by the fibers so this isn't necessarily sculpting the fibers themselves this is sculpting the effects of the fibers on the the iris now there's a few things that for my guy's eyes I didn't add but something that would strictly speaking be more accurate is to have I can't believe what they're called um but there's forms that everyone has you have like wrinkles which look really really cool I had it in my last project so it's never added it to this one normally I do that as a separate map so I'll have it like tuned in in displacement but yeah so we've got all that stuff going on obviously we've got the the limbus uh not Linda sorry the people are rough uh which is just a noise added to it to get some kind of variation and they look weird if you don't add some kind of breakup to them but yeah so this is all hand sculpted took like I think four hours five hours and yeah this one inaccuracy kind of which is this outer layer technically should be a different geometry it makes like minus zero difference um it's completely kind of irrelevant to how it Shades so I just figured it's not worth having to deal with two geometries that overlap that way but I mean in a way you can kind of see a more conventional eye setup in this mesh right now where it's just like one piece it all Blends together uh it's just that mine's physically separate so if we go uh that's like what's happening there but yeah so I've kept that all as one geometry uh which is just zero mesh I didn't need to worry about it one of the limitations because we're rendering this as a volume UVS are completely relevant so any maps that you do have to be projected uh in the Shader they have to be happening at render time so every single I uh for this character has a camera parented to it so that in my setup I have a camera that's always following the iris and that just allows me to paint a map that will always track it that's the the density map thing I've shown you earlier uh that's what this is this camera's for so that I don't have to worry about always lining up cameras to the eye this this comes with it but yeah so the actual construction Ah that's it obviously the lens is back there I didn't need to add all the fibers that connect this up um naturally there's there's muscle fibers that pulls apart and it's also another very subtle thing about um the lens which is the middle of it so like the physical middle not like from the surface has a different index of refraction from the surface that affects how your eye like um as the lens gets stretched out to like focus on different things that differing ior helps you focus but in CG we we can't do that like I don't think there's actually any way to do that right now because we calculate everything at the surface rather than as it travels through but that's something that would have very very little although for some reason I've memorized the numbers if you're curious the front of the the lens is 1.386 and the middle of lens is 1.406 a very small difference but actually does change how the um how the red eye effect looked when I tested it but in terms of geometry that's that's it so it's it's obviously a complex eye setup but it I don't think a single step of this is is difficult no but it's very laborious and to get to this there's also quite a lot of research um involved in the back of this to even get to this point you know so I imagine that the research probably even took you longer than the actual modeling part yeah and there's there's one actually quite big thing there before I forget um the eye isn't circular uh this is something I never bothered to add because it just adds so much complexity like if used to overdo it kind of flat at the front it's a bit of a nightmare like I wouldn't want to rig with that but the eye is is flatter at the front than it is at the back but it's something I don't think it's worth adding to any setup to be honest it's just something to be aware of if you want to do something like more accurate you'd need that flatness at the front beyond that have you noticed or have you paid attention to the iris also not being either not necessarily fully circular when you're located in front but um being slightly tilted naturally towards one angle so you're right um one of the the big things is the the eye doesn't face forward it faces three degrees outwards so this is facing three degrees that way as I was facing three degrees that way that is something that if people do in their models stops it from looking cross-eyed all the time and it's literally it's just three degrees rotation it's really actually quite easy in terms of the actual asymmetry so there's a few things that happen there um first is astigmatism uh which is the cornea itself also isn't round it's in most people slightly taller than it is wide so that's called the stigmatism which is technically a defect in your eye but most people have one the way to tell if you have one if you if you remember being a kid and like you're driving past street lights and you're looking up at these like street lights and you have that like lightning bolt shape if you see that you've got stigmatism if your eye is perfectly circular it will just be a light there won't be anything else coming off it Iris itself it's hard to say if it's in the center or not because the eye rotation is going to Define where Center is in this case but pupil is very rarely in the middle it's normally off to the side it's like that like normally one side of the iris is longer than the other that's something that I did not bother to do there's loads of elements of asymmetry in the eye which are really really I mean the most obvious is the crypts so like well there's two names from there's Crips for the small ones it's a different word for the big ones Tales from the crypts yeah yeah there's there's another word that begins with l which is specifically for big Crypts so I think like this here would be a crypt but this would be the other one A large group a medically accurate statement um but yeah so those are obviously are very very obvious version of uh asymmetry and they are really fun to sculpt actually um yeah the the eye is covered in asymmetries um I really helpful thing for this actually Disney have a YouTube channel called the Disney research group and like seven years ago they did a video on capturing eyes with refraction like actually finding a way to scan I so they get the structure of the iris without refraction and that shows very heavily actually how distorted the iris is when you don't factor in this curved ball in front of it it's really wild looking and it's completely it's on YouTube completely free to look at the eye itself renders looks quite out of date now like the shaders are quite simplified but the geometry is is insane I think it would be worth to mention too uh by the way just for like people are watching this um after the fact okay you don't normally have to go to this level of detail when you're doing eyes okay yeah like in fact like even when you do eyes for games and I know quite a lot of projects who actually work like this they will actually model eyes with only one single mesh and they will fake everything in there through like the Shader so like Iris itself is like not even a separate mesh it's actually just a kind of a parallax that is applied uh on the actual eyeball mesh itself to get the iris looking like somewhat uh concave in there you know someone watching this who is actually thinking like oh my God I need to go through this level of detail for the eyes of my characters like no some of us we just love to like geek out and push things as far as we can you know and that's just what's going on here right now and even if you do want to be a VFX artist and you're looking at it's like oh we do this no no we don't VFX we we don't care to this level like this as I said at the the star is very self-indulgent like I want to research something the whole volume thing makes it so difficult to work with although it Shades nice this iris is quite simple there's there's a lot of details that I'm missing from this and that is because of how hard it was to work with but it was a fun experiment it was fun to like learn about all the stuff I get the people at Rough and all that sort of stuff I actually recommend against doing this unless you've unless you're a seasonal Dev artist and you're like I just want to try it and go for it it's fun if you're looking at this and you're feeling intimidated because eyes are complex don't be this is completely wholly unnecessary and would be recommended against even within VFX but it's fun if you want to try it perhaps I would actually ask you if you could actually repeat that particular red eye effect if you could like uh synthesize that I once more like how is that created so this is a achieved entirely within render as I said earlier this tiny bit of fakery happening but the red eye effect is is there without that bit of fakery what you're seeing when you see that a red eye effect is you see more often in camera flashes than you do any other lighting scenario the reason for that is because the light is coming from roughly the same angle of where you're seeing this the eye from so what you're actually seeing is not some like phenomenon it's it's just the back of the eye like you're seeing that the retina so in real terms you're just seeing this bit back here the reason you don't see this all the time is because all this refraction at the front means that for a light to like hit back here and then reach you again it has to go like straight through if it goes even remotely off to the side you're not seeing it which is why this lighting is from the front but you don't get any red eye effect and this lighting is a few degrees lower and you get the red effect in terms of How It's achieved in Shader it's completely a result like building it accurately so because I have a sclera which is painted red on the inside and because I have a refraction at the front which is roughly the correct shape and thickness you naturally get that effect because it's just a light simulation there's many ways to fake it if you're just doing a single render with a camouflage effect just add some emission add some glow it's so much easier yeah I mean that that's effectively what you're saying in terms of the the fakery I added so I actually got a few messages telling me I should take my friend to the hospital because he's got an eye disease I had my lens call it white which is the the correct collection you don't want it to filter any light for it the problem I was getting I never fully resolved it was something inside the eye is reflecting White I don't know where it's coming from because I tried removing meshes one at a time and it just appeared like if a random any of them individually it wasn't there but the moment I combined them it appears so to get rid of that I just got the the lens and tinted it red so we're naturally killing off the light that's coming back out again that would make him completely colorblind in real life given time they might have I might have found what it was but I didn't want to dedicate that kind of time the reason I said the whole thing of oh take your friend to the doctor if you have a camera flash that gives you anything other than a red eye you have some kind of degeneration inside your eye and you actually should go get checked um if you have yellow uh or white it's a sign of eye cancer typically the reason I got those messages because he technically right now is rendering as if he has eye cancer which if I did that that's one really sick two unbelievably technically complex leave out no details leave out no details I need to get all of his genetics in her if you're not rendering DNA chains are you even a lot of artist thank you I think we have quite a lot of things that we can learn from all of you on the VFX side and I really want to thank you for your time by the way I think you've been extremely generous both with your time and with all the knowledge that you have shared here so I think a lot of people will learn quite a lot of things from this so I really want to say a big thank you not only for me but for everyone else was going to watch this so thank you thank you so much for your time before we do wrap this up perhaps you can let people know who are going to watch this where they can follow you where they can see more of your work I've got like art station Instagram stuff uh my main kind of place um I live stream like about 80 of what I do this uh character about 140 hours of work but 108 I believe are still on YouTube as recordings going from you know starting from a sphere modeling up going through and it's like every project I do the same thing if you want very unfiltered knowledge to crawl through there's there's some stuff in there that might be helpful uh if you can find it um but yeah that's on my YouTube channel uh Mike couchy art same name as my website which has some tutorials like groom tutorials some stuff I wrote was still shooting there's more like pipeline Ebay things like xgen pipeline uh for beginners is in there and yeah and then Instagram and stations a few those that can be found quite easily through the Youtube and website we're gonna leave a list of links that people can uh follow to see more of your work and you are working on new uh character too right carrots called Mona I'm working with a student who's uh really starting to gossip's office I wanted to kind of work with her so um yeah doing more over cloth focus on her she's not supposed to be hyper real um it's more of a stylized thing still some realistic elements but eyes will be a lot more simple I'm thinking of doing the eyes without pupils as well like just doing a just an iris the hallway see what I can make out of that streaming the whole process is a bit of work I've done off stream whenever I do work off YouTube streams I tend to do it in Discord instead well it's live streams of small good people where I can actually talk to them and they can talk back um yeah that project's been done whole thing well eight percent of it will be on stream and recordings will probably stay up for a long time it's been great thank you so much foreign

Channel: Outgang

Views: 72,191

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Id: qgw1Z9JtkNI

Length: 37min 8sec (2228 seconds)

Published: Mon Nov 14 2022