How You Can Create a 3D Clone!

[Music] [Music] we have seen some insane advancements in rendering realistic 3d people there is still a long way to go before it 3d faces are indistinguishable from the real thing but we are closing the gap of the uncanny valley so what do you do if you don't have access to the crazy rigs Hollywood uses to capture an actor's face where do you start in post-production if you're just a solo artist luckily 3d artist Mike Smith has some of the answers he was kind enough to swing by the headquarters and give us a presentation on his techniques using photogrammetry and a couple 3d sculpting and modeling tools to build a 3d head this is a project that we want to continue and evolve eventually we want to add motion and facial features just because you may not have a million dollar budget it does not mean you shouldn't be able to achieve the incredible here are some of the highlights from Mike's presentation hi everybody I'm Mike Smith so we're gonna talk about today is an experiment I've been running with Chris and the boys at production crate to do 3d scanning with as little expensive equipment as possible there's a turntable on the floor that's big enough for a person to stand on so we got our friend Alex to stand on it and we recorded just him spinning we didn't record video we snap pictures cuz they're better there's no motion blur they're higher res so once we take what like 80-ish photos we put them into a program called reality capture which stitches them together and makes this if we turn off the texture you can see how messy the surface really is this isn't good to work with or we have to scope this we have to fix the topology because the topology comes in really really dirty we need to get the textures from the scan which look like this no organization whatsoever and we have to bake them onto a clean UV and then we have to build our skin material just trimming away things I don't need using my clay build up it's my favorite brush don't use standard brush so trimming off all the parts we don't need checking proportions if you want to get into 3d stuff 3d art or any kind of digital art don't neglect the foundational things because the 3d tools always change but the Foundation's never change so this is where we're gonna do reet apology and you could do retie apology in any program so I'm using this program called rap 3 where you take a generic base mesh with just clean topology but it doesn't look like your guy so now it's just shrink wrapping the good mesh to his face based on all those common points that I clicked around and now I've got this good mesh that looks like Alex and you can see them compared next to each other if you remember that color map for the scan is just random you know it looks good but the UVs are really bad so how do we get that detail onto there so what I'm gonna do is go to my crazy one here that's semi smooth and what we need to do is bake the texture into a poly painting so now what I can do is take my geometry my good one with the good you v's right here I'm gonna project the detail of the sculpt and the color map but I don't want actually keep the scoped because my sculpt is better than the scan right so what I need to do is store a morph target so I've got my good sculpt but no color and I've got my bad sculpt but with color now turn them both on like that and as long as they're both visible the one that I have selected is gonna be the one receiving the detail so I'm gonna go down to project in a sub tool palette and go project all there we go if I turn off my bad sculpt I can see that my good sculpt did a pretty good job so now it kind of messed up my sculpt so what I have to do is go to my morph target right here and I'll increase the morph until it goes back to my sculpt but it keeps the color and then I can delete the morph target so that's how I got his texture map now let's talk about how we get the ultrafine detail there's a few different ways you could do this you could just get skin packs skin alphas from online you can go into ZBrush these alphas they have some pretty good ones and I'm gonna show you a few different ways and we're also gonna use something called surface mimic first if you just want to scope these directly so I've got a few skin packs I'll start with one of ZBrush is built-in ones so as I cut in I can paint directionally and give him directional wrinkles or I can go in a circle and do that skin micro surface another asset which I recommend surface mimic comm what they are is really really high res scans 2d like eight K 12 K scans of just chunks of people's faces you get a flattened UV map of someone's face basically and you might think okay that's but obviously the UVs don't match my UV so how do we get that on the model we're gonna projection paint it on I prefer to use a program called Mudbox which is just another program like ZBrush but it's just made by Autodesk so what I want to do is import all my stencils I've already downloaded them to this computer so here they are they look like this they're just flattened UV mapped chunks of the face it's real height value so white bumps out black bumps in and I'll just project this on and it's just projecting onto an 8k texture map 8k UV map once you've got your map you just come over here right click on the diffuse Channel and you can export the merge channels and what you end up with is there we go so let me go in and I'm gonna smooth away a chunk of the face again and we'll use my map to fix it you want to import it into alpha right here I've got my alpha in the Alpha palette as if I was gonna start sculpting looks like it's a brush but as long as it's loaded here in this alpha palette on your brush I can come down here to masking so I've got my inflate brush turn the intensity way down and as I sculpt if I go a little heavy-handed so you can see it you can see it's bringing out based on that super high-res map so now the height from that mud bop Mudbox texture is combined with my hand sculpted wrinkles and the creases it's all in there and the height information of the face when you're building a skin material human skin it's more important to get height information first get that right then get the specular contribution and the subsurface scattering and then color just goes on at the end it almost doesn't matter because your map is right you baked it from a photo let's go ahead and render this see if we get some better results all right last step is to just plug in the color map into the subsurface source images head color and there we go there's Alex's skin but little little details that will help you just push your realism a little bit farther is peach fuzz so if I turn on this you can see there's actually a lot of hair there I just turned it black so you could see it and then another thing obviously is the eyes getting them down is very important so this is physically as anatomically accurate as possible one last time what the finished product looks like cool so there's the finished product that was the most information I've ever packed into however long thank you [Music] you [Applause] [Music]

Channel: ProductionCrate

Views: 73,109

Keywords: motiondesign, motiongraphics, aftereffects, compositor, visualeffects, adobeaftereffects, motiongraphicsartist, motiondesigne, postproduction, videoediting, videoeditor, filmmaking, filmmaker, production crate, productioncrate, footagecrate, footage, crate, Stock footage, free stock footage, adobe, After effects, adobe after effects, special effects, vfx, visual effects, fx, tutorial, tutorials, zbrush, mudbox, maya, maya3d, cgi, 3d tutorial

Id: 7qYhBg7SvFk

Length: 7min 9sec (429 seconds)

Published: Sun Sep 29 2019