Making THANOS with Zbrush & Keyshot | Sculpting + Rendering

hey I'm Jay and in this video i'm gonna be making Danos this isn't immortal course bear company doesn't mean property owners all house [Music] [Music] all right so yeah in this video we're gonna be making Thanos I just thought it'd be another opportunity to do kind of a fun video where I just hit record and I make something you know this is kind of on the heels of seeing endgame twice and the phenomenon that it was I just thought it would be kind of a fun little project to do and as it's been known to happen things kind of spiraled out of control and now we have a huge video again in total it really only took about seven hours over three separate sessions to make this model an image so it's in in about a week which is like kind of on cadence with what I want to do I'd like to be able to make something every week and then just editing you know dang I mean I could easily make a six-hour version of this video so we got it down to what it is now it's over an hour and you know shout out to all the people that leave me comments and hit me up on social media and say that they like long-form videos this one's for you I do think it's cool that sometimes people just put on the video while they work - I think that's rad I know that these type of videos might not be for everybody but this is what happened this time we're throwing it out there so you know I let me know what you think I don't know so so yeah that's about it why don't we just jump in right now and we'll get started to work on our cosmic purple beefcake dados I chose to go with danos as the subject of this video because I thought I'd be fun and you know it's kind of like pop culture II right now I personally saw in-game twice you know I love those big cinematic events that a lot of people get involved with the same time it's the same kind of reason why I loved Star Wars and Game of Thrones so this year has been super tight for that kind of thing I thought it'd be cool to be Thanos lots of other really talented artists have done their own takes on Thanos and and reproduce them and stuff and I think I'm gonna leave that to their expertise and so in this video I'm just going to try to have some fun try to keep it as a small project and more do somewhat of an homage to the older comic book kind of styles one of which by Ron Lim is gonna be one of my key references along with some other references from comic book covers and stuff from back in the day so it's probably gonna be kind of a mash up maybe with some influence of the character from the movies you know we're just gonna do our own thing and have some fun so I just grabbed this tool right out of ZBrush it ships with it so the first thing I'm gonna do is I'm just gonna position this guy into kind of the position I want to then sculpt from nothing too crazy I'm gonna end up with a portrait at the end I'm also planning on moving this over to key shot to do some you know some fancier renders and one of the aspects that I thought would be cool is to keep this kind of car paint type of look to the armor so I'm really gonna try to draw inspiration from these older comic book illustrations hopefully at the end we keep that kind of colors and bold material stuff I love the idea of the gold mixed with car paint and purple skin we're gonna get a big smiling grimace I know my last video had had a smile in it too this was gonna be more of an evil smile so I'm gonna get this mesh into position all right so let's grab this guy first what we can do is delete some stuff that we don't want oops I forgot about that this mesh has layers I'm just gonna bake also it comes with some layers which generally is a nice touch but right now we don't want that I'm going to delete hidden which I keep up here in my dock right now we're going to lower the arms switch to my transpose line looks pretty good go all right drop that down let's make them buff one little trick to making someone look super buff is to scale their head down what seems like a good idea guys next this guy's neck also seems like super long so we know we want his face to be pretty big pretty big we've got some inflate why not try to mess up this volume here there we go looking big looking big it's good some mean old traps up in here there we go so divided for the first time here going to open his mouth get a big ol smile happy guy huh okay um I think it's starting to look down Oh shaped so things all right didn't spend too much time but put things in a position smiles a little wonky that's for sure it's kind of crazy that the this basement comes with the whole inner mouth that's kind of cool so I think next step is I'm going to grab my teeth again actually so I'm gonna run and grab my teeth I might even be able to use this without using zremesher we'll see it's not the worst apology so why not so I'm gonna go grab this teeth and I'm gonna import the teeth again so we can work on the smile and I think I'm just gonna do some placeholder eyes that way even get a better sense of the character and then I think I'll also block out the armor that goes around like his cowl that way we get a really quick first pass on all elements of the character we can see it together I started seeing how you know it's shaping up and what we want to change so we got our teeth in here will turn on transparency I think something like this turn off transparency here what's the mesh for the teeth are in there then it's time to start moving the areas of the mouth and the chin and everything around that form the teeth really inform you how the lips and stuff will position so just taking the move brush and making big changes there we go sizing the the nose scaling the nose really helped also thing getting the nostril to finish down here we'll be good we got the smile it's just not evil yet so this is you can see a lot of what makes the nose look so big and strong as this is the scale like the proportion of his facial features large jaw small eyes small nose makes the skull a humungous that I might even meet to beg to be honest that might be too big and we're gonna do the same trick as before right we're gonna rotate it out a little bit three degrees TV okay now we can use this mirror up here in the Z plugin to mirror this over and keep our subdivisions subtotal master mirror merge into one sub tool x-axis you like I'll press X so now we've got symmetry now we'll go back over to our main face and we'll start pushing and pulling I think tiny eyes are important to this guy okay I think of these teeth need to be really big we need to make these teeth and jaw enormous there we go definitely get this smile I'm good the smile is not right there we go now it's looking evil even more evil let's save this and block out his armor boom its Peter alright so it just upended a spear I set a really low dynamesh resolution and then I'm just gonna start pushing and pulling this around with a big move brush I like to start a lot of meshes like this we're just gonna mush things around keep it real dirty and then we're gonna use zremesher to make a base mesh that's nice and clean so we can use this to make a final tight high poly model why don't we see what's gonna happen 1 mm hey not bad yeah kind of bad actually okay new plan all right let's see how this goes um c-can I do this and kind of this Boop good so now we're gonna delete hidden in Auto groups which leaves us with this one as its own Island delete hidden again now I'm going to make this a poly group so now we have two polygroups so now if I keep groups and I zremesh again I got something nice and clean right BAM sick I think what I'm gonna do though is cut this in half boom there we go nice and clean right I mean I know can I do it again let's see yeah I like this one screw it want to make this double-sided for now so that we can see I'm gonna give it thickness a little bit later but now that it's double-sided at least I can see and I can move this stuff into position so I can already tell that I want to make his eyes a little bit closer together maybe a bit smaller think imma make the top of his cranium here smaller so we're just gonna jump in and start making some changes I'm speeding up the footage again this is mainly gonna be some tweaks these kind of things come kind of spontaneously after I start adding elements you know the more pieces of the puzzle they get put together the clearer the whole character starts to become so I'm gonna be like right now moving the teeth this is this is mostly move brush by the way changing the overall proportion so this is primary shapes right here you know adjusting the eye shape like the negative space around between the eyelids and then I'm gonna be jumping around to the teeth to the armor maybe a little bit of a smile so overall we'll see at the end this might not be huge differences but I think each of these small changes add up to you know overall a different impression I'm using the damn standard brush right now to actually sketch in those scar lines which you know gives it more Thanos and again more pieces of the puzzle so that we can start seeing the character a little bit more clearly and inform more and more decisions also working on that brow furrow trying to make this smile evil that's gonna be kind of a ongoing challenge of this piece is making the smile look not only like a genuine kind of smile but like an evil maniacal kind of smile checking the checking that smile from all different angles you can see I'm moving the camera around a lot and overall using things like the move brush mainly a little bit of damn standard and maybe sometimes the claybuildup brush if I want to change forms but overall just tweaking stuff going over the wrinkles and the lines again with damn standard and just checking all different angles alright gonna import a cylinder now to make the little ear cup thing got a little distracted messing around with the face and proportions so didn't finish blocking out the armor yet okay dummies the zmodeler brush and plate a bunch of these cool I'm a bevel this guy so pretty much where the ear is supposed to be there we go now let's just jam this ear in here all right so I'm gonna continue blocking out the armor and stuff right now I'm going back and forth on how I'm gonna do the eye I don't know if I'm gonna do the eye you know somewhat semi-realistic might be being used the I I made before right now I'm kind of torn between that and doing it more comic book II style and and keeping it like a solid color which is kind of like a cheat because it makes eyes look rad you know most of the time you don't have to delve into the nuances too much it'll just look cool to have like a glowing eye so yeah let's keep going let's let's keep blocking out the costume I'm gonna take a break from the face for a sec and and yeah let's just keep going with the helmet so let's keep blocking up to do the eyebrow armor I'm just gonna I'm just gonna cheat a little bit and then I'm gonna mask it this eyebrow armor really you can tell really helps the shape like the facial shape it's kind of ever-present frown type of thing it doesn't have to be too perfect right now because right now I'm just gonna extract so that we can still refine this shape okay so this is obviously really big but you can already see the sanno shapes coming so for thickness why don't we do like that that worse actually let's let's bounce it up a little bit more so well good enough I think so yeah when you extract you know comes up with some polygroup so we're gonna select this outer face and delete hidden I also don't need this one so I'm gonna delete this sub tool delete this sub tool BAM okay shouldn't do one for now those mirrored over time a slice on so I'm just gonna make this edge clean that's the idea here BAM so that's what I mean by refining the shape that I can run oh whoops do I need to leave hidden or something there we go so now I can try zerah meshing this okay what if we try a legacy Wow legacy is giving me a better result over some reason [Applause] [Music] pretty butthurt about this be honest I'm gonna be honest let's just keep going half and see if it does that might have to just use the model at yeah dang it alright I'm an easy modeler I'm just gonna do this the old-fashioned way yep all right here we go stitch it actually I can collapse this yeah I'll collapse this she's crazy me so yeah I'm pretty much just modeling this at this point okay let's just start deleting some edges too okay can I delete this single edge hopefully please lead this edge this I can collapse what oszi modeler so if I try to delete this edge with it like the whole freaking thing - what are you doing fine fine make me click every single one as you partial uh edge edge to edge yeah delete Billy delete delete' bridge then this silly go silly that was alright so that was kind of a lot of work that it shouldn't needed to be so long story short um here's some armor I mean Meerut alright here's a daños frown so now we got to make our little medallion thingy for the middle in between his eyebrows here I kind of like this round medallion look so for that reason actually even means that I could put a little hook in this which I kind of like doing right that's kind of cool I think we want to get pretty extreme with these shapes so I'm by no means done you know this is still like very much the beginning but this is like the first time that right now I'm thinking with this project like all this is looking pretty cool and it just reminds me of that cool feeling of working on someone else's design which is like a good design is pretty much cheating because as I start putting the shapes into the character you know it just starts evoking those you know same feelings the whole the Thanos vibe if you will it's just a cool big strong Overlord badass celestial being comic-book guy it's starting to build confidence that this is gonna end up looking cool you know when you start out it just looks so messy because you're trying to get things together and you're trying to figure out where to go and and yeah so it's just cool that it's starting to come together Danah it turns out Stannis is a pretty strong design oh yeah okay so where we at here alright let's make him medallion so I'm gonna duplicate this now we have to yep so I'm gonna smooth it out do that again we can refine this shape after we extract extract extract except select this guy okay so here we go but she did mirror and weld don't delete hidden and let's start zebra meshing it okay so that's obviously too much II I want to simplify this though which do your using I can do this alright uh half see it's like the legacy is better at some things that's weird dude legacy shouldn't be better at anything okay here's our medallion II shape is it too many polygons is my question now I'm uh start collapsing boom all right stitch east itchy yeah that's better Oh medallion alrighty that's that now we're gonna do this suit I guess again I'm gonna duplicate ok so that's this shape all right now we're gonna extract just a tiny bit here so point zero zero two probably okay it could have done this before but I didn't I want this mesh to be smooth so I'm just smoothing out anything that could cause Z Ramesh to create more topology that needs to let's see what we got alright so that's nice and low hmm I was gonna say we might need more than this but you know what this might do the trick this might do the trick I wish that was better but I think I'm down to live with this man this is not too bad extra or extrude all polygons we're gonna do a little thick just we want it to look pretty pretty buff okay now if we go to crease increase polygroup then hit d4 subdue preview you're gonna see what it's like not bad can do a little bit of a preview here it's tiny head alright I think this is gonna work maybe this is a maybe this materials a little distracting huh but we can still do something like like didn't have what about this one alright we are now working on the shape and I can crease any corner I want to help it stay let me just jump down here and crease this one little edge here in town so now stays hard sweet so really the subdivide is doing most of the work as you can see we just crisped the edges and then we crisp that little corner right there and bam oh okay so I think I am going to divide it one time though because when I divide it one time I have some more polygons to get some more swoop in there I kind of like the swoop okay I'm gonna hop back over to the medallion now I'm gonna extrude to give that thickness and start creasing its edges too so we can start finishing up these armor pieces I can even rotate it right now actually yeah I will rotate it I will rotate it cuz they're not going line yeah that's pretty tight tight I like this okay so I'm going to crease polygroups again that'll give me this edge right but then what's cool is I'm gonna crease this whole thing right here so that's what I think it's cool cuz then I get this lip I don't know why that's like that so let me let me increase this edge I held alt to do that and I'm going to tap that I'm gonna tap this there you go so now we get this nice shape right here I could do gold no I'll just fill this for now I'll also do this one because why not that way we get to see mr. Thanos I think this guy needs a snarl dah dude alright so I'm gonna start adding a little form here that'll become the snarl using the claybuildup brush and overall we're gonna spend some time refining the face you see me actually just moving teeth around now again big move brush stuff but starting to do smaller things just making the forms sit better you know I was working on the inside of the mouth they're jumping around between damn stander to refine lines claybuildup always to do any kind of you know serious form sculpting and then obviously the move brush to tweak things around gonna throw some quick poly paint on the teeth here this is just again so we can see it in context same thing while the eyes have some poly paint refining the tear duct section you know this the squint so you can see how much I jump around and also how I try not to spend too much time at any one section of the model alright let's try to make some of these panel lines so to do that I'm deleting lower and I'm gonna do some Z modeling that's and that's my plan and I'm sticking to it okay so extrude polygroup looks it doesn't look bad it's just not exactly where I would put this stuff looks kind of cool yeah I'm just gonna keep moving on because you can't really even see this from the view I'm expecting to do okay let's see what happens with this guy oh my gosh all right actually think that we can just all right let's just extract see what we got extract all this not gonna do too much this time I don't think going to crease polygroup and then I'm gonna do some more creases like right here actually it's gonna see what this look like and get a little fancy with my creases boom yeah yeah little swoop action let's change the subdue preview or I guess they call it dynamic sub D here we're gonna three we're gonna get we're gonna go to four here yeah so it's super shiny same with this one back here there we go so now when we you know shift D and we drop it down this is the model and then I hit D and it's showing me what it would be like on subdivision four so I think I'm gonna try to wrap up the armor now so that I can just spend the rest of the time detailing the face you know just refining the face the forms and trying to get some details in there right now he looks definitely a little bit too smiley it looks like he's posing for a picture and saying cheese which is not scary like wouldn't be as scary right up in the movie he was just like this doesn't seem as menacing we want more of like a like a like a happy maniacal smile I'm gonna try not to get too distracted let us do some Alma let's see if we can scale this edgeloop oh there we go get a little bit of Bend on it Bevo might be kind of cool for me to keep these edges so I'm gonna crease these alright see we got right now BAM so I need to make sure that the seam in the armor looks good and then the little lip you know around the cowl piece of the armor so I'm trying right now I'm trying to do this as an all-in-one model without doing separate models but make it look like there's a segment and then I'm probably gonna add the couple models in the middle there's one of the images that I like it's got some extra little shapes so let's see if we can make these the seam here we're gonna start with a bevel I'll go kind of deep in there so we're gonna get some shadow when we render I'm gonna keep this down thereby creasing it now I'm going to bevel the edges here all right then we can check out this looks real quick alright it's still a little thin I think we could do better but now I'm gonna move over to the trim of the cowl armor I'm gonna speed this up so I just inserted an edge and then I deleted the other edges to make you know what's gonna become this lip I made this a poly group so you can see it's nice and flat now and I'm gonna use this angle to extrude my border edge then I'm going to bevel those so essentially I'm just making this rounded form that's a trim along my whole armor I'm gonna pay attention to that crease in between the armor and the trim try to make that nice and sharp I'm also going to add another I'm gonna insert another edge here on the tip that's gonna make kind of a blurry you know crease so that it's a little bit more interesting than being totally round and then I'm gonna I'm actually going to adjust the neck collar a little bit since we have these polygroups so now I've got all the elements that are gonna make up my cowl armor I swear I already worked on these know what's ah bummer man so somehow I lost this now I've got to do the eyebrows again bomber so now I'm redoing the eyebrows and if they end up not looking as good I'm just gonna lie to myself and say that they do so that I don't have to cry myself to sleep I'm gonna try putting an edge right here just so I can match it up with this medallion and see if it like makes it look more homogeneous do you think it's kind of cool but yeah this pinch is no no good no bueno I want to be honest I don't feel like these eyebrows are better than the first time but you gotta move forward you know trying to forget the past it just hurts it hurts I kind of like this direction of trying to make a little angle in the eyebrow to match up the medallion every one of my images by the way up Thanos you know all the armor has different interpretations so I'm kind of taking some elements from some of them that I like but in general each artist has interpreted the center medallion and the brow and the cowl armor you know in their own way so I'm kind of doing the same thing I'm just trying to keep the spirit of the the brow furrow I like the swoopy shape I could even try using the medallion as a way to like maybe maybe I don't want it to break the edge here you see how the eyebrows are coming down like maybe I wanted to meet up with the medallion so this way it looks more integrated you know or maybe I just want it to break just a little bit you know I'm not sure probably just want to break a little bit that pinches no good I'm gonna do a little test to see if I can keep this crispy angle here you can see the pinch this pinch right here I'm gonna try to fix it so I'm gonna take it through the whole process here I'm gonna subdivide it with the crease on and then I'm gonna turn the crease off subdivided a couple more times and see if I can smooth this thing out so what if we hit divide one time BAM now now this is the new mesh so it's all about this guy I think and this one just getting it to be right turn so I hope this works this might work dang it really thought that was gonna work we're still getting this annoying pinch which is a bummer dang so weird that I get this pinch okay can I insert a ninja loop right here to help support it whoa look at it drop why is it dropping so much man this thing's bringing a real pain in the butt real pain dang Rick made it worse yeah every level coming in here to fix alright is this doable maybe it is gold hitting the corners with a smooth right now gold is a softer metal that's why I said that trying to see if this will end up looking dole D I do want the edges to catch light so I mean I am gonna be doing what I'm doing right now either way so just seeing if you can see how the the lights not coming on this edge that's what I want so I don't want any like super right angles so let's see when I smooth this how does it look that's all so I'm calm okay I think the reflected map is not doing a good job we'll see once it gets in a key shot I have a suspicion that the brows will look better but maybe not so I'm gonna I'm gonna try to beef these like round out this bottom part essentially kind of see with the light in the shadow now I just get some H polish web a.m. there we go kind of helped with the swoop cousin I can just weigh em all right so yeah definitely when we get a shiny gold medal on there it ends up being a little bit more forgiving and cool alright I think we got some eyebrows think we got some eyebrows ladies and gentlemen that took a little bit that took a little bit so we made a little bit of progress when a little bit backwards because of the eyebrow armor but at least now this one's close to one of our final pieces now because I subdivided it you know I controlled the edges with crease and then I soften them a bit so this is more representative of what these pieces would be with the little soft edges and generally I think it's in a place that's pretty close to what would be final from from what I expect I'm looking forward to just getting in the key shot doing some look development with these materials and playing around the lighting and stuff should be cool but uh yes that's it for this one and I'll be back in a jiff boom alright so we back in the next session now and feeling like we made some good progress so the goal for this session is to finish this guy up taking a look at what we've done Armour is in a pretty good place gonna finish up these little ear muffs here and then should be able to dive into the skin and stuff I guess so yeah armors and armors in a pretty good spot looks like I got a couple more details to put in the armor I want to do these glowing lights I think those would be pretty cool if they're you know quote-unquote practical lights in key shot I think I'm just gonna dive in right now and finish up these earmuffs you know tweak some stuff as I feel it and then probably start doing face stuff just refine the face start adding detail nothing too crazy you know I'm gonna try to just keep this like fast and fun just try to have a good time hopefully at the end make make an appealing image of mr. Thanos OVA let's do it all right so I'm gonna speed this part up - this is kind of more the same type of stuff but what I did was after moving it around I extruded the ring around it to give it a border edge then I beveled it between and tuck that inside make it look like two pieces and then I did a little bit of a soft crease around the circle to make it a little bit more interesting and then called it a day alright so now I'm gonna work on this collar piece and there's a couple ways right now in my head that I'm thinking of doing this like slit in the side where I want to put that light inside I feel like one way is just a bully in that shape out and then there's a couple ways to make that shape to take the cut out so but the first thing I'm gonna try is just to subdivide this mesh and actually just model it in most that works I feel like it's kind of direct at least I know I have everything I can do that with right now the problem that I'm trying to get by is that I want this whole cowl shape to be really smooth you know like a fender or something so a super smooth shape with a cutout so usually that causes a problem because the topology that you need to do the cutout conflicts with the smoothness so there might be some pinching and if there is some pinching enough to like be bothersome then I might just try to like bully in this shape out afterwards but right now let's just see if I can just get away with modeling it because that'd be cool so I divided it one time I think I'm just gonna delete the lower subdivision now and yeah let's see if I could just model this so okay so first up I think I'm gonna do is bevel where I want this to be so I guess the limiting factor here is these edges so I'm gonna move them out delete delete now bevel okay that could be wide enough now I'm gonna use one of the handy tools inside zmodeler is split I really like this some more like right here so yeah I'm actually gonna split this right here and then once it gets close I'm gonna stop so if I just tap you know it'll do it again so now I need to with my zmodeler brush and get way up in here I'm gonna increase everything right now I'm allowed to just do creases again afterwards so I'm gonna stitch this point to this point good zoom in here stitch this point at this point I guess I can just get rid of this like that all right can I good so now I'm gonna do this yeah both of them yes group visible Bolton this is a color now oops visible good enough good alright so we have this ship I was gonna extrude this right now let's see you get pretty in there scale pull your ball polygon sanger yeah that works so I can scale a little bit yeah bevel this nice ah dang it's not working because of the triangles bummer so when I bevel this so now you can see the problems with uh zmodeler almost great almost super great all right well we're gonna do this the old-fashioned way cuz you know what I got time for this some of this along this edge boom so I'm just masking these verts one by one that's what's happening right now and then I'm drawing the transpose aligned along their edge so I know that it's moving along the right vector but this is for sure some ghetto modeling but you know it's fine dude it would be tight if the bevel worked for sure Oh actually can I just stitch that I cool a little cheeky let's try stitch two there yeah good enough why do I see that you see that what is that looks like I extruded through the bottom yep screwed it through the bottom now we here so I actually went so deep that the underside of the armor is poking through I'm just poking down the seat I mean I'm just poking down the underside of the armor just don't tell anybody cool so it looks like the straight-up modelling is gonna work let's get a little some creases on here though make this look toy tight so I think I'm gonna keep that for at least one subdivision so I think we're ready to subdivide some eh hey so we made the cutout on the armor that's cool I was a little worried about that actually so that was pretty straightforward we used just you zmodeler I think it's a good enough kind of job and and yeah so let me drop down this armor now we have this which is going to be our final high poly to get some buff chesticles over here that'll definitely lift dude okay so the last of our armor here is these two little shapes are in the front of the armor this is kind of same-old same-old terms of techniques and you know the video is already getting super long so we're just gonna super turbo this and I'll try to talk my way through it so I just duplicated the subtool again so I had the starting shape I use the clip brush to start slicing out these shapes to make the triangles you know took a couple tries to get the shapes right and then after I got those polygroups I deleted everything else now I'm trying to use zremesh to get a simplified mesh as best I can using the legacy which seemed to be working a lot better for me and then after I have a pretty good zremesh I'm just the goal is to make a simple mesh and then I'm gonna extrude you know taper it in a little bit so that it looks nice from the front bevel the edges or crease them and then and that's pretty much it didn't spend too much time just thought it'd be nice to have these extra shapes because otherwise it'd be pretty boring and that's pretty much it for these shapes kept it kind of simple so once I was finished with this I jumped over to the face so let's do that right now okay so over to the face I'm gonna speed up this part to I'll mix in a little bit of real-time stuff but you know take forever and also it's like there's no rhyme or reason it kind of makes more sense when sped up so you're gonna see me trying out things a lot of the work I do with faces especially ones that aren't like a carbon copy it has a lot to do with you know intuition and and just check-in stuff so you know I'm kind of abusing ctrl Z and I'm moving stuff pinching stuff and and then in terms of refining the forms I'm gonna be subdividing and then re going over forms like I just did right there with the damn standard brush so when it comes to fine lines and wrinkles and creases definitely gonna be going over things with the damn standard that's obviously the weapon of choice and then you know when it comes up to building up and refining more secondary forms I might jump into clay build up again but you can see kind of jumping around like a madman and it looks a little crazy just check the render always important check when you can't check a render with the lye I'm also kind of setting this up as if it was the render you know I assume the renders gonna be top-down light front view like that got some of those little snarled wrinkles in there was a clay buildup on the scrunch and then and here you go with the squint so starting to get smaller in terms of forms still secondary stuff and still all symmetrical just broke symmetry right there just for the little nose wrinkles but that's about it so clay build up maybe a little bit of inflate brush over there with the wrinkles and the squint area but here you go here's a little bit of real time you can see how it's a lot slower and so now I'm gonna grab a couple simple alphas and we're gonna start subdividing it all the way up and adding a little bit of tertiary detail to the mesh okay so we're at seven subdivision levels now this should be high enough just start doing these little wrinkles Farah so after adding the fine lines I'm using some old simple alpha with some dots in it for the pours and spraying that on the surface too and those two little alphas are combining to make this high-frequency surface detail so this is typically kind of a chill part where you know I could just spend time no symmetry and just you know kind of go with the flow obviously like he's like really full screen right now and yeah I'm just like kind of going over edges making these like kind of crisscross C patterns sometimes to break up an edge you know so it's not straight but that's the name of the game right now is making something look organic so irregularity and mistakes are kind of your friend right now so it's kind of fun you know just I just battered a bunch of texture nothing too crazy nothing perfect this is really just to break up the light so I'm not getting too invested in this this isn't like some macro photography thing you know and and it's forgiving that's why it's kind of cool you know trying not to use undo too much which is hard to do yeah just going over these lines and since since there is no symmetry it's kind of fun and it's kind of good to try and like take advantage you know if there's no symmetry you might as well like try to emphasize that you don't want it to look symmetrical because then what's the point you know it's like right there it's kind of cool so I don't want this one to look like that you know the reason I decided to make a little danos piece I mean I was I was definitely a part of the hype dude like going to the movie I wouldn't say like I'm some kind of diehard Marvel fan or something but I do love like blockbuster extravaganzas and the fact that everyone was gonna go see this movie it was cool man I like that kind of thing it's like exciting you know and you're like I feel like you're taking part in something along with everyone and I'm uh I'm kind of a special-effects geek a little bit so it's just a crazy spectacle you know and the movie was fun I ended up seeing it twice my studio we all went and then the next morning I saw it so it was like pretty close to each other but it didn't disappoint it did not disappoint another thing that kind of pushed me over the edge like I say I'm kind of into special effects right and how much money it made how many people want to go see it opening weekend definitely made me think this could be the contender for breaking the James Cameron's records I've just always thought it's amazing that James Cameron has the top two spots but just before I started making this and game officialy past Titanic in terms of gross box office gross so I imagine they're gonna pass up avatar - not sure I could la nitpick some parts of the movie I mean I let a lot of stuff go you know who cares but it was a little bit of a bummer that when you see Danis like from the past at the end and like the big fight like he's still super buff like he doesn't have any of the stones I mean until later he does you know but like he's just a big purple guy and and he's like fighting all these all our superheroes you know it's like how can you be so buff when you're just an alien guy you know he's like fighting off Thor and but whatever then I remind myself that it's a comic movie and to not care so much he's kind of like scar type things I don't know exactly what they are but I'm gonna make them a little more asymmetrical too you see I've kind of gone over the same shapes like multiple times and I do feel like that adds I don't know like depth definitely helps in making things feel more organic than probably what I could get with one stroke because I'm varying things you know each time why don't we just start rendering this dude I'm tired all this I mean not really but yeah I want to get this going so I think I'm gonna hook it up to key shot now and then yeah just see what's going on I got to put in the objects I guess that are gonna be the lights on his pad or on his a cowl armor but then yeah yeah okay okay let's start the render then I'll find out whether or not I want to start adding damage because maybe I want to add some some chips and stuff to this but that's kind of fine-tuning I think some stuff I'm gonna need to do is give some things some movies so I'm gonna unwrap this guy okay so this is unwrapped I don't know if Thanos needs to be unwrapped but I guess might as well then unwrap this divide divide divide let's see if I increase right now tight unwrapped cool unwrapped so I'm just unwrapping everything just in case I wanted to use some stuff in key shot like procedural stuff I don't know okay now let's do all hi I'm gonna pop all the subdivision levels of all the sub tools to the highest so we can take a look all right now we're gonna send this over to key shot okay so now it's moving everything into key shot so here we are in key shot this Camus's looks a little cray-cray here we go that's it how about a portrait there we go camera we're gonna do guys do a new one call it shot cam and 85 millimeter yep that's right or do we want to do a 100 millimeter let's just let's start with 85 might end up cropping this more I forgot about the lights clips okay so now we are in ZBrush why is it so slow I don't know wait is it like rendering let's pause there we go ah that's better okay I've got to do the lights and the arms gonna do this it's gonna do this final groups do this okay I think this will work little bit like this move polygroup oh yeah sometimes he modeler is dope you gotta be honest so divide divide ungreased all divided so we calling these shoulder lights so I'm prepping the ZBrush scene so that it works well in the key shot I had to make the little light thingies and now I want to look for a background because I just want to spend some time in in key shots so I just googled royalty free space photo and I'm gonna hope that it's true I feel like NASA would have some but maybe NASA doesn't want you to use it I don't know how about royalty-free space NASA whoa okay I think hubble space photos would be tight Hubble space in ajiz and we want to do large dope damn oh man this one's so tight I just use this one Dan this one's tight I don't use this one man so um I'm probably gonna use one of these but damn these are some fine ass pictures man yeah that's tight oh my yeah give it to me give it to me okay textures that's what we'll call this a Hubble BG oh one all right pause so there was time that passed some things happened in life I did some iterations offline to get set up with the render so now I'm better prepared to finish this out let's jump back in I'll go over a little bit of the key shot scene for those interested and we'll wrap the nose up what's up so it's been a few days in the meantime I've been doing off some renders been doing a little bit of look development so we were getting the model ready to key shot we sent it over and we were kind of starting our scene so I've done a lot of iterations on the scene on how to you know what HDRI to use how I'm gonna go about the studio setup so I feel pretty confident that I figured out all that stuff all the aspects I also did a lot of the material work I don't know if it's done done but it's you know it's a lot farther than blocked out so what we're gonna do now is now that I'm pretty sure I know how to do the final scene there's a few things that I want to do to the model to punch it up and also some things that I forgot like the helmet thing right down the middle whoops so let's make that piece of the helmet first actually pretty quick they don't want to like punch up the facial sculpt pretty much just like some of the wrinkles I want to just deepen and make the forms a lot stronger they're probably not as strong to begin with but also once I applied a shader with some translucency that always softens some stuff anyways so if I want something to be a little bit more of a shape I'm gonna have to really like emphasize that stuff and then it should be fun to like ding up the armor I want to just spend some time you know causing like some wear and tear on the armor make it look a little bit more interesting from a model point of view and then we'll paint a quick gloss map on the skin which will make it look a little bit more complicated bring some complexity and some naturalism to the skin which I think will help in the final render then we got to finish our teeth too again shouldn't take too long and we should be able to make an image of this guy alright cool so let's jump in so let's get back to making our helmet so here we are back in ZBrush okay let's duplicate this guy you will delete all the higher stuff just duplicating and then ripping off what we want let's go a little wider than we need to start with I wonder how far back it would even go actually that these three right here look pretty cool so that's what I'm gonna that's what I'm gonna say so then we just need to get rid of these last ones I show you the double sided then it's a lot more clear you can see these are just the pieces now oddly hidden now here's our new pieces so I don't think we need to zremesh because that's how we got this to begin with maybe with some zmodeler to clean this up think we can just use this something like this maybe I mean we're not gonna show the back of the head right so I really shouldn't care that much about the back but it's hard it's hard not to because I'm looking at it I'm like it looks dumb do we like it with the lip I don't know it looks a little dainty I think another thing we could do is just do kind of a strong bevel edge I'm gonna backtrack some now can we delete this now can we bevel more yes we can so this might look better yeah this looks better simple it's really really simple maybe we can put some shape into it now we have a bit of an issue to figure out how does this sit on the helmet so really I'm just gonna drop this down and and move a little bit and see what happens yeah I think that's fine love's just like retro spaceman look I mean I like the tight bevel and be honest I am worried at how much like screen space this middle thing is you know like whenever that happens something so large and so simple I worried how to keep it that it keep it interesting but that much of the image it's gonna be that so I think we're gonna when we do our wear-and-tear pass we're gonna have to do a nick and some scratches maybe I can do like a panel line in between or or play with the shape as of right now I kind of like this I just like I say I'm worried because of how simple it is ultimately see what happens if we increase it on this one might need to go up one more that's pretty good that's pretty good tight cool all right so now let's punch up the skin sculpt you know at least the tertiary details and some of the wrinkles I'm just gonna go over it again with mostly the damn standard brush probably maybe a little bit of inflate but the idea here is to choose a few key wrinkles and really emphasize them including the scars around the mouth I need the scars around the mouth to be deeper and and some of the key wrinkles again this is so that we can kind of have a little bit more of a graphic shape on just a few of the wrinkles everything right now is kind of even in terms of the depth you know it's it's all just kind of half done it's not that strong and once the translucent shader is on there then it just blurs everything out washes everything that we have to emphasize even more and I want there to be a graphic shape you know to make it look like a grimacing fan house especially these lines on the face see do we even have a layer going oh we didn't make any layers huh okay why don't we do that now maybe we want to even solo this guy and then we'll do a new layer we'll just call it detail pass good enough so now we can always remove whatever can also store morph target [Music] keeping it irregular still you know I'm kind of thinking them as scars and keeping some organic patterns to them probably go over them with the some kind of inflate probably so just trying to go backwards and forwards kind of an irregular way that helps this look more you know it's varying the depth and stuff I'm probably going to come over this to with a I'll just make my brush larger that'll help make them more like bigger pillowy shape but right now I just I'm gonna work on the crispy version and I can go over this with something else maybe inflate or just some form soft or whatever to pillow the forms in between these lines all right I'm gonna start speeding this up now so just going over these wrinkles the ones around the eye the ones around the eye a little bit of the snarl and the scars around the mouth those are the main ones maybe a wrinkle or two in this in the corners of the mouth for the smile but some fine lines too that's mainly to break up light and then the other ones you know increasing the size of that damn standard brush to really make a more pillowy form so you can see the combination between just use the inflate right there which is great for the like crow's feet scrunch actually I get kind of that squeeze just because of the inflate brush so playing around with different levels here of fine lines and wrinkles ones that I want it to really look like there are some secondary forms pillowing out and it's the skins compressing and then some fine lines you know for the scars around the mouth right here doing the lips again really fine line type stuff using just alpha from ZBrush and stamping it around so you'll see in the render most of this stuff is just to break up the light just to make it look more natural and organic and not paying too much attention to it just getting some quick things with the stamp and then going it over with more damn standard brush okay well we've strengthened some of the wrinkles here made some things crispier overall I think we made some slight improvements and hopefully it renders a little bit better and yeah we added the armor piece cool so maybe I'll leave this for now you know maybe I'll wait you know to get another render before we go farther on this but I also need to ding up the armor so that I think that's gonna be pretty fun so probably just gonna use a combination of trend dynamic and damn standard that kind of stuff getting a little distracted here with this ring cool okay I just think that these cheeks would be like swelled up because of the snarl and it would smooth out the wrinkle that's why I did that anyways let's get over to the armor let's say let's say we're good for now on the skin a little face punch up past we did and and start digging up the armor so I'm gonna combine our new piece this guy with the rest of the armor and if it's the same subdivision level I'll be able to just merge it and it'll keep all the subdivision levels with everything so since it's at 6 I'm gonna drop it to two I'm gonna delete lower that leaves us with five so I make sure that this is at five I make sure rest of the armor is at five then I can merge down and here we go you can see in the upper left its reconstructing the subdivisions and it's just combining everything and then reconstructing all the way back down so once it's done I'll have one sub tool and it'll have five subdivision levels there we go then I get to move this back into you know key shot is one object and apply one material and so on just makes it easier to work on as one some tools for beating this up - off the top of my head pretty common is trim dynamic and H polish I'll just come over here I'm gonna definitely turn off symmetry for this stuff we can get in here and isolate maybe we want to leave this material on actually but I'll show you the trim dynamic come over here I can just tap it edge you see bam if I'll just do it real hard so you can see maybe it's better to not have this on it's a little similar to H polish except you know it kind of dynamically changes based on the facing angles so it just makes it easier to create these little like dings it's like right here boom should do a little ding right there definitely on this guy can do some ding see that's nice and soft maybe I want to do a big old one somewhere so I can just come across you know this just helps make it look a little bit less perfect you little thing right here get a little ding right here so let's take a look at slash 1 again I used to really like this one although you can see how it bubbles up I think going across a couple different pieces is good tells a story in it and it kind of merges this stuff you know so you can see once you have enough resolution like on this piece this has more resolution than the relatively than than the again remember we're gonna go too far and then we're gonna take it back do these Halfmoon shapes that are just kind of like opposite each other okay so some of these I like I like this one this even feels like a little bit of a dent and then a skid I'm definitely gonna keep that this looks a little too perfect we give her this just gonna get rid of this up here and we're emulating some of like I mean I'm kind of doing a gold kind of doing a brassy thing it's a little bit of a fake material but either way it's uh I think it's soft that's what I'm thinking of so I'm leaving some of these that are gonna work fine definitely like that big one a little bit of a trim dynamic in here too that's okay even pinch that some of this stuff switch back to the trim dynamic and I'm gonna blunt some of these edges but I can also just kind of tap sometimes to get a part where the light shining there we go you can see that but it's just making the light more regular so I can I can go to the H polish to can see I'm like making some things a little bit more plainer if I move it around I vary my pressure again just makes it look less perfect a little bit more hammered okay well I think didn't okay job here think we did an okay job here so we did a little bit of damage I think that's gonna be alright we could even add some like surface noise some pitting and stuff but I think if we're gonna end up doing that might as well do that in key shot that way we don't bake it into the model now I think the last thing we need to do is work a little bit on the teeth make sure that they're good maybe we do a little bit of scratches on them just to light catch them it feels a little bit more natural when we jump over the teeth now and see how much res do we have here I think this will be enough all right for the teeth I'm just gonna do some general noise just some like Nicks and scratches so that it doesn't look perfectly clean so I'm just grabbing that spray brush that alpha that comes with ZBrush same thing we did for the fine lines and wrinkles the surface tertiary stuff for the skin and I'm just spraying it up and down all over the teeth okay so the teeth has bunch of scratches on it now it's probably good maybe this will be the first model that we paint some color because these teeth do need color a lot of the other materials are gonna be procedural you know just like armor the car paint type of you know like retro flake paint that's gonna be in his helmet just gonna drop those on there and then try to do as much as I can procedurally but this one's going to have a colors so we might end up doing some procedural stuff like no ways to this too but we definitely need to lay down some color so again it'd be really quick and easy like super dirty but we can go through the process on this one so first thing we'll do is drop down to first subdivision level we're gonna give it some movies boom alright now that we have you v's drop back up we're gonna polypaint this so first thing we'll just fill it some colors instead of red gums I assume something like a dark purple gums and for the teeth you know I'm gonna be like whitish yellowish now we'll just paint some well why don't we do like veins or some veins at all right so just spraying some colors now you can see pretty heavy-handed like I say real dirty and that's fine you could just go over it as many times you want the key here is just getting all this different variation that we get just by doing it by hand spraying some stuff choosing different colors and really when it comes to the overall saturation even the contrast of stuff we can tweak stuff with nodes in key shots so the real important thing here is to lay down some color variation for these different parts of the teeth so now what we're gonna do is we're gonna make this a texture map I'm gonna go over texture map I'm gonna open this create palette right here and then new from poly paint because we just painted that poly paint and here you go you can see the automatic UV is now it's a flat map so to export this I have to hit clone that opens it over here in the texture tab then I can export this so I'll export this to my project folder I'll make it a PNG and I'll just call this Thanos teeth okay now we're gonna do the same thing that we just did by painting the gums we're gonna poly paint the face but we're just gonna use black and white because what we're gonna be making is a gloss map eventually it's actually gonna be a roughness map which is like the inverse but it's just more natural for me to paint a gloss map and then we'll just invert it in Keisha that'll give us more than just a solid glossiness value for the skin so by varying the glossiness it's gonna make it look a lot more organic that's something that we can pretty quickly do again we'll use a cavity mask to to kind of make the pores and our details sit back and be less shiny and then it'll help break up the light and kind of highlight the work that we did to help it make a little bit more like skin so I'll just highlight this guy okay so we need to fill in with a color that will first be our kind of baseline glossiness value white is as glossy as possible black is no Glossip at all so it's a very rough so this is like a mirror and this is like coal or something so we're gonna in terms of glossiness we're gonna go a little bit on the high end a little bit over half because we do want him to be glossy I think layers and poly paint are weird and I still to this day don't understand it okay so I turned off recording and let me do it I don't know so I filled it with this color now we will paint on the oily parts of the skin so we'll use white and we'll start laying down where we're gonna make oil you know on the the t-zone let's say and also the inside of the mouth the lips gonna be wet from the saliva and we want the lips to shine hopefully not too glossy like he's wearing lip gloss but I have to go over it a couple times because I made the RGB value low but that's okay okay so let me just quickly get a normal brush go back to this and then we'll start painting the lips also in here the tear duct we're gonna make very glossy and then we'll just make around the eyelids glossy like it's wet a little bit so now we have a couple different values here we can check it by going to the flat color there you go now we are going to mask the cavities gonna go to cavity mask it's gonna turn down the blur to 1 and then I hit mask and here we go so I'm gonna invert this control click my background I'm gonna turn off view mask and and I'm gonna start filling the pores with a darker value I'm gonna be gentle though first I don't want to be I don't want to be too crazy I just want to start seeing the pores you know that way that way I just know it's gonna break up the light same thing with these wrinkles and we can always crank these like the contrast on this in key shots so doesn't that be perfect it's just the idea of getting some irregularity in the gloss boom here's our model here's our poly paint then we can go over here to our texture map create new from poly paint there's your blows clone texture it's over here export mmm exporting cool so now we've got our guy ready to move back over to key shot and then yeah start setting up the final scene cool so if we check out key shots you can see I have it paused for me to throw this back over here I have to unpause it I'm sure I'll save it this is just a little key shot note in my experience if you don't have a texture map applied to the mesh even if though it has UV sometimes key shot doesn't recognize it has UV so I'm gonna leave these texture maps on but more than likely over here in key shot all these materials didn't get wiped out so like I say I saved these to my own little folder and I have to unpause this so now it's starting to render now I'm gonna jump back over to key shot or sorry I'm gonna jump back over to ZBrush then I'm gonna go to render key shot is set up here good make sure that I'm out of perspective so it doesn't send the camera and then I'm gonna click epr that's sent it back over to key shot you can see it's loading and most likely it'll wipe out all the shaders and then we just have to reapply and then we get out of the maps that we have and should look a lot better so here's our guy this is gonna be Thanos scan you see if I go over to my materials here we go Dino skin right yeah boom teeth actually there's a plastic in here that's called soft shiny right here I think this is what we'll use on the teeth there might be some translucency that's why I say that shoulder light good the lights assigned metal flakes good and this is our armor all right so go to my folder and here's the armor that I saved boom bam all right now let me go into my Dino skin check out my glossiness map boom roughness skin gloss boom okay so I have to do some editing here actually let me open the material graph I'm gonna try to fullscreen this here I'm gonna close this and hopefully we can see so you can see him here why don't I do a little region we'll get the nose and the lips so we're gonna do a color two numbers node in here that's what keyShot calls this thing that's really handy if I hit C on the keyboard I'm gonna isolate this the mapping type is set to box we have to change that to UV there you go that's what we're looking for cool first thing we're gonna do is invert this we can do that by changing the output to and from so there we go so now this is what makes this a roughness map because now when it's darker that means things are less rough right and that's our oily stuff so maybe we need to crank that up a little bit by playing with the to-and-from we can change the values so I just darkened it you see okay so why don't you undo this let this resolve for a little bit wow I can hear the fan of my computer going crazy oh it doesn't seem hot though so the fans going crazy we're doing some rendering now dudes we are actually making this computer work for it work for it okay why don't we turn off region for right now texture thanos teeth and then make sure it's UVs bam so we're gonna do a little region action again now translucent shaders take a lot longer to render because they're calculating the light bouncing around they do a lot more passes so I think I'm just gonna sit here and wait for this one to finish hmm well maybe we just do a render and see what it looks like the whole shebang so I'm gonna set this off to render now I'm gonna see you in a bit my tests were taken around 18 minutes per render so I assume that's about what this one's gonna take so I'm gonna set this we're gonna take a look at it in all of its pixels I'm only gonna render it about 2k wide the final one will be a lot more but let's just see how all the work we did has impacted the image and then we'll see where to go from there here's the results of our render so right off the bat I feel like the teeth are too dark in general his teeth are a little bit dirty or something like that so I want them to be a little wider so we're probably gonna do that in key shot maybe play with the gloss on the skin honestly I'm a little like disappointed on the tip of the nose and the lips which is where I wanted to be very glossy maybe we'll we'll take a look and then in terms of the armor damage I think it's mostly successful I can jump in here by the way and we can see like I think this is dark the the detail we put on the teeth is good the way it breaks up the light I think that's that's good on the detail on the lip is pretty good but I think I think we actually don't want so much cavity on here in general I think we're gonna have to go back to zbrush make some of these edits and then bring it back and down here I think a lot of the damage is good but you can see because of the topology because of how the resolution worked out on the tour so it's really pixelated in areas right here - even right here so I think what we're gonna do is just smooth that stuff out in ZBrush I don't really want to break it all I'd have to break it off from the sub tool and then divide it one more time and then append it back in so I don't think it's worth all that we could also just fix this in post honestly but I'm just gonna smooth it out let's jump back to zbrush do some of these fixes and then come back and do another render and see we can fine-tune this so we can make that final image okay speeding this up back over in ZBrush now you can see me cleaning up those scratches and smoothing out the egregious low quality once popping over to poly paint adding some brighter values on the places I want to be more glossy you know more more shiny and then knocking back the places that I don't so this is just a quick kind of iteration based on some stuff that we saw when we did that render and key shot so I just popped back over to ZBrush and then I fixed up anything that might have been making the picture worse so we fixed some of those things let's send her back to send this back if to make sure that in key shot we are unpause this hit BPR and hopefully nothing goes wrong this might be a good time to tell you so while I was doing my first look development pass I was even recording a little bit I had it open for more than a day it was open and I would do renders and you know I was doing high-res renders too so sometimes would take 30 minutes or an hour I was working on it for a while and then it crashed and then when I tried to reopen the file it just wouldn't work it's somehow corrupted the file and when I rolled back using my revision control my time machine stuff it I could never open a version of the file so I had to remake the file and and that hurt you know and I had to deal with that and I had to remake the scene but overall I do think you know I knew how to make it it just kind of bummed me out because I was recording each step and I thought it'd be a cool like montage of the of the look development progression but in the end like now that I'm past it I think it's just good to share that this stuff happens and at this point like I'm pretty good at saving all the time I have time machine to roll back the versions that get corrupted it's just something unique about key shot that I don't understand on how they store their files or something but it kind of permanently corrupted the version of the key shell file and I just had to make it again you know but for whatever it's worth it happens best of us get used to saving if you could have some sort of revision control so you can real rollback or you know what I did four years is just save like a different alternate version with numbers on it so if anything happens you can go back to another one you know this just just happens everyone I know that does this every now and again you just lose work that's a hazard of the job okay so seen this guy's Thanos drop our Thanos skin right here okay now let's we have this locked right yes now we're gonna go to the free camera and I'm going to zoom in we're gonna do a little bit of detail stuff just a little bit I want to revise the flaky paint and let's see what we can do about the skin what I think is going on with the skin and we'll do a little region okay and then I think this is what is making it darker I think that's okay No do we want to add tiny bump or do we want to and more glossiness break up I got actually add a curvature to this I mean I don't if I want to but check this out let's see curvature and then this is how about color composite here so if we isolate this one there you go you can see the curvature right so I'm gonna make this I'm gonna screen it on that's right so that means this is gonna be black this is gonna be white for the composite style we're gonna do blend mode screen and the back on alpha will do point five and see what we get right now hey cool I broke it up more tight all right curvature node and key shot for the win I'm gonna save all Thanos skin here since we like it good now flaky paint I think we can improve this okay here we go metal color let's make this extreme dude we need to make this crazy there we go probably brighter flakes sighs I think we gotta go a little smaller point three and then the density lets up it a little bit sweet we got some more speckles in there we check out this graph I put some metal flakes in here this is based on a tutorial by Esben I think his name is I'll link it but yeah really cool - Tori he does all these great YouTube tutorials I'm about keyShot and I and I stole his a flaky paint one so we have some spots here that you can see and I made them square and then I made them a little distorted and randomized there they're a metal there this is an opacity for a metal material that's gonna be on top of the flaky paint this is a bump map that we're looking at right now you saw the flakes those are the opacity so the reason why there's this jaggedy bump map is that hopefully the it makes those flakes look like they're reflecting light in different directions as if they're turning in the coating just gives more variety okay maybe this glossiness maybe we can drop this maybe we can go up a little bit yeah that's better it was so glossy that it was reflecting black so often you know this looks better um let's see if we cut this in half there we go whoo okay so I think we've improved our flaky paint I think we've improved our skin still looks like I'm worried that what's going on here is the glossiness for the skin is actually too glossy which makes it it makes it so we can't really even see it actually so I keep changing the contrast and and the black value it's always harder for me to judge roughness Maps than glossiness mattes for some reason now we're now we're losing too much what's happening is it's getting so glossy on the lip that it's just these little pinpoints of highlights and then I'm losing it on the nose so it's like just fighting this battle for some reason because I didn't get the values right let's see what we got cool now that helmet looks a lot more glittery which is cool still not too happy with this skin gloss I think that's working alright I think we're gonna let this one render to see what we get okay I'm gonna throw off another render so I'll catch you guys in a sec and then we'll see what it looks like boom so here's uh here's the render as it came out as the Sun is setting we are finishing so uh overall I'm pretty happy with how it came out I'm ready to take this in a Photoshop and finish it not like I don't think it's perfect but but overall I think it's pretty good I still think the teeth are a bit dark I wish there was more light bouncing around I think also maybe I don't know about too glossy but maybe too reflective but it's okay also I wish there was a hider tighter highlight on the nose I think the curvature no dinky shot was a big success I'll remember that actually I think next time then what I would probably do is in poly paint I would just paint the glassy parts and then I would just handle the curvature part in key shot just mix it that way and then I can I can separately you know play with the value in the contrast of the glossiness part to dial that in and I'd be a lot faster and give me more control so next time I do something similar to this that's probably what I'm gonna do I'm also pretty help you with the flaky paint I think that came out you can see in the highlight here on the edge where I have a kind of a gloss map or a roughness map that has some like scratches and stuff on it and overall I think it looks pretty flaky the damage on the armor I think is pretty good we'll fix that we'll fix some of this stuff in Photoshop but overall I'm pretty happy with it so I'm happy with the render I think all the improvements we made were good improvements and now I'm ready to just render off a big one this last render took a little over 20 minutes about now I'm gonna raise the size and it's probably gonna take more than an hour so I'm just gonna let this go and then I'm gonna I'm actually just gonna go get some groceries I'll be right back and then and then I'll probably assemble this image maybe tonight or tomorrow morning I'm also in key shot I'm gonna click include transparency so I get a clean mat off this why don't we just take this to 4k and just make a big old one you know so I'm gonna hit render and let this go it is 650 right now I assume that's gonna take about an hour and a half or more we'll see and then I'll see you back here to finish up the image and call it done and we're back so here we are after the image is rendered this is the following day and that render in case you're curious took 2 hours and 33 minutes which is pretty long but in the grand scheme of things not too long I did leave and let it finish you can see it's really big I have my render passes here in Photoshop but if we zoom in here you can see it's really big I like to render much larger than I need to you know if I have that luxury and in this case I did but but yeah for anyone curious and doing their own renders you know I've done renders that I've taken like 7 hours so this is not too bad so if you see over here on the right hand side I've got these few passes I did a depth Pass we're gonna probably need to edit this a little bit in case I wanted to do a focal a little bit of a focal depth on the character as if it was shot you know with the lens definitely what I'm planning to do is blur the background a lot to pop him off the background that's what's cool about using an image editor with all these different options we're going to try to keep this non-destructive till the very end and and you could you can do like limitless variations honestly so I also have an AO pass cuz why nots I might end up using this especially on the wrinkles of the face and stuff maybe I'll end up using it and then I have a reflection pass - not sure if we're gonna use this but I just got it in case I wanted to pump up the shine on the skin so these just give me a little bit more options but here's the beauty so you remembered that Hubble image that we found BAM so this is one they use as the basis of the background I'm also going to use this image which is a star-filled I think this is actually a video loop I found this as a sample image on down loops comm so I assume this moves and you can use it for footage but I'm just gonna use it to get more stars in the background I just wanted to be a little bit noisy again we're gonna blur that there could be something really cool between all of the stars in the background like the universe surrounding him and the flecks of the paint in the helmet so we'll see maybe it'll be too noisy and then we'll just blur the crap out of it so why don't we start by grabbing this image jump over here we'll throw it into the background okay so here's that background scale this guy a real big so I'm gonna end up cropping this a couple different ways yeah that's pretty tight I'm gonna leave that grab our stars - keeping everything separate in case we want to control anything alright perfect so we can set this to screen boom there we go with our stars so already we can see what's going on pretty cool gonna vary the levels of the stars kind of like there's a lot of them but actually why don't we do occurs just to get a little bit of red and blue in here because of the it'll help us tie it in the background I think actually so uh one of the few things I need to add is the glowing eyes so why don't I just paint a layer for that now it might be a couple layers actually so I might just make a little folder here so first I'm gonna make just a fill color eyes make that a folder I'll just do a little solid color here just call it blue for now let's jump in here paint this guy [Music] okay so now we're saying these eyes are blue I mean colored dogs will definitely work this iPad now and I'm painting some eyebrow I some irises here this is gonna take them back and forth just like when you're doing a character or a texture like the size of these irises and everything it's gonna be a big deal so I'll just pick a brush I can just put down I'm gonna grab my smudge tool and I'm actually just gonna make it blurry why don't we make this color dodge now why don't i duplicate this make this normal I guess and then I'm gonna blur the mask cool here he is with glowy blue eyes so just the smooth brush and overlaying layers with color dodge and stuff to get this kind of Boerne effect maybe I'll even look like gently get rid of some of the super blue enough and the edges [Music] there we go girl hallo BAM cool glowing eyes I think success now why don't we play with a man occlusion so here's miami occlusion map first i think we're gonna give it a little bit of color but why don't we do that in context so if i turn this to multiply i can see just the dark areas show up so in some cases this helps overall I don't want to make it too dark of an image you know for Mike here though you can see it helps a little bit I think what we're gonna do is soften it a bit where pieces get next to each other I think like I think that soft shadowing is pretty successful I don't want to compound this stuff too much I think we want the eyes at me on top still that way they don't get any darker why don't we open our huge saturation and colorize the a mean occlusion I'm just gonna go too much right now so you can see that it's red so probably want to do like a purpley red you know maybe like this that's no color that's some color a little bit of color right here and then we can we can curves this too I think what we want to do is brighten it pretty gradual this year we got over here okay I think we're getting a win right there I like this kind of want to fake a little bit of a bounce light you know that's the idea why don't I see ooh that's good alright so we're getting a little bit of a pop out of that I like it okay for me to use the depth the way that I want to use it I'm gonna edit it a little bit the way I want to use the depth map is white is closest to the camera black is farthest away also though I want to pull the levels closer together that way we can get a fade of depth the shallowness by controlling the level of value from light to dark in the whole figure it's effectively it's me editing the shallowness of that depth of field so I want it to be shallow enough that we can keep parts of the face and focus and then start to get a little bit of roll-off in the head so it'll look a little bit more like a portrait that way it'll direct the eye to where we want the eye to be directed and it helps everything else sit back in the background and then we're going to blow the crap so say I start playing with these levels actually be able do this see how I can see stuff in the face now okay that's what we want um I gotta invert this though so now I'm gonna multiply this hopefully this ah this what I'm worried about is this edge there we go that ought to work so we'll merge this I'm gonna call this our depth Pass so this is the part where it's starting to get destructive because I'm about to blur this so I'm just gonna put this depth map in the Alpha Channel that way we can pick it up with our lens blur here so we'll go filter blur Lens Blur so it's actually already found our depth map as the source alpha 1 and it actually gives me a pointer here to choose the focal point so I'm gonna click right here on the nose you can see because our image is so big it uh takes a lot okay so definitely the background is uh is bokeh out the way I want but obviously it's way too shallow way too harsh on the helmet so with these settings this is why I might end up blurring the background separate it's two different effects this one makes the stars smaller which I kind of like remember because of the Flex and the paint they're just something cool about that but I might end up blurring the background separately so I can really blur the background and then pull down us away and we are going to merge these together a flattened version of the of the background and now I'm gonna blur the background first no source so right here the specular highlights the brightness I have really cranked up and the threshold is what gets these stars I'm gonna zoom in here and I'm gonna blur this background a bunch and see how it fakes a bouquet like a camera lens this makes it look like it's really crunched it also makes it look like it's really really far away which is what we want it makes it look more cinematic if if there was a close-up shot or a wide shot I mean like a zoom shot of his face this is kind of what it would look like I'm gonna back this off a little bit because I'm gonna then flatten deines with the background and we're gonna do another blur so that's going to compound this so I'm gonna drop this a little bit duplicate this flatten again making sure we still got on that on the clipboard oh good it's already already here now we'll play around the settings just a dial to focus in on tano's himself I just kind of want the edges to blur a little bit and I'll probably reduce that specular we'll get in here we'll do focus right here good so probably going to up threshold that will reduce a specular highlight although I want the stars to blow out so I'm gonna drop this radius okay boom looks pretty nice so now that we have things flattened we use all those separate elements and we played with the settings and and now we merge them together we kinda have one picture so now I'm gonna kind of edit it as if I would a photograph I'm gonna open up the Camera Raw filter stuff and then we can start playing around with it like say we want to play with the color temperature make it a little more golden you know what about the exposure pulling down the highlights a little bit I like clarity is always a good one if I crank it you can see it's like way too much right but look at all the speckles on the helmet and the damage on the armor so I want to do that just a little bit just to pop this stuff it eats good vibrance again if I turn it away too much it was too much but look how purple he gets right I like that so look I might I want to get some of the purple in there let's zoom in a little bit we can add some film grain if we want over in effects well that's too much right maybe you want to add a little bit give it some tooth make it look a little bit more photographic definitely want to do a post crop vignette right here again this is too much but I do just a little bit it helps focus in and look like a portrait although I might have to do this after the crop so I'll come back in here give a give a vignette after I crop it all right now where's the purples at there we go here's our purples yeah let's make the Purple's pop so I think this is good I want his face I want the skin of him to be unique in this picture so it's immediately you know a color on its own we have some purples up in the clouds is some pretty stuff man I love this photo but we are going to crop a lot of that out but I think this helps to separate his face from the helmet and from the colors of the background all right I'm pretty happy with this okay cool so we'll save this and we'll do a couple crops let's do our first one sixteen by nine so here's our widescreen version which open in the Camera Raw filter a little brighter a little bit of a vignette we'll save this as the widescreen and these are ginormous so I can scale these if I want so I'll scale and resize these for whatever I'm posting on like Instagram or you know online like art station I'll resize these to be you know an okay size it looks good on people's browsers and phones but for the source I like to work on it super big that way I can you know do separate crops I can change whatever I want about it so it just makes it a lot more fluid alright now for the next crop I'm gonna do the phone resolution which is 1920 tall and 1080 wide yeah we go saturate that I need to be hot here is our guy purple as ever I like it saturated okay I think some of the shapes and stuff that I stole from these compacts went a long way I love this kind of retro a vibe shout-out to like jordu schell for inspiration of the car paint helmet and doing this retro style character in a hyper realistic way something that i think is cool so I want to take a moment to real quick just to say like I think it's easy to overlook how dope actually Thanos is just as a digital character and we can see the evolution of him in the earlier movies and how they improved it and it's interesting to see what they did to improve stuff but the final version of danos is is really well done I think it's kind of a testament at the work that a bunch of people did on Thanos and how invisible some of their work is to say a huge buff purple guy in armor that is a tough brief so it's a testament all the people that brought Thanos to life and from big to small I think a lot of the little things is what ended up selling Thanos obviously the writing dialogue and the digital performance that they put together Josh Brolin's voice just lending like gravity and some realism to it but the fact that they took so much care and making the skin look realistic in sculpting his facial features as well as the little tertiary details and really helping bring something that I think on paper is kind of ridiculous to life in a modern movie also a separate shout-out to iron head Studios who does awesome work and I just thought this prosthetic is amazing so this this was a screen test for whether or not they were gonna do well I guess the studio was figuring out whether they're gonna do a digital character or a practical character and Jose Fernandez is the guy who leads up this studio their work is amazing by the way and you know if you haven't seen Iron Head studio I'm sure a lot of you have seen their work if you haven't heard of them but they released some of these prosthetic this is the sculpt and I just think it's super dope there's one of these images that's so tight so this is an actor and they have the prosthetic on they're taking photos to see like would this end up being okay this one's tight this one's tight look at that doll looks like a movie poster man these wrinkles right here anyways there's a super dope cool to see what it would have been like if Thanos were to be a practical character - all right cool well I'm pretty happy with how it came out here's our Thanos image wrap so thank you for following along in this little project it's a little tribute to end game and Thanos I hope you enjoyed the video and I hope you enjoyed the piece at the end maybe you even learned a thing or two I like the video if you did subscribe if you're not subscribed and until the next one peace [Music]

Channel: J Hill

Views: 15,887

Keywords: Endgame, Thanos, Zbrush, Making of, Tutorial, sculpting, 3d art, cg art, digital sculpting, how to sculpt, thanos art, 3d modeling, rendering, keyshot, zbrush to keyshot, compositing renders, jhill, j hill, making thanos, timelapse, zbrush tutorial, sculpting tutorial, hard surface, head sculpting

Id: 60TVYuE51lE

Length: 106min 2sec (6362 seconds)

Published: Mon Jun 10 2019