realistic eyes in Arnold - Making of "Walter White" 3D Portrait - Part 5

hey guys welcome to the fifth video and like i told you guys uh this video is gonna be mainly about making eyes making realistic eyes so uh the first thing that i wanted to talk about before showing you how i make the eyes i just want to give a shout out to the uh the uh wiki digital human and the uh the digital emily website and the whole project that was done by the usc institute for creative technologies and this was basically like a project to replicate a digital human and then they made um this girl that's called emily and this was very important when for me when i started learning how to make uh like realistic realistic human skin so uh this this is very very very important and very informative so i really really urge you guys to just check it out and try to go to this this website so you can just copy the address from here and uh you will see they will be talking about how they made this product and they will be sharing like uh how they set up the shaders and how they uh they made the maps and they even share like uh like some high-res polarized the textures you will see it here in the in the downloads so you will see that you have the olympic scene you have a maya scene you have a max scene you have obj's the maps the shader references everything so it's really amazing and i really urge you guys to to download this and try to see how they made it and try to learn the logic behind that and for the eye geometry i prefer to use the method that they followed it because there is like tens and maybe you can say like there is like at least like 20 ways to make uh the to set up the eye model and every method the people who use it they keep saying that this is the most realistic and physically accurate method um for me i followed their method and i could achieve realistic results with it so i stick with it i just fixed a little bit some things in the uh in the geometry and in the uvs to make it work better for me from my experience uh but other than that i'm like 90 following their geometry and their textures so the first thing is that i really urge you guys to check out this project and check out the the the scene and try to download the textures and try to play around with it and and test it and try to learn how it works uh the other thing is the texturing xyz iris textures this is really awesome i think it's like the only resource now that we have online for uh realistic iris uh color maps and also displacement maps so i guess if you go here you will find that they have like the color and the displacement and i think this is like bump and yeah so color and displacement and bump and the the the reason i'm also mentioning texturing xyz because you can just like uh stick to the textures that you have from the digital emily or make your own pictures but the only reason that i'm talking about this also is that it is a high res cross polarized you have only the color data you don't have any any artifacts or any specs or any lights that's or shadows that's not needed and in the same time you have like all the colors like male and female and like old blue green brown so you get a lot of variety that you can choose from and uh the other thing is that you have like a like a matching displacement so you have like like color and a displacement map that matches this color so uh i think with the resources from the digital emily project and the pictures from uh tickering xyz uh it you will be ready to start making realistic eyes and i will show you how i'm like using these two things and combining it with my own idea about how to set it up and in the same time like the some of the fixes that i made it on them and this is gonna be the way that i'm gonna uh i'm gonna show you guys how to make the realistic eyes so if you go back again to the digital emily project you will find here that's my scene and the maps so for the maya scene i already have this open so if you download the my scene this is basically what you get so you get like the head and you get like the eyes so for example if we isolate the eyes and then for example let's isolate this so uh let me go to wires so what you can see here is that basically you have like a cornea and you have iris so let me yeah they call it i outer and they call it i inner just trying to keep it simple but basically this is gonna be like your cornea and it's gonna be uh it's gonna contain like two two parts a part that's gonna be like the the white of the eyes and this white of the eyes is gonna be uh it's gonna have like uh like a uh a subsurface scattering because it's like like a little bit fleshy and it's gonna have this like veins and this bluish and and reddish and kind of like a disgusting flesh uh material to it so i can show you here so yeah so the part that i'm talking about is basically this this part uh and as you can see it's gonna have the translucent part that's uh that's in in front of the iris and it's gonna have the white which is not white we call it the eye white but it basically not white at all it's basically a combination of like bluish and yellowish and reddish colors with a lot of veins and blood and else the other part is gonna be the iris so let me show you first guys how they look like oh sorry how they look like as a model as a gray shaded model so this is the the cornea with a bulge in it and this is the iris so you have like this flat part which is going to be basically your iris and then the other part of the of the sphere we will not care so much about uh texturing wise so it's going to be just like replicating the volume of the iris inside the cornea but nothing other than that and the way that this is set up is that it's basically like uh you have this uh hole in the middle which is replicating like uh the uh the the lens [Music] it's like a double face model you know if this makes any sense so it's like if you model a sphere inside a sphere and then connect it on the edges where your lens is gonna show which is the black part and this black you will get from the shadows so if i go here again so if i hide uh if i hide my cornea this is the iris and as you can see guys like the volume and the the the colors and the texture and everything it's not a perfect sphere and that's how your eyes look in in real life so uh try to learn more about this that your eyes will never look uh like a perfect sphere in in real life and that's what we are replicating so uh yeah that's basically it when it comes to to the model how the model looks like and we're going to use this and the the the only problem that i might have with for example the the inner which is the iris is that if i go to uv editor so i don't like these uvs it's limiting me to to make my uvs inside a software like like photoshop for example because i want to lay my color and my displacement at the same time so i prefer to have like a like a better you is that like like you know like for example if i like select this edge and then cut my uvs in around this edge and then make my my uvs like a sphere so that's that's basically what i would do like let me quickly show you for example if uh if i like select all my edges here and then sue them and then if i go like around this edge here and then cut and go here then do the same and then if for example i say uv shells so i have this shell and let's convert it to uvs and then unfold that so that's what i mean guys is that if if i have if i make this in my model and i will show you how i have it on my model but i will i just wanted to quickly show you so what i want is that i want to have this kind especially like for the the front part of the uh of the iris is to have this kind of uv shell so i can basically like add my uh my texture on top of it uh so it would be easy for me to like add the picture of the iris on it so uh yeah it's just tiny things that i changed like that like like the uvs or some some small stuff in like the the topology or the uh the shape of the of the model and i can't show you guys like what i have here so for this one i actually kept the uvs because i prefer to keep the uvs like that because i'm going to be using a ramp but for this one i think i changed the uv so editor so so yeah as you can see guys this is my uh my uvs for for the iris and this way oops and this way it would be easy for me to like see what i'm doing i can paint over it in in in in photoshop for example or something like that and uh that's how i made the uvs for for my eyes but still i'm using the same idea i just adjusted a little bit in the topology made it work better for me because i i don't want to say it but the digital emily project is amazing but there is some tiny things that's that they were like hasty doing it so you might be fixing some some tiny problems with it but yeah so basically that's it and that was like the most important thing to show you quickly the setup of the setup of the uh of the model itself and also guys like take some time to appreciate the the way that the head itself was modeled like for example you can see the eyelids here and how they are modeled you can see that uh the cranker and the uh the meniscus or like the witness of the eyes i have a different method of doing of doing both uh i have like uh uh i prefer to make my uh meniscus or like the eyewitness thing the the width line underneath the underneath the the eyes or around the eyes i mean for this part i prefer to make it as a geometry so if i go here and then i can show you quickly what i have this is still working burgers guys so even you can see that i was rendering i was playing around with how the eyes would look like and i'm starting to like add the glasses still too early it's just the frame but you can already see that we're starting to have the eyes and of course it will look very weird because we still don't have uh eyelashes or any kind of chrome no eyebrows no eyelashes so it will still look very weird for now but uh yeah so this is still working progress that's not the final uh meniscus that i'm going to have that's not the final shape of the eyelids that's not the final shape of the uh the crank ela or the like the red part inside the corner of the eyes so it's still too early it's still working progress but i can show you like the idea of it so for my meniscus or the eyewitness i prefer to basically just if i show the head to just like basically like select as you can see guys i need to show the corner so you can see that the eyes are on it so for for the meniscus or the wet line underneath the eye or around the eye you can make it all around the eyes which is the more physically accurate thing for me i know because i'm gonna be only like rendering frames and i know that he has kind of a look that's uh like he has like really big folds on the upper part of his eyes so uh i am sure that we will not be able to see any of the meniscus on the upper part that's why i only made the lower part so what i would do is that i would go to z brush and then and then basically like mask this area and extract it and uh and then make the meniscus out of it uh or another way is that you can like choose this uh and then like go to faces and then maybe like select an edge like yeah if i am like selecting an inch loop come on like a loop of faces and then from this one you can like extrude it and and make it kind of like a cylinder uh and this way also you can have like the whole meniscus like all around the eyes and not just underneath it uh but yeah i prefer to to make it like a geometry i prefer to make it in in two brush and make it like a geometry so that in the end i would have it uh looking like this and then i can control where i want it to be thicker and where i want it to be thinner and this way i will have this uh nice kind of uh variations of areas that's going to be shining and areas that's going to be a little bit dull so i can for example show you like on mic for example so on mic here let me open this so we have it like bigger so in mic here guys that's that's how i like to to have it i like to have it like uh uh not just like one line or one kind of mirror face no i like to have these variations happening i like to have it like this like it's it's organic it's not just a straight cylinder and that's why i'm telling you guys i will still add more work to it still not done on my maya here i will start to play around with it in the zbrush and let me show you the crank killer and for the crinkler guys i also prefer to do it like this so i would have like uh still again this is still a plop there's no details in it so far so uh i prefer to have like the the area that's like stretching with the eyes and the area that looks like a like a pizza slice and then i keep playing around and adding details to it make it not just the perfect triangle like some people do and this way i would have like this kind of a more natural shape as you can see here and again also if i show you on on mic it's very obvious so uh yeah that's that's basically it when it comes to the setup again guys you can just open this model of digital emily and you will you can totally uh understand the the way that the eye is set up just saying this uh so that's basically it for the setup for the model okay i will show you guys how i uh how i apply my textures now okay so stay tuned so to start talking about the uh picturing for the iris i quickly bring my my rs obj and i draw these lines to show like for example if i show you like this you can see this is basically like i'm drawing the outline of where the picture of the iris itself should be and i give it this thickness with another line because this is what i'm gonna be using like this is gonna be the dark rim that's going to be around the eye like for example if you see here you can see that the eyes it has this kind of like dark edge around it and that's basically what i'm gonna be indicating in this line and i draw another line here and this is where my black is gonna start so basically in in this area like here around here this is gonna be my iris texture so uh i do this quickly just as reference as a reference guide for me and if i go my into my photoshop here i go file open and then i have here the uh the the map that i exported was with the lines okay and i have here up in my uh my texture color and the displacement textures and i'm gonna copy both and have it on separate layers like above my uh my drawing so like that and let me let me this is a little bit bigger so you can see what's happening guys so come on something like that so yeah so now i have both layers like the displacement and the color and this is my drawing so what i would do is that for example if i add these two if i bring my color up here and then i can convert this to smart object and then do the same here and if i got the opacity a little bit down like 80 percent maybe same here i can even hide this one and only have the color and as you can see that's how it looks like now so if i grab both of these ctrl t for my transform and try to get it as close as possible to where my texture is something like that and then what i will do next is that i'm going to hide the displacement i'm going to go here and i'm going to go to filter liquify and what i will do is that i can do like layer zero yeah so if i make my brush bigger i hope you guys can see from the recording i can see perfectly here but i hope that when you're watching the recording you can see like what i'm doing so i'm like trying to bring like the black area like around the circle and i try to use like big brush so i don't totally destroy my pictures and then i'm trying to bring the details in the circle inside so yeah so something like this would be fine and say okay and then what i would do is that if i come here to my smart filter and then click alt and drag it to my second layer it's gonna take some time this is basically it's like applying the same filter that i made on the color layer it's going to apply the same liquify filter on the displacement and this way i will have my color map and my displacement map matching exactly so if i show now my displacement so if i hide this so you can see now guys that my displacement map if i go like all the way that my displacement map is now matching my color matte and that's the the most important part so what i will do next is that i'm gonna just go into zbrush quickly to test how my maps looks like and then i'm gonna use this as my displacement and as my my color map so i will go to zbrush now and show you guys so here we are in uh in zbrush and i have my model so that's the jail for uh the iris that i'm using as you can see guys it's it's not a perfect sphere uh you can actually like move it around even after you finish like uh the displacing and tickering it and while you're working on your portrait and you want to make like the iris bigger or smaller and you move it around this is totally normal because the eyeballs are basically in real life they are just they are never a perfect sphere they are basically just like like a like a sphere that's squashed from all angles uh to fit around uh to fit inside your skull basically so this is my model as i said i subdivided a couple of times just to see and test my my textures the textures that i'm gonna be using i don't need to like make uh like make displacements again from zbrush because i will be using the displacement that i already got from photoshop uh but if you want to edit over the displacement that you that you already have from photoshop from the xyz you can totally like import your displacement apply it and then you can start scutting over it and then bake new displacement maps and uh and use it uh and use it in in your shader instead of the one that that comes with xyz uh but let me first show you guys and let's test if our texture and displacement will look good on the model so let's first of all test the displacement because this is the most important one so if i import the displacement that i just made and of course guys you know by now that we always flip v and then here if i go to my first of all uv map to make sure that i'm gonna be using like a 4k map and then texture map new texture and then displacement map and then i use the one that i know that i flipped and then let's go to basic material so it would be more obvious and then let's go with our intensity as you can see guys it starts showing so yeah that that looks perfect it looks perfect for me uh as you can see here like on the edges of course you can like be like ocd and like go in there and like clean all of that but guys this is not gonna be showing we're gonna this is gonna be hidden underneath the cornea uh but if you want to clean this you can totally do that uh one thing that we can do is that if we like apply our displacement like for example if i go and then add a new layer and then go to my displacement map apply displacement and as you can see like it got like really stronger when i did that so let's go back and let's make our displacement something that's less maybe like 0.05 or 0.07 and then let's say apply displacement map and or you know what i have a better option we can go to point one and then apply displacement map and we already have it on the layer so if we hide this layer so now we have our model without all the what was happening and then we can we can uh let me just do this we can delete more target and then store more target so we can store more target on this and then when we when we show our layer ah sorry guys so go to lowest subdivision delete more target store morph target on the low subdivision and then go to heist apply my layer and then go to lowest and switch and then if i go to heist again i will have like basically my details without the inflation that was happening and then what i could do again now is that i can remove this layer and then i can delete more target and then storm off target on like the smooth version and then when i have the one with the details i can get like a morph brush and then start like removing these areas or you can just like paint it in photoshop which is easier but i'm just showing you quickly how you can do it in zbrush and this way you end up with only the iris displacement details i'm showing you these guys because in case you needed to like apply the displacement on the mesh itself so you can like enhance your sculpt and sculpt even more so oops nope so for example after this you can just go crazy and and start like uh start like enhancing your your displacement details or even like sculpt more so yeah that's basically it let's try something if i duplicate it so if if i duplicate it now my displacement it gets stronger you know you can like even like control the second layer so so yeah that's basically it for the displacement you can totally like if you feel like ah it's not perfect circle you can just make a new layer go here like massage your model around to make it work better to be more like a like a circle you can even go lower to do that and then let's see the color so if i go here to texture and then import import my color and again make sure that you have the texture and then flip v and then when we go here to our picture map we can get the color map and as you can see guys it's matching perfectly with the with the displacement so you can see here that all the displacement details is matching perfect with the color because of the liquify filter that we applied and then we copied it from our color to our displacement map and of course you can then apply this in mari and then like start cleaning this part and start maybe painting i love to paint this kind of dark rim colors around the edges i feel like this way the eyes looks it has like more depth and it looks more defined so you can totally do that so uh that's that's basically it guys for the displacement and for the for the texture map again you can just use the displacement that we already have from from xyz and in this case your mid value is going to be 0.5 or you can just apply it like we did here into the model and you can apply just into the middle and then and then go like crazy with like details like maybe subdivide it even more and try to add more details and like try to add some cool things like on the edge or something like that and then pick new displacement maps and use this new displacement maps from from zbrush and for the color map we can use it as it is or like what i will do is that i'm gonna take this color map and start cleaning what's around here or i can just leave it and maybe just uh like start painting around the edges so let me show you quickly guys so so for example if i show you here this color so that's basically what i was talking about you see this like darker edge so what i did is that i took the the map and i started painting around it around the edge to make it darker and this way i have this kind of nicer results let me show you guys like you see here you see this kind of dark cream around the eyes i like to have this in in my model and you can you can also see it here guys so this is like a real photo and you can already see it you can see like in the dark and i know that it's uh it's faking when you when you're doing this you're faking it and it's not like totally physically correct but again guys that if it's working fine and looks nice from all angles then for me that's physically correct enough so uh yeah basically that's it guys for the uh for the textures and for the displacement and let's go to the most tricky and important part which is setting the shader for the eyes to make it look realistic inside arnold so let's do that so before we start guys i just wanted to show you quickly what i'm using for the cornea so again i'm using the uh the texture map and the bump uh from the digital emily so like when i showed you the website where you can download the maps so i'm basically just using this texture and i'm using this bump that's for the cornea but for the iris i made my own uvs i'm using the textures that i am i painted from xyz so just to let you know this quickly and then let's jump into maya so here is again uh my cornea and my iris and the iris is very straightforward the iris shading so uh let me grab the hypershade and let's have the eye like around here and then our hyper shade here so these are the shaders the cornea shader and the iris shader and let's start with the iris because like i told you guys it's pretty straight forward what i have is basically the color map that i'm using and i'm using using a displacement map right the displacement map that i showed you guys i'm using this displacement map i think for this one this one is the one that i use for mic for this one i baked new displacement maps inside zbrush and then i imported them so for the people they were there was some people who were asking how you add your displacement maps so for adding displacement maps uh i showed previously in the skin shading tutorial i showed how you bake your displacement maps outside of zbrush and then to add them basically you will have your shader and the shader engine here you will have displacement shader and if you go here you have an image and then when you when you open this it asks you if you want like a file and then when you open a file it it asks you where is your displacement map and then you browse it browse uh in your windows until you get the displacement map and then like i told you guys automatically arnold understand that the color space should be raw for any displacement and the alpha should be luminance but in case that it didn't work for you you're if you're using something else not maya you should always be when you're using displacement always be on a color space that's raw and alpha is luminance and uh yeah so basically in the alpha gain i was using this i guess to make my displacement stronger and yeah that's that's basically how you import your your displacement and again if you go to for example if i go to my iris here and then attribute editor and then under arnold i should have the subdivision which is this is very important so it is on none automatically what you would do is that you set it to cat clark oops you set it to cat clark and then you add the iterations the iterations is basically like how many times do you subdivide inside zbrush up upon the base mesh to get the details so if you're using the base mesh and you subdivide it like three times or four times inside zbrush and then you pick your displacement maps based on that then you add iterations that's based on this and the displacement attributes is where you have like the height and i told you guys that this one should always be on one but if you want it to be if you want your displacement to be stronger then you can make it like 1.2 1.3 or whatever and if you want it to be uh less strong than you do it like 0.7 or whatever and the auto pump i told you guys it doesn't make the big difference sometimes i keep it on sometimes i turn it off and the scalar zero values this is where you have like for example if you're exporting your displacements out of uh zbrush uh and you're using a value of zero then you should keep it as zero if you're using a value of 0.5 then you change this to 0.5 and i think the ones that comes from x y z are our own 0.5 but anyways so that's it for uh applying the displacement and i talked about this guys in the skin shading i'm just talking about this again because some people ask for it so yeah so basically i add my displacement i add up that my color map and then my color map again like like what we did with the skin shading i add my color map in the subsurface color guys so no base color so i just go down here and then subsurface and then in the subsurface color i add my color map the one that i painted from x y z and then again for this scale uh you remember guys we were using 0.1 for uh for the head for this one i prefer to use something that's even less because the the irs is not as subsurfacy as the skin itself so i prefer to use something that's even smaller so i give it like half the value that we used on the skin and i use a type of diffusion for the iris because again it's it's very tiny and when i'm using random walk i get like very weird results so i prefer to use diffusion for this kind of like smaller parts inside the head like the cornea or the iris so uh yeah and the ior 1.4 or 1.38 like i told you guys and i try to add a tiny tiny bit of specular so uh i don't just keep it like uh like totally rough so i add a tiny bit of uh of a specular weight like 0.05 and like 0.5 roughness and i don't think i had a yeah i don't add coats and yeah that's basically it that's why i'm telling you guys it's very very simple and i add a remap hsv remap color i don't know why i added both but yeah anyways i just add like in between remap nodes so i can on the fly while i'm on maya i can control like uh the color of my iris like make it more blue make it more green or whatever so i add a between the iris color the out color goes to the color on the remap and then the out color goes to the subsurface color so that's very very simple i'm sure you guys will be able to follow that very simply and then uh the cornea is a little bit tricky it's not as simple and as straightforward as the uh the iris especially that for the cornea we will have to make this the the front part translucent and we're gonna add like a subsurface scattering into the outer part so for these guys i will show you how i have my shader setup so i have here again a cornea and i have in the [Music] geometry yeah in the geometry so like i showed you guys i'm using i'm using the uh the bump map that comes so here i'm using this bump map that comes from the digital emily project so i'm not using displacement so for this one i will use it as bump map and to use it as a pump map i do this i go into my shader again this is again an ai standard surface shader okay all of this the iris and the cornea and then i go to geometry and in geometry i go to bump mapping and then in my bump map and you see guys this is a mistake that i made it shouldn't be it's rgb it should be row and alpha is luminance okay and of course just go to where here the folder is where i have the the file so that's for the displacement or the bump so this is where my pump is and then again for the color i'm using the color and i'm using a remap hsv so i can control how red this is and how white like the white is it's very simple again same thing and the most important part is the transmission so in the transmission part if you see here guys let's talk about the subsurface and all of that later but let's first and let's talk about the specular and all that later but most importantly let's talk about uh transmission and transmission is basically where you want things to be opaque and where you want things to be translucent so we want this inner part like the the front part to be translucent like you're seeing here guys and then the rest is opaque so for that first of all the most important thing is that we select our jail and then we make sure that in the attribute editor jail jail shape okay so in the attribute editor in our cornea geoshape we go to again you see here the subdivision kept clark and i subdivided how many times and then the displacement and all of that but the most important thing guys is that what happens that automatically any uh geometry that you would have like for example let's go to let's go to outliner the iris and if i go to attribute editor and then the jail shape you can see that here in under arnold the bully mesh i have it opaque and that's very important because i want my cornea to not be opaque because i'm going to have this translucent part so we have to always go here and to the jail shape and then uncheck the opaque part this is very important guys so that's the first thing to do to add this transmission and then the second thing is that in my transmission uh weight i add this this ramp so as you can see here guys i create a ramp so it's very easy you just type ramp and then like like a ramp picture okay and this ramp let's let's make it easy guys for you let's for example [Music] if i have here on my outliner i have a geo called cornea test and i'm gonna use this one as uh and i'm gonna be like building my shader from scratch on this one so let's hide the one that we have here so for this one let's make a a new shader the ai standard yeah standard service and then for this one let's call it cornea test and then what i would do guys is that in the this uh no not in the displacement since i have bumps then what i would do is that to begin with i would go to geometry and then in the in the bump mapping i would go here and then select file and then get my bomb map and then make sure that it's raw and the alpha is luminance and yada yada everything that we talked about before and then here i uh get like the color and then again in my color map i add my color not in the base i add my color in the subsurface color because we're going to add some subsurface to it so that's what we have here so in our subsurface color this is where we connected the color map so that's basically it for the color and then again for the transmission this is the part that's really important so for example if i go here let's select the cornea test and then assign material let's get everything that we have like for example our normal camera which is the bump oops [Music] let's try this yeah so yeah let's apply the pump and let's apply subsurface color so now i have my bomb and my subsurface color and let's make this ramp part what else did i have connected so i have my color i have my pump and then let's see what i have for specular so if i go to my original shader and for the specular i'm using a weight of one and roughness of zero ir 1.5 that's very specific i don't remember why i made it like that and did i have a code no okay so let's do this so if i come here my specular roughness on zero yeah keep it like so yeah the 1.52 that's the default on the shader so supposedly if i go here let's get this and let's file this down and let's try to maybe do a render from perspective and let's see how it looks like i'm gonna pause here guys to just see how it looks like and come back again so here guys so basically this is what i have when i uh when i do that so for example if i come here i can move it around so that's that's basically uh what i have so i feel like the specular is very strong and that's because i think i made the bump a little bit higher because when i was testing it on the uh on the face with the eyelids and everything i needed to be stronger so it shows so for example if i show you guys here i had to make it stronger it looks very strong when it's on the eye by itself but that's how we can make it show even with the uh even with the eye like inside the the head so that's why i made it stronger if i remember correctly so you can always just like dial down the bump and then it will not be that that strong or you can even dial down your uh your specular and then it will not look like that but again guys i uh i made it stronger so that it would show in the final results with uh with the eyelids around the eyes so what we want to do now is to add is to add the ramp to the transmission so we would have this part to be translucent okay so let's do this first let me check in my uh original shader the subsurface i was using so i was using the subsurface color like i told you the texture map and then on the scale i made it even less on this one so if you remember guys it was 0.1 on the skin and there was 0.05 on the iris and on this one i made it like point 0 1 so i made the the subsurface really really low on this uh again guys i'm just doing this testing it and seeing it with my eyes if it looks good enough then i would do it like that so here the scale is on one so i will make it 0.01 and again it's division so transmission so let's go to the transmission part and see what's happening so i added a ramp with a remap value and i will show you why i added this remap value now so let's add a ramp picture and then let's add a remap value note and then my out color should be in the input value i think it's my color r should be in the input value yeah yeah color r since we are not dealing with an rgb colors we're just dealing with black and white so you should choose one channel that's why i took the how color r into the input value and then my out value should be connected to transmission and this way when i go to my shader here i'm gonna have my transmission weight based on this ramp and the remap value that i will be making so out value into transmission and now if i go here you can guys see that my weight is basically the ramp so what we can see here is that because my ramp is set to like a an opposite value that's why you see that most of the most of the uh cornea now is translucent already so what i had on my previous ramp is i made the black part here like very tiny and this this was this was where the translucent part is so if i go to my ramp here let's make it opposite so the black part so if if you can see guys while i'm doing this so black part is where it shouldn't be translucent so white is where it's translucent and black isn't and then you can see now that i can see the iris i keep playing around with it and of course i have to like keep like rendering and see how it looks like so for example if i have like that let's see if i quickly render so you can see guys the black part on my ramp is where it's going to be translucent so this is the tricky part that i was telling you guys about is that you have to go here and then the remap value it is set if i remember correctly yeah here you reverse your output min and max and this way if this set to 1 and this to 0 and then i inverse my colors make this the black part let's move this out of the way so we can see it on the model make this the black and this is the white so this way we get to have the translucent part and at the same time be able to so we get to have that ramp i mean and at the same time be able to make it translucent so now if i test it again see how it looks hmm interesting so if you remember guys the the part that i was telling you that it's very important that we remember is the opaque so my model was on opaque so when it when it is only opaque uh you will not see any translucency so what will happen is that this part here is going to be black so what we want to do is that we have to remember whenever we have translucency in any of our objects we should always uncheck object in the shape node under arnold's opaque should be unchecked and this way if we render again we will have our irish showing the other thing to make it look better because it looks so shitty like that is that because the object that we have doesn't have the doesn't isn't isn't uh subdivided so while i am underneath i can go here get clark and then like give it four subdivisions and then maybe like add an auto bump and let's test it again so let's remove this let's see how it looks like so as you can see guys i think it looks better now uh after subdivision after subdividing it a little bit but again uh i know that it looks really strong like the bump here and the specs looks really strong but i prefer to have it strong on the eye object itself and this way it will show nice it will show nice on my model uh so it's up to you guys if you want to to make it look more realistic i think you can just uh lower the bump a little bit and uh maybe also like lower the spec maybe add more uh subsurface scattering to make this big note that that's picky but yeah so let's now again talk about that trends that uh transmission part so we have like the ramp and then we have the remap and this is where we inverse our black and white so we use this remap value just to basically inverse our uh output minimum and maximum and this way we would have like the black part to be translucent [Music] what else what else uh so let's uh let's forget about this one for now if we go to outliner and then let's hide this and let's go back to our cornea share and let's set it let's see how it looks like like that so as you can see guys it's it already looks better so what i would do in this uh stage is that i keep playing around with my ramp so if i have let's stop this see if i have here uh my ramp let's just get rid of that i don't need this anymore so if i have my ramp here i can just get this out like that and then on my uh model here i keep playing around with like how big i want the translucent part to be you know like how sharp it is like i can make it like sharper or whatever so so something like that so yeah that's basically it guys uh this is how i make the eye shader how i texture it how i move it how i use the again it's it's amazing how the usc thing uh with the digital emily project this is basically how i understood how to make eyes and i'm using uh their model setup i'm using their textures for example on the on the cornea so uh it's an amazing thing it's uh you guys should check this out and again also uh check out the whole model and see things like how the eyelids thickness should look like and things like that so i hope that was helpful guys and i hope you learned something from this uh i know it is a little bit tricky to make the eyes maybe the shader but yeah i'm sure i'm sure you guys will be able to uh to like keep uh working along the video and try to get something and please guys just give me any questions if you stuck at some point while you're making your shaders and i'm sure that there is a lot of people uh who would be watching this video and they are like stronger than me when it comes to like the technical look dev part but this is my own method and this is the way that i'm making it and like i told you guys a lot of times before i look at things with my eyes if it looks nice to me if it looks realistic then i go with it i don't go like too much into the technical parts and from what i'm seeing here when i was making this for mike it looked good enough for me and yeah so so that's it guys for the realistic eye shader and uh we are really making a big progress now so hopefully next week we're gonna be start working we're gonna be starting to work on the grooming so i'm thinking maybe next week uh video we're gonna start like grooming the uh grooming the the goatee the beard so if for example if we're gonna do that so maybe we can groom the beard to look like this i'm really happy that we will have a chance to look at grooming in something that's simple so that people would be able to follow along and learn the basics of grooming and in the same time we do it like quickly and we don't have to do it like over 30 videos because we're going to be like grooming like long hair or something like that so that's it guys for this week i hope that was a little bit helpful i hope that you could understand now how to like make your your eyes where you can find resources for the model and for the textures and how you can set up your shader and uh if you have any questions guys just ask and uh i'm really happy guys that we've been doing this now for uh like two weeks uh three weeks less than three weeks and we are already uh almost 100 patterns on the page so thank you very much guys thank you thank you so much for that and uh i hope i can keep doing this and i keep doing keep providing you guys with with videos and showing you how i make how i make things so thanks guys and see you next week

Channel: Kubisi Art

Views: 35,554

Keywords: walter white, 3d, portrait, zbrush, maya, mari, wrap, cgi, cg, art, digital art, likeness, head, face, vfx, photoshop, fanart, realistic, digital, sculpture, sculpting, digital sculpting, breaking bad, artist, tutorial

Id: d6ZhuE24C64

Length: 75min 3sec (4503 seconds)

Published: Sat May 15 2021