Digital Human Experiments of Pete Mc Nally
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Latest comments
by Amy
2 hours ago

You need to make it clear that this is an interpretation of someone else’s character and credit them (Sam Reigel, from Critical Role).

by Amy
2 hours ago

As great as this is, it’s not actually “your character” so you should really credit Sam Reigel of Critical Role who created this character, and make it clear this is your interpretation of it, because you make it sound like it was all your idea.

by run 3
2 hours ago

Thanks for your post! It's been a long time since I read a good article and such a meaning! I hope you will continue to write articles like these for hobbyists! run 3

Digital Human Experiments of Pete Mc Nally
23 November, 2017
News

Pete Mc Nally has published an article on his recent digital human experiments. The artist asked his father to sit for him outside and started his photogrammetry journey. 

He shot more than 40 RAW photos, using his Samsung Galaxy S8. Then, Pete processed the files in a free version of DxO to remove vignetting, chromatic aberration, shadows and highlights, and to keep distortion. 

Results out of the box showed some promise. Overall form and volume were there with some detailed areas around the eyes quite well defined. Lots of noise too though, a chunk missing under the chin and nothing at all from the ears back. All in, there was a count of about 45 million triangles.  Generating the albedo texture helped the visuals a lot (see below) but I knew there’d still be cleanup in Mudbox, which has good hole patching for geometry. The relax, smooth and scrape brushes also work well for reducing noise in rough areas.
 
 
I used Instant Meshes to retopologise the high poly mesh, it can be a very handy tool to put out an all quad mesh to work with in real-time, here’s how the model looked, I also replaced the eyes with proper spherical eyeballs.

I laid out UVs on the low poly mesh in 3DSmax and baked albedo, thickness and normal maps from there, over then to Knald to generate high frequency detail normals, AO and cavity maps. Substance Painter and Photoshop were used to paint out shadows and highlights and fill in gaps in the textures, and hand paint specular and glossiness maps, to control which parts of the skin would look oily. I used Marmoset Toolbag 3 for look development, check out some of the textures below.
 

Make sure to read the full report here.  

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