Digital Human Experiments of Pete Mc Nally
Subscribe:  iCal  |  Google Calendar
7, Mar — 12, Jun
San Francisco US   19, Mar — 24, Mar
Anaheim US   23, Mar — 26, Mar
San Jose US   26, Mar — 30, Mar
Washington US   30, Mar — 2, Apr
Latest comments
by Jeff
2 hours ago

I just based my landscape material on this. I just wish I could exactly figure out what is going on with normals, ao and displacement here.

by Christopher Buller
4 hours ago

That was extremely helpful! Thank you!

Well, small/medium intuos pro is way cheaper that iPad Pro + pencil... just saying... And it works better with ZBrush...

Digital Human Experiments of Pete Mc Nally
23 November, 2017

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.  

Leave a Reply

Be the First to Comment!