1. Didja accidentally blow through the whole, "We're using our real names" thing on registration? No problem, just send me (Mike) a Conversation message and I'll get you sorted, by which I mean hammered-into-obedient-line because I'm SO about having a lot of individuality-destroying, oppressive shit all over my forum.
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Discussion in 'Film & Film Production' started by Mike Verta, Apr 18, 2018.

  1. My first attempt at the windows. Not gonna lie, these are tough.

  2. That last photo is very realistic. Is this for a show or are you doing it for fun?
  3. Just a personal project. But nobody's done a truly photorealistic CG TARDIS right, so I thought I'd give it a go.
  4. I look forward to seeing a match move with a real camera, the one you did with R2 was great, really makes it feel like the object exists.
  5. #25 Jerry Davis, Jun 8, 2018
    Last edited: Jun 8, 2018
    Mike: With respect to your discussion of getting R2D2 color right and ultimately having to take a picture and choose it from the photo, what was the medium your final product was going to be in? Were you doing film out? Or were you trying to match the color as it appeared in the theater?
  6. Even his color as it appeared on Eastman Kodak negative stock in 1976 varied somewhat, but that was generally the reference point. It helped that I had been working on a 4K restoration of Star Wars and knew what that target was to a very high degree of accuracy. But I have to adjust him for every output that he's used in, whether that's print or something online or HD television or whatever.
  7. The painting process -

    David Healey likes this.
  8. I accidentally blew out my last update, but here is an updated one, anyway. This is a "penultimate" version - with many edge details and additional wear and tear still necessary.

  9. The Block Transfer continues...

  10. Impressive attention to detail and very photorealistic, great work!

    I've once heard it phrased as "imperfection is the digital perfection", which I thought nicely summed it up for photorealistic cgi work.

    Is there any reason in particular why you hand paint all the detail instead of going for a more procedural approach with e.g. Substance Painter, and then only painting in the things you can't automate?
  11. I sometimes use procedurals, or use scripting to add details - for example the dust settling on the horizontal surfaces is being controlled by a World-Up sampler node - but in general procedurals do not have the range of variation and (more importantly) intelligent, logical distribution of patterns by default. You might luck into something, or be in a context where it doesn't matter, but for hero close-up models like this, I tend to give every part of it its own unique set of details.
    Martin Hoffmann likes this.

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