There are so many different skill types in Computer Graphics and Visual Effects, that we often lose its connection to its traditional analog counterpart. Hair Styling, a term relatively young in the history of man kind, basically replaced the commonly known Barber (which was closer in relation to a butcher then) which brought about some amazing trends in Hair design. Today’s CG software does an amazing job at simulating the tactile feel of performing hair cutting and manipulation. No matter if your looking to cut or grow digital hair, or use the technology for non-traditional scenarios, (like fresh cut grass) Cinema 4D can help get you there. Once you have created your hair based asset, you can use it in any other app that supports Alembic IO. We show you how to set up your hair system in both C4D shading model and the Arnold Render shading model so you can not only use your C4D made hair in Houdini, Maya or Katana, but you can also make it render the same in all of them as well! That alone makes the value of this set of lessons PRICELESS!
Most new CG artists think of head or beard hair when creating their character 3D assets for the first dozen times or so. This more in-depth technique shown in the video, opens the viewers eyes to new possibilities, allowing much more realistic rendering possibility as well as fresh new looks never seen before at this detail. Learn to set up Head, Beard, Neck, Eyebrow, Eyelash, Nose, Nostril, Face, Cheek, Forehead, Ears and more!
After a bit of renewed research, and communicating with software developers, we confirmed the best possible workflow for building up hair sets by starting with polygonal set tags. This method requires, various blending and trimming techniques to be performed, however, it increases the accuracy over using the placement mapping technique.
Cinema Hair Shaders
Every 3D app has its own renderer. Cinema’s render engine is one of the best there is. It comes with all the needed shaders for the Hair system, so that it is optimized for performance and has been tested for maximum compatibility by Maxon’s quality control process. We show how to set up the default Hair Shading and Rendering for the Cinema 4D render engine in this chapter so the viewer can decide which they will use to follow the rest.
Multiple Hair Systems
Now we start to apply the master concept behind this video. By creating our multiple hair systems on our CG Character Head, it gives us the most amount of control in later styling and animation. Instead of relying on textures for hair coloring and precision, our method allows you to have pinpoint control over ever hair rendered.
When relying on Polygon Set Selection Tags on your CG Models to create Hair Objects, you will be forced to follow the contour of the polygons during render. The Maynard method simply lets you “style” your way into a nicely sculpted hair style.
Hair Combinations For Aging
One of the most common examples of requiring multi-colored or peppered hair, would be the facial beard area of men. Often times, they are a bit more course and show the edge angles of a shaved hair. When a man hits puberty, men will get variations in hair color, starting with a lighter version of their head hair, and ending with white hairs often compared to the beard on a famous wizard character found in recent films. We show you how to add age to your character in just seconds.
The entire eye area creates a circular “Burglar” mask of tiny white, semi-transparent hairs. These hairs can often even disturb the gentle area under the bottom eyelids creating little bump-like features. Some characters will require displacement mapping to help enhance the realism there. We use the hair direction in our case by showing how to create a circular pattern without paint brushing the direction of the hairs manually.
The last of the hairs are used to help the cSoft Render Effect blend the facial features together from semi-closeups. To help soften the render, but not damage it, we also show how to use hair transparency to help reduce the effect.
All characters require movement to come to life. It would be pretty lame to watch a character move across the screen, “throwing its voice”, while being stiff as a board, but what happens to the hair roots when you set up a characters pose morph tag? Find out how to set up a facial animation with our sample project and potentially fix any errors that might show up if you get assets from a 3rd party. Thanks to Maxon’s support team, we learned how to salvage existing work that some might throw away and start over. Check out how in this chapter!
Arnold is an advanced Monte Carlo ray tracing renderer built for the demands of feature-length animation and visual effects. Originally co-developed with Sony Pictures Imageworks and now their main renderer, Arnold is used at over 300 studios worldwide including ILM, Framestore, MPC, The Mill and Digic Pictures. Arnold was the primary renderer on dozens of films from Monster House and Cloudy with a Chance of Meatballs to Pacific Rim and Gravity. It is available as a standalone renderer on Linux, Windows and Mac OS X, with plug-ins for Maya, Softimage, Houdini, Cinema 4D and Katana. For more information, visit http://www.solidangle.com.
About The Instructor
Chris Maynard is the owner and Chief Public Partner of the profit-sharing organization known as cmiVFX.com. Surprisingly, the letters "CMI" in the company name are not an abbreviation for Chris Maynard Institute. The initials actually stand for the first company name, entitled "Creative Minds Imaging," which dates back to 1997 and is responsible for the creation of digital pre-press applications made from adobe products on roto gravure, which is a form of heat transfer printing. Since then, Chris has been the driving force behind a large majority of Application User Interfaces for the visual effects and computer graphics industries. He has designed application features, entire GUI's and partial GUI's that nearly everyone in the visual effects industry has used on some level. Applications like Photoshop, Painter, and Poser allowed Chris to break into the "commercial illustration and design world." This was when he decided to move away from the field of engineering. Before graduating from Rochester Institute of Technology for Advanced Computer Graphics, Chris studied Laser Holography for real 3D applications. In 1998, he became the first person in history to simulate holograms of helium neon laser light. He did this on a Cray super computer, using Houdini as the backbone of the project. Later, he moved on to become the Creative Director for several large corporations in which training for CBT (computer-based training) sparked his interest in combining all four of his practiced skills into one complete business operation. For the last decade, Chris has been assisting tens of thousands of customers deliver top shelf productions through training and extensive labor. He is a dedicated service provider for freelance compositing work whenever he is not managing cmiVFX. If you need him to solve a problem with your software or production pipeline, just email him at firstname.lastname@example.org.
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