This is really amazing, I would maybe lower the fog of the scene, even though it gives quite a bit of atmosphere it obscured a tad too much atm. Lovely piece!
Outstanding work. The only thing I could suggest is to try experimenting with a warm light coming from the right hand side that would highlight her face. AAA quality work.
Blew me away when i saw it on artstation earlier and it blew me away seeing it again here. Totally awesome work. I think my favourite part has to be the hair, the face in general is amazing but you absolutely nailed that hair. Great job!
Amazing stuff 7mch! Might I ask what was your workflow for making the hair? Did you manually place strips in your 3d app? Any tool that made this task easier?
Really enjoy the side profile shot of the face and upper body. Composition is "clean" and love the window right to the side of her face, helps pull the attention to your focal point with a stark contrast in value.
@Erik Rading nailed the value critique/paintover. I think his adjustments in values to pull your value range out a bit more, and it really helps. Your original shots do only work with like 50% of the value spectrum, most of which is very crunched and flat using only your colors and highlights to pop her off of the background. Outstanding work
@Add3r and @Erik Rading - I disagree (respectfully). I think sinking into the atmosphere and *not* popping out is part of the charm of this shot. She's a sharpshooter after all and blends in to her environment. As a pro working at a well known studio, I'm pretty sure 7mch knows exactly what look they're going for.
@Add3r and @Erik Rading - I disagree (respectfully). I think sinking into the atmosphere and *not* popping out is part of the charm of this shot. She's a sharpshooter after all and blends in to her environment. As a pro working at a well known studio, I'm pretty sure 7mch knows exactly what look they're going for.
Being a pro or working in a respected studio doesn't mean you're infallible. Art is never perfect.
On a more technical note, atmosphere generally has little to do with not using the entire or almost full value range. Look up "foggy portait" on google images for close comparisons. Most images use a full range, and those that don't are composed with that in mind and use contrasting values to distinguish the forms. Maximizing the value range is something our visual system will do naturally when in that setting, but when presented in a picture that work needs to be done through camera exposure or with post.
Damn, this is fricken gorgeous! There's a question I have concerning the layer clone technique you mention on 80 Level. Whenever I try it, the second set isn't entirely sewn together, there's a gap between the pieces and the layers. However in one Marvelous Designer screenshot it looks like there is a bridge between them. I'm at my wits' end. Am I seeing things that aren't there?
EDIT: I think I found a solution
Create Layer Clone
Flip Normals of the inner surface
Increase Collision and Rendering Thickness according to the value set in the Physical Properties of your Fabric(s)
Simulate
After you create the Layer copy, you get two kinds of sewings on the original patterns:
The sewing between the original pieces
The sewing of the Layer Clones onto their respective original pieces. (It's a sewing around the entire border of the piece)
You select the latter. Their "Sewing Line Type" should be set to "Turned" by default. Change it to "Flat" and simulate again. You may want to adjust the particle distance here, as this has a big influence on how the borders will look. Now you can play with the presets and parameters until it looks how you want it to. I don't know if it's actually a good way to do this, but it worked for me.
Replies
What's your breakdown for the hair and skin!?
Justo: I used Xgen to place the curves.
@Erik Rading nailed the value critique/paintover. I think his adjustments in values to pull your value range out a bit more, and it really helps. Your original shots do only work with like 50% of the value spectrum, most of which is very crunched and flat using only your colors and highlights to pop her off of the background. Outstanding work
Being a pro or working in a respected studio doesn't mean you're infallible. Art is never perfect.
On a more technical note, atmosphere generally has little to do with not using the entire or almost full value range. Look up "foggy portait" on google images for close comparisons. Most images use a full range, and those that don't are composed with that in mind and use contrasting values to distinguish the forms. Maximizing the value range is something our visual system will do naturally when in that setting, but when presented in a picture that work needs to be done through camera exposure or with post.
There's a question I have concerning the layer clone technique you mention on 80 Level.
Whenever I try it, the second set isn't entirely sewn together, there's a gap between the pieces and the layers. However in one Marvelous Designer screenshot it looks like there is a bridge between them. I'm at my wits' end.
Am I seeing things that aren't there?
EDIT: I think I found a solution
- Create Layer Clone
- Flip Normals of the inner surface
- Increase Collision and Rendering Thickness according to the value set in the Physical Properties of your Fabric(s)
- Simulate
After you create the Layer copy, you get two kinds of sewings on the original patterns:- The sewing between the original pieces
- The sewing of the Layer Clones onto their respective original pieces. (It's a sewing around the entire border of the piece)
You select the latter. Their "Sewing Line Type" should be set to "Turned" by default. Change it to "Flat" and simulate again.You may want to adjust the particle distance here, as this has a big influence on how the borders will look.
Now you can play with the presets and parameters until it looks how you want it to.
I don't know if it's actually a good way to do this, but it worked for me.