Wednesday, April 27, 2011

Paddy Pass 3

Hair (Groom, texture and sim), Composite, Lighting(collaboration with Joe Creswell), Render, and Smoke by Andrew Young.
Crowd by Joel Dheer and Jared Merril. Paddy's Shader by Stephanie Marshall. Background shaders by Jack Hattori. Animation by Tim Hinton.


  1. I love, love, love looking at your hair passes. I'd love to know your work flow for styling hair. Mine just seems to explode. Anyway, great work. Keep posting stuff :)

  2. Hey thanks guys! So about my process... So I just wrote an enormous chaptered page on what it is and then blogger said it wouldn't publish it... so uh...I'll short hand it and then if enough peeps are interested I can do a tutorial or if it works out at Dreamworks or something I can walk you through it. 1:get head cap from orig model and UV really good. 2:Work in separate file on the head cap and reference it in to the working file. 3: Add hair curves and groom them. **Lock the lenght of the curves.

  3. Continued from above:
    For Maya it's much like modeling in how you move the CV's. For Shave you have excellent grooming tools to move around the hair. **Only move the start or rest curves never the current curves in Maya hair. Always create your rest curves from start or current because then you can use start curve attract which is very useful. I lost what number I was on so I'll just keep going. Once the groom is good you can paint maps for the color. Shave is nice because you can write RSL shader or bring in SLIM networks. For maya watch the spec settings and the color mutiplier. Also watch the translucence. By default it is really hight and makes the hair look weird. Once styled...

  4. work on the sim. Iteratinos and stiffness are key here. As well as start curve attract. The other settings help but Iterations is your main one. Then you have collisions. I use series of collide spheres and cubes. For shave it collides with any type of mesh.

    Once you have a pretty good simming hair system you can reference it in and attach it to the animated model/rig. I use parenting, constraining, wrap deforming, as well as rigs driving blendshapes that drive the mesh that the hair is connected to in order to have full control. For example the top hair piece is parented under the head bone. The eye brows meshes are wrap deformed. The beard mesh is wrap deformed. The mustache needed a lot more animator control so its mesh is parented under the head bone so it follow the head but it is actually being driven by a blend shape which is always turned on which in turn is rigged so I move the rig around and it in turn moves the blend shape and then in turn the mesh that the mustache is connected to. It works really nicely actually.

  5. So ya, there is quiet a bit more for rendering and shadows and ambient occlusion for hair... hmmm.. If enogh people are interested(like 20 or so) I'll do a tutorial and post it up on the hair maya to renderman or mental ray work flow that is actually very predictable, stable and capable of pretty much anything. Maya hair has gotten a bad wrap but it actually is fully capable of any type of hair.....except like hair on Tangled which it would struggle big time with.haha.. Ya they wrote their own special amazing hair solver for that... Very cool. anyhoo. Hope that helps.

  6. Wow, thanks so much. This actually helps a great deal. There's a LOT in here that I didn't know about at all. I've been working with polygonal hair forever and as a result, I've never gotten a chance to just sit down and make Maya's hair look good. I didn't even know it was possible until I saw your blog, lol. But this has really inspired to try.

    And yeah, I this means I'm #1 in line for an in-depth hair tutorial ^^;

    Thanks again!