Bought myself a bit of kit called Faceshop 8. It works in two ways, It uses any high-res photograph and takes the information from it to alter the geometry of a 3D model. It then uses the image itself to creatue a UV map for the model's texture. The quality of this depends very much on the the source image and a bit of clean up is required.
The image below is my first bash at using the software. You can see the stages of making the face in the following screen grabs.
The chair and background wall were all made very cheap and quick within Maya. The various elements were saved out in layers to Photoshop and then a few hours were spent painting it up to a finished level. From start to finish was about a days work.
The advantages of this technique are that it gives you a leg up capturing a likeness (which can be a tricky endevour at the best of times) Also, once succesfully applied to a 3D face, you have the freedom to pose this head from any angle while retaining the likeness and have the benefit of all the expression morphs available with your 3D head. Basically if you can get the likeness right it will give you consistency over any amount of illustrations or comic panels featuring the character.
I'm going to use this process on the next Vixens adventure. All my workmates from the art team are going to appear as RAF Spitfire pilots, (with the addition of some oversized handlebar moustaches.)
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The image below is my first bash at using the software. You can see the stages of making the face in the following screen grabs.
The chair and background wall were all made very cheap and quick within Maya. The various elements were saved out in layers to Photoshop and then a few hours were spent painting it up to a finished level. From start to finish was about a days work.
The advantages of this technique are that it gives you a leg up capturing a likeness (which can be a tricky endevour at the best of times) Also, once succesfully applied to a 3D face, you have the freedom to pose this head from any angle while retaining the likeness and have the benefit of all the expression morphs available with your 3D head. Basically if you can get the likeness right it will give you consistency over any amount of illustrations or comic panels featuring the character.
I'm going to use this process on the next Vixens adventure. All my workmates from the art team are going to appear as RAF Spitfire pilots, (with the addition of some oversized handlebar moustaches.)
Placing points on key parts of the face will dictate how the face geometry will change
Once mapped to the 3D head you can alter many of the sliders to fine tune the appearance
Exported out from Faceshop, I did bit of clean up work to remove the directional shadows that were present in the original photograph. I felt I lost a bit of the likeness in this process but it's looking less like a pasted photograph now and has it's own style. Hopefully I can recapture some of Peter Cushing's likeness in the digi painting process.
Lastly I modelled the back wall to match the boardroom location in the movie.
