First import the standard A-pose in MD and hit the board for the cheongsam. The sleeves waistband and collar are stiffened.
Export the finished character animation abc then import it into MD, click record on animation to get him to start simulating.
Lay out the uv of the plates in MD so that the exported clothes in fbx format can go directly into sp for materials.
Select the bones to enter pose mode and adjust the character’s pose. To turn on auto k-frames.
The character was bound before, so now it’s just k a pose at 100 fps. 100 fps was set aside before to do the simulation.
Pose the model in the same block as before in maya, apply a material and check the overall effect.
I use blender’s binding plugin for binding and brushing weights. One problem I encountered was that at first the hair couldn’t be bound in, i.e. it moved with the scalp.
Blender效率工具来了！新版最强三维人物自动绑定插件，堪称黑科技 Auto Rig Pro V3.67_哔哩哔哩_bilibili
I chose to use blender for the hair because the later animation wanted to be solved directly with the help of the hair dynamics feature. I also tried xgen before this and it rendered out better, but I didn’t know how to get him to solve it and maybe needed to go into houdini, so I didn’t end up using xgen.
After laying out the uv in maya go to the sp
Because my work is mainly stylized, I don’t want particularly realistic materials, and the realism is mainly added through NORMAL. When I draw the texture, I pay most attention to the base color, and I use texture generation to add a little bit of brushstrokes and dirty stains.
Combine with blender to adjust to a satisfactory result
I briefly looked at the rendering comparison between maya and blender, and I think maya is a bit more realistic, but I wanted a more stylized imaginative style, so I decided to move the scene into blender for the later rendering.
I found that the branches were just too laggy to keep three levels of subdivision into maya, and one level of subdivision loses some of the detail, so I used zb’s decimation master tool to convert them to triangles, and put the triangles directly into the modeled scene.
The same goes for the stone steps below, which I face-reduced after the zb carving.
Save two versions, the low model is the triangular faced model and the high model is the sculpted model, baked in sp.
First I use maya layout uv (blender would work too but I’m more familiar with maya)
Then I imported substance painter to paint the material.
I use bake to create procedurally generated stereo red shades so I can get a more natural overshoot. Then focus on the base color part of the eyeshadow. I also tried to go bold with shades of green and other colors, but in the end, I felt that the traditional red-orange color was more fitting for my character. Next on the roughness make the eyelids and lips smooth so that it has a watery lip glaze look.
I split the texture set into two and did the face and body separately.Once I’ve tweaked it in sp to a more satisfactory effect, I go into blender to view it and tweak it in conjunction.
Download a base character model on daz studio, I’m using 8th gen. Go into zbrush and sculpt it, focusing on modifying the face, I want a more cartoony effect. One level of subdivision to adjust large, three levels of subdivision to adjust details.
Note that even if the face is cartoonish it should follow the base face. Here’s a note documenting the qualities of the key features, the mouth, nose and eyes.
Go into blender and look at the character wiring, make sure the wiring makes sense after modifying the face so that I can follow up with animation later. Also, perspective is different in zb and blender, I use blender as a baseline and iterate in zb until I’m satisfied.