Facial Skin Layered Mapping

 

Part 4.4 –  The Bump Maps: Fine Tuning

Before You Begin

Have your work file (SkinFrontSectionWork<NNN>.psd).  In your work file have only the Bump layer set open and visible.   Have your reference files available.  Have your model open in A:M.  Have the Chor window open.

Introduction

The Bump maps are all created and now we need to adjust each feature by adjusting the Photoshop layer Opacity and the map percentages in AM.  Once this is done we can move to the next Map types.

 

  1. We now have all of the Bump Maps created.  These should be applied to the model in the order show in table 4.4.1.  Percentages must are adjustable (except for Color which should be at 100%).

 

 

Table 4.4.1

 

  1. Render a screen test as a QuickTime movie, Sorenson 3 at VGA resolution, 15 fps, final quality,  Save as <model>/Screen Tests//ST004.mov.
  2. Open the model planning board (<model>/<model>_Control_001.xls) and go to the TTD page (or, just use any method to make a list) and playing the screen test animation in ‘loop back and forth’ and at varying sizes make a list of adjustments you wish to make (Figure 4.4.2).  You now want the model’s bump maps to look as close as you can get them to how you want them on your final product.

 

 

Figure 4.4.2

 

  1. Make any adjustments (reduce opacity on this layer, increase on that layer, etc) you feel are needed and do another screen test repeating the process until you think you have it right -- this is a process of trail and error.  My first screen test looks a bit too much like hard orange plastic Figure 4.4.3.   I mess with the color increasing the Opacity of the ‘gray’ and ‘pale’ layers.  To add softness I try duplicating the Softness Cap layer.  The color works however increasing the contrast of the Softness Cap layer does not work so I back out of this.  The smaller changes in the random pattern in the Softness Cap are not contrasted enough to affect the hard looking cheeks and forehead and if I increase the entire layer the larger patterns become too pronounced.  To soften the areas I’ll need to create an additional Overlay layer and bring out the smaller light dark patterns. 

 

 

Figure 4.4.3 – Hard Orange Plastic

 

  1. I create a new layer above the Softness Cap layer and call it ‘Extra Softness’.  Using Dodge/18/33 I squint my eyes until I can see a pattern made by the subtle smaller lighter areas and then I randomly lighten these areas.  Then with Dodge/18/40 I squint my eyes and randomly darken the subtle smaller darker areas that run in-between (Figure 4.4.4).  Using Dodge and Burn I also create some vertical light/dark areas across the cheeks to break these up.  I re-create the maps and run another screen test (Figure 4.4.5). 

 

 

Figure 4.4.4 – Added Extra Softness layer on the right

 

 

Figure 4.4.5 – Model with the ‘Extra Softness’ Layer – forehead is still too hard

 

  1. This is better but the forehead still looks to ‘hard’ so I create another layer called Forehead Softness Additive (Figure 4.4.6) and I create a rough checker board pattern across the forehead to further diffuse the light.  My next screen test is right on (Figure 4.4.7).  I’m happy with the way the bump maps are looking (Figure 4.4.8).

 

 

Figure 4.4.6 – Added Forehead Softness Additive on the right

 

 

Figure 4.4.7 – Model with the ‘Forehead Softness Additive’ layer – enough diffuse is add to the forehead to soften it properly

 

 

Figure 4.4.8 – Final wrinkle map

 

 

Figure 4.4.9 – Final bump maps (wrinkle and pore maps plus color) on model

 

  1. Save work file then, save the work file to a new version.

 

Go to Part 5.1 – Back to the Color Map