PAINTED SCARS ON THE EYEBROW LIPS NOSE JSUT LIKE BLOOD SWEAT AND GRIME. FEW OF THESE WERE EARLY LOOKED DEV LAYERS AND DIDN'T MAKE IT TO THE FINAL
CREATED A CUSTMOM LIGHTING SCENE IN UNREAL TO PREVIEW THE TEXTURE CHANGES COMING FROM PAINTER
PAINTING EXTRA ROUGHNESS LAYERS ON TOP OF THE LIGHTSTAGE SCAN IS REALLY A MAKE IT OR BREAK IT
UNREAL ENGINE LOOKDEV
SCAN BASED ALBEDO COLORS CAN ALWAYS BENEFIT A LITTLE HANDPAINTED STORY TELLING
UNREAL ENGINE LOOKDEV
MORE SUBTLE VERSION OF THE WETNESS - REALLY DEPENDS ON THE LIGHTING
BREAKDOWN OF THE TILE-ABLE HANDPAINTED SKIN TEXTURE LIBRARY IN WORK IN PAINTER
SCAN BASED GEO WITH PHOTOGRAMETRY SKIN
STORY TELLING STARTS WITH ADDING AND ADJSUTING MULTIPLE PAINTED MAPS
INTRODUCED ONE MORE LAYER IN OVERLAY. BUMPINESS COMES FROM THE SAME MASK BY USED AS MASK
ELIAS LOOKDEV - I DONT THINK WE KEPT THE BIG SCAR ON THE CHEEK
UNREAL ENGINE LOOKDEV
UNREAL ENGINE LOOKDEV - PAINTED ALBEDO
UNREAL ENGINE LOOKDEV
ELIAS WITHOUT SWEATNESS MAPS
ELIAS WITH SWEATNESS MAPS
CAPTURED ON PS5
CAPTURED ON PS5
CAPTURED ON PS5
CAPTURED ON PS5
CAPTURED ON PS5
CAPTURED ON PS5
CAPTURED ON PS5
Responsible for the hero character's face and creature skin LookDev. Work was mainly done in Substance Painter. Minor adjustment in UE. Painted the scar, blood, dirt, grime, sweat on separate layers in painter. Also created a creature skin library by painting 14 different tile-able skin texture maps with unique imperfections and veins in Photoshop. It was easy to generate smart materials in Painter by multiplying them on top of each other. Also sculpted the back of Jacob's head ( scan didn't have geometry information. Overall it was a huge team effort to achieve the final super realistic look. I think the last few pictures I captured on my PS5 is the proof what happens when lighting engineering and character team works hand in hand
