LIBRARY: Tutorials Reviews Interviews Editorials Features Business Authors RSS Feed

Carrara 5 Sub-Surface Scattering for Poser 6 models

COW Library : Tutorials : Ringo Monfort : Carrara 5 Sub-Surface Scattering for Poser 6 models
Carrara 5 Sub-Surface Scattering for Poser 6 models
A CreativeCOW Carrara 5 Tutorial


Carrara 5 Sub-Surface Scattering for Poser 6 models

Ringo Monfort Ringo Monfort
Inglewood, California, USA

©2006 Ringo Monfort and CreativeCOW.net. All rights reserved.


Article Focus:
Thanks to the new sub-surface scattering in Carrara 5, Poser imported models now can have realistic looking skin. In this tutorial, CreativeCOW leader Ringo Monfort details step by step how to use Sub-Surface scatting for realistic skin.


Introduction



For this tutorial I am using the Poser 6 James character and its related texture map files found in the Poser 6 runtime/textures/Poser 6 Textures/James folder.

In Poser 6 use the James HighRes model and any of the dynamic hairs presets. Save the file as a PZ3 file and load the PZ3 into Carrara 5 via the Transposer format.

Once in Carrara 5 you may want to zoom into James' face to setup your scene.

The default lights that came in with James should be fine for doing your final render.

The key areas for this tutorial are the texture room and render room.

The James model doesn't have a Highlights texture map so we are going to create one using with Photoshop. This map will be use in Carrara 5s highlight channel and it will give us a more realistic image.


1. Highlight channel



Here you will need to load a highlight texture map created in a paint application such as Photoshop. For this tutorial I'm using Photoshop.

In Photoshop load the James_SSS.jpg  texture map so we can convert it into a highlights map.

 


Click on graphic above to see larger image 


Use Levels and darken the image to the setting shown on the screen shot. If you wish to add more high-light areas you may want to use the Dodge tool and add white areas to the map. The white areas are the ones that will have a highlight in the Poser figure.

Once done, save your file, close Photoshop and let's go back to Carrara 5.

Load your highlight texture map into the highlight channel in Carrara.

 


Click on graphic above to see larger image 


2. Bump Channel



The James character contains a Bump texture map found in the Poser 6 runtime/textures/Poser 6 Textures/James folder. Load it into the Bump channel and set the bump value to 25% as shown below.

 


Click on graphic above to see larger image 



3. Subsurface Scattering Channel



This is the key ingredient for realistic looking skin the SSS channel.

Here are the SSS settings:


Click on graphic above to see larger image 


The default 100% intensity is too high for skin tones, a setting in the range of 30 – 40% is best. The translucency value should be 25 to 35% and the default gray color should be change to a reddish color to give the face a nice natural glow. See the setting in the screen capture.


4. Photorealistic Render Setting



Save your Carrara file and now let's go to the render room and apply these settings:

 




 5. The Final Render Image.


 


Tutorial by: Ringo Monfort

Feel free to ask questions or comment on this tutorial in the Carrara Forum at Creativecow.net.

 




If you found this page from a direct link, please visit our forums or read other articles at CreativeCOW.net





 


Related Articles / Tutorials:
Could This The Real Reason Apple Wants To Ditch Intel?

Could This The Real Reason Apple Wants To Ditch Intel?

Creative COW's Tim Wilson thinks this is the real reason for Apple's announcement that they will drop Intel. Do You agree?


Creative COW
The Cinematography of Altered Carbon

The Cinematography of Altered Carbon

Today we explore the cinematography of Altered Carbon with Directors of Photography Martin Ahlgren and Neville Kidd.


Ben Consoli
Know Your Film Editing History, Part 1

Know Your Film Editing History, Part 1

Knowing about the history of film editing can help you understand how best to use these tools today, as well as point to where film editing might go in the future. Join feature film editor Sven Pape, host of "This Guy Edits", for part 1 of his fast-paced, example-packed conversation with Los Angeles-based filmmaker and film teacher Tyler Danna.

Tutorial, Feature
Sven Pape
Preparing to Edit the PyeongChang Winter Games, Pt 1

Preparing to Edit the PyeongChang Winter Games, Pt 1

Growing up, Kylee Peña says that she was always glued to the Summer or Winter Olympics. And as a young and ambitious video nerd, she wondered what went into the incredible number of visual stories being told. Between pre-cut packages and live footage and montages put together with moments that had happened seconds ago, she couldn’t fathom what went into the teams who created this media. But for the next few weeks, her friend Mike Api is in PyeongChang, South Korea, where he’s working as a freelance editor on the Olympics for NBC. Having been through the Olympics editorial experience before ??" the Summer Games in Rio two years ago ??" he knows he has a lot of interesting stories to tell us while he’s working.

Editorial, Feature, People / Interview
Kylee Peña
Preparing to Edit the PyeongChang Winter Games, Pt 2

Preparing to Edit the PyeongChang Winter Games, Pt 2

Growing up, Kylee Peña says that she was always glued to the Summer or Winter Olympics. And as a young and ambitious video nerd, she wondered what went into the incredible number of visual stories being told. Between pre-cut packages and live footage and montages put together with moments that had happened seconds ago, she couldn’t fathom what went into the teams who created this media. But for the next few weeks, her friend Mike Api is in PyeongChang, South Korea, where he’s working as a freelance editor on the Olympics for NBC. Having been through the Olympics editorial experience before ??" the Summer Games in Rio two years ago ??" he knows he has a lot of interesting stories to tell us while he’s working.

Editorial, Feature, People / Interview
Kylee Pena
Blackmagic Fusion 9 Advanced Keying: Fixing Problem Edges

Blackmagic Fusion 9 Advanced Keying: Fixing Problem Edges

In this advanced keying tutorial for Blackmagic Fusion, longtime VFX artist Simon Ubsdell addresses a common problem: edges too brightly lit, along with light wrap that makes compositing a challenge. Learn how to build custom keyers using Fusion's node-based compositing that solve the problem more quickly and more completely than traditional layer-based approaches.

Tutorial
Simon Ubsdell
An Open Letter to Incoming Women Freshmen in Media Programs, by Kylee Peña

An Open Letter to Incoming Women Freshmen in Media Programs, by Kylee Peña

A lot of so-called “open letters” on the internet address the outgoing graduates of programs. And while they should bask in the glow of congratulations and good luck because they worked hard, they earned it, and they have some serious challenges on the horizon, this letter isn’t for them. It’s for you: the young woman who is leaving high school behind and beginning your first year of college in the next few weeks. Read on as Hollywood workflow supervisor and president of the Blue Collar Post Collective Kylee Peña reminds you: You have so much ahead of you!


Creative COW
My Illegal Internships: An Oral History, by Kylee Peña

My Illegal Internships: An Oral History, by Kylee Peña

Sure, unpaid internships aren’t exclusive to post production; however, for some reason we’ve collectively decided that the single biggest way to prove one’s merit is by working in some capacity for free. It’s almost as if everyone believes that because they suffered the difficulty of doing often humiliating or degrading work for free, everyone else should too. There are certainly times that personal enrichment worth the sacrifice to work for free, but employers, do you know if what you're asking interns to do for you is even legal? Follow along as Kylee gives examples from her own past internships to highlight current requirements, and lays out some suggestions to a fairer, more productive future for everyone.


Kylee Peña
An Editor's Epic Journey, by Katie Toomey

An Editor's Epic Journey, by Katie Toomey

What do you do when your company folds and there's no local work? Whatever you have to. For Katie Toomey, that meant emptying her savings and heading 2000 miles west to Los Angeles, with no job in hand. The only options were make it or break it. The journey itself was difficult, but the hardest part may have been the only thing that made it all possible: asking for help. This is a truly inspiring story with tons of real-world examples of how to accomplish what feels impossible at the time.


Katie Toomey
The Evolution of Immersive Media

The Evolution of Immersive Media

Immersive media is not new. Emerging technologies, such as VR and AR as we currently know them, are simply part of an evolutionary path making media more immersive. Many commentators and industry professionals became cynical after the short life-cycle of Stereoscopic 3D, and are hesitant to embrace VR, calling it another fad. International award-winning engineer, editor, colorist, VFX artist, stereoscopic 3D artist, and Head of Operations at Auckland's Department of Post, Katie Hinsen sees it differently. These technologies are simply steps within a much wider ecosystem, says Katie, where it's the combination of failures and successes that lead us towards what immersive media is to become.

Editorial, Feature
Katie Hinsen
MORE
© 2018 CreativeCOW.net All Rights Reserved
[TOP]