The audio is finished! It will be played back in sync with the video, and viewers will put on headphones to listen to it. Many thanks to Chris Bishop, who recorded, edited, and composited all of the audio. I wanted to post all of the elements for the installation online since I realize so many people won't be able to make it to the exhibit: Final audio for I Am Not My Disease.
Here's the poster I sent out today along with press packets. I know I've skipped a few steps in between the color maps and the final image, but I struggled with the eyes so I ended up using the photograph I took and overlayed it on top of the model. I also used Shave and a Haircut in Maya to generate her hair, but added a photo of her bangs on top of it. As for the words, I set them up in Illustrator and projected the file onto the model in Maya.
I took it to a local printer and had them put a UV coating on top of it. It makes it waterproof and adds dimension and shine.
Last week I drove up to Wyoming so my uncle and I could build the pieces for the installation. He helped me (read: did all of it) put together a custom frame for the TV, a lightbox, and a small, open-ended box that will conceal the sensor chip and computer. He has a great workshop that has everything you could imagine. I don't have final images on anything, but it all came out really well!
Below is a snapshot of the rest of the maps and each added output image.
Specular, bump, and subsurface scattering maps in order:
As you can see the most realism in the figure comes from the subsurface scattering. The map itself doesn't do much, but adding the attribute in Maya significantly enhances the quality of realism. The skin texture is warmer and the darker areas become brighter, and the subsurface scattering mimics the natural glow of skin, bringing the model to life.
I've spent the past few days working on the color map for the model. It has taken me a while because it's the most important...not only does it have the most information but all the other maps (specular, diffuse, bump, subsurface scattering) will all be developed from it. I started out piecing together my reference photographs in Photoshop, and then took it into ZBrush and used ZAppLink to modify it and get a higher quality color map. I tried working in Body Paint 3D, but because I've barely used it I really didn't want to spend the time learning it again and found that ZBrush worked much better for my workflow.
This is what my UV's and color map looks like:
Here's the first image I've rendered using only a color map:
In doing research and coming across a multitude of problems, I've realized that there's really not much regarding online tutorials or how-to's for rendering displacement maps. I wanted to provide my steps/settings in both ZBrush and Maya since I ended up with a fairly successful render (after a few long, grumbling hours, a lot of head scratching, and help).
Finally made it into ZBrush. I layed out UV's beforehand, and subdivided the mesh once in Maya before importing it. I've found that the UV's read better (and ultimately the displacement maps) if smoothed once. The video is about 30 minutes compressed down to about five. (PS. The eyes look odd in the video because the normals are reversed on one of them). It's very rough and I'm not anywhere near finishing the sculpt, but wanted to capture a bit of it so you can see my process. I always have photo reference up while I'm sculpting-it's crucial. It took a while to get used to ZBrush again, it's been over a year since I've opened it...almost too long for me to even admit. I'll post exporting details once it's complete and ready to bring back into Maya.