Modeling Video (click to start, 1:12 Min) Organic and Hard Surface Modeling examples: Edge loops, anatomically correct deformations. Displacement and normal maps. Low polygon modeling, high polygon subdivision and sculpting.
My general workflow for modeling characters, environment and props consists in:
Drawing orthographic views and elevations.
Modeling the big silhouette first, no details.
Import into ZBrush, sculpt silhouette details using Dynamesh.
Retopology the mesh.
Open UVW, apply finer details.
Export retopologized model, displacement and normal maps.
In some specific cases, it could come to applying details from finished sculpting into the retopologized model.
Rigging & Skinning
Rigging & Skinning Video (click to start, 0:52 Min) Two characters, rigging using controls, skinning using Maya Muscle and nCloth and facial expressions using blendShapes.
For the first character, I am using the following functionalities:
Torso controls with advanced twist, stretchy spine with x axis scale joints.
Head constrains, that allow the rotations to center anywhere (neck, torso, shoulders, etc.).
Neck locks and shoulder constrains, one control for rotations and another for translations.
Arm and shoulder, forward and inverse kinematics for rotations and translations.
Elbow locking, with stretchy forearm centered on lock position.
Independent hand controls.
Leg forward and inverse kinematics with knee lock and reverse foot.
Skinning the body using Maya Muscles following anatomy and reinforcing edge loops.
Facial expressions with Maya blendShapes.
Texturing Video (click to start, 0:46 Min) Two examples of PBR texturing, based on UVW, and interacting with lighting and compositing in render time.
In these examples, you can see how the textures, applied to shaders, show up again later, once rendered as passes, in compositing, allowing a second, more accurate, grading pass and interacting with masks and visual effects.
In this infographic, you can see the interaction between PBR textures and the shader's node tree of an organic Character (face). Notice that I used four different maps for Reflections and three for Subsurface Scattering.
Compositing Video (click to start, 1:11 Min) Four breakdowns of compositing process.
Basing the renders on concepts, via layers using passes (e.g. diffuse, ambient occlusion, reflection, subsurface scattering, etc.), I export my scenes' pixel information using 32 bit exr format. This dynamic range resolution allows me to composite the scenes in a photo-realistic fashion and apply nodes and filters by rendering vector passes, e.g. motion blur or depth of field, in a fraction of the time compared to rendering directly on each frame.
This infographic shows the node tree of a typical composite and how each node performs a specific task in the final, graded shot.