Brad Pitt "Fury" (2014) likeness
Brad Pitt (Fury) 2014 likeness is the result I was able to come up with, during the course at CGMA Character Creation for Films and Cinematics.
Brad Pitt "Fury" (2014) likeness
Brad Pitt (Fury) 2014 likeness is the result I was able to come up with, during the course at CGMA Character Creation for Films and Cinematics
The first thing I did was look for references to Brad Pitt's age in the movie "Fury", so any image that depicted him in a period from 2013 to 2016 was fine. Then of course the main references on which I fully relied are those found in the premieres of the film; I also created a sort of 360 by aligning and rotating the images taken with the same camera and with the same focal length to have a better prespective of his head deformations watching it from different angulations and also I've found some life cast head references.
Main references
FIlm scenes, clothes, pistol, and some extra reference.
SCULPTING THE LIKENESS
Initially I sculpted the likeness starting from a sphere with dynamesh in zbrush having my references always on the side, then later, through the Zwrap Plugin I transferred the topology of the Vface of XYZ texture on my sculpture. Since then, I started sculpting my tertiary details such as scars or bigger wrinkles in HD GEOMETRY to have a better quality on details and faster displacement map export. To match the likeness quite often i was trying to match side and front reference with my sculpt using zbrush spotlight tool.
I started with a general blockout of the shape and composition of the clothes on Marvelous, then moved on to maya where I created a clean and suitable topology and then to zbrush where I put the finishing touches on the shapes and details. I modeled the boots on maya, added the details on zbrush, same thing for the gun and the jacket zip.
XGEN
And here comes perhaps the most difficult moment of the project together with the likeness: the hair. To understand the functioning and the realization of the side shading I spent days watching videos on youtube to understand the length of the various sizes of the hair cutting machine to make this type of shading on the sides.
I have to say that as regards the texture creation process using a Vface it is really very artistic friendly; I just had to tweak something here and there in photoshop, a slight color correction on the albedo map, and a desaturation of the red channel to have a very good effect already; same thing with the displacement map, I eliminated some deformation that didn't go well with Brad's face in the secondary shapes of the map and adding the details sculpted in hd geometry the graphic rendering is formidable, I've also painted a roughness\specular map in zbrush. The clothes have been texturized in Substance over a High poly version of the clothes. Furthermore, as you can understand, I tried to make the clothes very realistic, and considering that the protagonist of the film lives in a tank this must have been very dirty and so were his clothes. Even the dirt on the face was developed on Substance by bringing together multiple procedural maps.
SHADING ON MAYA ARNOLD
The final design is ported to Maya for later rendering on Arnold. The shaders of the clothes are very simple, an albedo, roughness and displacement map; while as far as the head is concerned, things got complicated being made up of more maps and more parameters, but in the end I managed to organize everything in the best way.
Head Shading in maya hypershade
Some other Breakdowns
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