Jorge Suarez, Argentina
Making of La Espera
I am proudly present this making to all the great artists. La espera was created entirely in Lightwave. At first we used the 9.3 version which had already incorporated significant advances in fast skin y global light, then look at version 9.6 I could see that the improvements were even more notable, therefore rendering was done in this latest version. In the following pictures you can see the modeling process.
我很高兴向各路牛人介绍我的流程。La Espera（译注：英文是“pending”，小baby在等午饭哈）使用 Lightwave 创建。下面是建模和材质的设置。
Note that Lightwave is often occasionally send error and therefore lose the model file or scene. The solution to this sort of trouble is to duplicate the objects. This copy of objects given the chance to show more details in the modeling process.
Here the process is to basically form and leave empty spaces and then put eyes, nose, ears and mouth.
We have created the separate objects with full level of details. Then the model is subdivided and merge the polygons, but we must take into account the number of points that were generated as they should be equal to each other. This technique avoids odd merge point resulting in a rectangular grid and without triangulation.
做好耳、鼻等细节部分的模型，然后将各部分拼接到头部模型上，并打开细分模式。注意合并多边形时接缝处产生的 多余的点，尽量让它们对齐并一对一对地合二为一。这样可以避免不必要的麻烦。（译注：因Subpatch这种细分模式不支持多于4顶点的多边形的细分，所 以需要焊接接缝处的点，避免出现像砖墙那样错开的情况。Catmull-Clark模式没有这种限制。LW支持这两种模式，Maya采用的是 Catmull-Clark模式）
We demonstrated binding of the subdivision and separate objects. Then the basic model of the body and the shirt is modeled.
In Modeler, the shirt has a minimal amount of polygons because they use the Layout for Node displacement for details. Geometry tab in the Display subpatch level increase to 30 and get the desired results.
衬衫模型不用弄得那么仔细，我们可以在之后应用位移贴图来创造细节。在 Layout 里，subpatch level 设置成30可以得到更好的效果。（译注：这里疑为 3 而不是 30，如果是30的话，每一个四边形都会被细分成30*30*2=1800个三角形，这是非常……变态的。勇敢的各位可以试试，我是不敢试）
Also joining the head to the body and wrinkles added in the neck. Till now our work of modeling is completed.
Spline included for the hair, eyelashes modeling and the hand. The hair has Spline type guides. These few guidelines are sufficient for Fiver FX makes the abundant hair. The eyelashes were created with Subpatch (see below picture for details)
The hands lack the details in some areas. For example, it was not necessary to create all the fingers, only the thumb is added others missing in the scene.
To avoid unnecessary work, with a previously saved scene type “Layout” with the corresponding camera position. They identify the sections that needed work and what not. Final Details…
The eye has several layers with different volume to depth.
The iris, translucency and reflection is responsible for capturing the brightness of the light.
调整虹膜表面的 translucency 和 reflection 这两个值，让它能产生反射高光。
As for the brightness of the main light, use a plane with polygons and properties of UV map with Luminusity 500%. This scene also served as HDRI for its high light irradiation.
As you can see in the bottom of the chair, a set of polygons created in low-quality function to act as generators of shadow.
Final model with preview of textures.
Note: All textures are 360 degrees. Surface baking camera option gives us this possibility.
材质预览。用 surface baking camera 就可以360度预览材质了。
The images are displayed on their own. It often happens that when you view the screenshot of setup, that is more explicit then the words.
lights Area type (main and lateral support for filling) accompanied by Global light more HDRI up the entire lighting system. 8 in quality and avoid noise in the projection of shadows that even 6 is sufficient.
再加两个Area Light用于前后的填充光，全局光采用HDRI。Area Light的 quality 调为8，如果只是为了阴影降噪，6就够了。
It is here, among other things, I decided to do the rendering in version 9.6. Unlike previous versions 9.6 incorporates “Use gradient and Use bumps.” These options add additional details important to finish, especially the Nodes fast skin.
在LW 9.6的 Radiosity 设置里，“Use gradient”和“Use bump”两个设置要选上，尤其是采用Fast Skin节点的时候。这样可以给表面增加更多细节。
n postproduction Noise is added, a point of blur, chromatic aberration 1 px, is working on the curves and the variation of tones.
Many critics see the book suggested a change in tone with a tendency brown to generate drama buff but I have decided to change slightly towards the blue due to almost 50% is skin and my fear was the monotony of color.
On the other hand I have played through a dramatic look lost and calm, being patient in waiting for their lunch time. Hence the derivation of the title.
I hope you enjoy. If you want to know more about my works can enter the following web site: www.buildmultimedia.com.ar or write me via email firstname.lastname@example.org . I will be eager to share with you from Argentina.