Hence, the fur should be accurately groomed in ZBrush. The fur is quite sparse and the result of this step in ZBrush will be sent directly to the host application such as Maya to be used along with a third-party hair plugin like Shave and a Haircut. In the production stage, the fur almost has to be done again but with a big difference. Thus, in this stage I relied on ZBrush (Fibermesh), I tried to be as fast as possible and not caring about the details much, basically, the direction and length of the fur mattered the most to me. In the prototyping stage, the idea is to preview the final product in a really rough and quick way in the beginning of the work, the reason being, producing works that contain hair or fur stuff usually tend to become time-consuming and laborious, therefore you need to be able of making sure that the project is advancing on the right track by previewing the final result in a progressive manner and from the start. One workflow that I seriously tried for the first time was treating the tiger fur in two different stages, prototyping and production. Hair and fur are often tricky to do and there is no one definite solution to create a pleasing result in all cases, for instance, short hairs may incorporate a different approach than long hairs and so on. YASIN: Working on the tiger image ( Cold as Lava) was an absolute pleasure. Buying those DVDs, everything just changed for me and I got determined that this world of VFX is where my career going to land.Ĭan you explain for workflow and key insights you learned while producing your tiger image? I never forget this, I didn’t have enough money to buy them so I had to ask my parents for some money and obviously it wasn’t easy to get that large amount of money, so to earn that, I cleaned all our house walls and in return my mother grant me the money to buy them, haha, and I promised her you won’t regret giving this to me. It was a very basic introduction to Maya and didn’t tell me anything interesting really, until a year later that I found out about 50 Gnomon DVD series about Maya. At the age of 14, I became really interested in 3D and thought this might be the way to go to illustrate those dreams, therefore I bought a book about Maya and started learning it. Often I tried to draw them but because I wasn’t good in drawing at all which still I’m not, I wasn’t really able to illustrate them. YASIN: I’ve been interested in VFX roughly since Big Bang! In fact, when I was a kid I always used to live in some fantasy dreams and wondered how to bring them to life.
Learn more about the Animation Mentor VFX program. His work speaks for itself, but we want to applaud Yasin for his incredible imagery and for sharing his process with our VFX community.Ĭheck out Yasin’s work and tutorial in 3DArtist Magazine Issue #61. Yasin Hasanian is a talented CG artist from Iran.
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