Thanks, yes I mainly have been using Maya for some retopology work, 3Ds for some UV cleanup.
I'm trying to get rigging down in Maya. I thank those out there that have scripts available to help with this, because this is not my strong suit at all. When I started out making the Legacy of Kain models, it was with the intent to remake scenes from the series, with my models animated. I lament on how convoluted much of the processes for this all is. Maybe one day, it will seem intuitive.
For renders: for the models I've just made with the couple dancing, it's just using Zbrush and matcaps with lightcaps; for the Legacy of Kain models that have been textured, which is just the human and elder vampire Kain so far, I used Marmoset Toolbag 2. I'm looking into using perhaps Vray, or Mental Ray, for any animations I might ever wind up finishing. Or regular beauty shots.
If I can figure out what I am doing wrong on the facial rig, perhaps I can get something animated to show before I grow old and/or the world blows up I really hope so...
Not sure I'm qualified to comment on these but I'll do it anyway, I find the details destracting. It's like you sculpted detail that could fit within 1 million polygons then subdivided the model up to 30 million to add a tiled skin pattern or some little dots here and there, which makes it look more realistic in the final render. But I think spending less time on that and more time on the 1 million would make your sculpts look stronger.
Hm, I know this is a really, really old comment here. Life issues prevented me from really getting to much of this sooner, but if you were referring to the skin details on the husband and wife models shown on the last page, those bump details were only added using noisemaker to add to the model for the client's viewing, and it turns out for helping paint the model later (which wasn't something I was asked to do initially). However, the models were intended to be 3D printed small, so I was not going to spend time adding accurate skin pore data that would never come across in the end anyway. I explained that on a previous page, but didn't mention it on the last one.
I finished those models before last Christmas for the client. He printed them as a present for his mother. His father, her husband, died of an illness a couple of years prior, I think. He went me a video of her unpacking the present and very happy, some crying. It was very nice to be a part of bringing her, hopefully, some good.
In addition to the above, I have done a lot more on the Legacy of Kain models. My dad's had some health issues and the past few months have been pretty hectic. I had to shelve this for a good while. I never showed the Lieutenant Raziel I completed, so I might as well start there.
And this is a long video in Unity 5, showing a lot of the assets I've done. I need to optimize it so it doesn't slow down so much. It was made more for the fans of the series. Once it's optimized enough, I can edit together a proper trailer and hopefully add animated characters, make it playable.
Some more stuff: The Soul Reaver, fully aged, some finished shots of the Guardian Statues I showed ages ago -- my first time using Substance Painter for texturing.
In remaking wraith Raziel, I wanted to keep as much of the GlyphX cinematic model in mind, but also try for as much enhancements to realism as felt right. For instance, the GlyphX model was not modeled to be what vampire Raziel would have melted away into. The proportions are very different on things. His ear has migrated up his face; his arms are a lot longer and his legs are a lot shorter. Just for a couple of examples. Perhaps this was to reflect that his visage is warped due to waking up in the Spectral Realm and its distortion, along with this being basically what Raziel thinks he should look like. Anyway, for this recreation, I've made this model fit proportionally within the vampire model. So, this is what would be left over if his skin and flesh burnt away. Reasoning that the cartilage melted away from his lower ribs, that's the reason they are unconnected to the sternum. Some of Raziel's design was always concept over reality, and so the reason he has a nose, ears, hair, and the thin wing membrane left at all basically has to be chalked up to style over realism. I tried to think of logical reasons for things like the ribs where I could without completely changing the original character concept.
This is the real time model, rigged and posed out of Maya.
Modeled in Zbrush and Maya; textured in Zbrush and Photoshop; Rendered in Marmoset Toolbag 2:
Worked on defining further muscle groups that would have thickened in the back to support the wings. Also, having ripped away the large bone base, I left a deep cavity exposing both the double spine split he evolved and some of the shoulder blades, and then I added some fleshy remnants of the wing's flesh hanging off. The rig in Maya has blendhsapes, sculpted also in Zbrush, helping to correct for the muscles contracting, like here with the right arm pulled back.