great artist and interview !
happy to see you merried with an artist ! hehheh i guess its hard to find and great !
great artist and interview !
VRAIMENT TROP malade Raiden!
Si on joue… Shotgun Raiden!
Prend soin de ta petite famille la! je vais essayer daller te voir a chicago cet ete… sinon un peu plus tard!
fantastic stuff! Truly inspiring artworks
just insane the amount of detail… wonder how you achieve the chain mail
Excellent interview. You´re very talented! Love the details in your work!
And thanks a lot for sharing your workflow and all the infos.
A great interview! I love reading these things, since I’m still a university student and it helps me trying to find what I wanna do after I graduate…
For now, the inspiration is clear: Once I’m back from Japan, I’ll do some good old-fashioned all-nighters over zBrush
Good luck with any future projects, and remember to take the time and go out of your way to thank your wife for supporting you.
great info and work.
7 days to create Raiden on a major title is ridiculous.
Poor planning indeed.
Very inspirational works.really impressive…
I hope he does a Spawn model! I wonder if he has access to the Scorpion model, so he can pit Spawn against Scorpion like he did with Baraka and Raiden!
Very nice interview.Thanks alot man.
Wahh… c’est Bernard ‘the machine’ Beneteau …!
À voir ce post, j’imagine que tout va pour le mieux pour toi à Chicago… J’aime bien l’attention que tu portes au micro-détails dans z-brush. Ton Palpatine est très solide.
Excellente job mec… lâche pas, et viens nous voir si t’es à Montreal!
Thank you Zbrush Central for conducting this interview, & a HUGE thank you to Beneteua. You’ve shared far more than any of us would ever expect. I really enjoyed hearing about how you perfected the fine details on Raiden & Baraka’s costumes. VERY informative. It was quite a nice surprise to find out I had a work flow close to an artist who has already realized one of my boyhood dreams (working for Midway on an MK game). You really imspired me Beneteua, now I know that I may actually have a shot at that one day. I found the interview to be quite informative & the way you went into great detail about your workflow was awe inspiring & very admirable. I’ve always been a pretty closed off artist & not one to share my trade secrets but you really came out with a bang & showed us all how to get around detailing issues as well as other informative things. THANKS A MILLION. Zbrush Central, keep an eye on thiis guy, he’s already been big places & I forsee him only going bigger & better from here! THANKS again, Beneteua.
Some Questions about your workflow…
“8. I will build a game mesh, using the high-res mesh as a guide. I like to use 3dsMax and the PolyBoost plugin to do so. It allows me to focus solely on topology flow and triangle count, since I draw my polygons straight on the surface of the high-res mesh. So no need to worry about form”.
In point 8 what SubDivison level in ZBrush are you referring to when you say you use" the high-res mesh" as a guide. Also why don’t you just use the 6000 tris low resolution mesh and add detail to create the Game model. Why do you build it from scratch?
“10. Once this is done, I just need to do a surface sample pass. Projecting Normals, Diffuse and Ambient Occlusion maps to my game mesh. I do so with xNormal. Very fast and efficient.”
What model are you sampling the different textures from the in point 7. Is it the SubD level 1 exported from ZBrush and UV unwrapped without distortions? Do the textures from this model get projected onto your game model?
Regarding using Xnormal.
I use Maya’s mental ray Transfer Maps with the “Diffuse” setting to transfer Textures from one model to another. I transfer the Colour, Specular Colour, Normal and Ambient Occlusion separately using this transfer method.
Even when the source and target meshes are very similar there are quiet a lot of errors in the Texture. Is Xnormal a better option to do this task in your opinion?
Also I usually apply my Ambient Occlusion pass to my colour channel using various blend modes.
Does your ambient occlusion pass stay separate from the colour file texture in the Shader setup in the Mortal Combat game for example?
Do you recommend that I combine my colour and ambient occlusion file textures before I sample and transfer my texture to a game model? Or should I transfer these Textures separately and combine them afterwards in Photoshop?
Many thanks for the interview
Very good work. I agree about “learning a lot from Joe Seigenthaler”. I am still learning from him. (Though I taught him Maya… he now knows more than I do.) Very powerful talent, that guy.
Could someone please explain why he UVmaps the model twice? I’m trying to follow his pipeline but don’t fully understand.
“Once the high-res sculpt is approved, I will create a 4K texture for my high-res model. I will send my lowest subdiv level to Maya (and/or Unfold 3D) and do a quick UV job on it.”
Then he says…
“Once the game mesh is done, following all technical requirements, I will create my UV’s in Maya”
But I thought he already UV mapped the model the first time he imported the lowest subdiv to Maya, so what does he mean by creating his UV’s in Maya the second time around?
Sorry to be a n00b, I’m pretty new to this.
Ur works are really cool…
Amazing works!!! Its details are impressive!!!