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Creating Efficient Digital Doubles for VFX

Maya, Wrap & ZBrush Character Creation Workflow with Pat Imrie

Chapter List

Description

Learn how to create digi doubles for VFX production quickly and efficiently without sacrificing on quality using an industry-standard workflow. This 3-hour workshop by Pat Imrie is aimed at beginners without any experience creating a digital double, though the information included will also be helpful for seasoned professionals looking to expand their knowledge and update their workflow.


Pat’s goal with this workshop is to replicate as closely as possible what it would be like to work on a digi double task in a studio setting. Using scan data from Clear Angle Studios, a supplier of scan data for the film and TV industries, the workshop kicks off with a lesson about how to prepare the scan data in order to maximize how it can be used to create an asset at multiple levels of detail. He then explains in detail how to use Wrap by Faceformto match the base mesh to the scan data before exploring various techniques that can be used for quickly replicating the clothing using Maya and ZBrush.


Additionally, Pat walks through how to build a basic-pose rig to help repose the asset and looks at how to project and test texture maps to ensure the asset is properly prepared to pass on to other departments.


By completing this workshop, you will have gained a better understanding of the workflows used to create high-quality digi doubles and what their place is within a production pipeline.


The base mesh topology that Pat created specifically for this workshop is included as a Project File in .OBJ and .FBX formats


Duration: 3h 00m

Format: HD 1920x1080

Chapter List

Pat Imrie

Asset Lead/Supervisor

Pat Imrie has worked in the VFX industry for over 10 years specializing in asset creation. Prior to VFX, he worked as a generalist artist for 7 years across multiple disciplines for TV, animated feature film, advertising, and game development. 


Pat has worked for companies including DNEG, Cinesite, Scanline VFX, Important Looking Pirates, Lola Post Production, and The Third Floor. Alongside his professional work, he has taught CG and VFX to students and professionals alike for over 15 years.


  • I’ve had the privilege of working with Pat for nearly a decade and I’ve known his work for longer. He is by far one of the most talented, driven, and resourceful artists I know, and on top of that he is an outstanding educator, and those two roles are a rare combination. Don’t miss an opportunity to learn from this remarkable instructor.

    - Madeleine Scott-Spencer
    Sculptor

  • Having had the privilege to work with Pat on a number of projects, I can attest to his exceptional talent and dedication. His unique insights and hands-on approach make him an outstanding mentor. If you’re looking to advance your skills, taking a course with him is a decision you won’t regret.

    - Rebecca Manning
    VFX Supervisor at Cinesite

  • I’ve known Pat for a few years now. He really knows his stuff, his modeling is second to none and working with him was a pleasure. He understands the nuances of cross-department coordination and cooperation and how things should be organized and created to ensure smooth workflow. Pat’s a good guy who is an asset to any team of people, whether they be a VFX team, or a team of students. He’s reliable and will always offer solutions as well as helping others devise a solution themselves.

    - Alistair Darby
    Senior Texture Artist at Framestore

  • I was lucky enough to work with Pat on some Hollywood blockbusters, and I can confidently say that Pat's knowledge is second to none. He is as passionate about his modeling as he is about teaching. Students are in good hands with him.

    - Manu Reyes Halaby
    CG Supervisor at Cinesite

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