Elder Scrolls Online - Breton Knight

[eklettica]

Hi, here`s some production renders of the Breton Knight I did at Blur for the Elder Scrolls Online cinematic, software used is mainly Zbrush, 3d Studio max and Photoshop . Vray and Zbrush bpr for renders.






Cheers,

Ale

[CHERNABOG]

Stunning work as always Ale!, this one is in my vault of the daily "inspiration & respect" folder, one of my favorite CG characters of all time for sure, I just love the natural feel of the model and textures, Kudos to you and keep rocking!

[nassosa]

what can anyone say? simply perfect

[Jet3D]

Absolutely prime....

[selwy]

Stunning work! (as always... )
Cheers,
Selwy

[Philidor]

Outstanding work !!!

[ruhollah]

well done

[Rikk The Gaijin]

I remember this guy, terrific work!

[Intervain]

fantastic work Alessandro, as per usual

[Polyjunky]

Excellent work as usual.

[][-][4Z4R][))]

Speechless... Just outstanding work TOP ROW
Could share some breakdown of using Zbrush in the process?

[qoyun]

Sick Ale!
Great job man

[Pride]

The first render is great.

except....the large chest strap buckle is backwards.

[Uber]

outstanding work! top row for sure!

[eklettica]

Hi thanks for the appreciation!
The first Elder Scrolls Online cinematic was finished months ago, but basically the zbrush specific involvement for this type of character can be sum up this way :

In the blocking stage i took care of quickly block out the main elements as separated geometric pieces. We started with very detailed concept designs provided by the client, so the first goal was to quickly assemble all the parts and have something solid in terms of proportions.
Some of these pieces were modeled from scratch in brush, other were coming from out libraries and some others , like the plates of the armor and other hard surface elements were polymodeled in 3d studio max. I brought everything into zbrush and started to play with the proportions and placement of the parts.
Once i was satisfied with the overall proportions i brought back the objs from zbrush to max, to finalize topology for hard surface elements and on those parts that requires cloth simulation.
Once topology and geometry was final i brought it back again into zbrush for a pass of detailing...wrinkles...scratches and all sort of surface enhancement .
For the head we started with some very rough scans of actors chosen by the client. We had to intensively resculpt those geometries in order to match the likeness with the actors and add surface details like pores and wrinkles, based on photoreferences.



When all the sculpting and the surface detailing were in place we rendered sample stills for approval (internal and external), this is a vital stage that we do in zbrush with BPR before proceeding to texturing. Here`s another example of BPR render before texturing on another project :



Ale