Specular texture sweaty skin download

If you 'bake' the shine on the skin itself, then you're pretty much stuck with a certain look. However, using materials on skin with an applier can allow for variations and experimentation.

Right now with the transition from WL to EEP, it will be a challenge to find a happy medium, but you can create a range of specular textures to put in an applier. You really don't need to worry about normal maps in this case since they don't offer enough resolution to give you a realistic bump effect. The challenge will be painting the shine in just the right places. You can experiment with brushes and textures in Photoshop and then save them to your hard drive.

Then, and here's the trick to save the cost of uploads, set the textures on your head using the "local" setting. Many creators have rezzable 'developer' heads where you can do this kind of test, but I'm not sure how they all handle adding specular maps.

You could buy a cheap head that is modifiable like the Utilizator Normie for generic tests. If you really want to dive in deep, the normal maps can be used, but only for the alpha channel.

The alpha channel on normal maps varies the 'hardness' of the specular map shine. That way you can have a soft sheen on one area of the skin and a hard highlight on another.

See, it was not done inworld, I can tell alot of skin painting def.. I'm no expert but the skin shine looks like dodge using skin brushes - you can google and download different ones. Also, I wouldn't assume that the before shot is the only picture used.

It's possible, but I find it odd and also unlikely that the photographer wouldn't make use of advanced lighting or materials when taking the picture.

Taking multiple shots and layering them is a common technique. It's possible that the before shot is just one of the pictures taken. Probably the most basic one with no special lighting, etc. There are some tutorials on SL photography and editing, but you'll probably discover some tricks watching speed edits as well.

That definitely looks like it's done with the specular layer on the head and in-world lighting, rather than post-processing. This scattering is also strongly color dependent red, green and blue profiles different from each other. Example from [5] illustrates this diffusion profile for three layered skin model.

Eugene [5] found that three layered skin diffusion profile [3] can be approximated with linear sum of Gaussian funtion convolution. They found that some of 6 Gaussian blur kernels fits the profile very closely. This is the whole idea of using multiple blur pass to get proper scattering amount. Here are those 6 kernels papameters used in this technique left: blur kernel parameters, right: 3 layers skin profile.

Since this blur kernel will be applied on texture space coordinate. We also need to take care of UV stretch across our head mesh. This is mainly because blur width is not uniformly applying with respect to 3 dimentional space. To be more precise, stretch factor of UV coordinate shoudl be considered in convolution kernel. Following image shows this process of sequential blurring left and the effect of stretch UV texture right.

Shader code follows after image. Position ; TexCoord ; In above code, v2t function takes texture coordinate and convert it to model space so that rendering result stays on 2D texture RTT.

Following snippet shows this function code. To see larger image, click on each picture. Skin is all about subtleties. Find good references and try your best to match them while making sure it looks good under every lighting condition.

One thing I care a lot about and try to constantly improve is eyes and how the eyelids interact with the eyeball. Make sure they are thick and hugging the eyeballs in both the high and low poly meshes. This helps make the eyeball feel more integrated. The method was originally developed by Peter Zoppi in his tutorial for eye creation , which I would highly recommend getting if you want more detailed instructions.

The best way to fake refraction is to bake the geometry of the eyeball. Smooth the high poly mesh and bake it down to the low poly. The cornea and eyeball are part of the same low poly mesh and share the same UVs, but they will have different maps.

After baking, the process becomes straightforward and you can texture the eye however you want. One thing that will help make your refraction better is adding a parallax map. The normal map for the eyeball should have the iris details and the albedo should include the color of the iris, eyeballs and the veins. However, make sure not to include any noise in the in the cornea bulge.

Specular and gloss maps vary from project to project. The same effect can be achieve using secondary reflection. It can make eyes more attractive, but it can look overly stylized.

Use your own judgement and apply it if it works for your project. The lashes are hair cards that are placed by hand and the wet line is a mesh blending the eyelid and the eyeball together with additive transparency applied. Setting the reflection to Anisotropic instead of GGX helps sell the effect. Change the direction so the highlight follows the direction of the geometry when the light moves. While writing this article, I realized something was missing from my eye setup. This is a common problem for real-time rendering, as the lashes are composed of cards and neither GI nor AO help to achieve this effect.

It does feel like something might break when the eyes are animated, but for still images, this works fine. Nothing is perfect in real life.

Adding imperfections helps sell the believability of your character. For this project, I wanted a vignette effect and to rotate my camera in the Z axis by degrees to make it look straight after by manually moving it. Adding Bloom and Depth of Field can also add realism to your scene, while Chromatic Aberration can mimic the effect of a camera shot. Fog can be added to give the viewport space a sense of depth.

Tip: Renders will look different across multiple screens. Depending on the amount on the skin, it becomes less or more reflective. Skin that is flushed, say from exercise or exertion, is shinier than clean skin or skin with powder make-up on, so the Amount and Roughness should be adjusted depending on the desired look. At glancing angles those perpendicular to the camera , reflectance values of skin increase. The Specular Fresnel setting realistically increases the specular amount at these glancing angles producing a physically correct surface.

This control determines the size of the spread for both Specular and Blurry Reflections. A higher Roughness value produces these rougher, more spread out highlights, while lower values produce tighter more focused highlights.

For example, a clay pot reflects light very differently than a porcelain cup. Though both surfaces appear to be smooth, on a microscopic level the clay pot is much rougher than the porcelain and this affects how the light is reflected, spreading the reflection across the surface. When enabled, the Reflection options are automatically adjusted to match the equivalent specular settings.

Determines the tinting or colorization of Reflection on the surface. Determines the amount of the environment reflections that appear on the surface, like with the specular setting, oilier surfaces appear more reflective.

The Reflection Fresnel setting realistically increases the reflection amount at these glancing angles producing a physically correct surface. When enabled, reflections take in to account the Roughness option and spread reflections across the surface, such as would happen with real skin. Epidermis - The epidermis is the outer layer of effectively dead skin cells. This layer is quite thin and on a microscopic level, looks very much like tiny overlapping scales.

This layer is mainly responsible for the color of the skin, depending on the actual amounts of melanin present in the cells. Determines the Diffuse Color of the skins surface. This is the apparent visual color of the skin's outer surface that reflects back when illuminated. Determines the amount of light reflected back from the skins surface, the rest of the light is absorbed for subsurface scattering SSS. The Diffuse Roughness control represents a lack of specular on a Epidermal surface, reading the Diffuse shading outwards across the surface, simulating the tiny microscopic variations of the individual skin cells.

Determines the color of the light that is absorbed, scattered and the reflected back out. The epidermis is fairly translucent and the subsurface color is basically the same color as the Diffuse Color for human skin. Determines the amount of scattered light that is reflected back out.

The subsurface scattering is combined with the Diffuse Color to produce the final epidermal layer. Determines the distance that light scatters through the surface before reflecting back out.

Determines the maximum depth to which a ray can contribute to the final solution, in essence clipping the SSS to approximate a solid core. A value of 0 disables this option. Settings between 0 - 49 bias the SSS rays backwards, 51 - bias the rays forward, and a setting of 50 distributes the rays equally in both directions.

Upper Dermal Scattering - The upper dermal layer contains tissue for cushioning the epidermis, and also houses the nerve endings, hair follicles, sweat glands, and blood vessels.