Rigging

As for the rig, I use Biped by Max; it is really good for creating humanoid forms. The greatest difficulty for this piece was creating the bends in such a way that they could follow the model without “getting crazy.” In the rig I had to spend a lot of time weighing other single unmanageable vertexes, using a lot Skin Morph to handle the difficult situations.

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Texture

Thanks to the Unwrap, which is made to manage the sculpting program, I was able to change to a photo editing program to paint the textures I needed. I was always at the same time in Multiply la Bitmap (made by Unwrap) in order to follow exactly the shape of the model developed on that level.

The useful textures are: the level diffuse, specular, bump and the one obtained from the sculpting of the displace.
The diffuse is the level that is going to draw the skin of the character, the specular is useful in defining the points in which the shader of the model will reflect more or less, basing on a gray scale, even if one uses sometimes a lightly blue-tinted gradation to give a reflecting effect.T he bump is the map which forms, always with a w/b scale, a little roughness on the shader, which was very useful in giving the impression of an old skin. Click to enlarge


Shader

The shaker of the skin was realized trying to maintain certain features, such as the dryness of the mummy skin and also the funny and cartoonlike appearance I wanted to obtain. I tried to maintain a high level of subsurface scattering to take away the seriousness of the character and give him, at the same time, a certain concreteness. I had to make a lot of trials before I was satisfied with the result. The real challenge was being able to give it concreteness without giving it horror like details. The final secret was rendering it translucent, just like cartoons, and adding a lot of specular and light strokes to allow certain areas emerge
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Morpher

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With the model finished and textured, I made a series of morphs, cloning the main mesh and giving every clone a different detail, like closed eyes or a smile. Each of these features gave life to the mummy.

Lighting
In the first image I created the classical situation in the pyramid, but with a less dark and friendlier lighting letting you in right away. There is a direct yellow light and I played with the classical feature in which the less lighted area is blue. Of course, I tried to give the entire scene an orange tone to communicate cheerfulness.

Sitting and framing

In the second image I wanted to create another unusual situation, i.e. in the bathroom. I tried to show the mummy embarrassed, as if he were just seen by a person at the door. That is also why it's done with wide angle framing. Fortunately, the rid has managed very well. Even in this scene in which the anthropoid model tends to have problems, above all with the pelvis and with the legs. I think it is very important to avoid symmetry. Otherwise, the eyes tend to rove around the scene always finding new things, like crooked feet or a bent back.

Lighting Part2

I put some planks or something like that in front of the light coming into the bathroom. I wanted to break the light coming in to create a shadow-light effect to let the composition quiver better. I also added a blue light, with the decay activated, to lighten just a bit yet not the entire area. That was very difficult. I then put more brightness closer to the observer just to create a snap shot effect.