Having established a suitable workflow I went on to apply it to the rest of the set … just to run into the next wall.
I still had the view of building a prop like in a still. But in a movie the same prop is seen at various angles and distances. Sometimes different parts of the same object are visible in individual shots are very near distance, meaning they take up a lot of screen space and thus need to have a high level of detail.
I tried to attack this problem by splitting up the uv map with the high detail zones taking up a lot of map space. This cannot be applied to scultping of course as I do not ave the scultpris type adaptive subdivision.
That meant I also had to split some props into several parts each with its own maps and uv maps. Splitting an object into more parts introduces problems when you have to ensure a continous texture across the now individual parts.
In at least one situation I had to build a second stripped down set with just a very simple environment object, which will be seen at very near distance. The environment may have motion blur and dof applied but right now I cannot exactly estimate how much detail is still needed, so I try to keep on the safe side.
I have not used other packages than blender, but what I have seen so far indicates, that in other software you are able to apply individual texture maps to uv sub patches of one model. Using a good projection paint system you can texture models to a very high level of detail without loosing the control of the overall coherence. There doesn’t seem to be similar technique available in blender, so I have to resort to high resolution texture maps ( 4K+), model splitting and uv patch tricking.
Anyway, if anyone here has a good idea on how to handle high resolution details on different parts of the same model I am more then interested in hearing them.
In the end the entire set modeling/sculpting turned out to be a highly iterative process. I have now a growing list of small todos to get everything in a state I am satisfied with.
I think I will continue with the texturing and maybe even cloth and hair simulation all for the first set. This should give me a solid foundation to tackle the next set, which isn’t more complex but has a lot more shots and may pose some hard questions. I hope to have found most of the answers before advancing the the next set.
I have rendered out 4 shots with the current state of the modeling/scultping in place. No color texturing and no lighting which deserves this name are in place.