The fur was a lot of trial and error. There are several videos on youtube about Blender fur, utilizing both the particle system and the node system. Blender Guru has an old, but still relevant tutorial about fur and SouthernShotty also has some shorter tutorials that are helpful. I didn't do any real physics simulations on it since that would've been overkill. I simply used a wind force and an animated turbulence force to affect the hair particles and make it seem as though the wind was blowing. The Fiverr artist I used was "ankitkumar624." His work is decent and he provides solid topology, but I still had to make some major modifications to the model since there were still some discrepancies between the design I drew and what was delivered. All this to say, if you're looking for a good "base-mesh" model with good topology from which you can then add your own modifications, Fiverr is a good way to go. However, if you want a very complex or specific design, then you're probably better off sculpting it out yourself. It all depends on how much it's worth to you. For me personally, I was too busy doing everything else on this project to be bothered with sculpting something from scratch, so dropping a few hundred for someone else to get me three-quarters of the way there was worth the investment.

Additionally, I have been contemplating making a creature sculpting tutorial, but time has been very tight these last few months. So until then, I would point you towards Critical Giants dinosaur series here on KZfaq. He covers the entire process from sculpting to painting, to rigging, etc. It's very useful.

I found a work around this by making a new texture in the texture panel of the particle system and doing the same thing the video suggests and it will paint HOWEVER, in cycles I can't see the texture or the hair. In evee I can see the moss texture but not the hair. Seriously confusing.

I'm not sure what the issue could be exactly. But I've got a real-time version of this tutorial linked in the description, maybe that will help?

Thanks. The fur was made with a particle system in Blender. I didn't bother with a physics simulation, since all I needed was for the wind to blow the hair around. I used a wind force and an animated turbulence force to affect the hair particles -- when the turbulence object animated in any direction, the fur particles wave and react to it. No simulations or baking needed. I could also change the direction the hair is blowing by redirecting the wind force.

Thanks. Glad you like it!

I actually shot two plates for the arms, foreground and background and comped both together. That way I could have total control of hand placement to better align the hands with the cg door handles. I just didn't bother showing the second plate here in the edit.

I figured it would be something like that 😄 but a left arm was in the shot as well. Did you have to roto that out or did you have another shot without it? I couldn’t figure out why it was in the shot. I could ask cooler questions because there’s a lot going on. I love how dynamic you made it look and hope you’ll get to make a feature some day… with a big crew to support you 😉

I was going to have to roto either way since there was so much other stuff in the shot and there would've been too much green spill for a closeup, so I let it go. Having both hands in the shot made the performance a little easier too, so it was worth it I suppose. Thanks much for the kind words. Hopefully a feature will get off the ground sooner than later.

Thank you!

It's possible. When I had conceived of this film back in 2019, my original intention was to do it with practical effects, but found the process to be too limiting. Miniatures need to be motion tracked or motion controlled to successfully integrate live plates and fur on a werewolf is just so tough to manage in stop-motion (not impossible, just really really really hard).

@@SVitaleFlims thanks! I’m learning blender and can model okay, just rigging and animating, not so much yet. It’s a 50s monster aesthetic so it would be a great trial run!

I'd like to make one eventually, time has been tight. Till then, I would direct you towards Critical Giant's dino tutorial series here on youtube. He goes through the entire modeling/texturing/rigging process. It's very helpful.

Thanks! It's a combo: stock blood spatter for the spray and hand animated shape layers for the long strands of spit. I never have any luck with simulations of any kind, so I try to stick with real footage as much as possible.

Ah ok Shape layers in AE is a very good idea. Maybe i will try that too😊 yep, i know what you mean. I Would need much more knowledge in houdini for Simulations like that. As long as the Illusion works, i try to keep it simple as a one man band 🙈

After reviewing the video, I'm thinking I may have missed the UV map step (my mistake). But you are correct in your fix, the UV needs to be set first. This tutorial was the first one I tried to make and in the process of cutting the 30 minutes of footage down to something manageable, I must have edited out that info. Sorry for any confusion that caused. Hoping to get a better workflow for tutorials in the future.

Thank you!

Hi, I don't take files out of caution for viruses, etc. However, if you describe which part is giving you trouble, I can attempt to solve the issue.

Thank you!

Thank you!

no not one

Thanks! Glad you like it.

Thank you!

Thanks so much man!

Thank you!

I've got a basic compositing tutorial in the works, that should be coming soon-ish. I also have a new short film dropping tomorrow and the behind the scenes for it afterwards. But in the coming weeks, I will be back to posting more tutorials and breakdowns. I'm always afraid of making a tutorial that's too basic or one that's already been done before, so aside from compositing, would a lighting tutorial or something like it be of interest? As for the lighting on this particular shot, most of it is already done in Blender. The default value for the sunlamp is way too low, so I always set the sun to 10 or so and just blast everything with light (sometimes I add a slight yellow tint with the sun's color selector as well). Then it's simply a matter of comping in a lens flare in AE using the 'screen' layer setting and then cranking the saturation of the color grade. Another thing to keep in mind when doing scenes like these, is that hard backlighting with a lot of bloom will always look angelic, since it's the go-to way to photograph subjects outdoors without over exposing their faces. There are tons of old photos from the 70s that have that look and it's one that I like a lot too.

@@SVitaleFlims Thanks for the response! I would also be interested in a lighting tutorial and I appreciate the tips. Looking forward to your future works!

Thanks