Hi BC Rice,
First of all, thank you so much for posting all that work. It is great to see!
My problem is this, I use a program called Anime Studio. I don’t draw very well so tend to trace some of my characters and then I have to bone rig them and make sure that everything is working well. This can be very time-consuming. I decided I would try and mix 2D and 3D together to try and make animations, however I like the toon look. I thought, rather than rigging my characters in Anime Studio, I would use some of my 3d content and toonify them so that I can work with both programs together. I quite like the image with the Scout in the green shirt as he looks very toonified (if that is a word) and would blend in with a 2d environment.
It would be really nice to know exactly what settings you used and also what you do with the lighting to get this look.
I agree that saving out to a png sequence is the best way. I can then import this sequence into Anime Studio.
Thanks again for uploading all those lovely images.
I think you mean the little toon looking guy? Like the one that isn’t a traditional DAZ model?
All of these are done in the same fashion. The only difference is that the ones with the line art are created using FLASH/PS. Whereas the ones without the lineart are almost exclusively rendered in Carrara.
Here’s the breakdown as quick and dirty as I can give it, and I’ve attached another pic to sort of inform the context:
1) Go to your model’s hierarchy. Click just undernearth the model name (e.g. Victoria). Click on “MODEL. From the top tabs, click SHADERS. That will give you the list of everything you need to change. And yes, you need to change everything. Individually, by hand.
2) Click on your first shader. Say, “SkinTorso”. You will then be in the TEXTURE interface.
3) Change the TOP SHADER to MULTI-CHANNEL MIXER (it can be found under the bottom COMPLEX SHADERS tab)
4) You will now have two SOURCES. One source will be near the bottom of the other one, so it’s easy to miss. Once you click the arrow it will open like the first one. Once each source shader is completed, I’d advise closing them both to keep things tidy.
5) Go to SOURCE ONE. This is where you will swap MULTI-CHANNEL for TOON PRO.
6) Go to SOURCE TWO. This is where you will swap MULTI-CHANNEL for YATOON
7) If you haven’t done so already, Clear out any TEXTURES and BUMP MAPS from your MULTI CHANNEL shader tab located under SOURCE ONE and beneath TOON PRO. You made need to do the same under SOURCE TWO, depending. These should be replaced by your own textures or solid colors. Gradients are pretty pointless. Just make sure that when you’re using a color, you write down or remember the color’s numbers you’re using. I like to click on the little color box so that the in-depth guide appear, and after I have a color I like, I then round all of the numbers to a solid digit so it’s easier to remember as I move through an asset’s shaders.
8) Under SOURCE ONE, click on the TOON PRO tab. Here you make your adjustements based on whether the asset you’re changing is skin or clothing. The picture attached shows the importance of undulation and gradation in skin/hair tones—a gradation that doesn’t apply as well to clothing.
a) TOON PRO SKIN SETTINGS: Shadow/Highlight: 25 - 1000%
Shadow Brightness: 60%
b) TOON PRO CLOTH SETTINGS: Shadow/Highlight: 55 - 1000% (varies for darkness of cloth)
Shadow Brightness: 30%
9) Under SOURCE TWO, click on the YATOON tab. Here there is no need to distinguish between skin and cloth. Being off by even a few digits can change your render from having a nice, smooth two-tone look to just looking terrible and pixelated.
a) YATOON SETTINGS: Brightness 80, Softness 100, Edge 100, Line Edge 70, Line Hardness 20, Specular 5, Specular
Softness 100, Specular Edge 100, Line Brightness 75
10) Close SOURCE ONE and SOURCE TWO tabs by clicking their corresponding arrows. At the bottom of the hierarchy will be the BLENDER tab. Click that and set your value at 50%/
This is the brief and quick to it. You’ll need to do this for every single shader. So, for instance, if a hair model has 10 parts, you’ll need to do this to each of its ten parts.
I’ll address further your additional workflow in a moment.
Click thumbnail to see full-size image