How To Make An Ancient Warrior Using ZBrush And 3ds Max(2)
I use Rizomuv for UV splitting, which is more convenient and efficient than 3ds Max. I will group the models here, each group has a UV, split the UVs first, add checkerboard materials in 3ds Max and then adjust them, and finally make the UV checkerboards of the characters the same size.
Normal UV is required to be horizontal and vertical as far as possible, and the UV spacing should be kept as equal as possible to increase the space utilization as much as possible. At the same time, the smooth group should be separated where the UV is disconnected.
For this model, I bake the normals in Toolbag3,
- Import the low-polygon model and high-polygon model of the model.
- Create New Baker.
- Create a new baking group in New Baker, the number is the number of character UVs.
- Put the high and low polygon model into different groups and adjust the size of the wrapper.
- Adjust the storage location, size, type of rendering, and check Flip Y.
- Carry out baking adjustments. If the model has black spots, it means there are interspersed. You can expand the wrapper or use it, or you can fine-tune it with a brush. Finally, render to view the effect, and further adjust according to the result.
Let’s use breastplate to share the basic process of material: the production of basic background colour,
First, create a folder and use the UV fill in the geometry fill to select the range. Here we should pay attention to the problem of lines between different materials on the same object when the model is made and when the UV is split. When making the breastplate, there are lines between different materials, so that we can cut along the line when we split the UV, and it is convenient to select the range when making the texture.
Of course, you can also add a brush tool to draw after using the mask, select the range or make an ID map in 3ds Max, and select the colour in SP. Specific materials are selected according to different models and different materials.
The basic background colour is very important. Through the colour, roughness, and metallicity of the whole model, we also need to add filters, colour scales, etc. to the background colour according to the object's material to express the object's texture.
For the breastplate here, I refer to the texture of the breastplate in the picture below and make a relatively smooth grey metal armour, so the roughness is 0.3, but the surface of the armour is painted, so the metal degree is about 0.9, and a layer of particles is also given. Sense of filter, rich texture.
Colour drawing of the dark part of the breastplate
In the second layer, the colour of the dark part of the breastplate was drawn. Because the bright part is colder and the darker part is warmer, I chose the darker part colour of purple grey with blue and warmer here. Considering that the dark part is generally a little dusty, giving a little bit of height, the roughness is increased to about 0.7, and then the metal degree is about 0.8, but it is not full.
Highlight edge drawing
The model is drawn with highlight edges, a black mask is added, and the Metal Edge Wear generator is given to modify and adjust by drawing brushes to make the edges appear a little worn.
Next, I will describe some details. Through procedural textures, generators, etc., some surface details such as scratches, breakages, stains, dust, etc. can be added, which can be adjusted by hand by adding a brush. A layer of scratches and two layers of colour changes are added here to make the armour richer in texture.
Finally, add an adjustment layer, change the blended model to penetration, add the filter Color Correct to adjust the hue, contrast, saturation, brightness, etc. of the object. Increase the Sharpen to adjust the sharpening intensity of the model.
Character rendering production
The renderer that comes with Substance Painter is used here so that it can better show the material effect in Substance Painter. Enhance the contrast effect by adjusting the background exposure, shadow, focal length of 135mm, and turning on post-production effects to adjust the contrast and saturation of the model.
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