How to Make the Movie Characters Jiang Ziya With Maya and ZBrush(2)

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Hi there, your best cloud rendering service provider, will share with you a tutorial from 3d artist Weicheng Lin. The tutorial is about how to make the movie characters Jiang Ziya with Maya and ZBrush.

This is the Part 2 of the production process. For Part 1:

How to Make the Movie Characters Jiang Ziya With Maya and ZBrush(1)

Head Modeling

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Next, we're ready to start making faces. First of all, I observed Jiang Ziya's facial features in the poster. His face was thin and his expression was vicissitude. His face was slightly thin and long, and the shape of his brow bone was squeezed to the middle, and he had a sad face with a little sadness. So I first carved the beard and hair into shape, adjusted the facial muscle structure according to the reference map, and added eye maps.

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When carving the face, we need to pay attention to the contour of the face at an angle of 45 degrees, and the forehead should be full and can not be carved peacefully. Drag the beard out with a cartoon hairbrush and pay attention to the level of the beard.

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The hair on both sides of the sideburns is adjusted for thickness with a curve brush, and the beard can be dragged with hair or with a brush to create an overall shape and layers. Here I use the DamStandard brush. Hair carving should be clear layers, carving be neat, facial structure is refined.

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Add a sphere to my sideburns to carve, and use the brush to adjust the curve and width along the hair's defense line to make its hair look more natural.

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UVS

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After the model is made, the UVs needs to be split. I separate the skin, hair, clothes and eyes. Each is split separately and distinguished by a shader.

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Baking

Baking normals require the model to be split apart so that when we bake normals using Substance Painter, the models do not interact with each other.

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When I make textures in Maya, I divide a lot of shaders according to UVs, and the more detailed the UVs are, the more textures I need to make. Most textures are baked based on normal maps, and AO maps need to be baked in the overall model so that the layers between objects can be baked, and shadows will not be very hard. Then replace the complete model with Substance Painter, and after replacing the model, we can continue baking other maps.

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Texturing

The texture of this stylized model doesn't need to be drawn in too much detail, but the overall colour change and the transition of light and dark parts should be natural and restored to the reference map as much as possible.

  1. Eye

I hand-painted the texture of the eyeball according to UV, and then exported it to PNG format and pasted it on the made model.

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Adjust the Shaderrang pupil with a slight reflection, and use the AO generator to create a shadow layer. Then continue to adjust Roughness to give the eye a crystalline state.

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  1. Hair

The hair was easy to make, and I just added colour changes and roughness changes to it after I finished carving.

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  1. Skin

The character's skin doesn't use too fine texture, and I'm focusing on colour changes to try to make his skin look like a 3SSS texture.

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I use a smart shader on the Skin Face to modify the skin, and then add the shadow of the eye socket, local yellowing of the face, and the distinction between bright and dark parts.

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  1. Clothes

I looked for some references to the texture on the clothes, such as leather, silk and so on. The texture of his clothes inside and his robe is different.

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When drawing clothes, we need to pay attention to the color change, the contrast between light and dark, the transition from light to dark, the upper light and the lower dark.

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Final render

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That's all the process of making Jiang Ziya. From finding references to the final render, I have a new understanding of character making and learned a lot.

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How to Make a Viking Warrior in Maya and ZBrush(2)
How to Make a Viking Warrior in Maya and ZBrush(2)
Fox Renderfarm, the best CPU and GPU render farm, will still bring you the tutorial about how to make a Viking Warrior in Maya and ZBrush from 3D Character Artist Yuyong Jie. Production of low-polygon models After the high-poly model was completed, I made a topology on it. The character's face and limbs are reduced to the low-polygon model obtained by subdividing the original model, and then enter TopoGun3 for appropriate modification and matching. If the requirements are not very high, we can also directly use the plug-in to delete the model to get the final model. If some places are very different, we may need to re-topology. The topology needs to pay attention to the position of the line, the joints need to be more, and the invisible faces are deleted. If you encounter large undulating folds, we need to increase the line appropriately. Baking and material making After all the objects are topological, I split the low polygon model again by UV, and consider how many textures to make according to the expected requirements. PS: The structure that can be straightened by UV should be straightened as much as possible so that the UV space utilization rate will be higher when placed. After setting up the UV, the model can be baked. I usually use MAYA for baking, but this time I want to try Marmoset Toolbag3. It is said that his operation is also very convenient. Next, import the low poly model into Substance Painter for material production. By the way, pour the previously baked textures into Substance Painter, and then bake the remaining unbaked textures to complete the texture creation. First, the skin texture is performed. Here I use the Specular Glossiness workflow for texture production. I paste the previous XYZ colour map on the colour channel and then create a new filling layer to adjust the facial colour and makeup according to the original painting. After the makeup is determined, the gloss of the picture will be engraved. The gloss of different parts will be different. For example, the T area of the face will have more oil, which will be more shiny, and the gloss around the eyes and lips will not be the same. To the same, adjust according to the specific situation. After finishing the face material, make the character's hair. Here I first use Maya’s XGEN to make the hair texture, and then paste the texture on the patch, and then combine the patches into different densities. The hair group is then placed on the head one by one, and the shape is adjusted through the lattice or bending life, soft selection, etc. There is no technical content in the hair placement, mainly because of the styling and patience of the hair, and it also takes a lot of time to adjust. After finishing the face and other skin parts, the next step is to make the materials for the remaining equipment. Here I use the workflow of Metallic Roughness to make. First, distinguish the colours and textures for different materials, and then make them separately For meticulous adjustments, a generator that calculates dark and bright colours is combined with some grayscale textures to portray the surface texture of the object. For example, the colour and roughness of the dirty and worn surface will change. After the surface of the object is dirty, the metallicity and roughness will become different. Pay attention to the original painting. We can also learn from the reference picture to bring more inspiration to ourselves. When the object is used, make it old accordingly. Lighting and rendering After finishing the materials of all the objects, export the textures and perform lighting and rendering on the model. I used Marmoset Toolbag 3 for rendering. First, I imported all the low polygon models into Marmoset Toolbag 3, and then mapped the corresponding models. According to the situation, I can adjust the properties of the shader to make the material effect better. For example, I used the 3S effect on the skin here to make the skin look more transparent. Before lighting, we choose the ambient light we want and then turn on the light. The atmosphere created by the light can be based on the effect we want. To do this, we can refer to the lighting in some movie screens. I tried the main light, and added a slightly darker light on the other side as auxiliary light, and added a contour light on the back so that a simple three-point light source was formed. Next, I can adjust the shadow of the light. The edges are soft and excessive, and then adjust some of the camera's effect attributes to make the picture softer or sharper. After everything is set, the output is rendered, and the work is complete! If we want to pose the character, we can use Maya to bind the bones first, then import the model into ZBrush, just separate the adjacent objects separately, import them into ZBrush to group them, and then select the corresponding group or object to adjust it.
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2021-06-07
How to Make a Viking Warrior in Maya and ZBrush(1)
How to Make a Viking Warrior in Maya and ZBrush(1)
Fox Renderfarm, the best CPU and GPU cloud rendering service provider, will bring you a tutorial about how to make a Viking Warrior in Maya and ZBrush from 3D Character Artist Yuyong Jie. In the following production, he'll show you how to use ZBrush and Maya to make a Viking-style female warrior. The main process is divided into several parts, including finding references, modeling, baking and texturing, and light rendering. Reference and modeling I looked for a lot of concept maps on the internet and finally decided on one of them. Then follow the concept map to find different references, such as a large number of references to bodies, clothing, Armor, etc. I think these references are very useful. I then found a basic female model of ZBrush, which can also be carved directly into ZBrush, of course, but using the basic model modification saved me a lot of time. After adjusting the scale and structure, I copied a copy of the model, and to save the number of faces, I deleted the parts that were blocked by the clothes. Keep the original model and use it to do MarvelousDesigne's cloth solving and build equipment. When I carve the model, I carve the face and other exposed parts in detail. The difficulty of this part is mainly the muscle structure. In addition, I can carve the outline of the hair as a guide to making the hairstyle. After making sure the character's image is consistent with the concept map, I import the model with the lowest number of faces into Maya, split the UVs, and then import it into ZBrush, without changing the model. And all the subdivisions are there, and the technology adds the subdivision to the model with the split UVs, ready for the skin texture projection later. Next, I started to prepare to project the XYZ skin texture map in ZBrush. First, I created a rectangular patch in Maya with the aspect ratio close to the XYZ texture map that needs to be projected. Then I imported the patch into ZBrush and used the ZWrap plug-in. Carry out the topology and have completed the UV model, and then paste the XYZ displacement map on the model Topological with the ZWrap plug-in of ZBrush just now, and then use the ZWrap plug-in of ZBrush to transfer the textures on the topological model to the original model and export Stickers. Finally, link the MAP to the displacement map, and use the skin texture Alpha for the details of the hands and legs. Adjusting the number of model faces I finished the details of my face, hands, legs, etc., And then began to work on Armor accessories and clothing. First, I'll make a medium-polygon model in Maya, and then import it into ZBrush to carve. The medium polygon model is mainly to make the main concave-convex structure out, and then add lines appropriately, or directly reduce the subdivision to get a relatively matched low polygon model, and properly arrange the model to make the lines more reasonable and the matching degree better. Once a polygon model with a medium number of faces is made, we can deeply sculpt the model. For part of the metal pattern, I use pattern Alpha production, first, reduce the model subdivision export split UV, and then use Photoshop to align Alpha to UV, paying attention to the head and tail of the pattern connection. Then import the split UV model into ZBrush, then use the Alpha mask, and then expand the height to get the pattern effect.
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2021-06-04
How to Make the Movie Characters Jiang Ziya With Maya and ZBrush(1)
How to Make the Movie Characters Jiang Ziya With Maya and ZBrush(1)
Fox Renderfarm, the best cloud rendering services provider, will share with you a tutorial from 3d artist Weicheng Lin. The tutorial is about how to make the movie characters Jiang Ziya with Maya and ZBrush. Hello, I'm Weicheng Lin, a 3D Character Artist. This is the first time I've used Maya and ZBrush to make a 3D character tutorial. This character comes from the animated film Jiang Ziya. The total production time is 4 weeks. In the tutorial, I'm going to introduce the whole process. When I made the character, the movie "Jiang Ziya" hadn't been released, and all my references could only be found in trailers or posters of some movies. Then I looked for screenshots of the movie and finally chose the gold and white costume. References I prefer to follow the reference diagram to find some suitable character model to modify, which can save a lot of production time. In addition, it's best to have a certain knowledge of anatomy when making characters and find a muscle reference map. It's important to note the character's age, body shape, proportion and also remember to check that the model is correct when adjusting. Model adjustment I found a complete body map of Jiang Ziya, a stylized model with a little exaggeration, a small head and shoulders, and thin legs. When I made it, I decided to use a previous model to modify it to the size scale of the reference figure. This process does not need to pay attention to details, as long as the size is prepared. Clothing Because most of the body is covered by clothes, after the character's body shape is confirmed, I use the plug-in to copy the body's skin in ZBrush, then adjust it to the right size for the clothes, and then use the brush to adjust the details of the rest. The first copy of the model served as the underlying garment, and the character had a robe on the outside, so I copied the surface of the underlying garment in Maya and used it to continue making the robe. I quickly used a low model to make the shape of the robe, and then made a model of the hair. After the garment is pulled out of thickness, we can add some subdivision to carve the folds of the cloth. For a novice like me who doesn't have much experience, wrinkles need a lot of references and try to make the carved texture more natural. In addition, Jiang Ziya's clothes also have some patterns with different colours. I use masks to extract the patterns and then import them into Maya for topology. I then imported the model back into Zbrush to refine the other details of the cloth.
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2021-05-12
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