How to Use ZBrush and Maya to Make A Stylized Character "The Dark Knight"(2)
Hi there, your best cloud rendering service provider, Fox Renderfarm, this time we will share with you the production process of how to use ZBrush and Maya to make the stylized character "The Dark Knight" from 3D Artist Mars.
This is the Part 2 of the production process. For Part 1:
Low-poly and UV Production
I basically got Low-poly by reducing the surface area of the model in production, but this process must ensure that the structure of the model does not need to be adjusted after entering ZBrush, just sculpting details. This process is more labor-saving and time-saving. The following is the Low-poly wireframe.
Considering the accuracy of the final effect, the number of faces is not optimized too much. The cloth part is the automatic topology of ZBrush used, and the UV is split in RizimUV. There are a lot of UV sheets, and 8 sheets are used in order to maintain the accuracy of the mapping.
Import Low-poly and HI-poly into ToolBag respectively for baking settings (HI-poly needs to be reduced by ZBrush and then exported). The main baked textures include the following textures: normal map, ID map, AO map, Cavity map (convenient to make pattern details). During the baking process, by the way, the standard light in ToolBag is made. I use three-point light source here.
The hair is made using a set of solutions found on the Internet. The texture is first made, then the insert patch is made, and the GMH hair plug-in is used to make the details of the fur patch.
Make a Fur Map
Use Maya's Xgen to make hair textures, make 4-6 different styles to make the layers of the hair, and then use Arnold for rendering output. The output of hair is mainly color, highlight and normal three channels.
Paste the rendered hair map on the face sheet, cut it, and combine the cut face pieces (about 4 to 5 different styles can be combined, and the number of pieces of the face sheet should be as large as possible, especially for long hair. Start inserting (including, eyelashes, eyebrows).
I made a total of three layers of hair, from the bottom layer to the middle layer and then to the broken hair layer. The broken hair layer uses the GMH plug-in to generate fine hair.
GMH is a Maya-based hair generation plug-in, which can generate models or Maya's hair system. Here, because the insert is considered, the patch is directly generated.
Texture Map Production
The material is made in Substance Painter. In order to speed up the rendering speed, I disassembled the files and exported them separately. The size of the textures is 2048 each, and the body skin is a separate image, which will be baked in Toolbag. The image is also imported into Substance Painter to facilitate the construction of material details, adjust its contrast with textures, and extract the area of the armor pattern to make it into a metal material.
Considering the uniformity of the details of the armor material, I made a part first, then generated a reusable smart material from this part of the material, and then gave the armor of other body parts.
Regarding the leather and fabric parts, I applied a lot of texture materials provided in the Substance store. There are a lot of adjustable parameters in the official materials. For the skin, I use the SSS smart material that comes with Substance Painter. I directly add painting on the surface of the skin. The mapping process is not used here. Previously, I used the pore texture details in ZBrush to bake an unprecedented texture, which is convenient for the material. The color is unified with the bump information.
The texture output method is the output of UE4, which combines information such as metallicity, roughness, AO, and height map into one channel, also called composite texture, which saves resources.
Lighting and Rendering
Import the texture and low poly into the ToolBag environment of the three-point light source created before. Here I did another test to see the texture effect, modify the brightness of the light, and then render the output.
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