How to Use ZBrush and Maya to Make A Stylized Character "The Dark Knight" (1)
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.Mars divides the entire production process into pre-reference search, and then makes high-poly model sculptures such as mannequins and clothing, armors, baking and UV splitting, Substance Painter texture production and final rendering, I hope you will like it. ReferenceThis part is very interesting. When looking for information, I mainly found facial references and a lot of information on medieval costumes and armors. The preparatory work is very important, which directly determines whether the subsequent work process can proceed smoothly.!How to Use ZBrush and Maya to Make A Stylized Character The Dark Knight- 23 Model MakingBecause the character itself wears a lot of armor, the focus of the character model is on the sculpture of the head. I made some settings before production, and set the age of the character to around 35 years old, and he is very good at fighting. Because the body is covered by clothing, I just made a rough muscle structure to facilitate the post-production of the correct shape of the clothing.!How to Use ZBrush and Maya to Make A Stylized Character The Dark Knight- 21 Add PoresAfter the head was made, I added facial pore details with the XYZ material, and all the pore details were made in ZBrush, not Mari. XYZ officially provides a set of materials with area numbers that can be directly dragged onto the surface of the model, as follows:!How to Use ZBrush and Maya to Make A Stylized Character The Dark Knight- 3To make pores, now switch the displacement brush of ZBrush, import the XYZ channel material, and finally change the MID of the Alpha material to 50, and then start to sculpt the pores by dragging.!How to Use ZBrush and Maya to Make A Stylized Character The Dark Knight- 27Clothing production, import the body model into Marvelous Designer for clothing production. The body model is imported into Marvelous Designer, and it is made to make a board (clothing production is mainly based on the effect of 3D display, and there is no need to consider some principle issues of clothing design. After that, the model is exported, and the plane style and 3D are exported here. The style is convenient for retopology for clothes.!How to Use ZBrush and Maya to Make A Stylized Character The Dark Knight- 26!How to Use ZBrush and Maya to Make A Stylized Character The Dark Knight- 15 TopologyI imported the flat-layout model into ZBrush and used tools for automatic topology, and then used Maya's topology transfer to wrap the topological model onto the 3D model, and then transferred the re-topological model through Maya's topology to transfer the 2D style again. To the surface of the 3D style, a uniform and smooth 3D clothing model is obtained, which is convenient for subsequent sculpting and modification in ZBrush.!How to Use ZBrush and Maya to Make A Stylized Character The Dark Knight- 7!How to Use ZBrush and Maya to Make A Stylized Character The Dark Knight- 17 Armor MakingThe armor is made by using different shapes of faces and pieces, and then extruding the edge part and then detailing the model until all the work is completed.!How to Use ZBrush and Maya to Make A Stylized Character The Dark Knight- 13!How to Use ZBrush and Maya to Make A Stylized Character The Dark Knight- 6After importing the model into ZBrush, I once again sculpted the whole part of the outfit. Here I first sculpted the underwear part, and the sleeve part was especially important. This part of the work is to remove the unnatural part of the solution in Marvelous Designer and add smaller wrinkles. The main brush used is the Standard brush.!How to Use ZBrush and Maya to Make A Stylized Character The Dark Knight- 1In order to make the UV of the neckline model straighter, then import it into ZBrush to add surface texture (note that the subdivision level of the model should be as high as possible, the details will look better, here I give it 7 levels), and then add the displacement texture On the surface of the model (add it through Noise under the Surface menu, and change the projection mode to UV mode).!How to Use ZBrush and Maya to Make A Stylized Character The Dark Knight- 9I directly use the Slash brush to sculpt the armor pattern. Because the pattern design is already fixed and the material cannot be used, I can only sculpt it manually, which is time-consuming (you can open the ZBrush storage transformation before engraving to facilitate the use of Morph pens. Brush to erase and modify the pattern), the folds of the edge are carved with the help of brush materials to simulate the edge of the leather.!How to Use ZBrush and Maya to Make A Stylized Character The Dark Knight- 5Now please follow the best CPU&GPU render farm to our next part: How to Use ZBrush and Maya to Make A Stylized Character "The Dark Knight" (2)").
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: How to Use ZBrush and Maya to Make A Stylized Character "The Dark Knight" (1)"). Low-poly and UV ProductionI 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.!How to Use ZBrush and Maya to Make A Stylized Character The Dark Knight- 20 ToolBag BakingImport 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.!How to Use ZBrush and Maya to Make A Stylized Character The Dark Knight- 2 Hair MakingThe 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.!How to Use ZBrush and Maya to Make A Stylized Character The Dark Knight- 18 Make a Fur MapUse 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.!How to Use ZBrush and Maya to Make A Stylized Character The Dark Knight- 16!How to Use ZBrush and Maya to Make A Stylized Character The Dark Knight- 10 TexturingPaste 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).!How to Use ZBrush and Maya to Make A Stylized Character The Dark Knight- 22I 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.!How to Use ZBrush and Maya to Make A Stylized Character The Dark Knight- 25 Texture Map ProductionThe 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.!How to Use ZBrush and Maya to Make A Stylized Character The Dark Knight- 19!How to Use ZBrush and Maya to Make A Stylized Character The Dark Knight- 14 Pore TextureRegarding 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.!How to Use ZBrush and Maya to Make A Stylized Character The Dark Knight- 12 Lighting and RenderingImport 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.!How to Use ZBrush and Maya to Make A Stylized Character The Dark Knight- 4!How to Use ZBrush and Maya to Make A Stylized Character The Dark Knight- 11Fox Renderfarm hopes it will be of some help to you. As you know, Fox Renderfarm is an excellent cloud render farm in the CG world, so if you need to find a render farm, why not try Fox Renderfarm, which is offering a free $25 trial for new users? Thanks for reading!
The Best Cloud Rendering for Maya of 2022
Maya Cloud Rendering
How to Render in Fox Renderfarm?If you have made an interior design and want to render it at 3600x2500. A normal computer will take at least 3 to 6 hours, but with a cloud rendering service, the rendering time can be less than 1 hour by simply uploading the file to the desktop. Cloud rendering is several times faster than a house rendering farm. And it doesn't take up the producer's machine during the rendering process. And for the producer, you don't always need to be in front of your computer, you can view the rendering results anytime, anywhere. Let's see how to render with Maya render farm!Let's take the Maya web submission process as an example, only 4 steps in Maya render farm: submit > analyze > render > download. First you need to sign up to Fox Renderfarm, then you will be taken to the cloud rendering page.!Fox Renderfarm cloud rendering!Cloud Rendering for Maya 3Step 1. Click the "Submit" button on the left, select the software for submission> set a project path (Note: select a project path to map the local Maya project path)> select the document for rendering, after that, click "Next".!Cloud Rendering for Maya 4Step 2. Add software configuration after submitting the job (Note: selection of the rendering system), click "Go Analysis" and wait patiently for the analysis to be completed.!Cloud Rendering for Maya 5Step 3. Click the job with "Analysis Done", set render parameters and then submit it for rendering (Note: the rendering actually starts only at this job)!Cloud Rendering for Maya 6Step 4. On the rendering page, click the job > export the file > download.!Cloud Rendering for Maya 7Here are some projects that also use a cloud rendering services: ConclusionA good cloud rendering for Maya can make your files render faster and better. Not to mention that most online cloud rendering services offer free rendering vouchers. Fox Renderfarm, for example, offers a free $25 trial.
The Usage of Maya 2018 Attribute Spread Sheet
Prior to the Maya 2016, it is automatically created a layer selection (Create Layer Override) when opening or closing object properties in bulk. But since Maya added the Render Setup layering settings, the automatic creation of layer selection features has disappeared for the layered approach of older versions of Legacy Render Layers. This is confuse many people who don't know the existence of the Create Override for Selected feature. Today, the best cloud rendering service provider, Fox Renderfarm, will tell you that if the automatic layer selection disappears, how to use the Attribute Spread Sheet tool. For example, I want to make a layer selection of the object's Primary Visibility property. Step 1: Select the object you want to make the layer selection and open Maya's Attribute Spread Sheet tool. Step 2: Select the Primary Visibility property in the Attribute Spread Sheet. Step 3: Click Layer - Create Override for Selected in the upper menu bar. Step 4: Change on to 0 (off). Step 5: Check the Primary Visibility under the Object Properties and you will find that it made the layer selection automatically. However, the best CPU&GPU render farm, Fox Renderfarm want to note that, in fact, the previous version of this feature is also available, but the Maya automatically created the layer selection in the previous version, and now you need to manually click it.
Make an Environment Scene in Speedtree And Use Maya Rendering
Maya Cloud Rendering
Natural vegetation is an indispensable element in games and scenes in the film and television animation industry! The production of some vegetation can almost add true feelings to the film. Fox Renderfarm, your TPN-Accredited cloud rendering service provider, share with you a tutorial about how to make an environment scene in Speedtree.For the game masterpiece "Mysterious Sea", the scene production, from plants to objects, including objects, stickers and other details are close to the real, comparable to the general production of film and television movies.!Mysterious Sea!Mysterious SeaThere are also many scenes with vegetation in the film. For example, in the movie "Fantasy Forest", the large-scale vegetation scenes in the lens brought shocking visual effects to the audience, and almost all of them came from the realization of CG technology.!Fantasy ForestCompared to the realistic vegetation of "Fantasy Forest", the fantastic scenes of the movie "Avatar" many years ago have shocked everyone.!AvatarThen let's have a look at the technology behind the vegetation scene!Tools used: SpeedtreeAt present, there are much vegetation making tools. Speedtree is definitely one of them. It has been used in many games, movies, CG animations.The working principle of Speedtree is to generate branches through bones and generate trees through node connections. For example, the trunk is generated first, then small branches are generated on the trunk, and so on, and finally leaves are grown on the branches.Its editing function of upstream is powerful and convenient. It can quickly adjust the length, thickness, bending, quantity, and random deformation of vegetations through parameters; it can create almost any type of vegetation in reality with a good model. At the same time, Speedtree also provides the animation function, which can generate the effect of natural wind and growth animation; the new version also adds the adjustment of the four seasons, which can control the process of leaves from green to yellow.Speedtree is a really good tool for the environment artist!!How to Make an Environment Scene in SpeedtreeZhang Wei is an environmental artist and vegetation artist of a film and television animation company. He has participated in the production of many animation projects. He is good at researching and producing any kind of film-level and television-level special vegetation. Here, he will introduce the production of a single tree. ZBrush High Model CreationIn ZBrush, the blockout of the trunk, roots, and ground is quickly made. After the shape of the tree is completed, the overall posture of the tree can be adjusted and details added. These details include bark, bumps, etc., all of which are completed with a basic brush.The final thing vegetation needs are the shape of the tree. It is best to mix several different shapes together to make the shape of the tree more natural.!How to Make an Environment Scene in Speedtree UVS and TexturesUse ZBrush's plug-in Decimation Master to reduce the surface of the model; export it to RizomUV VS; adjust the problematic points with Maya; split the UV and map in Mari; texture the stone and bottom and moss in Substance Painter. Then the production is completed.!How to Make an Environment Scene in Speedtree Creates Assets in Speedtree I use Speedtree to modify unique shapes. Leaves, vines, roots, grass, and other local shapes can also be made, including adding details to the tree, making realistic plant maps, etc.At first, I only made the texture of the tree, but in order to make the tree and the ground better, I added some vines to the tree and planted some grass around the ground, and added some decorative stones around the stone and grass.!How to Make an Environment Scene in Speedtree Maya RenderingThen all the files are combined into a MAYA file. After the texture of the trunk and stones is built, the atmosphere of the scene can be adjusted while performing the light test.After determining the final effect, it’s time to carry forward layered rendering. The last step is to put it into Photoshop to adjust the color and contrast.!How to Make an Environment Scene in Speedtree ConclusionNow you should know how to make an environment scene in Speedtree. Fox Renderfarm is an excellent CPU&GPU cloud render farm, so if you need to find a render farm, why not try Fox Renderfarm, which is offering a free $25 trial for new users.
Maya Tutorial: How to Make An Axe (2)
Maya Cloud Rendering
In this part, the best CPU&GPU render farm, Fox Renderfarm continues to tell you how to make an axe.- Maya Tutorial: How to Make An Axe (1)")When I feel that there is no problem with the overall shape, I can start the middle mold of the detailed blade part. Continue to refine the three structural parts that were just split.We have refined the structure of the three parts. At this point, the basic shape of the entire model has basically reached the structure in the concept map.!Maya Tutorial How to Make An Axe!Maya Tutorial How to Make An Axe!Maya Tutorial How to Make An Axe!Maya Tutorial How to Make An AxeIf these details are attached to the basic structure, if it is not easy to make in Maya, you can use the advantages of ZBrush's rapid sculpting for quick sculpting.!Maya Tutorial How to Make An Axe!Maya Tutorial How to Make An AxeThis stage is just a transitional model, there is no need to sense volume or sculpt, like some smaller details, I just quickly generated the basic shape attached to the details on the whole.These are very time-consuming if they are directly modelled in Maya or 3ds Max, so what we need is to use the advantages of each software to quickly achieve the final effect. The software used is not important, the effect is the final.The specific operation is also very simple:- Masking- If the generated thickness is too thick, adjust the thickness and generate again- Separation model- Then adjust the shape according to the original painting.!Maya Tutorial How to Make An AxeWe need to take the topologies of the models planned in ZBrush into low-polygon models and import them into Maya for further mid-model refinement. Finally, some detailed models such as nails and ropes are put on, and then the models are merged, and the preparatory work is done for the model carving. At the edge, I deliberately added some notches and bumps to make this axe look like it is often used.!Maya Tutorial How to Make An Axe SummaryWhen making this model, there are more cumbersome parts. Don't be afraid. Just break the 2D concept map into many small parts, and then distinguish the priority and make it step by step according to the previous plan.Then sculpt some worn details to the model in ZBrush. Then you can go to ZBrush to carve some broken details. In this process, you need to pay attention to the overall structure and don't make too much detail. Do it first, then do it again, otherwise, the model will look too trivial.!Maya Tutorial How to Make An AxeThere are no details everywhere because they will distract the viewer. We only need to have relatively large damage in the distant view, middle-level details in the mid-range, and close-range views to see the texture of the details, and all the things can be combined to form a very beautiful model.When making a model, you will need to make the main character first, and then other accessories. The overall model's picture needs to be coordinated, instead of focusing all the energy on a broken sculpture. We need to use damage and details to set off the subject, not to make those details too attractive.!Maya Tutorial How to Make An Axe!Maya Tutorial How to Make An AxeBy now you should know how to make an axe in Maya. We hope you can learn something from it. Fox Renderfarm is an excellent cloud rendering service provider, so if you need to find a render farm, why not try Fox Renderfarm, which is offering a free $25 trial for new users.
Maya Tutorial: How to Make An Axe (1)
In this article, Fox Renderfarm, the best cloud rendering service provider in the CG industry, shares a tutorial from 3D artist G on how to make an axe with Maya.G is a 3D artist and has been engaged in model making for the game industry. Before entering the CG industry, he also made many mistakes that the beginners would make. In the process of making some 2D concept drawings into 3D works, he gradually realized that as a 3D artist. From flat thinking to three-dimensional thinking, it is necessary to have a good analysis and judgment ability for the understanding and grasp of the sense of space, especially when the 2D concept map is produced in 3D.G will mainly show the production process of the model and explain how to decompose the 2D drawing into a 3D drawing. I hope this article will be helpful for beginners. ReferenceI looked for a cool weapon concept map as a reference. The concept map of this axe has beautiful lines and a simple structure, which is very suitable for 3D.!Maya Tutorial How to Make An AxeBefore making it, I will observe the concept map first, and then have a blueprint in terms of structure, proportion and colour scheme. Take the following picture as an example. This axe looks very sharp, and the middle position is thicker, forming a strong contrast. Moreover, we need to infer the thickness and curvature of the side from the ratio and contrast of light and shadow, which is very important.!Maya Tutorial How to Make An AxeCompared with the two weapons, the first one I personally feel is that it is not a knife, because it does not have a sharp blade similar to figure 2, so it must have a heavy texture. In addition, there are sharp thorns on both ends. I can imagine the way this weapon is used. It should first stun the opponent like a hammer, and then pierce his vitals with the spikes. It's bloody to think about it. Since this weapon is very heavy, I would imagine that the person using it should be very strong and domineering!Preparatory work is very necessary. If you need more, you can find more reference pictures, such as the thickness reference of the side, otherwise, the model will be unreasonable. ModelingMy habit is to decompose the weapon according to the structure of the original concept painting before making the model, especially for this very complicated weapon, this step is more important. No matter how complicated things are, as long as they are broken down step by step, they will not be so complicated.The important point is that you should not directly make it on the basis of the concept map. If one of the structures has a problem, then a lot of repeated modifications are required, so that you need to redo it. This will be a waste of time and will lengthen the production cycle. Therefore, the early disassembly analysis is very important.In this project, first of all, we need to determine the main shape, which is basically divided into two parts: one part is the definable thing, the handle, etc.; the other part is the main body of the blade.My principle of production is the structure must be made with the least amount of surface in the early stage.!Maya Tutorial How to Make An AxeWhat can be determined is that some parts of the above picture, such as the handle and the bottom of the lower end, are cylindrical, so you can make all these simple things first, and give a reference to the width of the blade.The main body of the blade is as follows:!Maya Tutorial How to Make An AxeThe main structure of the blade is composed of two red areas as a basic structure, and other details can be ignored. Therefore, the structure of our first step is as follows:!Maya Tutorial How to Make An AxeThe model of the blade must be made with the least number of faces, and the whole structure must be made first before the other things. This production step requires a lot of patience and time because we need to modify the shape as much as possible to be similar to the concept map in a small number of faces. Because this low-profile model will be a draft of our final effect. Of course, you can also import the reference image into the background image as a reference.!Maya Tutorial How to Make An Axe!Maya Tutorial How to Make An AxeNow follow the leading cloud rendering service provider, Fox Renderfarm, to the next part of the tutorial: Maya Tutorial: How to Make An Axe(2)").
3ds Max Tutorials: Semi-realistic 3D Game Scene Interior Production Sharing (1)
3ds Max Render Farm
Fox Renderfarm, as the best 3ds Max render farm in the CG industry, the tutorial we shared for you this time is from the 3D artist Thepoly, on how to use 3ds Max and Maya and other software to make a semi-realistic 3D game scene interior production process.This project uses the standard PBR process, using 3ds Max to complete the basic model building, and determine the object scale. Complete high poly carving in ZBrush, topology in Maya, baking in Marmoset Toolbag 3, Substance Painter to complete the production of PBR materials, and finally use Marmoset Toolbag 3 for rendering.!3ds Max Tutorials Semi-realistic 3D Game Scene Interior Production Sharing Production processThe production is divided into three parts:- Modeling- Material production- Rendering ModelingBefore production, determine what materials, what objects are in the scene, and the overall ratio, and then determine the production order according to the ratio. Most of the scenes are walls and stones and wooden furniture, so they are the key part of the production.Quickly build up their approximate proportions in 3ds Max.!3ds Max Tutorials Semi-realistic 3D Game Scene Interior Production Sharing Complete the medium polygon modelAfter establishing the proportion of large objects, continue to build down the remaining objects in the scene. And further, enrich the details of the model. There are a lot of repetitive objects, just make a few different shapes. This does not seem to be too repetitive.!3ds Max Tutorials Semi-realistic 3D Game Scene Interior Production SharingTaking the above book as an example, many different types have been produced, which can reduce visual duplication.There are two fabrics in the scene, here is a pillow as an example，!3ds Max Tutorials Semi-realistic 3D Game Scene Interior Production SharingThis product uses the cloth calculation that comes with 3ds Max. The specific process is as follows，!3ds Max Tutorials Semi-realistic 3D Game Scene Interior Production SharingCreate blocking objects，!3ds Max Tutorials Semi-realistic 3D Game Scene Interior Production SharingCreate a pillow basic model (the higher the number of segments, the better the simulation effect, but it also stuck).!3ds Max Tutorials Semi-realistic 3D Game Scene Interior Production SharingSquash and find the fabric in the modifier,Analog computing!3ds-Max-Tutorials-Semi-realistic-3D-Game-Scene-Interior-Production-SharingFinally, get a simple pillow model. (The folds of the fabric should be sorted out, the above is a simple demonstration. The curtains are the same, MD may have better results)!3ds Max Tutorials Semi-realistic 3D Game Scene Interior Production SharingNext, import the model into ZBrush for sculpting. Carving High PolyTake the wall and stone of the house as an example:!3ds Max Tutorials Semi-realistic 3D Game Scene Interior Production SharingAfter importing the medium-surface model into ZBrush, it is because of the irregular shape of the stone. You can use Dynamesh in geometry editing to edit the model.!3ds Max Tutorials Semi-realistic 3D Game Scene Interior Production SharingThe No.1, No. 2, and No.3 brushes are used for large-scale carving of stones. The No. 4 brush adjusts the shape to prevent insertion. Finally, the No.5 and No.6 brushes flatten some edges and corners to make the structure hard. Thus reflecting the texture of the stone.The big idea of the wall is the same. Finally, use the noise in the surface, adjust the curve and noise ratio, etc. to simulate the graininess of the wall and the stone surface.!3ds Max Tutorials Semi-realistic 3D Game Scene Interior Production SharingFinally, add some details such as cracks and bumps to enrich the picture. Use the No. 6 brush mentioned above and press it again to achieve better results. (This part of the production reference is very important)Now follow the best cloud rendering service provider, Fox Renderfarm, to the next part: 3ds Max Tutorials: 3ds Max Tutorials: Semi-realistic 3D Game Scene Interior Production Sharing (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 modelsAfter 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.!How to Make a Viking Warrior in Maya and ZBrush Baking and material makingAfter 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.!How to Make a Viking Warrior in Maya and ZBrushFirst, 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.!How to Make a Viking Warrior in Maya and ZBrushAfter 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.!How to Make a Viking Warrior in Maya and ZBrushAfter 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.!How to Make a Viking Warrior in Maya and ZBrush Lighting and renderingAfter 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!!How to Make a Viking Warrior in Maya and ZBrushIf 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. !How to Make a Viking Warrior in Maya and ZBrush!How to Make a Viking Warrior in Maya and ZBrush
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 modelingI 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.!How to Make a Viking Warrior in Maya and ZBrushI 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.!How to Make a Viking Warrior in Maya and ZBrush!How to Make a Viking Warrior in Maya and ZBrushWhen 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.!How to Make a Viking Warrior in Maya and ZBrushNext, 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.!How to Make a Viking Warrior in Maya and ZBrush!How to Make a Viking Warrior in Maya and ZBrush Adjusting the number of model facesI 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.!How to Make a Viking Warrior in Maya and ZBrush
How to Make the Movie Characters Jiang Ziya With Maya and ZBrush(2)
Maya Cloud Rendering
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!How to Make the Movie Characters Jiang Ziya With Maya and ZBrush -3Next, 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.!How to Make the Movie Characters Jiang Ziya With Maya and ZBrush -14When 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.!How to Make the Movie Characters Jiang Ziya With Maya and ZBrush -26!How to Make the Movie Characters Jiang Ziya With Maya and ZBrush -11The 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.!How to Make the Movie Characters Jiang Ziya With Maya and ZBrush -6Add 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.!How to Make the Movie Characters Jiang Ziya With Maya and ZBrush -4 UVS!How to Make the Movie Characters Jiang Ziya With Maya and ZBrush -5After 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.!How to Make the Movie Characters Jiang Ziya With Maya and ZBrush -13 BakingBaking 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.!How to Make the Movie Characters Jiang Ziya With Maya and ZBrush -9When 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.!How to Make the Movie Characters Jiang Ziya With Maya and ZBrush -20 TexturingThe 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.!How to Make the Movie Characters Jiang Ziya With Maya and ZBrush -27Adjust 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.!How to Make the Movie Characters Jiang Ziya With Maya and ZBrush -282. Hair The hair was easy to make, and I just added colour changes and roughness changes to it after I finished carving.!How to Make the Movie Characters Jiang Ziya With Maya and ZBrush -103. 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.!How to Make the Movie Characters Jiang Ziya With Maya and ZBrush -17I 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.!How to Make the Movie Characters Jiang Ziya With Maya and ZBrush -17!How to Make the Movie Characters Jiang Ziya With Maya and ZBrush -234. 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.!How to Make the Movie Characters Jiang Ziya With Maya and ZBrush -30When 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.!How to Make the Movie Characters Jiang Ziya With Maya and ZBrush -24 Final render!How to Make the Movie Characters Jiang Ziya With Maya and ZBrush -16That'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.
How to Make the Movie Characters Jiang Ziya With Maya and ZBrush(1)
Maya Cloud Rendering
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!How to Make the Movie Characters Jiang Ziya With Maya and ZBrush -29I 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.!How to Make the Movie Characters Jiang Ziya With Maya and ZBrush -7!How to Make the Movie Characters Jiang Ziya With Maya and ZBrush -31 ClothingBecause 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.!How to Make the Movie Characters Jiang Ziya With Maya and ZBrush -19The 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.!How to Make the Movie Characters Jiang Ziya With Maya and ZBrush -32!How to Make the Movie Characters Jiang Ziya With Maya and ZBrush -22!How to Make the Movie Characters Jiang Ziya With Maya and ZBrush -8I 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.!How to Make the Movie Characters Jiang Ziya With Maya and ZBrush -33!How to Make the Movie Characters Jiang Ziya With Maya and ZBrush -21In 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.!How to Make the Movie Characters Jiang Ziya With Maya and ZBrush -30!How to Make the Movie Characters Jiang Ziya With Maya and ZBrush -1I then imported the model back into Zbrush to refine the other details of the cloth.!How to Make the Movie Characters Jiang Ziya With Maya and ZBrush -25
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