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!
Creating A Game Character “Yae Sakurain” In ZBrush And Maya
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In this article, Fox Renderfarm, the best render farm in the CG industry, will share with you a Maya tutorial about how to create a game character “Yae Sakurain” in ZBrush And Maya. This tutorial is written by 3d Artist Sakura. This style is to use three-dimensional methods to achieve the artistic expression of two-dimensional visual style. So I chose the character Yae Sakurain in the game "Honkai Impact 3'. This is a challenge for me. This article is from looking for references in the early stage to the final model making.This article will not describe too much technical skills, but hope to share the production process and some ideas from a design perspective.Software used:- PureRef: Reference collation- Zbrush: Characters & costumes- Maya: Topology & UV- Xgen: Grooming- Mari: skin map- Substance Painter: texture map of other parts- Arnold: lighting material rendering InspirationWhen I saw the design of the character Yae Sakura in the "Honkai Impact 3'', I was attracted by its design, personality and expressiveness. Its facial features and ears are a bit like a bunny girl, as well as color matching and body proportions.!Honkai Impact 3!Honkai Impact 3!Honkai Impact 3 ReferenceThe difference between reference and inspiration is that reference is based on having inspiration as a general direction guide, and then adding more. Collecting references helps guide oneself to find the right direction, and at the same time it is not easy to go wrong in the production process.It is a more realistic style. At the same time, I also found a lot of references for Japanese kimonos and skirts, head styling, expressions, hair, etc. The character requires a lot of refinement of key features to better show their ideas. This personal project took a lot more time to find references than my other projects.!Creating A Game Character “Yae Sakurain” In ZBrush And Maya ModelingLarge stage and detailed stageIn the large-scale stage, I first built a basic structure in Maya. I like to start with the whole and grasp the overall proportional relationship to a certain extent. It can be seen that this role belongs to NPR. The characteristics of NPR mainly focus on styling design, large scale relationship and color, and the treatment of light and shadow.If you do this directly, the direction is incorrect. And the structure on the model will be too flat. Especially using the PBR process, there is no cartoon material effect, such a model does not have enough features.!Creating A Game Character “Yae Sakurain” In ZBrush And Maya!Creating A Game Character “Yae Sakurain” In ZBrush And MayaSo through the combination of these references, a rough proportion is formed in the mind and built in the software. In this way, we can slowly enter the detail stage with a holistic way of thinking, without chaos. Of course, you can find some models to fight together and adjust the shape to save some time. Various methods can be tried.!Creating A Game Character “Yae Sakurain” In ZBrush And MayaIn the detail stage, I will try my best to express the different characteristics of the model, and then the model can show some sense of hierarchy at this stage. This can predict some effects after the texture map is applied. But it does not mean that the model is finalized at this stage. After all, although this has a reference to the original painting, it is a secondary creation on this basis.So if the texture map is not suitable, it will return to the model stage for adjustment. After the appearance is determined, the detail stage is also very important. In many cases, the comparison and level changes between models are presented by the characteristics of different shapes.For example, the folds of the kimono, the embroidered patterns on the top, the shape of the skirt, the changes in the fold structure on the top, and how many different model structures are on the mask, sword, and rope. Observe the above features, analyze and disassemble them and make them all, if they are not good, you can delete them.!Creating A Game Character “Yae Sakurain” In ZBrush And MayaFor this project, I used Zbrush mainly to deal with some fabric and shoe models. Clothes and shoes do not need to be worn, but they are not completely unused. So some folds were added to make the model look authentic.I didn't use Marvelous Designer for the clothes, because those things are not complicated, and almost all of them are made directly using ZBrush.!Creating A Game Character “Yae Sakurain” In ZBrush And MayaAfter completing the topology in Maya, occasionally I will return to zbrush to adjust if I am unsatisfied, and repeatedly modify it back and forth. At the same time, in order to get more structural levels and details on the model, and to make some rhythmic distinctions between different models, the subdivision of the cloth is still given enough surface.Primary and secondary and rhythm changes. This part needs to be finalized at the model stage. Regardless of whether it is clothing or props, I have made trade-offs as much as possible in the details of the relationship with the characters. After all, it can't be details, or no details. There will be a lack of rhythmic changes in the expressiveness of the entire styling. I used the appearance changes of clothing and skirts to break the overly flat outline of the entire model, and at the same time used props to reinforce this.!Creating A Game Character “Yae Sakurain” In ZBrush And Maya TexturingMari and Substance Painter are used in the texture part. I first finished making the skin. Then the most important part begins, the production and color matching of other parts, as well as the material details. Of course it was done separately, for the same reason.For the texture mapping of the components, observe the real photos made by others or analyze the logical hierarchical relationship between them. It can be done layer by layer, the important thing is to observe and disassemble and analyze. For example, have you tried to show some texture particles, dirt, thread ends, and high light reflections on the clothing?In fact, to some extent, we need to have a certain understanding of the properties of the shader, whether you know how to use basecolor, metallic, roughness, normal, and sss textures. How do they affect each other? Basic knowledge is important.!Creating A Game Character “Yae Sakurain” In ZBrush And MayaOne of the more important reasons that problems exist is that there are too many details, and there is no planning in the early stages, resulting in details everywhere. One difficulty with this character is that the costumes are white. White is a color that is harder to produce effects. If you don't do it, the texture map of the entire costume will appear very thin, and doing too much will steal the attention of the character.In the end, I chose to add some different types of embroidery effects to the white clothing, especially the cherry blossom pattern on the large sleeves, to ensure that it conforms to the cultural background. It’s easier to say, but I don’t know how many times I have tried repeatedly when I did it. The color matching is relatively good. The design of Yae Sakura has helped you to adjust the color matching in place, mainly controlling some parameters such as saturation.!Creating A Game Character “Yae Sakurain” In ZBrush And Maya Grooming and lightingAfter finishing most of the texture maps, I will try to set up a set of basic light sources in the scene, mainly for auxiliary hair test rendering.These two are the core references:!Honkai Impact 3!Creating A Game Character “Yae Sakurain” In ZBrush And MayaBased on these two references, I found some other references. The final references are as below.!Creating A Game Character “Yae Sakurain” In ZBrush And MayaFirst, solve the large structure and the direction of the hair with the larger main body. Then add some fine splits based on the big trend, and finally add some broken hairs and so on.!Creating A Game Character “Yae Sakurain” In ZBrush And MayaIt can be seen that the hairstyle and lighting still affect the facial emotion expression of the characters very much. Take a closer look at each of them.!Creating A Game Character “Yae Sakurain” In ZBrush And MayaI try to grasp the characteristics of the role of Yae Sakura, such as the feature of her hair spreading to the ends, and the hierarchical relationship between bangs and temples. And the spread of the long hair rests behind the open styling. Because I didn't want this character to be too cartoonish, I looked for some realistic style references.!Creating A Game Character “Yae Sakurain” In ZBrush And MayaLighting rendering, first of all, I wanted to make it in the style of the first picture. After I have a foundation, I hope to express the feeling of sunlight on the hair and body in the fourth picture. At the same time, because there is a stronger light source in the scene, the overall light will be brighter. I found the second picture and the third picture to supplement. Of course, there are still many pictures to support. In order to better refine the views of this article, I have selected these four representative references.!Creating A Game Character “Yae Sakurain” In ZBrush And Maya!Yae Sakurain SummaryThe conceptual design and reference diagrams before making are very important. Basic software technical knowledge and design theories can help you improve your work. Details, proportions and composition are very important for perfect results. If you are looking for a cloud rendering service, why not try the fast and TPN-accredited cloud render farm, Fox Renderfarm, who offers a $25 trial? Thanks for reading!
How to Create a Classroom Scene With 3ds Max and Zbrush
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This tutorial brings about the scene production process of "Classroom", and the tutorial was organized by the best online render farm, Fox Renderfarm. The content will introduce in detail the process from resource allocation to model making, then drawing textures, and finally rendering. The software used includes 3ds Max 2018, Zbrush, Substance Painter, Marmoset Toolbag3, etc.!How to Create a Classroom Scene With 3ds Max and Zbrush Production Process1. Resource AllocationBecause of the large number of models in the scene, It is necessary to analyze the scene first, disassemble it into separate resources, and then allocate them to each member for production, and finally build and integrate them. This will greatly increase efficiency.The specific division of labor is as follows,!How to Create a Classroom Scene With 3ds Max and Zbrush!How to Create a Classroom Scene With 3ds Max and Zbrush!How to Create a Classroom Scene With 3ds Max and Zbrush!How to Create a Classroom Scene With 3ds Max and Zbrush2. ModelingBefore making the medium model, we must first build a simple model to determine the approximate size and location of each object. The focus of this step is the accuracy of the overall proportion and position, so there is no need to spend too much time on the model.!How to Create a Classroom Scene With 3ds Max and ZbrushIn order to better grasp the position and size, you can find the perspective angle of the original painting by adjusting the position and field of view. At this time, create a camera and press c to call up the camera for easy matching.After the simple model is built, the next steps can be made according to the assigned tasks. The production process of the three representative models will be introduced below. I hope everyone will like it.3. Asset productionThere are a lot of assets in it, so here are a few to discuss the production process.Case 1: BroomMid-poly modelingThe manufacturing process of the mid-poly model is relatively simple, using a cylinder and a sphere to complete, making the broom simple and large.!How to Create a Classroom Scene With 3ds Max and ZbrushIn the process of making, pay attention to the overall wiring distribution of the model to be even, so that it can be engraved in zb later. High-poly model modelingAfter the mid-poly model is completed, the modeling of the high-poly is carried out. First, analyze the shape of the broom. The broom in life is generally not very regular and will have a messy posture, so the details of the broom wire will be relatively large.So when sculpting, I used the move brush to make a simple adjustment to the large irregular direction, and used the standard brush to simply make a rough sculpting.!How to Create a Classroom Scene With 3ds Max and ZbrushThe next step is to sculpt meticulously. At this time, I used the ClayBuildup and Standard brushes to depict the details. In some areas with larger cut surfaces, I also used the ClayPolish brush to make the edges cleaner.!How to Create a Classroom Scene With 3ds Max and ZbrushFinally, use the CurveStrapSnap brush to pull out the rope on the broom, and then adjust the shape to make it more suitable for the shape of the broom wire, so that the entire high-poly modeling is completed. Low-poly model topologyBecause the shape of this broom is relatively simple, it is also relatively easy when the topology is low mode. However, due to the large changes in the appearance of the high-poly model, the mid-poly model cannot be used for production, so I re-topped a low-poly model in TopoGun3.!How to Create a Classroom Scene With 3ds Max and Zbrush UV unfoldingBecause it is a single object, it is easier to expand the UV, and the model is symmetrical, which makes it more convenient to make textures. There are other models in the blank part of the UV in the picture below, which are not so big to avoid misleading, and the UV still maintains a high utilization rate.!How to Create a Classroom Scene With 3ds Max and Zbrush Texture makingFirst of all, each texture was baked in SP.!How to Create a Classroom Scene With 3ds Max and ZbrushNext, I used a shader similar to hair as the inherent color and texture.!How to Create a Classroom Scene With 3ds Max and ZbrushThen added a layer of color change and a layer of dirt on it to achieve the effect of distressing.!How to Create a Classroom Scene With 3ds Max and ZbrushThe part of the broom wire is basically completed, so I selected the line on the broom and gave it a unique color separately.!How to Create a Classroom Scene With 3ds Max and ZbrushThree fill layers are used here to give different colors, and only the intrinsic color and height channels are turned on. The next thing to do is the part of the broom handle. I first gave a wood shader a natural color.Then made some slight color changes on it.Finally, some cracks and dirt were added to enrich the effect.!How to Create a Classroom Scene With 3ds Max and ZbrushIn this way, the materials of the three structures of the broom are finished. The render is as follows.!How to Create a Classroom Scene With 3ds Max and ZbrushCase 2: SchoolbagMid-poly modelingThe modeling is mainly based on the grasp of the proportion, and the main shape and size of the low-poly model are made through the reference of the original painting.!How to Create a Classroom Scene With 3ds Max and Zbrush High-poly modelingFor the production of the high-poly model, I used ZBrush to carve some parts to make it more like leather. In fact, the production of the high-poly model is relatively simple. For most of the details, I prefer to make it with Substance Painter. The advantage of making in Substance Painter is that it is convenient and quick. There are many ways to make models that are not limited to just one.!How to Create a Classroom Scene With 3ds Max and Zbrush Material productionIn order to save UV, before importing Substance Painter, I chose to put together a few small objects to make. Here I mainly explain the production of leather schoolbags.First, you can make small screws with normal thread to make the high model rich, and then give the background color to make damage.!How to Create a Classroom Scene With 3ds Max and ZbrushSecondly, the details are further perfected. The leather itself is not particularly smooth, so the unevenness of the leather should be made.!How to Create a Classroom Scene With 3ds Max and ZbrushFinally, in order to better integrate with the scene, it is necessary to make the schoolbag dirty and dust more obvious, which will be more abrupt when viewed alone, but for the overall scene, the details of a single object can be appropriately made more obvious, so that it will not be particularly flat in the scene. !How to Create a Classroom Scene With 3ds Max and ZbrushCase 3: Desks and ChairsIn addition to the atmosphere, the walls and floors of the scene, all kinds of objects in the classroom also need to conform to the atmosphere. Take the desks and chairs that occupy the most space for example. The main difficulty in making is how to integrate the color of the texture into the atmosphere. Since the model of this object is simple to make, I won’t repeat it here. The specific operation process of the map is as follows (due to the similar process, only the table is used for display),First, we create a filling layer, and create a natural color based on the color and material of the table and chair in the original painting.Add a fixed shaderFill the metal part with gray that is similar to the metal color of the original image and then adjust the metal degree and roughness. Add dark and bright stains;Create a fill layer, right-click to create a filled black mask, add a fill, and select the dirty trace below.The effect after adding dirty marks is as follows,!How to Create a Classroom Scene With 3ds Max and ZbrushAdd wood grain strength and metal roughness.Create a fill layer, right-click to create a filled black mask, add a fill, and select the dirty trace below.Add different basic colors to the filling layer to create a staggered effect of wood grain colors, and select penetration for the blending mode.On the metal side, you can choose to add dirt again or directly make the final effect. The effect after this step is completed is as follows:!How to Create a Classroom Scene With 3ds Max and ZbrushFinally, add a layer of shabby dirt that matches the atmosphere of the classroom.Create a fill layer, right-click to create a filled black mask, add a generator, and select the generator below.Parameter selection (wood grain)Add sharpening to the metal, create an empty layer, right-click to add sharpening, and the sharpening intensity is 0.5.Then add dirt, create a fill layer, right-click to create a filled black mask, add a generator, and select the generator below.Parameter selection (metal)The final effect after adding is shown in the figure:!How to Create a Classroom Scene With 3ds Max and Zbrush RenderingThe software used in this rendering is the eight monkey engine, which has a good display of the effect of the light map. Before importing the file, you need to unify the HDR environment used by the sky option in the eight monkeys with the environment used by the sp software to make the material. The environment used this time is panorama.!How to Create a Classroom Scene With 3ds Max and ZbrushAfter importing the model, paste the corresponding texture map. In order to make the subsequent lighting effect better, we reduce the intensity of the ambient light and use a pure color for the background.!How to Create a Classroom Scene With 3ds Max and ZbrushThe next step is lighting. Three lights were used this time, which were illuminated into the house from three different angles.!How to Create a Classroom Scene With 3ds Max and ZbrushThe simulated indoor light on the right side uses a yellowish warm light source. Through the adjustment of the illumination direction and angle, the indoor objects can be projected to conform to the environment atmosphere. Under the light shape option, adjust the shadow parameters to make the outline clear and the details more detailed.!How to Create a Classroom Scene With 3ds Max and ZbrushThe parallel light used on the left is irradiated from the window. It uses a light source with a cooler tone, which is in contrast with the light source on the right. This time we slightly increase the shape parameter to make the shadow edge slightly blurred.!How to Create a Classroom Scene With 3ds Max and ZbrushFinally, we open the GI, slightly adjust the color curve under the camera option, darken the dark part, and brighten the bright part.!How to Create a Classroom Scene With 3ds Max and ZbrushThen start rendering, and the final effect is as shown in the figure:!How to Create a Classroom Scene With 3ds Max and ZbrushThank you very much for taking the time to read to the end of the article. I hope that the sharing of this tutorial can be helpful to you.
How to Create Chinese Style Scenes in 3ds Max and ZBrush
In this article, your trusted CPU & GPU cloud rendering services provider, Fox Renderfarm will share with you a production process about how to create Chinese style scenes in 3ds Max and ZBrush from 3d artist ZX. IntroductionThe project is created by a small team. It's also the first time they've done the scene independently. When they first saw the concept map, they thought it was beautiful and decided to make it a 3D version. Next, we'll show you the whole process and explain in detail the problems encountered in the project and how to solve them. !How to Create Chinese Style Scenes in 3ds Max and ZBrush -17!How to Create Chinese Style Scenes in 3ds Max and ZBrush -13!How to Create Chinese Style Scenes in 3ds Max and ZBrush -6We wanted to save production time as much as possible, so before we did it, all of the team analyzed the concept map together, and we decided that the UVs for those things could be shared, and those materials could be made with duplicate maps. The parts of the model, those that only need to be made in one copy, can be reused. We've assigned everything by type and map. And when making, we will give priority to the large model, from the whole to the part, the pre-production does not need to be too detailed, and finally is a number of various styles of small ornaments. So we've made some basic shapes, and then we've used this basic shape to build a large scene.!How to Create Chinese Style Scenes in 3ds Max and ZBrush -9!How to Create Chinese Style Scenes in 3ds Max and ZBrush -12!How to Create Chinese Style Scenes in 3ds Max and ZBrush -10!How to Create Chinese Style Scenes in 3ds Max and ZBrush -5 Basic modelThe low model is made to determine the scale of the entire model and facilitate later work. At first, I ignored the small props and started with the big buildings. After the whole Hall was built, I carefully checked all the structural parts and there was no problem. Otherwise, after half of the production, it will be troublesome to modify these structural things. So the hall scale structure must be confirmed before making details.!How to Create Chinese Style Scenes in 3ds Max and ZBrush -2When the structure of the hall is finished, the number of faces of all models will not be too high, which will facilitate the subsequent engraving of the high model in ZBrush. I then divided all the models into several parts and distributed them to my team members for follow-up work. As long as everyone completes the work according to their assignment, it will save a lot of time when the later scene is assembled. After we finish the scene, we refine it on the basis of the low model, so as to ensure that the model scale will not have problems in the later integration. It is important to note that all high models maintain size uniformity and that all engraving details are consistent.Due to task assignments, it is necessary for someone to check everyone's progress to ensure that the project can be completed on time and that all models can achieve the same details. I sculpted two of these models as I made them, both starting with the basic ZSphere, and then converting them to polymesh3D. DynaMesh is used for carving, and the fewer faces the better in the early carving, and the better to adjust the shape.!How to Create Chinese Style Scenes in 3ds Max and ZBrush!How to Create Chinese Style Scenes in 3ds Max and ZBrush -1All that's left is some tedious work that requires a lot of patience. I spent a lot of time in TopoGun to get the best models and details. Of course, in the project, there are also members who learn to make while learning and learn to use new tools to speed up the project process. Texturing As with the high model, all textures have to be consistent in color and texture, so some common base textures need to be made in advance. And, because it's a multi-person collaborative project, all progress sharing is important. So the production needs continuous communication, as far as possible to avoid repetitive work.!How to Create Chinese Style Scenes in 3ds Max and ZBrush -16!How to Create Chinese Style Scenes in 3ds Max and ZBrush -11 Rendering First, it's an important step to integrate all the models into one scene. Especially for the large scene of multi-person cooperation, the name of the file made by each person must be good, and the shader in the file is named the same as the exported map folder, so as to facilitate the later search of textures and the replacement of maps.!How to Create Chinese Style Scenes in 3ds Max and ZBrush -7!How to Create Chinese Style Scenes in 3ds Max and ZBrush -8Three common types of lights are used, the main light source that simulates sunlight, a supplementary spotlight and a point light source to make up for too dark places. We started with Marmoset Toolbag, but we weren't satisfied with the results. Then we added some extra effects to the scene, ambient atmosphere and so on, and finally, we got the most satisfying effect.!How to Create Chinese Style Scenes in 3ds Max and ZBrush -14!How to Create Chinese Style Scenes in 3ds Max and ZBrush -4!How to Create Chinese Style Scenes in 3ds Max and ZBrush -18!How to Create Chinese Style Scenes in 3ds Max and ZBrush -3!How to Create Chinese Style Scenes in 3ds Max and ZBrush -15
How To Make An Ancient Warrior Using ZBrush And 3ds Max(2)
In this tutorial, the best cloud render farm, Fox Renderfarm will pick up where we left off previously. If you would like to view the content of part 1, please click here"). UVI 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.!How To Make An Ancient Warrior Using ZBrush And 3ds Max -20Normal 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. Normal BakingFor this model, I bake the normals in Toolbag3,1. Import the low-polygon model and high-polygon model of the model.2. Create New Baker.3. Create a new baking group in New Baker, the number is the number of character UVs.4. Put the high and low polygon model into different groups and adjust the size of the wrapper.5. Adjust the storage location, size, type of rendering, and check Flip Y.6. 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.!How To Make An Ancient Warrior Using ZBrush And 3ds Max -18 TexturingLet’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.!How To Make An Ancient Warrior Using ZBrush And 3ds Max -5The 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.!How To Make An Ancient Warrior Using ZBrush And 3ds Max -6For 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.!How To Make An Ancient Warrior Using ZBrush And 3ds Max -2 Colour drawing of the dark part of the breastplateIn 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.!How To Make An Ancient Warrior Using ZBrush And 3ds Max -3 Highlight edge drawingThe 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.!How To Make An Ancient Warrior Using ZBrush And 3ds Max -13 Detail portrayalNext, 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.!How To Make An Ancient Warrior Using ZBrush And 3ds Max -2!How To Make An Ancient Warrior Using ZBrush And 3ds Max -8 Adjustment layerFinally, 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 productionThe 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.!How To Make An Ancient Warrior Using ZBrush And 3ds Max -7Final rendering:!How To Make An Ancient Warrior Using ZBrush And 3ds Max -17
How To Make An Ancient Warrior Using ZBrush And 3ds Max(1)
Fox Renderfarm, the best cloud rendering services provider, will bring you a tutorial from 3d artist Mars on how to use ZBrush and 3ds Max to make an ancient warrior. Mars will use ZBrush and 3ds Max to make a character of a Japanese samurai and talk about some of the problems encountered in the production process. The whole production is divided into five parts: Introduction, 3D Modeling, UV, Texturing and Rendering.!How To Make An Ancient Warrior Using ZBrush And 3ds Max IntroductionThis Japanese samurai production case specifically used 3ds Max to make the initial model, ZBrush and 3ds Max combined to complete the high polygon sculpting and production, Marvelous Designer to make the cloth, Substance Painter complete the texture, and finally to use Substance Painter for rendering. ReferenceWhen creating a 3D artwork, whether it is realistic or stylized, preparing reference materials is one of the most important parts of the process. After seeing a samurai picture, I decided to make it into my own version and split some elements in the picture. You can see that the samurai in the concept map is mainly armour, and there are many weapons on his body. However, this armour's texture colour is relatively single, and the original painting only has the upper part of the display, so a lot of references must be found.!How To Make An Ancient Warrior Using ZBrush And 3ds MaxThe following is part of the reference pictures found when making samurai armour. Divide the model into different materials, find the corresponding reference, and create the corresponding folder to facilitate subsequent search and use.!How To Make An Ancient Warrior Using ZBrush And 3ds Max -10 Character modelingFirst of all, according to the samurai drawing, I used a basic body model to modify, and may quickly adjust the character's body proportions, shape and movements.!How To Make An Ancient Warrior Using ZBrush And 3ds Max -9After making the basic things, I started to build the equipment in 3ds Max. There are three points to note:1. The size and proportion of the model.2. Some structures need to be extruded to make changes in the shape, and the edges of the model should be chamfered so that the edges do not look particularly sharp.3. Group according to different parts, and the naming and grouping of these models are clearly organized to facilitate the subsequent production management.!How To Make An Ancient Warrior Using ZBrush And 3ds Max -16After the basic proportions of the body are determined, you can make equipment for the character. Samurai equipment has sub-hard structure equipment, such as helmets, shoulder armours, weapons, etc., which can be built directly in 3ds Max. For other items like clothing, pants, etc. I plan to make them through Marvelous Designer. The pants and clothing calculated by Marvelous Designer will be more natural. You can adjust the details of the folds of the clothes through ZBrush later.!How To Make An Ancient Warrior Using ZBrush And 3ds Max -14Finally, combine all the things in 3ds Max to place and adjust the model together. When making the model, you need to pay attention to restore the shape and outline silhouette in the reference picture as much as possible.!How To Make An Ancient Warrior Using ZBrush And 3ds Max -11After the production of these basic models is completed, I first set up the models to facilitate subsequent production.!How To Make An Ancient Warrior Using ZBrush And 3ds Max -4For some hard-surface models, such as breastplates, the previous models are made more refined through some plug-ins or adding wires. However, it should be noted that try not to destroy the original structure of these models, but only add modifications to them. For things like clothes, it is best to put them into ZBrush for sculpting.Here I use pants as an example. First, I export the fabric checked by Marvelous Designer to ZBrush for sculpting, adjust the details, and then split the UV of the model through GUV tiling, and make textures on the pants through the noise.!How To Make An Ancient Warrior Using ZBrush And 3ds Max -19The intensity can be increased appropriately in ZBrush because the damaged details will be weakened when the normals are baked. My approach is to create a new layer to draw, and at the same time, I need to open the transformation target and open the storage transformation target.In this way, the strength of the texture can be adjusted as a whole to facilitate the modification, and the unsatisfactory parts can be restored by restoring the brush later.I need to adjust the number of faces of the model to create a low-polygon model for matching and baking with the sculpted model, so a low-polygon model can be directly adjusted and produced in 3ds Max. It is important to note that some concavo-convex structures can be made by baking, so some structures in the model can be directly deleted, and all the lines that the structure are deleted, which is the largest reduction in the number of models. Part of the sculpted model needs to be made by surface reduction in ZBrush or topology with TopoGun. The production of low-polygon models requires the number of faces to be as few as possible, the position of the line is reasonable, and there should be no more than quadrilateral faces.In part 2 of this tutorial, we’ll be going over the rest of the details of the production process.
Using 3ds Max to Copy a Legendary Hemok of Apex Legends Production Tutorials(1)
3ds Max Tutorials
Fox Renderfarm, the best cloud rendering service provider, will share with you a tutorial about using 3ds Max to copy a legendary Hemok of Apex Legends production tutorial from 3d artist Michael. The production of this work is to continuously learn new skills and practice what you already know. Hope you like it.This work is inspired by a legendary Hemok of Apex Legends. This production process includes modelling, UV and texturing. ProductionThe main production software used including 3ds Max 2018, ZBrush 2019, Topogun 3, Substance Painter 2019 and Marmoset Toolbag 3. I will also explain in detail the HPM(High Polygon Model), the LPM(Low Polygon Model), the baking and modification of normals, the production of the materials, and the lighting, rendering of the weapon.!Using 3ds Max to Copy a Legendary Hemok of Apex Legends Production Tutorials -1When I first wanted to make a mechanical model, I looked for a lot of references. Since I like games very much, I chose a weapon in the game "APEX" after reading a lot of references. This is called the Hemok three-shot rifle. It has a very beautiful skin design, full of technology and looks at the same time. It's also very cool and looks very beautiful. The texture is also very rich, the details of the model are also many, and the color of the design drawing also presents a great visual effect, so I am very satisfied with using it as my first copy work. ModellingWhen I started to make the model, I first used some simple shapes to quickly build the entire structure of the rifle. You don't need to pay too much attention to the details in this part, but the shape needs to be very accurate. And in the follow-up production, will need constant modification. For me, I will try to save time to complete everything and avoid unnecessary changes.!Using 3ds Max to Copy a Legendary Hemok of Apex Legends Production Tutorials -9In order to make the model more accurate, I generally put the reference pictures in 3ds Max as a reference, and try to adjust their angles to be consistent, and restore all the details of the reference pictures as much as possible. One thing to note is that in order to make the model of the rifle real, the seams between the model and the model must be completely in accordance with the reference diagram.!Using 3ds Max to Copy a Legendary Hemok of Apex Legends Production Tutorials -14And when making this model, we must start to consider the subsequent HPM production, so try to keep the model clean and tidy, as long as the neat wiring will get a good effect in the later model production.!Using 3ds Max to Copy a Legendary Hemok of Apex Legends Production Tutorials -6And those with more complicated structure, if you use a model to make it will be a little troublesome, and if there is a problem, it is troublesome to modify (such as screws, pits). Therefore, you can use the method of separate production to separate the details from the surface, and then directly bake it on the normal map in the later stage, which not only makes the middle mold wiring clean but also greatly saves resources.!Using 3ds Max to Copy a Legendary Hemok of Apex Legends Production Tutorials -4When making a high degree of deformation, I took two methods, one is to use the Chamfer and Turbosmooth that comes with the 2018 version of 3ds Max, and the other is to use ZBrush polishing.!Using 3ds Max to Copy a Legendary Hemok of Apex Legends Production Tutorials -2After adding turbo smoothing, if you find that there are stretch defects in some places, you can add an Edit Poly to the Chamfer to modify the line. As for Zbrush polishing, it can be used to make high polygons when encountering some hard edges. It is very practical and fast.!Using 3ds Max to Copy a Legendary Hemok of Apex Legends Production Tutorials -5For the LPM, I used the Medium Polygon Model to directly reduce the surface. Don’t forget to match the LPM with the HPM. Some small structures, similar to the suspension sheet made before, can be directly deleted relying on the HPM and it can be baked directly.!Using 3ds Max to Copy a Legendary Hemok of Apex Legends Production Tutorials -12After the low-polygon model is made, it is necessary to distinguish the smooth group. To prepare for the splitting of UVS, the standard for distinguishing is a smooth group greater than 90 degrees, and a smooth group less than or equal to 90 degrees. But it is not absolute. If a large area of the black surface is generated, it will be disconnected. Note that there is no difference between right and wrong settings for the model smoothing group, only the difference between good and bad.!Using 3ds Max to Copy a Legendary Hemok of Apex Legends Production Tutorials -17Pay attention when splitting the UVs. The straight line must be straight to facilitate the overall placement. And the space of UVs needs to follow a rule as much as possible. The larger model occupies a larger UV space, and the smaller model UVs occupies a relatively smaller space. This method can effectively improve the texture quality and visual effects.!Using 3ds Max to Copy a Legendary Hemok of Apex Legends Production Tutorials -11And this is part three, for part one you can click here") and for part two you can click here").
Using 3ds Max to Copy a Legendary Hemok of Apex Legends Production Tutorials(3)
Fox Renderfarm, the best cloud render farm in the CG industry, still share with you the tutorial about using 3ds Max to copy a legendary Hemok of Apex Legends production tutorial from 3d artist Michael. And this is part three, for part one you can click here") and for part two you can click here"). TexturingAfter all the MSP baking is over, you can start texture production. I will take some of them as an example of how to make textures.I use part of the metal structure as an example, all materials are actually the same. First, the most important thing is the basic texture. The color selection in this step is very important because all the subsequent effects will be superimposed on the basic texture. The correctness of the basic texture color tendency can almost determine the overall color of the model.!Using 3ds Max to Copy a Legendary Hemok of Apex Legends Production Tutorials -8Next, I use the metal edge generator for bright colors and the dirt generator for dark colors. I only need to control the range and color to enhance the light and dark parts of the model.The next step is to add some color changes to the model so that the colors are no longer monotonous. Because it is metal, rust, scratches and other effects can be added to strengthen the metal texture in the process. It should be noted here that these dirty and old need to be adjusted. If necessary, you can add a drawing layer to manually control the range.To add roughness changes to the model. Because after the firearm is used for a long time, there will definitely be signs of friction, handprints, etc., rust and scratches, etc. I need to make some changes to prevent the surface of the model from being too smooth, and that model will look fake.The last step is to add the patterns and decorations of the weapon body. I imported the pictures made in Photoshop into Substance painter. After adding the layers, I use the mapping function to draw them. The light effect can open the emission channel. The height effect can open the height channel.It can be said that the main method I use is basic material + bright and dark colors (to highlight the volume of light and dark) + color changes (increase color diversity) + roughness changes (to make objects more life-like, more real) + mottled, dirty, scratched the details such as marks, rusts, breakages, etc. It is easier to find and modify different structures by distinguishing groups and naming them.!Using 3ds Max to Copy a Legendary Hemok of Apex Legends Production Tutorials -18There is a little trick, when making the effect, pay attention to choosing Tri-planar Projection as much as possible, because the default UV Selection is based on the UV texture we made to superimpose the effect and show it on the model The effect is sometimes not very good, and the three-sided mapping is based on the model to superimpose the effect, which is more accurate.!Using 3ds Max to Copy a Legendary Hemok of Apex Legends Production Tutorials -19 RenderingAfter finishing the texture map, you can export the texture map for rendering. There are many options for lighting production. I used the most common method: main light + auxiliary light + contour light. In addition, I chose to follow the light direction of the original painting. After observation, I found that the original painting used a total of six different lights. For my model, I chose five lights, namely main light, auxiliary light, contour light, top light, and bottom light. The main light direction mainly adopts warm light, and the auxiliary light mainly adopts cold light, creating a kind of conflict between cold and warm. For the visual effect, the auxiliary light must not be stronger than the main light.It should be noted that if you are not good at lighting or lack some experience, it is best to learn from other people's lighting effects. In addition, the auxiliary light sources other than the main light must remember to turn off the shadows to prevent the shadows from affecting each other. The next step is to set up the rendering.!Using 3ds Max to Copy a Legendary Hemok of Apex Legends Production Tutorials -7This is my final effect,!Using 3ds Max to Copy a Legendary Hemok of Apex Legends Production Tutorials -1
Using 3ds Max to Copy a Legendary Hemok of Apex Legends Production Tutorials(2)
3ds Max Render Farm
Fox Renderfarm, the best render farm in the CG industry, still share with you the tutorial about using 3ds Max to copy a legendary Hemok of Apex Legends production tutorial from 3d artist Michael. And this is part two, for part one you can click here"). UVsNext, it’s time to bake the normals. There are many ways to bake the normals. The introduction here is to use the Substance Painter to name the baked normals. First, the high polygon model and low polygon model must be named separately in 3ds Max. The parts of the model should be baked separately, and the models that are not adjacent to each other should be grouped to prevent the models from producing obvious black edges when they are baked. In terms of naming methods, the HPM and low LPM of the corresponding group must have corresponding names.!Using 3ds Max to Copy a Legendary Hemok of Apex Legends Production Tutorials -10The low polygon model is exported in FBX format, and the high polygon model is exported in obj format. The high polygon model needs to be exported separately. On the one hand, the model may be difficult to export if the model is too large, and on the other hand, the normals will be modified in the later stage. In the process, you only need to modify the high polygon model of the corresponding part of the export, which can greatly save the export time.!Using 3ds Max to Copy a Legendary Hemok of Apex Legends Production Tutorials -3The Substance Painter can bake two kinds of normals. One is the average normal. Check the Average Normals. The advantage is that the effect of the external seams is very good, but the disadvantage is that the internal structure, such as the suspension sheet, will be offset. Another type of vertical normal has the opposite result, so I rendered two normal maps and then combined them to form a new normal map.!Using 3ds Max to Copy a Legendary Hemok of Apex Legends Production Tutorials -15Then I put the synthetic normal map in Substance Painter to check whether there is any problem with the normal, and if there is a problem, I quickly modify it. Then distinguish the colors of the high-polygon models in 3ds Max according to different materials, and then bake ID maps in Substance Painter to facilitate color selection and selection operations. After baking the normal and ID textures, you can bake all the other textures together.!Using 3ds Max to Copy a Legendary Hemok of Apex Legends Production Tutorials -16
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
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