Viewers: in countries Watching now:
Watch as author Ryan Kittleson introduces the skills digital artists need to create photorealistic 3D creatures for film, video, and game production. This course covers basic design, sculpting, texturing, posing, and lighting and demonstrates real-world workflow, starting with the basic sculpture in ZBrush and moving it into Maya for finishing, while editing textures in Photoshop.
Anytime you create complex 3D models, there is always going to be finishing touches. That's certainly true in this case. We've got several loose ends to tie up. We have got to fix some fine-tuning to the pose and we have to integrate the pose with the Maya scene. First, let's fix up some posing issues. The Transpose tools have been great for positioning all the limbs in the right place. However, it often needs a little extra work to get everything looking right. For example, I want to zoom in on one of the hind legs, and take a closer look.
You can see that the way we bent this limb, is part of the calf is intersecting with the thigh. In this case, the calf and hamstring muscles should press up against each other rather than just sticking through each other. So the Move Topological Brush actually works really well here. I am going to hit B+M+T and you just want to get yourself back in a sculpting mindset, and just kind of push things until they fit correctly. Something else that's useful here is the masking portion of the Transpose tools.
So I can hold down Ctrl and click-and- drag while in any of the Transpose tools. That way, I can mask off just one side of this joint. I can go back into Draw, and I can adjust the position of the calf muscle without interrupting the position of the hamstring. I can just invert the selection. If I go to the Masking palette, click Inverse, now I can adjust just the hamstring.
Okay, let's look at another issue. I am just going to clear the mask by hitting Ctrl+Shift+A. I want to zoom in on the front left foot. It's pretty good, but you can see that the toes feel a little soft, and round, and also some of the angles got a little crooked when posing. Let me just subdivide the model a few times by hitting D. So you can use the Move Topological Brush here as well to just kind of move things back into place.
Also, looking at these drawings from the side, they look a little soft, and mutantly. So I want to adjust them to make them look a little bit more firm, kind of like there is a rigid joint inside of each one rather than looking kind of soft and rubbery. I just want to change my brush size here to get a little more fine-tuned application of this brush; maybe a little bit bigger here. So you want to get back in a kind of sculpting mindset now, just making things look good in pose, maybe define some of the knuckles here a little bit more clearly.
Okay. So now that I've pushed things around, the joints are starting to look a lot more solid. I would definitely want to spend longer than just a few minutes on this in order to make the model look its best, but let's move on to the next step. I want my pose presentation renders to have just a little extra kick of detail. For that, we can send the second SubDivision Level of the body back to Maya instead of the lowest SubDivision Level. So let me just hit Shift+D to go down to the lowest SubDivision Level and let's zoom out.
So the model looks pretty decent at this SubDivision Level, but if I hit D one time and go up a SubDivision Level, you see that we just get an extra amount of detail out of the model. So we're going to send this back to Maya instead of the lowest. So let's go to the Geometry palette and click Del Lower. This is going to make the current SubDivision Level the new lowest level. So this is the level that gets sent back to Maya when we use GoZ. Okay, let's open up the Exercise File for Maya now, going to File > Open and we need to go back to the Desktop > Exercise Files > Ch_10 > folder 10_05 finishing.ma.
Here, we have everything just as we left it in the texturing chapter. Now, we are going to go ahead and delete the dewhopper objects because they are going to be replaced with what we send back from ZBrush. Let's go ahead and delete the tailspikes, the eyeball, the teeth, the body. Now, let's go back to ZBrush and use GoZ, slide up in your Tool palette and let's click All to send all of the subtools. All right! It looks like it worked. The final tweaking of the pose actually takes a long time.
I usually spend at least a few hours fine-tuning the joints and working out any last-minute details. It's this final polish that can really help a model look its best.
There are currently no FAQs about Digital Creature Creation in ZBrush, Photoshop, and Maya.
Access exercise files from a button right under the course name.
Search within course videos and transcripts, and jump right to the results.
Remove icons showing you already watched videos if you want to start over.
Make the video wide, narrow, full-screen, or pop the player out of the page into its own window.
Click on text in the transcript to jump to that spot in the video. As the video plays, the relevant spot in the transcript will be highlighted.