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Linking subtools to the main body


From:

Digital Creature Creation in ZBrush, Photoshop, and Maya

with Ryan Kittleson

Video: Linking subtools to the main body

When posing the body, the various SubTools won't move along. If I pose the head for example, the teeth and the eyes will stay floating in space right where they are. In order to make them follow along with the body, we'll be using contact points to lock them down. But first, there's just one little loose end to tie up, he's only got one eyeball. In order to make the other one, just follow these few simple steps. Let's go into the SubTool palette and make sure that we have got the eyeball selected, great! Now let's click Duplicate in the SubTool palette.
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  1. 2m 34s
    1. Introduction
      59s
    2. What you should know before watching this course
      34s
    3. Using the exercise files
      1m 1s
  2. 10m 45s
    1. Installing custom brushes
      3m 54s
    2. Preparing GoZ
      5m 6s
    3. Optimizing tablet settings
      1m 45s
  3. 8m 36s
    1. Brainstorming
      2m 47s
    2. Refining a concept
      3m 22s
    3. Gathering reference images
      2m 27s
  4. 42m 13s
    1. Starting with ZSpheres
      6m 45s
    2. Posing the ZSpheres
      3m 39s
    3. Sculpting the basic forms
      5m 34s
    4. Using DynaMesh
      3m 8s
    5. Sculpting muscles and mid-size shapes
      6m 20s
    6. Defining joints
      3m 42s
    7. Sculpting bony plates
      5m 1s
    8. Sculpting leathery skin
      8m 4s
  5. 22m 9s
    1. Using GoZ between ZBrush and Maya
      2m 16s
    2. Making an eyeball
      3m 45s
    3. Creating tail spikes
      2m 44s
    4. Modeling a tooth
      4m 27s
    5. Duplicating the teeth
      4m 8s
    6. Finishing the teeth
      4m 49s
  6. 51m 28s
    1. Drawing guidelines for retopology
      4m 56s
    2. Fleshing out the retopology guides
      4m 29s
    3. Creating new topology
      5m 32s
    4. Generating the new mesh
      4m 58s
    5. Cleaning up the mesh in Maya
      5m 5s
    6. Modeling the tail in Maya
      4m 5s
    7. Modeling the claws
      6m 5s
    8. Preparing to project detail
      6m 5s
    9. Projecting detail to new topology
      4m 46s
    10. Cleaning up projection problems
      5m 27s
  7. 21m 0s
    1. Cutting UV seams
      5m 55s
    2. Prepping UV shells for UV Master
      4m 38s
    3. Using UV Master to unfold UVs
      4m 17s
    4. Arranging UVs in Maya
      6m 10s
  8. 13m 25s
    1. Creating a pedestal with Spotlight
      4m 53s
    2. Decimating the geometry
      4m 53s
    3. Finishing the pedestal
      3m 39s
  9. 38m 21s
    1. Setting up the scene for rendering
      5m 14s
    2. Making a key light
      6m 7s
    3. Making a soft sky light
      3m 0s
    4. Making a rim light
      4m 53s
    5. Setting up a simple SSS skin shader
      5m 21s
    6. Adjusting the skin shader
      7m 2s
    7. Adding ambient occlusion to the shaders
      6m 44s
  10. 55m 38s
    1. Polypainting colors in ZBrush
      8m 2s
    2. Extracting texture maps
      6m 54s
    3. Organizing the maps into Photoshop layers
      8m 9s
    4. Compositing the color maps in Photoshop
      4m 33s
    5. Compositing the specular maps in Photoshop
      7m 20s
    6. Importing the maps into Maya
      5m 7s
    7. Connecting the maps to the shaders
      5m 13s
    8. Setting up remap value nodes
      5m 51s
    9. Editing remap value nodes
      4m 29s
  11. 26m 34s
    1. Designing the pose
      4m 36s
    2. Linking subtools to the main body
      4m 13s
    3. Posing with transpose tools
      6m 4s
    4. Polishing the pose
      2m 4s
    5. Finishing touches in ZBrush
      4m 50s
    6. Finishing touches in Maya
      4m 47s
  12. 18m 7s
    1. Fine-tuning lights and render settings
      7m 0s
    2. Batch rendering a turnable animation
      5m 48s
    3. Polishing the renders in Photoshop
      5m 19s
  13. 52s
    1. What's next?
      52s

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Watch the Online Video Course Digital Creature Creation in ZBrush, Photoshop, and Maya
5h 11m Intermediate Dec 15, 2011

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.

Topics include:
  • Brainstorming and refining a character concept
  • Installing custom brushes
  • Optimizing tablet settings
  • Posing the ZSpheres in ZBrush
  • Sculpting muscles and midsize shapes
  • Working with DynaMesh
  • Using GoZ between ZBrush and Maya
  • Creating topology for animation
  • Sculpting fine detail
  • Cleaning up a mesh in Maya
  • Creating the UV layout
  • Lighting and shading
  • Painting texture maps
  • Posing with Transpose tools in ZBrush
  • Batch rendering a turntable animation
Subject:
3D + Animation
Software:
Maya Photoshop ZBrush
Author:
Ryan Kittleson

Linking subtools to the main body

When posing the body, the various SubTools won't move along. If I pose the head for example, the teeth and the eyes will stay floating in space right where they are. In order to make them follow along with the body, we'll be using contact points to lock them down. But first, there's just one little loose end to tie up, he's only got one eyeball. In order to make the other one, just follow these few simple steps. Let's go into the SubTool palette and make sure that we have got the eyeball selected, great! Now let's click Duplicate in the SubTool palette.

Now let's go down to the Deformation palette and click Mirror. Notice we have this little pop-up that says the function cannot be applied to a mesh with multiple subdivision levels. That's simple enough to fix. What we need to do is go up to this duplicate and go to the highest subdivision level. So I am just going to hit D, until we go up to the highest level. Now let's open up the Geometry sub- palette and I am going to delete all the lower subdivision levels. Now let's go back to that Deformation palette, click Mirror.

Let's look at it, yup! We got an eye on the other side now. Now let's go up to our SubTool palette and just rename this one, and we'll just change the name to eye left. Okay, now to link all the SubTools to the body, contact points work by defining a few points on the body that a SubTool should stick to. Let's do the tail spikes first. I am going to select them and let's zoom out, so we can get a better look at them. And then I am going to hit F a few times to see if I can zoom in on it.

Nope, it looks like it won't work. Now I can zoom in. Okay, now let's go and open up the Contact palette. Right now this doesn't seem to make a lot of sense, but what this is going to do is allow us to store contact points. The way we use contact points is by going to one of the Transpose tools. Now we click and drag from the tail spikes to some point on the body. So now this transpose manipulator is defining two points, one point on the tail spikes and one point on the tail.

Now save that relationship between those points. I'll go ahead and do that again. It doesn't really matter which point to which point you connect, just as along as it's a part on the body that's not going to deposed or deformed. Let's do that second time and now let's just rotate around and do this a third time. Okay, now let's do this to one of the eyeballs. I am going to go up to the SubTools and get the left eye. Now let's zoom out and let's get on close here on the left eye.

Now it's the same procedure. There's just one thing to watch out for. We may be posing the eyelids, so you wouldn't want to drag the manipulator from the eye to an eyelid. We want to drag to a more solid part of the head, otherwise the eyeball may move when the eyelid is posed. So I am going to drag from the eye to one of the solid points on the horns. Let's go back down to the Contact sub- palette and let's store that first contact point. Now let's do it another time to another solid point, let's store that one and then just one more time.

When we are doing the lower teeth, the tip of the jaw is a good place to connect with, because it's going to move very rigidly. Go ahead and do this for all the other SubTools. After posing the body, we'll come back to this palette and hit Apply. That's going to make the SubTools follow along with their contact points, but for now we are ready to start posing the body. I like using contact points to pose my SubTools most of the time. There are alternatives like a plug-in called Transpose Master, but it tends to be buggy. If your model has SubTools that need to bend with the body like clothing, you can also manually move, rotate and pose them.

In the next movie, we'll actually be posing and making these SubTools move according to their contact points. It's going to save a lot of time, because by using contact points, we won't have to move these SubTools manually back into place.

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