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.
Now that the body has been posed, we can use the contact points that we set up a few movies ago to snap the subtools into place. Let's open up our SubTool palette and select the tailspikes. Now let's scroll down to the Contacts palette. You can see because these three contact points have been grayed out. That means that there are already contact points stored in those locations. One strange thing you have to do before applying the contact points is increase the Strength to 100. This means that it will move the tailspikes 100% of the way between their original position and the new pose.
I'm not really sure why you'd want it to go anywhere other than that, but that's one setting in ZBrush. So always set this to 100 and click Apply. It looks great, let's do that to the others. Selecting one of the eyes, change the Strength to 100, and click Apply. EyeRight, Strength is already at 100 and click Apply. Let's do the teethlower, Strength to 100, and Apply, teethupper, Strength to 100, and Apply.
If you decide that you want to pose the body some more after snapping the subtools, you'll have to delete the contact points by clicking Del three times. Then, you can redraw contact points just like we did before. After that, you could pose the body some more and then reapply the contact points. So, for that reason, I usually like to make sure that the positions of all the limbs are finalized before snapping the subtools to the body. But, even if you do decide to make some changes, it's not the end of the world. It doesn't take all that much time to re-setup contact points.
Using Contact to pose subtools is clearly faster and more accurate than trying to position them all by hand. It can be really satisfying when it all comes together. Let's check out the dewhopper and its finished pose with all the subtools applied.
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.