# Using DynaMesh

## Video: Using DynaMesh

ZSpheres are a great way to get started sculpting on a mesh that roughly resembles your final concept. However, it does have a few shortcomings. One of the main problems is that it can be tedious to create lots of toes, horns, and fingers and so on with ZSpheres. Another problem is that when ZSpheres are turned into polygons they end up creating a high density where ZSpheres were small and a low density where they were big. Let me zoom in and try to explain. I am going to hit Shift+F to turn on the wire-frame and now let's zoom in.

## Using DynaMesh

ZSpheres are a great way to get started sculpting on a mesh that roughly resembles your final concept. However, it does have a few shortcomings. One of the main problems is that it can be tedious to create lots of toes, horns, and fingers and so on with ZSpheres. Another problem is that when ZSpheres are turned into polygons they end up creating a high density where ZSpheres were small and a low density where they were big. Let me zoom in and try to explain. I am going to hit Shift+F to turn on the wire-frame and now let's zoom in.

So you can see that the polygons are very dense down here on the fingers and then they are much more spread out here. This means that when you have a mesh made from ZSpheres, you have to subdivide it many times in order to get fine detail out of some parts of the mesh. DynaMesh is a way of evening out all of the mesh so that it all has the same density. This means that you can do things like stretch out polygons to make fingers for example and then let DynaMesh clean up after you.

Let's see how it works. So we have got the rough sculpt of our Dewhopper here and in order to create some of these shapes, I just grabbed polygons and stretched them way out. DynaMesh is going to even this out for us. Let's open up the Geometry Palette, now click DynaMesh. Don't worry about this pop up, just click No. So now you can see the topology over the entire creature is the exact same density. Now you can actually change the resolution of DynaMesh. I want to hit Ctrl+Z to undo that.

Let's see what happens if we set the Resolution down to about 60, 56 looks good, now hit DynaMesh again, and go ahead and click No. So it's a lot less dense, which might be what you want. Whatever let's see if it caused any problems. So here in the front feet, the resolution actually was not enough to pick up the shape of those toes accurately. What you want to try to do is set the resolution to a number that's high enough to pick up all the forms you need, but not so high that it becomes difficult to work with.

Usually the default of 128 is good. So I am just going to undo that and set the resolution back to 128. Looks good and click DynaMesh again and click No. Now let's try one more thing. You can make drastic changes to the model at this point and then quickly run DynaMesh to smooth everything out. Let's see how it works. I am going to switch to the Move tool, B+ M+T, and let's just see what happens if we want to create a big spike coming off the creature's nose.

I am going to shrink the brush down a little bit, and just grab the nose here, and just hank this way out. So you notice all these polygons got stretched out. We can quickly run DynaMesh again by simply holding down Ctrl and clicking and dragging. This could be a great way to create horns or toes or fingers or anything else that sticks off the mesh. Now we could continue to sculpt on this mesh without worrying about stretched out polygons. DynaMesh can be used anytime that you want to even out the topology in order to sculpt more efficiently.

Show transcript

#### This video is part of

Expand all | Collapse all
1. ### Introduction

2m 34s
1. Introduction
59s
2. What you should know before watching this course
34s
3. Using the exercise files
1m 1s
2. ### 1. Preparing Your Workspace

10m 45s
1. Installing custom brushes
3m 54s
2. Preparing GoZ
5m 6s
3. Optimizing tablet settings
1m 45s
3. ### 2. Designing the Creature

8m 36s
1. Brainstorming
2m 47s
2. Refining a concept
3m 22s
3. Gathering reference images
2m 27s
4. ### 3. Basic Sculpting in ZBrush

42m 12s
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 0s
8. Sculpting leathery skin
8m 4s
5. ### 4. Basic Modeling in Maya

22m 8s
1. Using GoZ between ZBrush and Maya
2m 15s
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. ### 5. Creating Topology for Animation

51m 27s
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 4s
8. Preparing to project detail
6m 5s
9. Projecting detail to new topology
4m 46s
10. Cleaning up projection problems
5m 27s
7. ### 6. Creating the UV Layout

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. ### 7. Creating a Pedestal Environment

13m 25s
1. Creating a pedestal with Spotlight
4m 53s
2. Decimating the geometry
4m 53s
3. Finishing the pedestal
3m 39s
9. ### 8. Lighting and Shading

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
7m 2s
6m 44s
10. ### 9. Texturing

55m 37s
1. Polypainting colors in ZBrush
8m 1s
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. ### 10. Posing the Model

26m 32s
1. Designing the pose
4m 35s
2. Linking subtools to the main body
4m 12s
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. ### 11. Rendering

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. ### Conclusion

52s
1. What's next?
52s

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