IntroductionIntroduction| 00:04 | Hi. I am Ryan Kittleson, and
welcome to Mudbox Essential Training.
| | 00:08 | In this course I will show you
everything a beginner needs to get started
| | 00:12 | sculpting and painting in Mudbox.
| | 00:13 | First, I am going to explain the interface
and help you make sense of how Mudbox works.
| | 00:18 | Then I will show you not only how to sculpt a
model but how to texture and pose it as well.
| | 00:23 | I will cover the whole pipeline of
model creation in Mudbox from importing from
| | 00:29 | other programs to refining
details and extracting texture maps.
| | 00:33 | This course hits all the main features.
| | 00:36 | Mudbox is a powerful program that
appeals to professional artists, but it's also
| | 00:40 | fairly intuitive and
approachable by the less experienced.
| | 00:43 | You don't need to be a computer wiz
to get the most out of this course.
| | 00:47 | I will be covering Mudbox from the
ground up, so it's perfect for people who are
| | 00:51 | new to 3D sculpting.
| | 00:53 | Well, I am excited to start Mudbox
Essential Training, and I hope you are too.
| | 00:56 | Let's get to it.
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| What you should know before watching this course| 00:00 | While Mudbox isn't all that complicated
compared to other 3D softwares, it does
| | 00:05 | involve some advanced technical
concepts that I will be explaining.
| | 00:09 | There are some basic skills that I
will be assuming that you have before
| | 00:12 | watching this course.
| | 00:14 | You should have a basic understanding
of how to use computers, things like
| | 00:17 | loading and saving files, switching
between windows and programs, and using
| | 00:22 | basic interface operations, things
like using menus and input boxes.
| | 00:28 | Although not necessary, it can be
helpful to have some experience with other
| | 00:32 | creative programs like
Photoshop, Maya, ZBrush, and so on.
| | 00:36 | Ultimately, Mudbox is a tool in the
hands of artists and crafts people.
| | 00:40 | Your own artistic ability will have a
lot to do with the results you get from
| | 00:45 | this course and from Mudbox.
| | 00:46 | It's also going to be helpful to
understand that Mudbox fits in with an
| | 00:50 | ecosystem of other programs in a pipeline.
| | 00:53 | So for example, before you use
Mudbox, you would probably want to design
| | 00:58 | whatever it is you are going to be
creating, model it in a separate program, and
| | 01:02 | then use Mudbox for sculpting and
texturing it, and then export it from Mudbox
| | 01:06 | for using animations, games, and 3D printing.
| | 01:10 | Many things that you will be doing in Mudbox
are just a single part of a larger workflow.
| | 01:16 | So they might not necessarily make
sense unless you know where you are coming
| | 01:19 | from with other programs.
| | 01:21 | Understanding these few details will
help you know what you need to know to get
| | 01:25 | the most out of Mudbox, and this course.
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| Using the exercise files| 00:00 | If you are a premium member of the lynda.com
online training library or if you
| | 00:05 | are watching this tutorial on a DVD,
you have access to the exercise files used
| | 00:10 | throughout this title.
The exercise files are located by chapter.
| | 00:14 | If you go inside of a chapter, you
will find each separate movie has its
| | 00:18 | own exercise files.
So for example, let's go inside Sculpting.
| | 00:23 | Most exercise files in this course are
Mudbox scene files with the MUD extension.
| | 00:30 | Sometimes, you may find exercise files that
have an extra folder associated with them.
| | 00:36 | Those are internal files that
Mudbox uses to store textures.
| | 00:40 | You won't have to mess with these folders.
| | 00:45 | Also, occasionally, there will be
some other types of exercise files
| | 00:49 | like Reference images.
| | 00:50 | If you are not a premium subscriber to
lynda.com, you don't have access to the
| | 00:54 | exercise files, but you can follow
along from scratch with your own assets.
| | 00:59 | Let's get started.
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| Understanding where to store user-made tools| 00:00 | In this video I just want to go over
a few of the things that may be a little
| | 00:05 | bit confusing about the way that
Mudbox deals with its file structures.
| | 00:09 | Mudbox comes with several extra add-ons,
like Stamps and Stencils, they're images
| | 00:14 | that can help you work in Mudbox and
create different effects, and I just want
| | 00:19 | to demonstrate some of the things
that might be confusing about it.
| | 00:22 | Mudbox actually has two
different folders for these.
| | 00:25 | A folder for the Stamps and Stencils
that come with the program, and a separate
| | 00:29 | folder for Custom Stamps and Stencils,
or User Generated Material, so I just
| | 00:35 | want to demonstrate how to find the
folder for the User Generated Material.
| | 00:40 | Now if you want to load any custom
stamps in, you'd go and click on this
| | 00:44 | arrow and click Add Stamp, and it's
going to look for a folder that is a little
| | 00:50 | bit hard to find, so let me switch to
the Finder and show you where that is.
| | 00:54 | If you are on a PC, you want to go into
your Libraries, and Documents, and there
| | 00:58 | should be a Mudbox folder, and then
your version of Mudbox. So we're using
| | 01:03 | Mudbox 2013 64 bit version, so we will
click on this--it might be different if
| | 01:08 | you're using a different version of
Mudbox--and then you'll go into data, and in
| | 01:12 | here you'll find all of these folders
for user-made content or custom stamps,
| | 01:18 | custom stencils that kind of thing.
Right now, it's empty by default.
| | 01:22 | This is a different folder from where
Mudbox stores the built-in stamps and stencils.
| | 01:29 | And in a moment, I am going to
show you where this is on a Mac.
| | 01:33 | So there will be times throughout
the course that we might need to copy
| | 01:36 | files into these folders.
| | 01:37 | So for example, one of our exercise
files, we may be coming in here, Chapter 2,
| | 01:44 | and I might want to copy this. So I am
going to hit Ctrl+C on this file, and
| | 01:49 | let's take it back into the folder we
were in before, and let's just drop this
| | 01:54 | in the stamps, and Ctrl+V
to paste it. Okay, great.
| | 01:59 | Now that we've got this file
here, we can open it up in Mudbox.
| | 02:03 | You will see here it's already in the
folder, let me just Cancel this just to
| | 02:07 | demonstrate again exactly how, Add
Stamp, and you can see it's right here in
| | 02:12 | this folder, ready for us to open.
| | 02:14 | So this is just to get you familiar with
how the file structure works in Mudbox.
| | 02:19 | We will be getting more in-depth in
this in Chapter 2 when we actually use this
| | 02:23 | custom stamp, and now let's
see how to do it on a Mac.
| | 02:27 | Finding the folders that we need on a
Mac is a little bit more complicated.
| | 02:31 | To do this, we need to open up the User
Library folder, it's different from a system library.
| | 02:36 | So if you find a folder called library it
might not necessarily be the one you want.
| | 02:40 | So I will show you how to
get exactly the right folder.
| | 02:43 | Let's go up to the Go menu in the Finder
and what we want to do is hold down the
| | 02:47 | Option key, this exposes a
hidden folder called Library.
| | 02:52 | Let's go ahead and click on that.
| | 02:54 | So this shows us a lot of folders that
have to do with different programs that
| | 02:58 | you wouldn't normally go into.
| | 03:00 | Let's open up Application Support,
and then over to Autodesk, and then the
| | 03:05 | Mudbox with the version--if you have a
different version on Mudbox you might see
| | 03:09 | something else here.
Go ahead and click on that.
| | 03:12 | So this is all of the folders
that we are going to be using.
| | 03:15 | So let's actually go back one folder
and just drag this over to our FAVORITES,
| | 03:19 | so we can access it easily at any time.
| | 03:22 | With that done, let's go get that file
that we want to copy into our Stamps folder.
| | 03:27 | So on the Desktop we've got our exercise
files, let's go into Chapter 2 and grab
| | 03:33 | this creasestamp, and I will
just hit Command+C to copy it.
| | 03:37 | We will go into Mudbox, go into Stamps and
Command+V, and we will paste that in there.
| | 03:45 | All right, back to Mudbox.
| | 03:49 | Let's click on this to add a Stamp,
and you can see now in our Stamps folder
| | 03:55 | we've got creasestamp.
| | 03:57 | If you go to open up a stamp, and you
find yourself in some other folder, and
| | 04:01 | you can't exactly find how to get back
into the Library folder and all that just
| | 04:05 | remember that you've made a favorite
here of the Mudbox2013 folder, so you can
| | 04:09 | always just simply click on
this and get back into these files.
| | 04:13 | So we'll be making use of that folder
later on in this course, but for now I
| | 04:17 | just wanted to make sure that everyone can
figure out how to get to the right folders.
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1. Getting StartedOptimizing a Wacom tablet for Mudbox| 00:00 | In order to get the most out of Mudbox
you'll want to use a Wacom tablet or other
| | 00:05 | pressure-sensitive pen device.
| | 00:07 | By default, the Wacom settings
aren't optimal for use in Mudbox.
| | 00:11 | With a few simple adjustments your
Wacom tablet will perform much more
| | 00:15 | intuitively in Mudbox.
| | 00:17 | So before we start Mudbox, let's go
to the Wacom Tablet Properties in the
| | 00:21 | Windows Control panel.
| | 00:25 | If you're on a Mac, click the apple in
the upper left corner, and then click
| | 00:29 | System Preferences, I'll just open up
Hardware and Sound, and then go down to
| | 00:33 | Wacom Tablet Properties.
| | 00:36 | If you don't see your pen listed here
in the tools, go ahead and use the pen on
| | 00:40 | the tablet, and it should pop up.
| | 00:42 | So make sure you've got the Pen icon active,
and let's change the button, Click Assignment.
| | 00:48 | As it is now you can't use the buttons
on the Pen to perform a middle click.
| | 00:53 | I like to set the button furthest
from the tip as a right-click.
| | 00:56 | So let's just click this here and go
up to Clicks and pick Right-Click.
| | 01:02 | And I also want to set the button in between
the two as a middle click, so let's click
| | 01:07 | up here, go to Clicks, and pick Middle Click.
| | 01:10 | Now let's go to the Mapping tab, this
affects how the proportions of the tablet
| | 01:15 | relate to the proportions of your
screen. We want the Height and Width
| | 01:19 | Proportions to be the same between the two.
So let's turn on Force Proportions.
| | 01:24 | Without this option turned on any
movements that you make with the pen will get
| | 01:28 | distorted or stretched.
| | 01:29 | Now there is not a lot of difference on
the computer that I'm using, but if you
| | 01:34 | have dual monitors there could be
a very large difference for you.
| | 01:37 | With those two changes made we can
now close the Wacom Tablet Properties.
| | 01:42 | In Mudbox you could be using the
Wacom Pen for almost everything you do.
| | 01:46 | So it makes sense to optimize it so
that you don't have to struggle with the
| | 01:50 | settings, this will help your
experience in Mudbox feel much more natural.
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| Getting a first look at Mudbox| 00:00 | Mudbox has a straightforward and intuitive
interface that is relatively easy to get used to.
| | 00:06 | If you've used other 3D programs
before it should feel pretty familiar.
| | 00:10 | You can even customize it to behave
similarly to other programs like the
| | 00:14 | ZBrush, 3ds Max, or Maya.
| | 00:17 | In this video I'll introduce the basic
interface arrangement, so let's start up Mudbox.
| | 00:22 | The first time you run it you'll see a
popup that lets you customize things
| | 00:26 | like Language and Keyboard Preferences.
| | 00:28 | I'm used to working in Maya, so I am
going to set the mouse and interaction mode
| | 00:33 | to behave kind of like Maya does.
| | 00:35 | Be aware, however, that this only
changes the Viewport Navigation Controls.
| | 00:40 | Also, during this course, I may mention,
for example, to Alt+right-click on
| | 00:45 | something or to middle-drag something else.
| | 00:47 | If you choose a different keyboard
configuration you may not get the
| | 00:50 | same results that I do.
| | 00:52 | With that out of the day,
let's go ahead and click OK.
| | 00:56 | Let's go ahead and click on one of the
Preset scenes and get familiar with the interface.
| | 01:02 | The main part of the interface is the Viewport.
| | 01:05 | This is where you'll view the model
and where you'll interact with it.
| | 01:08 | There is a few other Viewport types,
the default type is the 3D view, and you
| | 01:13 | can access it by clicking this tab here.
| | 01:15 | There's also the UV view, I'll talk more
about this view later on, but basically
| | 01:21 | it shows you how the model is
broken up for Texture Mapping.
| | 01:23 | Then there's also the Image Browser,
this is a way of finding images on your
| | 01:27 | computer and quickly loading them into Mudbox.
| | 01:30 | Finally, there is the Mudbox Community,
which is basically a web site where you
| | 01:34 | can get models and textures that
other people have made available.
| | 01:37 | All right, let's go back to the 3D view.
Now down at the bottom left is the tool palette.
| | 01:43 | This is where you can pick from a
variety of brushes and tools that modified the
| | 01:46 | model in some way, from painting, to
sculpting, to posing, and moving and
| | 01:53 | selecting the model, this is
where you choose all your tools.
| | 01:56 | To the right of that is a palette of
useful items that can be applied to brushes
| | 01:59 | or to the model directly.
| | 02:01 | You can sculpt and paint these stamps
and stencils onto the model or apply
| | 02:05 | various materials or lighting presets.
| | 02:08 | I'll be going over these palettes
more in-depth as the course goes on.
| | 02:13 | In the upper right is a palette that
lets you see all the objects in the
| | 02:16 | scene, as well as examine various layers
that have been created on any particular object.
| | 02:22 | You can also play with Viewport Filters that
affect how the model is seen in the Viewport.
| | 02:26 | Finally, below this palette is the
Properties palette, this is where you can
| | 02:30 | change the settings of any
brush or currently selected object.
| | 02:33 | I'll cover this more
completely as well, later in the course.
| | 02:37 | So that's the Mudbox interface, it
may seem like a lot to take in at once,
| | 02:42 | but as we start working on different projects
it'll all start to feel like second nature.
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| Understanding the limitations of Mudbox| 00:00 | While Mudbox is primarily used to add
details and texture to models that are already
| | 00:05 | created, it can also be
used to design new assets.
| | 00:09 | There are a few limitations
to take into account however.
| | 00:12 | To demonstrate how Mudbox can be used as
a Design tool for Characters and Props,
| | 00:17 | I'm going to start sculpting
on one of the built-in models.
| | 00:20 | Don't worry if you can't follow along
with what I'm doing right now, I'll go
| | 00:23 | over all these tools and options later.
| | 00:26 | For now I just want to demonstrate
how Mudbox works at a fundamental level.
| | 00:30 | Let's say that we want to design a
character that is basically humanoid.
| | 00:34 | Mudbox comes with a generic human model
that can get us started in the right direction.
| | 00:39 | So I'm just going to make a few
adjustments to the model right now.
| | 00:44 | You can use Mudbox to stretch things
out and to make changes to the overall
| | 00:48 | proportions of the character.
| | 00:52 | Experiment with various body
proportions and different designs.
| | 00:55 | So for making very general and limited
adjustments to a model, Mudbox works great.
| | 01:00 | But what if we want to
do something more drastic?
| | 01:03 | That can be done as well,
but with some limitations.
| | 01:06 | Let me show you what I mean.
| | 01:07 | I want to give the character some big
bunny ears, so let's see what happens.
| | 01:19 | Now I am just going to turn on the
wireframe, you can see that the polygons get
| | 01:23 | really stretched out, there's only a
few polygons defining the whole ear.
| | 01:27 | In order to make this look like an ear
we'll have to subdivide the model, which
| | 01:31 | creates more polygons.
| | 01:34 | When I do that you see that every
polygon has been split into smaller polygons,
| | 01:39 | this gives us more detail to work with.
| | 01:41 | We could use this detail to sculpt on
more realistic anatomy or to give the
| | 01:45 | bunny ears more shape.
| | 01:46 | So now I could sculpt a bend
shape into the ears, for example.
| | 01:51 | The problem that we run into now is that
all those polygons in the ear are stretched.
| | 01:57 | This can make it difficult to sculpt
finer details on the surface, so let's see
| | 02:01 | what happens if we zoom in and try
to sculpt something more detailed.
| | 02:07 | You can see that it's not actually
turning out very good, this is called tearing.
| | 02:11 | When sculpting results in this jagged
edge, for this reason I only recommend
| | 02:15 | making drastic modifications to a
model in Mudbox for sketching purposes, not
| | 02:20 | for use in final production.
| | 02:22 | Now that we've made some high-resolution
details and shapes let's see what that
| | 02:26 | did to the model at its original density.
| | 02:29 | You can see that all
those finer details go away.
| | 02:32 | Depending on how you plan to use this
model, making drastic changes may or may
| | 02:37 | not be acceptable, for example, if you
wanted to use this model in a video game
| | 02:41 | you would want to export a low-density
version of the model.
| | 02:44 | But since the ears aren't really
defined at this level at all, the model would
| | 02:48 | look bad and animate poorly.
| | 02:50 | In order to use this model for games
you would want to use a separate modeling
| | 02:54 | program to model the ears onto the
character, and then bring that back into
| | 02:58 | Mudbox for the finer details.
| | 03:01 | However, let's say that you only
want to make a 3D print of the model.
| | 03:05 | In that case, you can send the
high-resolution model to the Printer, and not
| | 03:09 | worry about all this tearing.
| | 03:11 | Another way that you could use the
model is the Export for use in a 3D rendered
| | 03:15 | scene in a program like Maya or 3ds Max.
| | 03:18 | In that case, you could export the
low resolution density along with the
| | 03:22 | Displacement Map that would recreate
the high density details on a low-density
| | 03:26 | model when you render.
| | 03:28 | However, the ears would still not work
very well for animation purposes because
| | 03:32 | there is not enough polygons to make
smooth deformations, also Displacement
| | 03:37 | Mapping can get complicated and
cause more problems than its worth.
| | 03:41 | If you want to animate the ears you'll
have to model them in a separate program,
| | 03:45 | and then import that back
into Mudbox for detailing.
| | 03:48 | Feel free to distort the shapes and
structures of the models in Mudbox, but just
| | 03:52 | be aware that as you push it further
from its original shape, the model will
| | 03:57 | more likely need to be retopologized,
or remodeled in some other program.
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| Loading a model| 00:00 | Before any sculpting can be done
there must be a model on which to sculpt.
| | 00:05 | There are several ways to do this
depending on where the model comes from and
| | 00:09 | how you plan to use it.
| | 00:10 | I'll go over all these methods
and explain when to use them.
| | 00:14 | Any model that you use in
Mudbox must be a polygonal mesh.
| | 00:18 | You can import the FBX format which
includes a model and possibly additional
| | 00:22 | things like textures, lights,
rigged joints, and materials.
| | 00:27 | One method of loading a model is
through the Welcome screen, from here we can
| | 00:30 | choose from models that come with Mudbox,
and we can also open models from here.
| | 00:35 | If you already close this window you
can access the same thing by going up
| | 00:39 | to the Create menu, and then choosing Mesh
and grabbing any of these default models.
| | 00:45 | So let's open up the Plane.
| | 00:48 | You can also open, or import, other
models by going to the File menu.
| | 00:52 | So let's go ahead and open an OBJ model from the
exercise files, and let's open up the bust.obj file.
| | 01:01 | Now we're replacing the current scene,
so we don't need to save this, let's go
| | 01:06 | ahead and click Don't Save.
So that's pretty straightforward.
| | 01:10 | One last way to get models into Mudbox
is by using the Autodesk Send to Feature.
| | 01:16 | This is a new feature that helps users to
send assets between various Autodesk programs.
| | 01:20 | I'll show you with 3ds Max, but the
steps are the same for Softimage, and Maya.
| | 01:26 | So let's switch to 3ds Max now.
| | 01:28 | I'll go ahead and create a teapot,
just click and drag it into the scene,
| | 01:33 | right-click to finish creating it. And
then go up to the 3ds Max icon, and let's
| | 01:39 | go down to Send to, and pick Mudbox.
And we can either add it to the current
| | 01:45 | scene, or we can replace the
current Mudbox scene with the teapot.
| | 01:49 | Let's go ahead and do that,
and let's switch back to Mudbox.
| | 01:53 | All right, so it's asking us if you
want to save this scene before we bring in
| | 01:58 | the teapot, and we don't need to save it.
| | 02:00 | So occasionally what will happen if you
bring in models from other programs is
| | 02:03 | that Mudbox will tell you there might
be some things wrong with it, some things
| | 02:07 | that Mudbox doesn't like so much.
| | 02:08 | So for example, the teapot has what
it calls a High-valence vertices.
| | 02:13 | That's really just when you have a lot of
edges going into one vertex, and it can
| | 02:17 | sometimes cause visual problems when
you're sculpting on it, but it's not a
| | 02:22 | serious problem that would keep
you from being able to use the model.
| | 02:25 | Also if there is problems with the UVs
with the Texturing, this'll look more
| | 02:30 | complicated, we'll get into
that more in later videos.
| | 02:33 | But for now you just need to know that
you can bring in models but there might
| | 02:36 | be occasional issues to deal with.
So let's go ahead keep this mesh.
| | 02:41 | Mudbox will only work with Polygon-based
models so NURBs surfaces won't work.
| | 02:46 | Also Mudbox likes models to be clean.
| | 02:49 | This means that the model should be
made of mostly four-sided polygons.
| | 02:53 | The Polygon should be fairly close
to square-shaped not stretched out.
| | 02:58 | Also Mudbox doesn't like
poles, or high-valence vertices.
| | 03:01 | There is also a few other things
that Mudbox can be picky about.
| | 03:05 | If you try to load such a mesh, Mudbox will
tell you what the problem is and how to fix it.
| | 03:11 | Opening models is fairly straightforward,
as you can see, it's almost always the
| | 03:14 | first thing you'll do when you
want to get to work in Mudbox.
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| Moving the camera| 00:00 | One of the most common activities that you'll
be doing in Mudbox is moving the camera around.
| | 00:05 | When I'm working on 3D models, I
usually move the camera around constantly so
| | 00:10 | that I can see what I'm doing from all angles.
| | 00:12 | It's a good idea to get comfortable
with the viewport navigation in Mudbox.
| | 00:16 | Remember, I setup Mudbox to navigate
similarly to Maya, so if you set it
| | 00:21 | up differently because you prefer
some other program, the controls will
| | 00:24 | be different for you.
| | 00:26 | Let's get a model in the scene,
so we have something to look at.
| | 00:29 | I will pick the bull.
| | 00:31 | Now viewport navigation is performed
with three basic movements, and it'll be a
| | 00:35 | little different depending on whether
you're using a mouse or a Wacom tablet.
| | 00:39 | It will also be a little different
depending on whether you are using Mac or PC.
| | 00:44 | First, there's rotation around the objects.
| | 00:46 | If you're on a PC you want to hold down
Alt, and if you are on a Mac you want to
| | 00:51 | hold down Option or Command, and then
you just click with the points of the
| | 00:55 | Stylus or with a standard left-click
on the mouse, while you are holding down
| | 00:59 | Alt or Option, and then you
just rotate around the model.
| | 01:02 | This is really good for getting
views from all kinds of different angles.
| | 01:07 | Second, there's Pan or
moving side to side or up or down.
| | 01:11 | To do this hold down Alt on a PC, or
Option or Command on a Mac, and then you
| | 01:16 | want to click with the middle mouse
button if you're using a mouse, or hold down
| | 01:20 | the middle button on the Stylus
without touching the surface of the pad, and
| | 01:26 | this will move side to side or up and down.
| | 01:30 | Third, there is zooming the camera
closer to the model or further from it.
| | 01:34 | If you're using a mouse just simply use
the scroll wheel to go forwards or backwards.
| | 01:39 | If you're using a tablet, you want to
hold down Alt if you're on a PC, or the
| | 01:43 | Option or Command keys if you're on a
Mac, and at the same time hover while
| | 01:48 | holding down the right button on the
pen, and this will zoom in and out.
| | 01:56 | One last thing that you may find
useful is the View Cube. It's this little guy
| | 02:00 | right here in the corner, and it
gives you another way to view the scene.
| | 02:04 | You can click and drag on it
to rotate around the model.
| | 02:07 | You can also click on different sides
and corners of the cube to view the scene
| | 02:12 | from different angles, say, for example,
the front view, or you could click on
| | 02:16 | these little arrows to
rotate around to different views.
| | 02:18 | You can also click on the corners or
the edges of this cube to see things
| | 02:23 | from different angles.
| | 02:25 | When you're viewing the model from one
of the straight on angles, you can also
| | 02:29 | rotate the scene by
clicking on one of these arrows.
| | 02:35 | Clicking on the Home button
sends the view to the default angle.
| | 02:40 | You can also save a different Home view.
| | 02:42 | I sometimes do this when there's
a particular angle to which I want
| | 02:45 | to constantly return.
| | 02:47 | So maybe it's some angle where I can see the
face up close, and I want to save this view.
| | 02:53 | So go up here and click this little
down arrow and Set Current View as Home.
| | 02:58 | Now if I move to a different part of the
model, and then go back and click Home,
| | 03:03 | it's going to go back to that view that I saved.
| | 03:06 | If you want to save multiple camera views,
you could use the Camera Bookmarks instead.
| | 03:10 | So let's go down to the Camera
Bookmarks tab, make sure that you have the view
| | 03:14 | where you want to save it, and then
click on this arrow right here and click
| | 03:18 | Add Camera Bookmark, let's give it a name.
| | 03:23 | So now if I move the model anywhere
else, I can just click on this and
| | 03:26 | automatically go back to that view.
You can save as many bookmarks as you like.
| | 03:31 | So take a moment to get used to
navigating around the model, this is
| | 03:34 | something that you'll do constantly in Mudbox.
| | 03:37 | Eventually it will feel so natural
that you won't even have to think about it
| | 03:41 | anymore as you get into sculpting.
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| Focusing and framing| 00:00 | Now that we've learned how to move
the camera around, let me show you some
| | 00:03 | tips and tricks that can help you quickly
position the camera relative to your models.
| | 00:08 | This is especially useful if you
accidentally move the camera away from the
| | 00:12 | model and you can't find it again.
| | 00:14 | So let's go ahead and use
the Basic Head for this.
| | 00:17 | One problem that you may run into
while working is that the camera can
| | 00:20 | sometimes be zoomed, or rotated, so far
that the model is no longer visible.
| | 00:25 | So let me go ahead and simulate that.
| | 00:28 | When this happens, it can become
disorienting because you can't see anything,
| | 00:32 | and you don't know where to move the
camera to get the model back again.
| | 00:35 | The solution is to simply hit the A key.
| | 00:38 | This instantly snaps the camera to
look at the currently active object.
| | 00:43 | If no objects are currently
selected, then the camera snaps to show
| | 00:46 | everything in the scene.
| | 00:48 | Other times, you may find that you want
to focus on a particular part of the model.
| | 00:52 | This is easily done by holding the
cursor over the part that you want to focus
| | 00:56 | on and hit F--and I may have zoomed
in a little too close. But if you just
| | 01:01 | zoom out a little bit, you can see it
zoomed in right on the forehead where I
| | 01:03 | was holding the cursor.
| | 01:06 | Now if you rotate around the model,
it's going to rotate around that exact spot
| | 01:10 | that you focused on.
| | 01:11 | If you hit F again on another spot, it
will zoom in there, and now rotation will
| | 01:15 | occur around that spot.
| | 01:17 | These two hot keys are really great
for navigating the scene. Instead of
| | 01:21 | manually moving the camera in or out on a
particular spot, you can just point at it and go.
| | 01:27 | Also knowing that you can just hit
the A key to find your model is a big
| | 01:30 | relief when you get lost.
| | Collapse this transcript |
| Customizing hotkeys| 00:00 | Mudbox allows you to set custom hotkeys
to almost any function within the program.
| | 00:06 | Whenever you find yourself clicking the
same button or going to the same menu option
| | 00:09 | a lot, you may want to set it as a
hotkey so you can get to it faster.
| | 00:14 | There's several hotkey customizations that I
like to set, not only because I use certain
| | 00:19 | functions a lot, but also to make Mudbox
behave even more like other programs that I'm used
| | 00:24 | to, like Maya and ZBrush.
| | 00:26 | We don't need a model in this scene,
so let's go ahead and click Close.
| | 00:30 | Let's go up to the
Windows menu and click Hotkeys.
| | 00:34 | There's a list of almost every command
that you could possibly use in Mudbox.
| | 00:37 | Don't worry, I'm just
going to change a few of them.
| | 00:40 | Next to each command is a place for a key
and also the option to combine that key with
| | 00:45 | various modifier keys or
stylus clicks or mouse clicks.
| | 00:49 | The first one I want to change
is for changing the brush size.
| | 00:54 | Right now it's set to B and left-mouse button,
which is a little bit cumbersome, I think, sometimes.
| | 00:59 | So I'm going to change that
to Ctrl+right-mouse button.
| | 01:03 | Now, what you might have happen sometimes is
as you're changing these settings, it might
| | 01:10 | be the same as a different hotkey that's already
used, so I don't want to override the setting,
| | 01:16 | so I'm going to click No.
| | 01:18 | And sometimes you kind of have to approach
it from a different angle, so let's see.
| | 01:22 | If I want to be right-mouse button and Ctrl,
then turn off left-mouse button and then get
| | 01:29 | rid of the B, there.
That should get us there.
| | 01:32 | Sometimes you have to cut trick Mudbox to
go around hotkeys that are already set.
| | 01:38 | Next I want to change
the brush strength hotkey.
| | 01:40 | I want to change this to
Shift+right-mouse button.
| | 01:46 | Turn off left-mouse
button and get rid of the M.
| | 01:49 | I'm just hitting Delete on the
keyboard to get rid of that.
| | 01:52 | Next, let's change the Deselect all.
| | 01:56 | So if I've got models selected and I want
to deselect them, this will come in handy.
| | 02:01 | And it actually comes in handy a lot more
often because when you have a model selected,
| | 02:04 | it turns the whole model
yellow, which can be distracting.
| | 02:08 | So I want a quick and easy
way to deselect everything.
| | 02:11 | So I'm going to change this to
A and then use Ctrl and Shift.
| | 02:17 | Next, I want to change the hotkey for increasing
or decreasing the subdivision level of the model.
| | 02:23 | And this I'm going to set to be like ZBrush.
And so this hotkey is called Level down faces.
| | 02:28 | So I'm going to scroll down
to the Ls, Level down faces.
| | 02:33 | By default it's page up and page down.
In ZBrush it's D and Shift+D.
| | 02:38 | So Level down faces I want to be Shift+D.
| | 02:43 | And yes, let's go ahead and override that setting,
because I'm going to change that one as well.
| | 02:47 | And then Level up faces,
let's just change that to D.
| | 02:51 | So this will behave like ZBrush now.
Let's scroll down now to Mirror X.
| | 02:56 | And I'm just going to turn off Shift and Alt for this one
so that the X key by itself turns mirroring on and off.
| | 03:02 | This is also the way ZBrush works,
so I'm just comfortable with it.
| | 03:06 | Another ZBrush hotkey is Subdividing faces with Ctrl+D,
so let's scroll down to Subdivide faces.
| | 03:16 | And we'll just turn on Ctrl and type in D.
| | 03:20 | Now let's scroll down to Toggle wireframe,
so this will turn the wireframe on and off.
| | 03:25 | I also like to have this one set the way
ZBrush works, so I'm going to turn on Shift+F, and
| | 03:31 | this is already used for Lock selected,
but I rarely use the hotkey for this.
| | 03:35 | I don't lock too often, so that's okay.
| | 03:38 | We can override that.
And let's go to Toggle grid display.
| | 03:42 | In other programs, just simply having the G key will
turn the grid on and off, so that's pretty convenient.
| | 03:47 | We'll just set that to G.
| | 03:49 | And let's scroll down a little
bit more, down to Tools - rotate.
| | 03:54 | Let's see, where is that?
Okay, down here, Tools - rotate.
| | 03:58 | In most 3D programs the Move, Rotate, and Scale
tools are in the W, E, and R keys, very convenient.
| | 04:05 | In most programs, Rotate is the
E key and Scale is the R key.
| | 04:12 | And we'll just scroll down 'til
we find translate. That's fine.
| | 04:16 | We can go ahead and override that setting.
I don't use Edit Stencil too often.
| | 04:21 | So down to Translate, let's set that
to W, and that should be everything.
| | 04:25 | Go ahead and click Done.
| | 04:27 | With these changes made, some of the most commonly used
functions are made much more accessible through hotkeys.
| | 04:34 | It's fine if you choose not
to use the same hotkeys as me,
| | 04:37 | just be aware of that throughout the course, in case
I press a key and nothing happens when you do it.
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| Importing a reference image plane| 00:00 | When creating 3D models and sculpts it
can often be helpful to have a guide.
| | 00:05 | If you're basing your model off of an
existing drawing or photograph, you can
| | 00:09 | bring it into Mudbox and line up your
model with the image. This makes it a lot
| | 00:14 | easier to create models that are
accurate to an original design.
| | 00:18 | Let's start by opening up
the basic Human Body figure.
| | 00:22 | Image planes are attached to cameras
almost like placing a projector slide in
| | 00:27 | front of a camera lens.
| | 00:28 | It lets you see both the reference
image and the model at the same time so that
| | 00:32 | you can line them up.
| | 00:33 | So far we've only used the default
Perspective camera, there is also a Top,
| | 00:38 | Side, and Front camera.
| | 00:40 | These are different from the Front, Top,
and Sides available in the view cube.
| | 00:44 | Those are just preset angles in which
you can position the perspective camera.
| | 00:48 | The other cameras are orthographic
cameras which means that they don't make
| | 00:52 | objects look smaller with distance.
Those can be found over here in the object list.
| | 00:57 | To look through one of these cameras just
right-click on it and select Look Through.
| | 01:02 | Orthographic cameras are useful for
image planes because they create a perfectly
| | 01:06 | flat view of the model.
| | 01:08 | So I am just going to pan the
camera up a little bit so we can see the
| | 01:10 | entire figure here. Now let's
actually get an image plane in here.
| | 01:15 | Make sure you have got the Front
camera active, and let's click the little
| | 01:19 | plus sign next to it, and we will
scroll down and click on the ImagePlane
| | 01:24 | attribute of the camera.
| | 01:26 | Now let's go click on Import, and we
want to load up the exercise file for this
| | 01:30 | movie, so it's Ch 1 Image Plane, and
go ahead and click hank_reference.
| | 01:36 | Mudbox has placed the image in front
of the model which makes it hard to see
| | 01:40 | what we are working on.
There is two things you can do to fix that.
| | 01:44 | First you can change the image's
visibility so it's semitransparent.
| | 01:47 | So over here in the ImagePlane
properties, you can just slide the
| | 01:50 | Visibility down a little bit.
| | 01:52 | You can also change the Depth so that
the ImagePlane will be placed behind the
| | 01:56 | model, instead of in
front like it is right now.
| | 01:59 | It's really just up to your
preference how you'd set these.
| | 02:01 | One other issue is that the
ImagePlane is much larger than the model.
| | 02:06 | So let's scroll down in here and set
the Scale to something else. For every Image
| | 02:10 | Plane it's going to be different.
Let's see what 0.5 does.
| | 02:12 | Okay that works pretty good for this.
| | 02:15 | So now we can see the entire
Image Plane on our screen at once.
| | 02:18 | Depending on the resolution of your
monitor and the size of the Image Plane that
| | 02:22 | could be a totally different number,
and you might have to do some trial and
| | 02:25 | error to get something that works right for you.
| | 02:27 | Now we can use scale and pan with
the camera to move the model around.
| | 02:32 | So I just want to get it lined up so
that the model is more or less on top
| | 02:37 | of the Image Plane.
| | 02:39 | Now let's get reference for the side
view, let's go up to the Side camera and
| | 02:43 | right click and Look Through.
| | 02:45 | Now we are just going pan the model down a
little bit, so we can see the whole thing.
| | 02:49 | There is another way to bring in image planes.
Let's go up to the Image Browser.
| | 02:53 | Now it's already looking in the
correct exercise file folder, but just in case
| | 02:57 | it's not, you can click on
Open Directory right here and go find any
| | 03:01 | other directory to open up on your computer.
So we have got our hank_reference.
| | 03:06 | Now we want to set it as an Image Plane,
so let's click on this icon right here,
| | 03:11 | and let's go back to the 3D view.
| | 03:13 | So it's brought it in as an
Image Plane for the Side camera.
| | 03:16 | Let's do the same thing we did before,
click the plus sign here and click
| | 03:20 | ImagePlane so that we can work with
the attributes of the Image Plane.
| | 03:24 | So let's see, same thing, let's grab
the Depth and pull it back a little bit so
| | 03:29 | we can see the model in front of the
Image Plane, and let's also change that
| | 03:32 | Scale to the same thing 0.5.
| | 03:34 | All right, now I am just going to pan
the model over so it's on top of the Side
| | 03:41 | view of the Image Plane.
| | 03:43 | With Image Planes in place, you can now
adjust the proportions of the model to
| | 03:47 | fit the reference, but
that's for later in the course.
| | 03:50 | For now just get comfortable with
importing and adjusting Image Planes.
| | 03:54 | Image Planes come in handy when you
want to make sure that your model is lining
| | 03:57 | up with reference, you may not need
them all the time if, for example, you're
| | 04:02 | working on a model that was already
created according to reference in another
| | 04:05 | program or if you're creating
your own design from scratch.
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| Working with subdivision levels| 00:00 | Subdivision is the central
technology behind sculpting in Mudbox.
| | 00:04 | It allows you to create
incredible amounts of detail.
| | 00:07 | It allows you to take a simple,
low detail model and turn it into a
| | 00:11 | highly detailed sculpture.
Let's start out by loading the Basic Head model.
| | 00:15 | I'm going to turn on Wireframe by
hitting Shift+F. We can see that the model
| | 00:20 | is made up of relatively few polygons.
| | 00:24 | Notice down here in the Info
bar there are 2002 total polygons.
| | 00:29 | Now let's increase the subdivision of
the model, hit Ctrl+D to subdivide once.
| | 00:34 | I am going to zoom in a little
bit so we can see that more clearly.
| | 00:38 | Now we see that every polygon
was split into four smaller polys.
| | 00:43 | Now the Info bar says that there's 8008 polys,
let's subdivide again by hitting Ctrl+D.
| | 00:48 | Now the total is over 32,000.
| | 00:52 | Every time you subdivide you get
four times as many polygons as before.
| | 00:56 | This adds up very quickly, with just
a few more subdivisions you'll have
| | 01:01 | millions of polygons.
| | 01:02 | Be very careful here, depending on your
computer's resources you may experience
| | 01:07 | lag while the hardware tries to
deal with all of those polygons.
| | 01:11 | For most work that you do about one to
two million polygons should be enough.
| | 01:16 | I find that my computer starts to slow
down when I get over about 5 million.
| | 01:20 | As a general rule, I find that it's best not
to add subdivision levels until I need to.
| | 01:26 | If you subdivide a whole bunch of
times right off the bat you'll use up more
| | 01:30 | system resources than necessary.
| | 01:32 | You can always subdivide at
a later point if you need to.
| | 01:35 | Now that we have multiple subdivision
levels, let's see what that actually means
| | 01:39 | for working on the model.
| | 01:40 | So make sure we've got the Sculpt brush
activated here, now I'll get more into how
| | 01:46 | to sculpt in later videos, but for now it's as
simple as clicking and dragging on the model.
| | 01:51 | My brush is fairly small right now, if
yours isn't so small you might want to
| | 01:55 | decrease the size by holding down
Ctrl and using the right button.
| | 02:00 | So you can make it bigger or
smaller just by clicking and dragging.
| | 02:03 | Let's make it fairly small here, and
now just click and drag to make some sort
| | 02:07 | of a design on the surface of the model here.
| | 02:12 | Now let's go down to lower
subdivision levels, Shift+D to do that.
| | 02:18 | At this level there aren't enough
polygons to show the detail that I sculpted.
| | 02:22 | So let's hit D a few times to go back up
to the subdivision level that we created before.
| | 02:28 | The detail is still there, it just
wasn't as visible on lower levels.
| | 02:33 | Now let's hit Shift+D a few
times to go back to the lowest level.
| | 02:37 | Now try sculpting here, and you see
that there's not enough detail in the mesh
| | 02:41 | to really support the type of
detail that we're trying to sculpt.
| | 02:45 | So let's make the brush bigger. Hold
down Ctrl and right-click with the mouse, or
| | 02:49 | use the right button on the stylus, and
let's get a nice big brush, and I just
| | 02:54 | want to zoom out a little bit here too,
and we'll just click and drag to sculpt
| | 02:59 | some shape on the forehead.
| | 03:01 | Now hit D until you back
up at the highest level.
| | 03:05 | Notice how the fine detail is still
there along with the large-scale sculpting
| | 03:09 | that was done on the lowest level.
| | 03:11 | In general I find that it works best
to sculpt on a level that's just high
| | 03:15 | enough for the scale of detail that
you want at any particular moment.
| | 03:19 | So if you want to make a large-scale
change to the model I wouldn't do it on a
| | 03:23 | fine detail level, I'd want
to do it on a low detail level.
| | 03:28 | Subdivision levels will be a regular part
of most of the work that you do in Mudbox.
| | 03:32 | Once you get used to the idea it becomes
second nature, and you'll find yourself
| | 03:36 | switching between levels
from one moment to the next.
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| Subdivision level tips and tricks| 00:00 | There's a few extra things that
Mudbox allows you to do with subdivision
| | 00:04 | levels that may be useful from time to
time. For example, you may find yourself
| | 00:09 | with a model to work on that has already
been subdivided in another program, and
| | 00:13 | you would like to get to an
un-subdivided version to work on.
| | 00:17 | Or you may realize that your model
has too many subdivision levels, and it's
| | 00:20 | causing Mudbox to slow down.
| | 00:23 | In this video I'll cover some
tricks to deal with those situations.
| | 00:27 | First, let's open up a model that was
previously subdivided and the original low
| | 00:31 | resolution mesh was lost.
| | 00:33 | Unfortunately this happens sometimes,
especially when you get a model from someone else.
| | 00:39 | Let's open up the Exercise file >
Subdivision Tips, and let's open up the bull.
| | 00:47 | So this model has a lot of polygons and
when this happens sometimes Mudbox will
| | 00:52 | give you this warning that the model
has no subdivision levels even though it
| | 00:56 | has a lot of polygons.
| | 00:57 | So it's telling us that we can use
Rebuild Subdivision Levels in the Mesh menu.
| | 01:01 | That's exactly what we're going to do.
So let's find out how to do it.
| | 01:04 | I'm just going to turn this
off so we don't see it again.
| | 01:07 | All right, let's just zoom in on it so
we can see exactly what's going on here.
| | 01:13 | I'm just going to look around the model.
You can see it's pretty heavily detailed.
| | 01:18 | Hit Shift+D, you'll notice that we're
already at the lowest subdivision level so
| | 01:23 | we can't go any lower.
| | 01:24 | Let's go up to the Mesh menu and
click Rebuild Subdivision Levels.
| | 01:29 | It's going to think about it for a little
while, go ahead and hit Shift+D now again.
| | 01:34 | You'll notice that we actually go
back to the lower subdivision levels now.
| | 01:39 | This helps us in two ways, one it lets
Mudbox manage memory better, and it also
| | 01:45 | allows us to make edits on a lower
subdivision level, which is easier for making
| | 01:49 | general adjustments
rather than fine detail edits.
| | 01:53 | One thing to remember about this
function is that it only works on models that
| | 01:57 | were at one time a low density model,
and then were subdivided to a high density.
| | 02:02 | If a model was created at high density
from the very beginning there won't be
| | 02:06 | any subdivision levels to rebuild.
| | 02:08 | Another thing that you may want
to do with subdivision levels is to
| | 02:12 | remove higher levels.
| | 02:14 | Sometimes Mudbox is slowing down
because you have more levels than it can
| | 02:17 | comfortably handle, or other times you
simply don't need all the density at the
| | 02:22 | highest subdivision levels.
| | 02:24 | Whatever the reason, you can simply go
to the highest level that you want to
| | 02:28 | keep, and then go to Mesh > Delete Highest
Subdivision Level, so let's do that now.
| | 02:33 | Let's say I only want to keep Level 1
right here, let's go up to Mesh and Delete
| | 02:39 | Highest Level, and let's just
do that a couple more times.
| | 02:44 | Okay, so eventually you're going to
see this warning that says you cannot
| | 02:47 | remove the active level.
| | 02:48 | So that's why I like to put the model
on the highest level that I want to keep
| | 02:53 | so that when we eventually get to that level
then it just won't remove the current level.
| | 02:58 | Now all the details on
those higher levels are gone.
| | 03:02 | You could now re-subdivide and sculpt to
your own details on the model if you wanted to.
| | 03:06 | These are both functions that you may
not use all the time, but in certain
| | 03:10 | circumstances they can really come in
handy when a model either has too many
| | 03:14 | subdivision levels or not enough.
| | Collapse this transcript |
| Editing materials| 00:00 | Materials in Mudbox are basically
surface properties that give your models the
| | 00:05 | appearance of different real world materials.
| | 00:07 | You can change a materials color,
shininess, transparency, and so on, to create
| | 00:12 | different appearances.
| | 00:14 | If you're sculpting a model of a golden
statue, for example, you may want to see
| | 00:18 | the highlights and color on the
model mimic what gold would look like.
| | 00:23 | With materials you can choose from several
presets or edit them to make your own materials.
| | 00:28 | Let's open up to the Bull to start with.
I am just going to hit Shift+F to turn
| | 00:33 | off the wireframe, and let's hit A,
zoom in a little bit, so we can see the Bull
| | 00:39 | more centrally here in the screen.
| | 00:42 | By default, Mudbox uses this matte tan
material, let's pick a new one in the
| | 00:48 | Material Presets tab, simply click on
any of the swatches to apply it to the model.
| | 00:54 | So we see that's the Default one. We
got some blue, gray, we got some more
| | 00:59 | interesting shiny ones, like this
reflective one here, one that kind of looks
| | 01:03 | like a pearl, and so on.
| | 01:06 | Go ahead and have fun playing with the
various presets and getting a sense of
| | 01:10 | what they look like.
| | 01:11 | Now let's modify a material
to get a customized look.
| | 01:14 | If the material properties aren't
currently visible, click on a Default Material
| | 01:18 | from the Object List.
| | 01:21 | So we can't currently see the
properties of this material so let's click on it
| | 01:25 | here, and we get now all the
attributes of this material.
| | 01:29 | First thing you can change is Diffuse,
this is just a fancy word for color.
| | 01:35 | So you click that, and you get this
little pop-up of all the different Color
| | 01:39 | Options you can set the color to.
Go ahead and click Done when you're ready.
| | 01:47 | The next thing is Specular, that's just
a fancy word for the highlight color.
| | 01:52 | So you can also make the highlight any
different color you want, let's make it more
| | 01:56 | extreme so we can see it more clearly.
And let's rotate around the model a
| | 02:00 | little bit so we can see how that
highlight is reflecting off the surface.
| | 02:06 | Go ahead and click Done when you're ready.
| | 02:08 | If you don't want any highlight at all,
you can actually just set this to black.
| | 02:13 | Now it's a very matte
material with no shininess.
| | 02:18 | For the next one I actually need to
have some shininess visible, so let's go
| | 02:21 | ahead and give this little bit more
specularity. And now Gloss is actually
| | 02:27 | how sharp that highlight is. The darker the
color the more dull and broad the highlights.
| | 02:34 | So right now, the color
for the gloss is quite dark.
| | 02:37 | If you bring this up more the highlight
is going to get sharper, it's just like
| | 02:42 | polishing a surface.
| | 02:44 | The actual hue of the color
doesn't matter just the brightness.
| | 02:47 | So you could set this to any color, and
it's not actually going to pick up the
| | 02:51 | hue, just how bright or dark that color is.
| | 02:55 | So now as we rotate around the model
you can see that the light glinting off of
| | 02:59 | that and looks very polished, very shiny.
| | 03:02 | Now Gloss does something weird
when you set it to pure black.
| | 03:08 | If you go very close to black it does
what you'd expect, and I think it's a bug
| | 03:11 | in Mudbox, if you go totally black with
the Gloss you get a really weird effect.
| | 03:17 | It might be what you're looking for, but
usually its kind of distracting, I wouldn't
| | 03:21 | recommend using the setting.
| | 03:24 | All right we will put this back
somewhere in the middle and click Done.
| | 03:28 | Next is Incandescence, and that means
glow, so any color you put in here will
| | 03:33 | make the material glow that color.
| | 03:37 | So you can make it glow red. And so it's
almost like this cow is emitting light,
| | 03:43 | it's like getting red hot.
| | 03:46 | So that could come in
handy in certain situations.
| | 03:49 | The next few settings we're going to
look at later on in this course, so let's
| | 03:54 | skip down a little bit.
| | 03:55 | In Opacity this determines
how transparent the object is.
| | 03:59 | So if you set it to White it's
going to be completely opaque.
| | 04:03 | The farther you bring this towards black
the more transparent the objects we get.
| | 04:08 | The hue doesn't matter here
just the brightness of the color.
| | 04:11 | So it doesn't matter if I
make it any of these other colors.
| | 04:16 | It will change a little bit if you set
it to yellow because yellow is naturally
| | 04:19 | a lighter color than say blue.
| | 04:21 | But overall it's really just the gray
value of the color that matters here.
| | 04:27 | So if we make it completely
transparent you can see that there's still
| | 04:30 | highlights visible, so it's like a
very transparent glass, which you can still
| | 04:34 | see highlights on. You just will be
able to see right through the material.
| | 04:37 | All right go ahead and click Done.
| | 04:40 | Let's scroll down a little bit, you
can also change how the Opacity works.
| | 04:46 | So like it is right now,
Diffuse Only that makes it like glass.
| | 04:49 | We could also go to All Channels, it will
affect not only the color but also the highlights.
| | 04:55 | So now the object is completely transparent.
| | 04:58 | Let's go ahead and bring
it back to full opacity.
| | 05:03 | Now down to Reflection it's got
a Reflection Map in it already.
| | 05:07 | So let's increase the Reflection
Strength so we can actually see it.
| | 05:12 | A Reflection Map is just basically an
image that gets reflected off of the surface.
| | 05:16 | So if we move the camera around we can
see that there's kind of this sunny day
| | 05:21 | scene that's being reflected
on the surface of the model.
| | 05:25 | It's a faked reflection it's not
actually reflecting any other objects in the
| | 05:30 | scene, if there were any, it's just merely
reflecting an image that you can load up here.
| | 05:34 | There is a few other settings, but I
either never use them, or they will be
| | 05:39 | covered in the later videos.
| | 05:40 | With these settings you should be
able to re-create a wide variety of
| | 05:43 | materials and visual styles.
| | Collapse this transcript |
| Using the selection tools| 00:00 | There are many times while working in
Mudbox that it'd be helpful to isolate
| | 00:04 | particular parts of a model.
| | 00:06 | You may want to hide certain
parts to help focus on other areas.
| | 00:10 | The Selection tools offer a
variety of ways to achieve this.
| | 00:14 | Let's see how it works.
| | 00:16 | Let's open up the exercise
file > Chapter 1, and Selection.
| | 00:25 | So we've got our fun little creature here.
Let's go to the Select/Move Tools tab.
| | 00:30 | The first tool is the Standard Selection
tool, use this to select individual polygons.
| | 00:37 | So let's just click and drag on here, and
let's zoom in to see exactly what this is doing.
| | 00:43 | I'm going to hit Shift+F to turn on
Wireframe, and actually let's shrink the
| | 00:49 | brush a little bit,
Ctrl+right button, drag that down.
| | 00:51 | So you can see this is selecting
individual faces as we click and drag.
| | 00:57 | Now if you want deselect faces, hold
down Ctrl while you click and drag.
| | 01:02 | It's kind of likes an eraser.
| | 01:06 | If you set your Hot keys like I did,
you can deselect everything by hitting
| | 01:10 | Ctrl+Shift+A. This tool also allows
you to select by drawing a Lasso or a
| | 01:16 | Marquee, so you can just simply
select this way or with a Marquee.
| | 01:21 | The next tool allows you to
select entire objects at once.
| | 01:25 | It's an alternative to selecting
objects from the object list over here.
| | 01:30 | So you could just click the wartortoise
and select the entire thing at once, or
| | 01:34 | you could select the tree.
| | 01:35 | The Object Select tool is an alternative
from selecting from this list, so you
| | 01:40 | just select things visually, and you can just
click in an open area to deselect everything.
| | 01:44 | So if you have a lot of objects in
your scene, and you want to select one of
| | 01:49 | them, but you can't remember what its
name is you can just pick it visually.
| | 01:52 | Next is the Borders Select tool.
| | 01:56 | This instantly selects all Polygons
that are on the border of open edges.
| | 02:01 | On this model the only open edges
are on the insides of the eye sockets, so
| | 02:05 | let's zoom in there.
| | 02:06 | I am going to put the cursor over the
eye and just hit F, zoom in, we'll zoom in
| | 02:11 | a little bit closer, and I am just
rotating around, so we can see the inside of
| | 02:14 | the eye socket here, here's its edge,
and it's open, there is no Polygons
| | 02:20 | touching this edge right here.
| | 02:21 | So let's just click once on this Border
Edge, and it instantly selects all the
| | 02:25 | Polygons that are touching that Border,
so let's zoom out a little bit and kind
| | 02:29 | of see through the other eye, we've
got that all selected, and we can just do
| | 02:33 | the same thing for this other side here.
The last section tool is for UV Shells.
| | 02:39 | Now let's go to the UV view really quickly,
to see what the tortoise's UVs look like.
| | 02:44 | I've got this model broken up into
flat segments for easy texturing.
| | 02:48 | This tool will select entire UV Shells at once.
| | 02:51 | So let's go back to the 3D view and see
what that means. I am just going to zoom
| | 02:55 | out, so we can see the whole
thing and get a better view on it.
| | 03:00 | Now anywhere I click, it's going to
select all of the Polygons that are
| | 03:04 | contiguous with a single UV Shell, and
it's going to continue to add to that
| | 03:09 | selection as I click.
| | 03:11 | So if you've got the model broken up
into different parts for easy texturing,
| | 03:15 | you can select those different UV
Shells very quickly this way, and then again,
| | 03:19 | simply if you want to deselect, hold
down Ctrl as you click, or you can deselect
| | 03:23 | everything by just clicking in an open area.
| | 03:25 | There's one last thing that I like to
do to make it easier to select Polygons.
| | 03:30 | As it is right now, the Border of the
selection is kind of blurry, let me zoom
| | 03:34 | in on the neck, so we can see that more clearly.
| | 03:37 | It's making a gradient between what
is selected and what isn't selected.
| | 03:42 | I want to have a more precise and
absolute way of seeing my selections.
| | 03:46 | So let's go ahead and deselect that,
and I want to go up to the window menu,
| | 03:52 | and go to Preferences.
| | 03:53 | Now let's drop down the Render tab, and
Render Selected, let's change this from
| | 03:59 | By Vertex to By Face.
| | 04:03 | I'm just going to scoot this up, so
I can see the OK button.
| | 04:05 | Now let's just grab the Face Selection tool and
draw out a selection, and you go to Paint mode.
| | 04:12 | Now we're going to look very hard edge,
it is showing us exactly what is selected.
| | 04:17 | This is just my Preference. Feel
free to set up however you like.
| | 04:21 | Once you've got a selection made,
there's a variety of things you can do with it.
| | 04:25 | In the next few movies, we will go over
ways of modifying selections, converting
| | 04:29 | it to frozen areas, using them to
control what's visible and what's hidden.
| | 04:34 | For now just get used to how to make selections.
| | Collapse this transcript |
| Hiding and unhiding parts of a model| 00:00 | When you are working in Mudbox,
sometimes parts of a model will get in the way
| | 00:04 | of a part that you are trying to see.
| | 00:06 | Other times a model will be so high
resolution that it makes your computer slow down.
| | 00:11 | By hiding selected polygons you
can work around both of these issues.
| | 00:15 | Hiding allows you to temporarily make
parts of a model invisible so that the
| | 00:20 | computer doesn't have to process it, and so
it doesn't block parts that you want to see.
| | 00:25 | Let's go open up the
exercise file for this video.
| | 00:28 | Ch1 > Hiding > wartortoise.
Let's go ahead and zoom in here.
| | 00:36 | I am going to hit F on his front leg.
| | 00:39 | Now let's say that we want
to work on the neck right here.
| | 00:43 | But the leg is kind of getting in the way.
| | 00:44 | It's kind of hard to see
exactly what's going on back in here.
| | 00:48 | So let's hide the leg.
| | 00:49 | I am going to go to the UV Shells and
just select that leg and hit Ctrl+H. Now I
| | 00:56 | can work on the neck without
having that leg in the way.
| | 00:59 | One thing to keep in mind is that
anything that is hidden will not be affected
| | 01:03 | by any edits that you make.
| | 01:05 | So, if you modify the polygons around
this hole, there may be a break in the
| | 01:10 | visual continuity of the surface.
Let me demonstrate.
| | 01:12 | I am going to go into the Sculpt tools,
get the Grab tool here, I am going to
| | 01:17 | increase the size of the
brush Ctrl+right button.
| | 01:19 | I am just going to move so
I can edit this more easily.
| | 01:23 | I am just going to move some of this around.
Now let's bring back the hidden parts.
| | 01:29 | Just go up to Display and click Show All.
| | 01:32 | You will notice that the mesh
around the leg doesn't look so great.
| | 01:37 | So just be careful when editing models
that have hidden parts so that you don't
| | 01:41 | disrupt the shape of the mesh in unwanted ways.
| | 01:44 | Another way to hide based on
selections is to hide the polygons that are
| | 01:48 | unselected, and leave behind
the ones that are selected.
| | 01:52 | So, let's just say I want
to work on the inner mouth.
| | 01:55 | I am going to zoom out, so we can see
that more clearly, pan over and go to the
| | 02:00 | Select/Move tools, click UV Shells
and just click on that inner mouth.
| | 02:05 | Now, we can go up to the Display
menu and click Hide Unselected.
| | 02:10 | This saves us the work of having to select
everything, but the inner mouth to hide it.
| | 02:15 | One last thing that I want to mention is that
you can also delete faces based on the selection.
| | 02:19 | Now let's just go ahead and
bring back everything for now.
| | 02:22 | Let's go to Display > Show All.
| | 02:25 | So let's say that I realize I don't
need an inner mouth on this character.
| | 02:30 | Once I have got a selection, I
can just hit delete on the keyboard.
| | 02:33 | As long as a model doesn't have any
subdivision levels or sculpt layers, you can
| | 02:37 | delete individual polygons from a mesh.
| | 02:41 | I use selection hiding all the time to
temporarily get rid of parts of a model
| | 02:45 | that are distracting, or that use up
system resources that I could use for other things.
| | Collapse this transcript |
| Selection tips and tricks| 00:00 | Once you've made a selection, there is a
variety of ways that you can adjust it,
| | 00:04 | and use it with other features in Mudbox.
| | 00:06 | I will show you how I save time by
using selections in some cool ways that you
| | 00:11 | might have not guessed that they
could be used. Let's try it out.
| | 00:14 | I am going to open up the
exercise file for this movie.
| | 00:17 | Ch1 > Selection Tips, and
let's open that wartortoise.
| | 00:24 | One thing that I like to use
is the Grow Selection Function.
| | 00:28 | You can use this to increase
the area covered by a selection.
| | 00:31 | So let's zoom in on the horn here.
I am just going to hit F and zoom in on it.
| | 00:37 | Now let's say I want to select this
horn, but I don't want to manually go and
| | 00:42 | try to select the entire
horn, by painting it manually.
| | 00:47 | So instead of doing that I am just
going to paint the very tip of the horn,
| | 00:52 | and then hit Shift+Period on the
keyboard and just hit Shift+Period over and
| | 00:56 | over, as many times that I need to, until
it selects as much of the horn as I want.
| | 01:01 | Something else you can do
is invert the selection.
| | 01:03 | This lets you swap the faces that are
selected with the ones that aren't.
| | 01:07 | Let's go to Edit and Invert Face Selection.
| | 01:11 | Selections can also be
converted into frozen geometry.
| | 01:15 | We will get more into
freezing in the next chapter.
| | 01:17 | But basically, anything that is
frozen won't be affected by any sculpting.
| | 01:22 | You can use it to protect
parts from being modified.
| | 01:25 | To do this, let's go up to Edit > Freeze
Selected, everything that's frozen turns blue.
| | 01:32 | Now we can edit the horn, but the
rest of the creature cannot be edited.
| | 01:37 | Let's just see how that works.
| | 01:39 | I am going to grab, the Grab tool,
increase the size here, and as we just pull
| | 01:45 | this around, we can see that only
the unfrozen areas are being affected.
| | 01:49 | Let's go ahead and unfreeze everything.
| | 01:52 | As you work in Mudbox, you may find
that you want to keep coming back to the
| | 01:56 | same selections, maybe you are
constantly hiding and unhiding a particular area.
| | 02:01 | Instead of manually selecting things
over and over, you can save a selection
| | 02:06 | set, and then instantly
activate it whenever you need it.
| | 02:09 | Let me show you how it works.
Let's go ahead and make a selection.
| | 02:13 | Let's go and use UV Shells, and I
will just select most of the head here.
| | 02:19 | Now I will go up to
Create and pick Selection Set.
| | 02:23 | Let's give it a name, call it head, and click OK.
| | 02:28 | Now Mudbox placed it over here in the
object list so we can access it anytime we want.
| | 02:33 | Selection sets are indicated by
this kind of overlapping circle icon.
| | 02:37 | So if we de-select everything, we can
just click on this, and automatically get
| | 02:41 | that selection set back.
| | 02:43 | You can also hide everything in a
selection set, by clicking this little circle
| | 02:47 | right here, and bring it back
by clicking the circle again.
| | 02:51 | This is faster than having to
manually re-select the same faces every time
| | 02:55 | you want to hide them.
| | 02:56 | It's especially useful if you need to select very
specific sets of faces or very complicated selections.
| | 03:04 | I use these features on a
regular basis as I work.
| | 03:07 | Using them can save time, and work
because they automate things that you would
| | 03:11 | otherwise have to do by hand.
| | Collapse this transcript |
|
|
2. SculptingSculpting in Mudbox| 00:00 | Now that we have all the basics covered,
its time to get into the real reason
| | 00:04 | Mudbox was created, all
the fun sculpting you can do.
| | 00:08 | Sculpting is fairly straightforward, you
can just pick up a tool and start doing it.
| | 00:12 | However, there's a few settings and
controls that I'm going to show you that
| | 00:17 | really put the power of
Mudbox at your fingertips.
| | 00:19 | Let's open up the exercise
files, Ch 2 > Sculpting > wartortoise.
| | 00:27 | Now let's pick the Sculpt
Brush from the tools palette.
| | 00:31 | Go ahead and play around with it to get
a feel for how it responds to pressure
| | 00:34 | sensitivity and how it deforms the model.
| | 00:36 | I am going to increase the size of
the brush a little bit, Ctrl+right-mouse
| | 00:40 | button, or right-tablet button, and so you
can see you can just build up shape and
| | 00:44 | volume on the model by sculpting.
| | 00:46 | I am going to zoom in a little bit on
this so we can see it more close-up, and
| | 00:50 | let's shrink the brush a
little bit, Ctrl+right-click.
| | 00:56 | All right, let's hold down Ctrl while we sculpt.
| | 00:58 | The difference here is, now it's
pushing in instead of pulling out.
| | 01:04 | Any brush that builds up volume while
sculpting will do the opposite if you hold down Ctrl.
| | 01:08 | Now we've already experimented with
changing the size of the brush, but just as
| | 01:13 | a quick recap, we want to hold down Ctrl,
and then use the right button on the
| | 01:18 | mouse, or on the stylus, and just move
the pen, or the mouse, up and down, and
| | 01:24 | you'll just change the
size of the brush this way.
| | 01:26 | We can also change the strength of the
brush by holding down Shift and using the
| | 01:30 | right button, and you'll notice this
little bar going up and down, that's the
| | 01:35 | strength of the brush.
| | 01:36 | So if we set it really low, you'll see
that not a lot happens when we sculpt.
| | 01:40 | Hold down Shift and the right button
and raise that up, and you'll see you get a
| | 01:45 | much more pronounced effect.
| | 01:47 | There's another way to change the size
of the brush, and that's just by holding
| | 01:50 | down the Spacebar, and you'll get this
little pop-up here where you can click
| | 01:53 | and drag on either of that circle, to
change the brush size, or holding down
| | 01:57 | Spacebar again, click and drag on the
bar to go up and down with the strength,
| | 02:03 | or you can also just over here to the
Properties panel and just increase or
| | 02:06 | decrease this manually.
| | 02:09 | Now let's take a closer
look at the Brush properties.
| | 02:11 | Below Size and Strength there's
Mirroring, so you can set this to mirror
| | 02:17 | any brush strokes that you make
across this axis, and you can set it to
| | 02:22 | various axes, usually X is something
that you want to use, most models are
| | 02:28 | aligned to the X-axis.
| | 02:30 | So Mirroring is now turned on, so let's
see what happens when we sculpt.
| | 02:34 | I'm going to get a better view from
the top so we can see this.
| | 02:37 | I am going to shrink the
Brush size a little bit.
| | 02:41 | Now you get the exact same
thing on both sides of the model.
| | 02:44 | I use Mirroring all the time, so I set
up a hot key on the keyboard, you just
| | 02:49 | hit X to turn it on and off.
| | 02:52 | So hitting X and Mirroring is now
off, hit it again, and it's back on.
| | 02:58 | I set this so that I don't have to come
over here to the Properties every time I
| | 03:02 | want to turn Mirroring on and
off, I can just use the hot key.
| | 03:07 | Below the Mirroring is Invert function,
so basically this is the same thing as
| | 03:11 | holding down Ctrl, it's going to
dig in rather than building up.
| | 03:14 | We will talk about Stamps later on
for now, I am going to skip that and go
| | 03:20 | down to Stamp Spacing.
| | 03:21 | Now when you sculpt with a brush, it may
look like one smooth continuous stroke,
| | 03:26 | but it's really made up of a series of stamps.
| | 03:30 | If you turn off Stamp Spacing, the
brush will stamp out as fast as it can.
| | 03:34 | So let's see what happens when you do this.
| | 03:36 | I am going to shrink the size of the
brush too a little, and it's brush really
| | 03:40 | fast you could see there is kind of
gap or spaces between the different
| | 03:44 | stampings of the brush, that's because
the computer can't quite keep up with how
| | 03:47 | fast I'm moving the brush.
| | 03:49 | I will turn Stamp Spacing back on,
you see you are going to get a
| | 03:53 | continuous smooth stroke.
| | 03:55 | So I am just going to undo
that, it's kind of messy.
| | 03:58 | You can also change the Stamp Distance,
so if you want more space between those
| | 04:02 | stamps you can really crank this up.
Now let's see what happens.
| | 04:05 | So now we get a regular space between
all the stamps, no matter how fast or
| | 04:10 | slow we move the mouse.
| | 04:11 | That can be useful if you want
a regularly repeating pattern.
| | 04:15 | The lower the number the more
continuous the stroke is going to appear.
| | 04:18 | So let me undo that, and you can see
now you get a fairly unbroken stroke.
| | 04:24 | Let's go ahead and undo that, and
let's go down to Steady Stroke, and this is
| | 04:31 | kind of fun. Steady Stroke is a way of
smoothing out the jitters in your hand.
| | 04:35 | If you trying to make a really clean
straight line, and your hand shakes too
| | 04:39 | much, try turning this on. It'll average
out the cursor positions for a smoother line.
| | 04:45 | So let's see what happens when I use this.
| | 04:47 | I am going to decrease the strength
of the brush a little bit, holding down
| | 04:51 | Shift and right button,
to bring the strength down.
| | 04:54 | So a Steady Stroke, you see before
any stroke happens, you get kind of this
| | 04:58 | little preview of the direction that
you are going to move. And now as you
| | 05:05 | stroke--it might not make a lot of
sense as you're watching it--but if you're
| | 05:10 | experiencing the stroke as you're
doing it, you'll notice that it's a lot
| | 05:14 | smoother and had a lot fewer jitters in it.
| | 05:17 | The Distance setting on the Steady
Stroke will increase or decrease the
| | 05:21 | amount of Steady Stroke.
| | 05:23 | So you might want to experiment
with it and see what works for you.
| | 05:26 | There are a few more settings, but they're
either covered in later videos or are rarely used.
| | 05:32 | What I've shown in this video is the
settings that you'll be changing on a
| | 05:35 | regular basis to customize the
way in which a brush behaves.
| | 05:38 | You'll find that adjusting these
settings can save you time and effort,
| | 05:42 | especially the Mirroring which saves you
from having to do the same sculpting on
| | 05:46 | both halves of a model separately.
| | Collapse this transcript |
| Using the standard sculpting tools| 00:00 | The basic Sculpt tool is fairly self-explanatory,
it pushes and pulls on
| | 00:05 | the surface of a model.
| | 00:06 | There are several other sculpting tools that
have varying effects on the surface of a mesh.
| | 00:11 | Most of them are easily figured out by
simply playing with them for a few minutes.
| | 00:16 | However, there are a few special tips and
tricks that can help you get the most out of them.
| | 00:21 | Let's go ahead and open or exercise files, Ch 2 >
Standard Sculpt. Let's get the wartortoise.
| | 00:30 | So we have got the Standard Sculpt
activated, I am just going to increase the
| | 00:34 | size of the brush, as we know, holding
down Ctrl+right-button, dragging upwards we
| | 00:38 | get a larger or smaller brush depending
on which way we go, and I also want to increase
| | 00:43 | the strength of the brush, holding down
Shift+right-button, we'll just increase
| | 00:48 | the strength a little bit and, of course,
Standard Sculpt brush is pretty straight
| | 00:53 | forward, it just pulls out or if
you hold down Ctrl it pushes in.
| | 00:57 | I'm going to undo that, just so we
don't have that mess in the way.
| | 01:02 | Okay so next is the Smooth tool.
| | 01:04 | This tool evens out any
variations in the surface of the mesh.
| | 01:08 | So you can see, as we are using this,
it's kind of softening, getting rid of any
| | 01:13 | detail, just working out any
variations, smoothing it all out.
| | 01:19 | In fact, I use it so often
that there's a hot key for it.
| | 01:22 | I am just going to hit Ctrl+Z to Undo that.
| | 01:25 | And so the hot key to use it is holding down
Shift. So it doesn't matter which tool you
| | 01:31 | are using, if you hold down Shift and
Stroke you are going to right into the
| | 01:35 | Smooth tool, and then if you release
the Shift key, and then start stroking
| | 01:40 | again, you are going to go right
back into the tool you were in before.
| | 01:44 | So I will just hit Ctrl+Z to undo that.
| | 01:46 | You will probably find that you
prefer using Shift rather than having to go
| | 01:50 | click on the button every
time you want to smooth.
| | 01:52 | As I sculpt I'm constantly
switching between Sculpting and Smoothing.
| | 01:56 | So the Shift hot key is really useful.
| | 01:58 | There is one reason, however,
to click on the tool itself.
| | 02:01 | So let's go into the Smooth tool, now I
am going to come over to the Properties,
| | 02:06 | and inside all of the different
Sculpt tools there is a Flood feature.
| | 02:10 | This will apply a single stroke to the
entire surface of the model, whichever
| | 02:14 | brush you are using.
| | 02:15 | So with Flood I am actually going to
zoom in a little bit so we can see this
| | 02:20 | more clearly, and I am going to
actually turn on the wireframe too, that might
| | 02:24 | help us, holding Shift+F, so
let's hit Flood a few times.
| | 02:28 | So you can see every time I hit Flood the
entire mesh smoothes out just a little bit.
| | 02:32 | We could actually increase the build
up and get a more pronounced effect.
| | 02:38 | It's slightly more
pronounced, maybe not a big change.
| | 02:42 | So let's undo that smoothening that we did
just to get back to where we were originally.
| | 02:46 | All right I am going to turn off
wireframe, Shift+F. Let's skip over to Foamy.
| | 02:55 | So Foamy behaves kind of like the
Standard Sculpt tool, but with a slightly
| | 02:59 | different feel, so let's try this out.
| | 03:04 | It builds up volume, but
with a slightly lumpy texture.
| | 03:15 | Let's go ahead and undo that just so we have
a fresh surface to work on for the next brush.
| | 03:20 | Some of the tools are really cool because
they react to the existing surface of the mesh.
| | 03:25 | So for example, let's go
down and get the Wax tool.
| | 03:29 | Wax builds up volume starting
by filling in recessed areas.
| | 03:33 | So let's zoom in, in this area right here
under the shell and just start sculpting.
| | 03:40 | You see it actually starts filling
in recessed areas before building up
| | 03:44 | volume, and it actually behaves
kind of strangely if you don't have the
| | 03:47 | strength turned up very high, so
I am going to undo that and hold
| | 03:51 | Shift+right-mouse button and increase
the Strength a little bit, so otherwise
| | 03:55 | it tends to flatten things as well.
| | 03:57 | So now with more strength you can see
it's building up the sunken in areas, and
| | 04:02 | then once it's built up those areas,
then it builds up more on top of that.
| | 04:06 | I actually use this one a lot for
basic sculpting, because it obliterates any
| | 04:10 | detail that already exists as it sculpts,
rather than building off of what is already there.
| | 04:15 | I am just going to undo this so that
we have a fresh surface, and let's go
| | 04:20 | to the Scrape tool.
| | 04:23 | Scrape works by removing any details
that stick up, so it's kind of like a
| | 04:27 | grinder or sandpaper, it's
kind of polishing the surface.
| | 04:31 | Notice how it only affects the parts
that are sticking up already, it's kind of
| | 04:37 | opposite of wax that affects
parts that are sunken in more.
| | 04:40 | Let's undo this, and let's
slide over to the Fill tool.
| | 04:45 | Fill tool is kind of like Wax,
in that it fills in depressions.
| | 04:49 | But once it fills them in it
stops, it doesn't keep building up.
| | 04:52 | So let's just use it here so you
can see that it doesn't really affect
| | 04:57 | parts that are sticking up so much, it really
just fills in parts that are already depressed.
| | 05:04 | I don't use this brush too often,
but every once in a while when I have a
| | 05:08 | situation where I only want to fill in
depressions, then I'll use this tool.
| | 05:12 | Let's hit Ctrl+Z to undo that.
The next one we want to look at is Knife.
| | 05:18 | Knife makes a deep cut in the surface,
it can be used to make creases, but
| | 05:22 | actually later in the course I want
to show you have make a Crease brush, it
| | 05:26 | actually works even better than this.
| | 05:28 | Let's go ahead and undo that,
and let's look at the Bulge tool.
| | 05:32 | Bulge is similar to the Basic Sculpt,
except that it expands the mesh as it pulls out.
| | 05:40 | So it's kind of like, if you know ZBrush,
it's like the Inflate brush in ZBrush.
| | 05:45 | It kind of bulges out, kind of
inflates like a balloon everywhere you sculpt.
| | 05:51 | So that can come in useful
anytime we need that effect.
| | 05:55 | So we skipped around a little
bit just looked at some of the more
| | 05:58 | basic Sculpting tools.
| | 06:00 | And all of these tools are more or
less variations on the basic Sculpt tool,
| | 06:04 | they all build-up or remove volume
from the mesh where ever you stroke them.
| | 06:09 | Most of the time it really just comes
down to your preference when you use
| | 06:13 | one tool over another.
| | 06:14 | With practice you'll get a sense of
which tools you like better and which ones
| | 06:19 | work better in different situations.
| | Collapse this transcript |
| Using the special sculpting tools| 00:00 | In the Sculpts tools panel, there are
some tools that do special things that
| | 00:05 | aren't just variations on the basic Sculpt tool.
| | 00:07 | Each one has its own special uses and
effects, so let's see how they work.
| | 00:11 | Let's open up the exercise
file to get the wartortoise.
| | 00:14 | Let's take a look at the Amplify tool.
This one is really cool.
| | 00:20 | It takes existing detail and makes it stronger.
| | 00:24 | Let's increase the size of the brush a
little bit, Ctrl+right button, and let's
| | 00:29 | just sculpt with it.
| | 00:30 | So you can see anywhere I sculpt it,
any recessed areas get even more recessed
| | 00:35 | and any bulging areas bulge even more.
| | 00:39 | This can save you a lot of work if you
sculpt some detail, and then realize that
| | 00:43 | you needed to be more intense, rather
than reworking all the detail by hand, you
| | 00:48 | can use this tool to instantly exaggerate it.
| | 00:51 | Go ahead and undo that, get back
to where we were before we did that.
| | 00:54 | Let's look at the Smear tool.
Smear will push around detail on the surface.
| | 01:00 | Actually let me shrink the size of
the brush a little bit, zoom in, and it
| | 01:07 | might help to turn on Wireframe,
Shift+F, just to see what this is doing a
| | 01:12 | little bit more clearly.
| | 01:15 | So it's just kind of grabbing along the
surface and sliding those polygons along
| | 01:19 | the surface of the model.
| | 01:20 | It's kind of smearing
them around, hence the name.
| | 01:24 | This can be useful if you've sculpted
some fine details, and then realized that
| | 01:28 | they need to be nudged around a bit.
| | 01:30 | I try not to use this one too much
because it actually distorts the mesh a lot.
| | 01:34 | I'm going to undo all that.
| | 01:38 | Let's turn off Wireframe, Shift+F,
and let's go get the Flatten tool.
| | 01:42 | It's pretty straightforward, any
parts of the mesh that are sunken in, get
| | 01:48 | raised up, and any parts that
are raised up, get pushed down.
| | 01:51 | It kind of removes a lot of detail from
the surface, and it's kind of similar to
| | 01:56 | Smooth, but a little bit different
just kind of flattens everything out.
| | 02:00 | I'm going to undo that.
| | 02:02 | As we look at Grab, this is
one that I use all the time.
| | 02:07 | It's great for making large-scale
adjustments to the shape and proportions of a model.
| | 02:11 | So let's make the brush
really big now, Ctrl+right click.
| | 02:16 | Let's say we want the head to
stick forward a little bit more.
| | 02:19 | You can just simply grab it and pull it
wherever you want it to go, or you can
| | 02:26 | make the neck droop a little bit more.
| | 02:27 | It's really great for making
large shape adjustments to a model.
| | 02:32 | Now let's look at Pinch.
| | 02:33 | I am going to zoom in here, so we can
see this more closely, and I want to
| | 02:38 | shrink the brush just a bit.
| | 02:40 | Pinch will take any parts of the model
that are within the size of the brush and
| | 02:44 | just pull them in towards the center.
| | 02:46 | It might be helpful if I turn on
Wireframe for this, and I am actually going to
| | 02:51 | increase the Strength a little bit, so
it's more pronounced of an effect, kind
| | 02:55 | of sucking in all of these polygons
and towards the center like a black hole,
| | 02:59 | and I want to hit Shift+F to turn off Wireframe.
| | 03:03 | This can kind of create the effect of
creases or sharp edges, but there are
| | 03:08 | other ways to get sharp edges.
| | 03:09 | I prefer not to use this tool too
much because it really deforms the mesh.
| | 03:13 | It can really kind of stretch out
or really make a mess of the polygons
| | 03:18 | wherever you use it.
| | 03:19 | So I prefer to use other tools, like maybe
the Scrape tool, to get sharp edges.
| | 03:25 | There's another tool I'm going to be showing
later on in the course called the Crease brush.
| | 03:29 | It's a custom tool.
| | 03:30 | I will show you how to make it, it
makes sharp corners better than the Pinch
| | 03:34 | brush, but it can be helpful to use
this Pinch brush as well, sometimes.
| | 03:38 | So definitely don't count it out.
| | 03:40 | These tools all go beyond simple pushing and
pulling on the mesh to do something special.
| | 03:45 | There's lots of ways you can
customize them to do even more things.
| | 03:48 | The best way to really understand
them is to just play with them and
| | 03:51 | experience how they work.
| | Collapse this transcript |
| Customizing the sculpt tools| 00:00 | The standard Mudbox tools are
pretty good at getting work done.
| | 00:04 | However, you may find yourself
constantly hunting for that one tool that you
| | 00:08 | use more often or doing repetitive
sculpting that could be better done with
| | 00:12 | some custom settings.
| | 00:14 | In this video I'll show you some time-saving
techniques that make tools perform
| | 00:18 | better and makes them easier to get to.
| | 00:20 | Let's go ahead and use the
Basic Head for this video.
| | 00:23 | Now first, I want to customize how
the tools are arranged in the palette.
| | 00:29 | This is really up to your own preference,
but I find that there are some tools
| | 00:32 | that I use a lot, while there is
others that I use rarely, or not at all.
| | 00:37 | One great thing about the arrangement
of tools is that the first nine tools can
| | 00:40 | be accessed with the number keys.
| | 00:43 | So let's slide it over to the very
beginning of the Sculpt tool palette.
| | 00:47 | If you hit 1 on the keyboard, you go
right to Sculpt, hit 2, go to Smooth, 3 to
| | 00:53 | Grab, so on and so forth, on down to brush 9.
| | 00:56 | Now you can set up your brushes so that
the ones you use most are in this first
| | 01:03 | set of nine tools. And the way you move
them is simply by holding down the middle
| | 01:08 | mouse button, or the middle button on
the tablet, and just dragging them around,
| | 01:13 | so you can reposition these.
| | 01:15 | So for example, Smooth--I always use
it by holding down Shift--so I don't
| | 01:19 | really need it to be one of my main tools.
| | 01:23 | So if I use them more often, I usually
drag them more towards the beginning.
| | 01:26 | So Bulge, for example, I like more often.
Freeze, I use more often, and maybe I
| | 01:32 | don't use Fill so much, so I'm
going to move it down towards the end.
| | 01:36 | So, you can pretty much customize this
however you like to use these different tools.
| | 01:41 | Another thing that could be an issue
for me is my screen is very small, so I
| | 01:45 | can't see all the tools at once.
| | 01:47 | If this is an issue for you, you can
grab on this little divider right here
| | 01:51 | between the panels and just
click and drag it over to the side.
| | 01:55 | Now I can see all the tools at once.
Now let's actually make a custom tool.
| | 02:00 | When you make a tool, the new tool is
based on the currently selected one.
| | 02:04 | I want to make a variation of the Grab tool.
So let's go ahead and select it.
| | 02:08 | As it is now, the Grab tool will pull
on a model relative to the screen, so if
| | 02:13 | I pull on the model right now, it's
going to go left and right relative to how
| | 02:16 | I see it currently.
| | 02:18 | If I move around to the side of the
model and grab it again, it's going to pull
| | 02:22 | again relative to the screen, but now
in a different direction because, of
| | 02:26 | course, I'm viewing the
model from a different angle.
| | 02:28 | So let's go ahead and undo that.
| | 02:30 | I want a Grab tool that's going
to behave a little bit differently.
| | 02:34 | Let's zoom around until we
see the front of the face again.
| | 02:37 | So I've got the Grab tool selected.
| | 02:39 | Let's click this little arrow and go
to Add > Tool, and I'm going to give it a
| | 02:46 | name like customgrab, and let's go ahead
and come down, customgrab, it was added
| | 02:53 | to the end, and now I just want to bring
it up closer to the beginning, so I can
| | 02:58 | use it more regularly.
| | 03:00 | Now let's edit the tool
Properties to make it do something special.
| | 03:03 | Let's go over here, scroll down in the
Properties and make sure you have got the
| | 03:08 | Advanced tab opened, and I am going to
change the Direction to Average Normal.
| | 03:14 | Now, it's probably better to demonstrate
what this means rather than try to explain it.
| | 03:19 | Then I'm actually going to shrink
the size of the brush a little bit.
| | 03:23 | Now when I grab, the movements that
occur isn't necessarily going to be relative
| | 03:30 | to the screen, but actually
relative to the surface of the model.
| | 03:34 | So you see as I am grabbing on this,
it's actually pulling relative to the surface.
| | 03:38 | So it's actually only going
to go in and out, rather than with the
| | 03:46 | regular Grab, which will actually
pull it side to side and up and down.
| | 03:50 | So this can be really useful if you
want a little bit more finesse on how you
| | 03:55 | increase or decrease the volume
of the mesh in a particular area.
| | 03:59 | So if I want to give him more of a
pronounced mouth, I can just use custom Grab
| | 04:03 | to pull that forward.
| | 04:08 | It gives you a little bit more fine
control than using the Sculpt tool to create
| | 04:11 | that same effect, and it's
just a preference that I have.
| | 04:14 | So I like to create that brush custom.
| | 04:16 | Tool customization is really up to your
own preferences and how you like to work.
| | 04:21 | These tricks should make it easier to
make Mudbox work the way you like, which
| | 04:25 | means getting work done better and faster.
| | Collapse this transcript |
| Making a custom crease tool| 00:00 | While most of the things you want to
sculpt in Mudbox can be done with the
| | 00:04 | standard tools, I found that there's
not a very good way to make sharp creases.
| | 00:08 | You could spend a lot of time
sculpting and smoothing by hand to get the look
| | 00:12 | you are after, but with this custom
stamp, you'll get nice type wrinkles and
| | 00:15 | edges much more quickly.
Let's use the Basic Head for this video.
| | 00:19 | I just want to subdivide it a few times, so we
have enough geometry for the nice tight crease.
| | 00:24 | So, I'm going to subdivide it up
to about half a million polygons.
| | 00:29 | When you make a new tool, it
gets based off of an existing tool.
| | 00:33 | So let's select the standard Sculpt tool,
and we'll go to the option arrow, go
| | 00:37 | to Add > Tool, and go ahead and give it a name.
| | 00:44 | Mudbox adds it by default, to the
very end of the tool list, so I'm just
| | 00:48 | going to middle drag this over towards the
beginning, go ahead and click on the new tool now.
| | 00:55 | As it is right now, it's an exact copy
of the Sculpt tool, so let's customize it.
| | 00:59 | We want to load a custom stamp in, so
make sure you go to the Stamp tab and
| | 01:04 | click the arrow and Add Stamp.
| | 01:07 | Now right now, there's no stamp in our
custom user files folder, so let's cancel
| | 01:13 | out of this and go to our
Windows Explorer, or the Mac Finder.
| | 01:16 | So we're going to be digging
around in some folders right now,
| | 01:20 | it could get a little complicated.
| | 01:22 | If you're not sure what to do,
please refer back to the video in the
| | 01:25 | Introduction chapter that talks about
the folder structure and where custom
| | 01:30 | files are saved,
especially if you're using a Mac.
| | 01:34 | First, let's go to our exercise files,
and I'm going to go into Ch 2 > Crease folder,
| | 01:39 | and the creasestamp is the file we want.
| | 01:42 | So I'm just going to select it and
hit Ctrl+C, or Command+C, to copy it.
| | 01:47 | If you don't have access to the premium
exercise files, this is available as a
| | 01:51 | free exercise file on the course page.
| | 01:53 | On a PC, we're going to go into our
Libraries and Documents folder, and then
| | 01:59 | into our Mudbox folder, our version
number, and data, and then Stamps, and I'm
| | 02:07 | just going to hit Ctrl+V,
or Command +V, to paste it.
| | 02:11 | With that done, let's go back to Mudbox.
| | 02:14 | So let's load in that Stamp now
clicking on option arrow and Add Stamp, and we
| | 02:18 | have got our creasestamp here, so
let's just select that and open.
| | 02:23 | Now we can slide over and
see it at the end of the list.
| | 02:25 | Let's go ahead and select that.
Let's test what the brush does.
| | 02:29 | I am going to zoom in on the model,
and I'm just going to click and drag to
| | 02:33 | make a stroke here.
Okay, that's pretty interesting.
| | 02:36 | There are a couple of settings I need to
adjust to make this really work the way I want.
| | 02:39 | So I'm going to hit Ctrl+Z to undo that.
| | 02:43 | Let's go over to the properties of the Crease
brush and bring the Strength down quite a bit.
| | 02:47 | Let's try that out.
| | 02:48 | Okay, much better, and let's see what it
looks like with a slightly larger brush.
| | 02:53 | So I'm going to hit the Spacebar
and just bring up the brush size here.
| | 02:59 | Okay, that's actually revealing
something kind of interesting.
| | 03:02 | There is kind of a gap, it's kind of making a
sawtooth pattern, so let's see how to fix that.
| | 03:07 | Over in the Properties for this brush,
let's scroll down to the Stamp Spacing.
| | 03:12 | Right now, it's set to 0.
| | 03:14 | So, one thing I want to
change is make it closer together.
| | 03:17 | Now if we increase the Stamp Spacing, it's
actually going to set them farther apart.
| | 03:23 | How do we get them closer together than 0?
| | 03:26 | Well, there's something
really interesting you can do.
| | 03:28 | You can go in and type a negative number.
Now, let's try this out, yes, much smoother.
| | 03:36 | One last setting, and this is just my
preference, but I like the Crease tool to
| | 03:40 | carve inwards by default.
So I'm going to set it to Invert Function.
| | 03:44 | So now, by default, it's going to crease inwards.
| | 03:47 | So this is really useful if you
want to make crow's feet or wrinkles or
| | 03:51 | anything, you can just sculpt that
detail in, and you might want to use a Wacom
| | 03:55 | tablet for this, so you get a nice
soft gradual falloff something like that.
| | 04:00 | The Crease brush is going to be great
for sculpting wrinkles and sharp details.
| | 04:03 | It's also really good for
tightening up corners and edges.
| | Collapse this transcript |
| Using stamps| 00:00 | Sculpting detail by hand is fine, but
sometimes you can get the job done a lot
| | 00:05 | more quickly if the detail you want
already exists in the form of a photograph.
| | 00:09 | Stamps are bitmap images that you can
use with Sculpt tools to transfer the
| | 00:14 | texture in the photo right on to the model.
| | 00:17 | With stamps, you can sculpt a lot of
very natural detail almost instantly.
| | 00:21 | So we've got our exercise file open.
| | 00:24 | Most of the Sculpt tools can use stamps
as an option, but there are three tools
| | 00:29 | that are specifically
designed to work with stamps.
| | 00:32 | Those are Spray, Repeat, and Imprint.
Let's work with Imprint first.
| | 00:39 | I want to use it to get some leathery
detail on the surface of the tortoise.
| | 00:43 | You can choose from a selection of stamps here.
| | 00:48 | Let's find one that kind of
has a leathery texture to it.
| | 00:51 | I'll grab this one.
| | 00:53 | Now you just click and drag to
place the stamp on your model.
| | 00:57 | You'll notice that the resolution
of the model isn't quite high enough.
| | 01:00 | So let me undo that, and hit Ctrl+D a few
times to give us some more subdivision levels.
| | 01:06 | Okay, now we've got about five
million polygons, so we should be able to
| | 01:11 | get lots of detail now.
Let me zoom in here.
| | 01:13 | So you can see that the detail is kind
of rough, it might not give you exactly
| | 01:17 | the result you want every time.
| | 01:19 | So there's definitely some room for
manually sculpting after you place a stamp,
| | 01:24 | but this can get you started in
a good direction very quickly.
| | 01:26 | So I'm just smoothing out some
of that unnecessary roughness.
| | 01:29 | Let's try another stamp, let's
try this kind of pebbly texture.
| | 01:33 | Actually, I want to bring down the
Strength a little bit. Let me undo that.
| | 01:41 | Okay, that's looking much better,
less roughness I have to smooth out.
| | 01:45 | So there's definitely lots of ways to
experiment with these different stamps.
| | 01:48 | Let's work with the Repeat tool now.
| | 01:51 | The Repeat tool is great for when
you want a stamp to be placed in a way
| | 01:54 | that follows a path.
| | 01:56 | We can make some scaly skin with this one.
Let me zoom out for a better look at the leg.
| | 02:04 | By default, this one is already using
the stamp image I was looking for, it's
| | 02:08 | kind of a shape of a single scale.
| | 02:10 | Let's see what happens
when we stroke with this one.
| | 02:12 | They're little too close together.
| | 02:13 | Let me undo that, and let's play
with some of the settings in here.
| | 02:17 | I want to increase the Stamp Spacing, I don't know
let's see what this does. Okay, much better.
| | 02:24 | And the effect is a little bit faint, however.
| | 02:26 | I want to increase the Strength of the brush,
and let's randomize it a little bit too.
| | 02:34 | So there's a little bit of rotation
with each stamp, a little bit of shifting
| | 02:38 | side to side, a little bit of shifting
up and down, and you can even make it
| | 02:41 | change size a little bit, so some are
little bigger, some are little smaller.
| | 02:45 | Let's see what kind of result we get.
| | 02:47 | Okay, so that's kind of interesting,
you can start creating a scaly pattern
| | 02:52 | down the leg with this.
| | 02:54 | I think I would definitely want to go
in and manually sculpt on top of this, so
| | 02:58 | that it doesn't quite have that stamped-on
look, but it's a good place to start.
| | 03:02 | Finally, let's use the Spray tool
to get some fine surface detail.
| | 03:08 | By default, it's got kind of this brick texture.
| | 03:10 | Let's go find something that looks a
little bit more like skin. All right.
| | 03:15 | Let's see what happens when we spray with this.
| | 03:18 | That's a little bit too rough, let me go
change the Strength, bring that down a little bit.
| | 03:27 | Okay, so that kind of gives a
convincing skin surface texture.
| | 03:31 | Actually when you combine it with one
of the stamped-on imprints, you get a
| | 03:36 | really nice combination of textures.
| | 03:39 | So these can all work together with
custom sculpting and stamps to give some
| | 03:43 | really nice realistic effects.
| | 03:46 | Stamps are great for recreating natural
textures that you can get from photographs.
| | 03:50 | There's nothing wrong with manually
sculpting details, but sometimes it can
| | 03:54 | really save time by using a
stamp to do all that work for you.
| | 03:58 | Just be careful because relying on stamps
too much can result in a repetitive appearance.
| | 04:03 | You'll want to vary the stamps that
you use, and combine them with some hand
| | 04:07 | sculpted detail in order to keep
the texture from looking artificial.
| | Collapse this transcript |
| Using stencils| 00:00 | Stencils are similar to stamps, in that
they're using photographs or images to
| | 00:05 | project detail onto a sculpture.
However, they work a little bit differently.
| | 00:10 | It's like projecting an image onto
the model and being able to sculpt that
| | 00:13 | detail right onto it.
So we've got our tree exercise file open.
| | 00:18 | So if we wanted to get some bark onto
this tree we could manually sculpt it by
| | 00:23 | hand, of course, but we're
going to use a Stencil for this.
| | 00:26 | Let's open up the Stencils tab.
| | 00:28 | Now you do have some default stencils
that come with Mudbox, but none of them
| | 00:32 | really have the tree bark
texture that I'm looking for.
| | 00:35 | So let's get a custom one going.
| | 00:38 | I've included one with the exercise
files, so let's go to our Windows Explorer
| | 00:42 | and to our exercise files, Ch 2 >
Stencils, and let's copy the treebark with
| | 00:50 | Ctrl+C, or Command+C, and now
let's go into our custom Mudbox files,
| | 00:57 | Documents > Mudbox > version number > data >
Stencils, and we'll just paste that in there.
| | 01:05 | The folder that you want to go
to on a Mac is quite different.
| | 01:09 | If you're having any trouble here,
please refer back to the movie in the
| | 01:12 | Introduction chapter on user-made
tools, and back to Mudbox now.
| | 01:18 | Let's bring in that stencil image by
clicking on this arrow and Add Stencil.
| | 01:23 | Okay, let's see if it's in here.
| | 01:29 | Yes, Mudbox added it to the
very end, so let's activate that.
| | 01:34 | Now something interesting happens.
| | 01:36 | When you activate a stencil, Mudbox
places it kind of in front of your model so
| | 01:41 | you could continue to rotate around the
model and zoom in or whatever, and we've
| | 01:46 | got this image kind of in front of it.
So let me show you how it works.
| | 01:51 | You can move and rotate and scale the
stencil independently from the model if
| | 01:55 | you hold down the S key.
| | 01:58 | So holding down S and using your
standard navigation, you can move it around.
| | 02:03 | So for example, S with the middle
button will move it, S with the left button
| | 02:08 | will rotate it, and S with the right
button will zoom it in and out, and you can
| | 02:15 | hide the Stencil by pressing Q.
So now you are back to regular sculpting mode.
| | 02:20 | If you hit Q again, you
go back into Stencil mode.
| | 02:23 | Now how do we actually use it?
It's pretty straightforward.
| | 02:26 | Let's rotate the model so that
we can see exactly where we want to
| | 02:30 | start sculpting on it.
| | 02:32 | So I'm just going to find a place that I
want to sculpt this detail onto, maybe
| | 02:36 | zoom in a little bit, and now I want to
rotate and position the stencil so that
| | 02:41 | the direction of the bark is going
in the same direction as the tree.
| | 02:44 | So let's rotate this
around a little bit. All right.
| | 02:48 | Now I am going to go to one of my
Sculpt tools, so I can just sculpt
| | 02:52 | directly onto the model.
| | 02:54 | I'm going to increase the size of the
brush a little bit, it's kind of small,
| | 02:58 | actually decrease it--it was so big I
couldn't even see it on the screen--and
| | 03:02 | let's bring the Strength down a
little bit too, it might be too high.
| | 03:05 | Now simply start sculpting.
| | 03:06 | Now you'll see not enough resolution
in this mesh, so let's hit Ctrl+Z and
| | 03:13 | Ctrl+D a couple of times to subdivide
the model so that we have enough detail
| | 03:18 | in this mesh to hold all the
details that's in the stencil.
| | 03:21 | We have got about 1.5 million
polygons distributed for now. All right.
| | 03:27 | So, now as you brush, all of that
detail that's in that image is getting
| | 03:31 | projected right through onto the model.
| | 03:33 | Once you sculpted in one area, you could
kind of move around to another area and
| | 03:38 | continue sculpting more detail.
| | 03:42 | This is a great way to
get details into your work.
| | 03:45 | You can see that it's kind of like the
Imprint tool, but you have a bit more
| | 03:49 | precision with exactly where it sculpts.
| | 03:51 | One thing you may notice, is that as I
build on detail, it's also building up
| | 03:56 | the volume of the mesh.
This may or may not be something that you want.
| | 04:00 | So let me hide the stencil really quick,
and hit Ctrl+Z a couple times to hide this.
| | 04:06 | You see it built up a lot of volume,
and I didn't want to change the overall
| | 04:10 | volume of the tree so much.
| | 04:12 | So let's go over into our Properties
and take a look at the Advanced settings.
| | 04:17 | Actually, this is something that's
kind of tricky about Mudbox is that the
| | 04:21 | settings are always relative to
the last thing that you clicked.
| | 04:25 | So the last thing I clicked was the
Sculpt tool and actually what we want to
| | 04:29 | look at is the properties for the
stencil, so let's click on the Stencil.
| | 04:33 | So here in the Properties
is a setting called Offset.
| | 04:37 | The Offset tells Mudbox to create the
detail by adding volume when it's set to zero.
| | 04:42 | If I set it all the way up to one,
it will actually subtract volumes, so
| | 04:46 | let's see what happens.
So now it's pushing in with that detail.
| | 04:52 | Let's just undo that.
| | 04:55 | If I set the Offset somewhere in the middle,
it's going to both push in and pull out.
| | 05:00 | So the overall volume of the
model stays about the same.
| | 05:04 | Something else that you can do is tile
the stencil so that it repeats beyond
| | 05:08 | the edge of the image.
So let's turn on Use Tiles.
| | 05:12 | So now if you sculpt beyond the edge of
the image, it will wrap around and not
| | 05:17 | interrupt the shape too much.
| | 05:18 | Let's see what happens actually if we
don't use that, and let's see if we're
| | 05:22 | sculpting over here somewhere.
| | 05:25 | You reach the edge of that Stencil,
you're going to get kind of a harsh edge.
| | 05:29 | If you turn Use Tiles on, then it's
fairly seamless, and when you're done using
| | 05:34 | the Stencil, again just press Q.
| | 05:37 | Stencils are another great way to quickly
sculpt photographic detail just like stamps.
| | 05:43 | You'll find that they're good for
putting on that final pass of fine texture, as
| | 05:46 | well as getting a foundation
for sculpting patterns by hand.
| | Collapse this transcript |
| Freezing parts of a sculpt| 00:00 | There may be times when you want to
protect a part of your Sculpt from changes.
| | 00:04 | Maybe you have some details sculpted
that you don't want disturbed while you
| | 00:08 | work on other parts.
| | 00:09 | Maybe you want to create detail
within a particular shape and don't want to
| | 00:12 | have to worry about that detail
getting where you don't want it.
| | 00:16 | Whatever the reason, Freeze locks some
parts of a mesh in place, while allowing
| | 00:20 | you to work on others.
Let's open the Basic Head.
| | 00:24 | Now I want to put a shirt on this character.
We need some more detail on the mesh.
| | 00:29 | So I am going to subdivide it a few
times hitting Ctrl+D until we have about
| | 00:33 | 2 million polygons.
Now let's pick the Freeze tool.
| | 00:38 | Now you could just simply start
brushing on Freeze, however, let's get more done
| | 00:45 | at once and go to the Marquee tool.
| | 00:47 | Now let's look at this from a
different angle and simply draw a Marquee over
| | 00:52 | roughly where the shirt should be. All right.
Let's see what that did. All right.
| | 00:57 | Pretty close, now we can
just refine this by hand.
| | 00:59 | I am actually going to go in and hold
down Ctrl to unfreeze some of these areas
| | 01:07 | and actually freeze a little
bit more down here in the middle.
| | 01:11 | Now that we've defined where the
shirt should be, we can use any of the
| | 01:15 | sculpting tools to affect just the shirt.
Let's make it look like it has thickness.
| | 01:19 | Let's go to the Bulge tool, and let's
scroll down here in the settings, and I
| | 01:26 | just want to flood all of
the unfrozen area with Bulge.
| | 01:30 | Go ahead and click that.
Now, that's a little bit too much.
| | 01:34 | So let's change some
settings, I am going to undo that.
| | 01:37 | Again, it's going to take a few seconds
because it's a lot of polygons to deal with.
| | 01:41 | Let's go to the Strength and just bring
this down quite a bit, and then back to Flood.
| | 01:48 | That was quite a bit lower, let's zoom
in here and actually I think I might want
| | 01:55 | to have that stick out a little bit more.
So let's flood it again.
| | 01:59 | That's going to be my nice thick sweater though.
So let's do one more flood.
| | 02:04 | Now we can detail parts of the sweater
without worrying about affecting the skin.
| | 02:08 | So we could grab maybe the Sculpt tool,
I am going to shrink down the size of
| | 02:12 | the brush, and we could go in and put
any kind of pattern, or sort of a weave
| | 02:17 | pattern in the sweater.
| | 02:20 | I am not going to spend a lot time
on this, basically just trying to
| | 02:24 | demonstrate that if you go and
sculpt off onto the frozen area, nothing
| | 02:27 | is going to happen.
| | 02:29 | So you are pretty safe to go and
make any sort of adjustments, or patterns
| | 02:31 | that you want without messing
up the skin of the character.
| | 02:35 | Something else that's useful to
do is inverting the frozen area.
| | 02:40 | So let's go up to Edit, and I'm
just going to go down to Invert Freeze.
| | 02:45 | So now the sweater is
frozen and the skin is unfrozen.
| | 02:49 | So I could go in and sculpt anything I
want on the skin without worrying about
| | 02:53 | messing up the sweater.
| | 02:54 | When you're done, you can unfreeze
everything just by going up to Edit and Unfreeze All.
| | 02:59 | Freeze is useful whenever you want to
protect an area of the mesh from Sculpting.
| | 03:03 | There is lots of creative ways to use it in
order to achieve a wide range of effects.
| | Collapse this transcript |
| Sculpting custom stamps and stencils| 00:00 | Using photos as stencils and stamps is
great. But what do you do when there are
| | 00:05 | no photos of what you're trying to sculpt?
| | 00:07 | Mudbox has a really great set of
features that let you sculpt something once
| | 00:11 | and then extract that sculpting as a 2D image.
| | 00:13 | Then it can be used as a stamp or a
stencil to recreate that exact sculpted
| | 00:18 | shape or detail as many times as you want.
| | 00:21 | Now you may be wondering what kind of sorcery
allows 3D sculpting to be stored in a 2D image.
| | 00:26 | Well, it's not magic at all but
technology called Vector Displacement Maps.
| | 00:31 | Let's see how it works.
| | 00:33 | In this video, we're going to be
making some cornrow braided hair on a head.
| | 00:37 | Now you could manually sculpt all those
braids by hand, but that would take a lot of time.
| | 00:42 | I can sculpt just one section of a single braid
and then create a custom stamp from that sculpting.
| | 00:48 | To make a Vector Displacement Map, you are
going to want to start with a single plane.
| | 00:52 | So let's open up the basic plane.
| | 00:54 | Now on this surface you are going to
want to subdivide it fairly high and just
| | 01:00 | do some sculpting on it.
| | 01:01 | So you'll probably just want to turn off
symmetry here and get your brushes whatever
| | 01:08 | brush you want to use and just start sculpting.
| | 01:11 | Let me set some properties here. I
will increase the Strength a little bit.
| | 01:15 | I am just going to make some braid type shapes.
| | 01:20 | This could take a little while,
so I am just going to skip ahead to where
| | 01:24 | I've got a nice finished braid to work from.
| | 01:27 | So I am just going to go to Open, I am
going to go to Ch 2, and we are going to
| | 01:32 | go to Custom Stamps, and let's open
up cornrow.mud. No, don't need to save.
| | 01:41 | I want to turn off the Wireframe, Shift+F,
and let's just take a look at this really quick.
| | 01:46 | It's got some nice sculpted detail
of a section of a cornrow braid.
| | 01:50 | So we have got the cornrow braid over here in
the object list, and it's called plane by default.
| | 01:57 | So I am just going to click on that and
right click, go to Rename Object, and I
| | 02:02 | am just going to call this sculptedbraid
and hit OK, and let's hit Ctrl+Shift+A
| | 02:09 | to deselect that so it's
not so annoyingly yellow.
| | 02:12 | Now we need to make a second plane.
| | 02:15 | This will be a comparison object that
Mudbox will use to calculate how much
| | 02:18 | difference there is between a
sculpted plane and a neutral flat plane.
| | 02:23 | So I will just go to Create > Mesh > Plane.
| | 02:28 | Let me hide the sculptedbraid really quick.
Just make sure and confirm that it is there.
| | 02:32 | Okay, great. Now let's make that 2D map.
| | 02:35 | We will go up to Maps > Extract Texture
Maps > New Operation, and I want to run on
| | 02:41 | Vector Displacement Map.
There's a lot to look at here.
| | 02:45 | Let's take it one step at a time.
| | 02:47 | We need to tell Mudbox which model is
the target model, or the low-resolution
| | 02:53 | mesh, and which one is the source
model or the one that we sculpted.
| | 02:57 | So I'll just select plane as the
Target model and click Add Selected.
| | 03:04 | In Source Models, we could also go and
select the sculptedbraid and then add it,
| | 03:08 | or we can just do Add All, and then
I am just going to remove the plane.
| | 03:13 | Generally, the default settings work
pretty well. I usually don't have to change
| | 03:17 | too many of these other settings.
| | 03:19 | If you make a Vector Displacement Map,
and it doesn't have enough detail, you
| | 03:22 | might want to increase the resolution of it.
You could also turn on Antialiasing
| | 03:26 | if you want to have a little bit higher quality.
We are going to leave this at Relative Tangent.
| | 03:34 | If we were using PTEX--it's kind of an
advanced feature--we will just leave it at Texture.
| | 03:39 | So basically all we need to do
now is just give it a File Name.
| | 03:44 | So you can go and save it in--let's see.
We'll go to Documents > Mudbox > version number > data > Stamps.
| | 03:55 | The folder that you want to go to on a
Mac is quite different. If you're having
| | 03:59 | any trouble here, please refer back to
the movie in the Introduction chapter on
| | 04:03 | user-made tools and then just go ahead
and give it a name, cornrow, and then if
| | 04:10 | you're saving a Vector Displacement Map,
you always want to end the file name
| | 04:15 | with _vdm for Vector Displacement Map.
| | 04:20 | The basic TIFF 32 by default is
pretty good. We will go with that.
| | 04:24 | Now let's scroll down and hit Extract.
| | 04:28 | It should just take a second or two.
Looks like it's done, say OK, let's close,
| | 04:35 | and let's take a look in our
Stamps and see what we have.
| | 04:39 | Looks like it's not there yet.
We might need to edit manually.
| | 04:42 | So go ahead and click on the
option arrow and Add Stamp.
| | 04:45 | So now we can pick the cornrow_vdm
from our Stamps folder and click Open.
| | 04:53 | So it's added it right here.
Now let's see what we can do with it.
| | 04:57 | Let's go to your File > New Scene, don't
need to worry about saving this, and we
| | 05:01 | will just open up the Basic Head.
| | 05:03 | I am going to subdivide it a few times,
Ctrl+D, up to about 2 million, and let's
| | 05:09 | use this Stamp with the Repeat tool.
| | 05:12 | So let's see. We'll select
the cornrow stamp as our stamp.
| | 05:16 | And well, let's just give it a try, see
if we need to change any settings after
| | 05:21 | we've done an experiment with it.
Shrink the size of the brush a little bit.
| | 05:29 | Looks like I need to turn off some of
this randomize. I don't want it to spin it
| | 05:32 | or anything, I just want it to be a
straight line, and I might need to increase
| | 05:37 | the Buildup a little bit--
get a stronger effect, yeah.
| | 05:44 | Cool, not too bad. Looks like it's
stamping a little too close together.
| | 05:47 | I am going to change the Stamp Spacing--
I don't know. Let's see, 70.
| | 05:52 | Yeah, that looks pretty good.
| | 05:56 | So you could go and just
simply draw on these cornrows.
| | 06:01 | That saves us so much time over
doing all that sculpting manually.
| | 06:06 | The ability to create my own stamps like
this has saved me so much time and effort.
| | 06:10 | You can use the resulting
map as a stencil as well.
| | 06:13 | So Vector Displacement
Maps are really versatile.
| | 06:15 | Anytime that there's a particular
sculpted feature or detail that needs to be
| | 06:19 | repeated many times, creating a
custom stamp can really be a timesaver.
| | Collapse this transcript |
| Sculpting with layers| 00:00 | Layers are a powerful way to
control sculpting in Mudbox.
| | 00:04 | They allow you to create details and
then hide them, scale their intensity, and
| | 00:08 | create a wide variety of effects, all
without altering the model or its existing details.
| | 00:13 | In this video, I'll introduce how
they work on an example project.
| | 00:16 | I am going to open up the Basic Head.
| | 00:19 | We're going to use layers to
give this guy some hairstyles.
| | 00:23 | So let's subdivide the model a few times so
that we have enough geometry to work with.
| | 00:27 | I am going to go up pretty
high actually, about 2 million.
| | 00:31 | Before we start sculpting we want to
make sure we create a new Sculpt layer.
| | 00:35 | So let's go to the Layers tab and
make sure that we are in Sculpt mode, and
| | 00:40 | let's go ahead and make a new
layer. So click New layer button.
| | 00:44 | I'm going to use the Wax tool
to sculpt some hair on his head.
| | 00:48 | It's just going to be something quick and dirty.
| | 00:50 | I'm just going to zoom in and just
start sculpting some volume of hair.
| | 00:54 | Don't even need to be really precise
here, just kind of the general shape and
| | 00:58 | position and volume of the hair.
| | 01:01 | You might even want to make it extend
beyond where you would normally have
| | 01:04 | hair go, like farther onto the forehead.
That's okay for now. We can fix all that later with layers.
| | 01:09 | Now that we've put all the sculpting on a
layer, let's see what we can do with it.
| | 01:13 | Over here in the Layers palette, we can
click on this visibility circle to turn
| | 01:17 | off all those details
and then turn them back on.
| | 01:21 | This is useful if you want to make
several different hairstyles but only want
| | 01:25 | to see one at a time.
You could hide all but one.
| | 01:28 | There's also the Lock column.
| | 01:30 | If you click in this column,
you can lock this layer.
| | 01:33 | This is so that you can't
accidentally sculpt in it.
| | 01:35 | It's useful if you have finished some
detail in a layer and you want to make
| | 01:38 | sure that you don't mess it up.
| | 01:41 | So let's go ahead and unlock it
now, so we can continue editing.
| | 01:43 | So the hair is okay now, but I want a cleaner
border between the hair and the skin of the head.
| | 01:50 | I could spend a lot of work carefully
smoothing and sculpting the hairline to
| | 01:52 | keep it sharp and clean.
| | 01:54 | But there's an easier technique,
and that's with Layer Masks.
| | 01:57 | With masks we can define parts
of the layer that won't be visible.
| | 02:01 | So let's go find the Mask tool, and now
we can paint with this and define where
| | 02:07 | we don't want the hair be.
| | 02:08 | And actually, let's turn on symmetry
with X so that we can paint it out
| | 02:13 | symmetrically on both sides.
Now let's just try something else.
| | 02:16 | I am going to go to the Wax tool
and just try to sculpt on more hair.
| | 02:20 | I am going to turn off symmetry with X.
| | 02:23 | Notice how you can always sculpt on the
areas that are unaffected by the mask,
| | 02:26 | but if you try to sculpt where
the mask was, nothing happens.
| | 02:30 | This is really great because it means
that I don't have to worry about keeping
| | 02:33 | the hairline nice and neat as I sculpt the
hair since the mask is doing that for me.
| | 02:37 | As it is now, you can't really
see exactly where the mask is.
| | 02:41 | In order to get a better sense of what's
masked and what isn't, you can click on
| | 02:45 | the Mask icon in the layers panel.
Now everything that's masked shows up as red.
| | 02:50 | You can add to the mask by using the
Mask tool some more or remove the mask by
| | 02:55 | holding down Ctrl while you stroke, so
you could add to the mask or hold down
| | 02:59 | Ctrl to erase from the mask.
Layers are great for experimenting with details.
| | 03:04 | I use them all the time to try out
different designs, patterns, and textures.
| | 03:08 | Since it's so easy to hide and
manipulate layers, working with them is more
| | 03:12 | flexible than sculpting
directly on a mesh without layers.
| | Collapse this transcript |
| Editing sculpt layers| 00:00 | Now that we have an idea what layers
are for, let's see how to edit them.
| | 00:04 | There are several ways to control layers
and modify them to achieve different results.
| | 00:09 | I'll go over some tips and tricks as well.
| | 00:11 | Let's start with the hair
we created the last video.
| | 00:14 | Let's use some Mudbox features
to modify the hair layer.
| | 00:18 | We can make some really easy adjustments to the
length of the hair with the Strength slider.
| | 00:22 | So over here in the Layers palette, you
will notice there is a Strength setting.
| | 00:26 | You could type in a number, or you can
jut grab on this control right here and
| | 00:31 | simply control the intensity of the
layers, kind of like an Opacity layer in
| | 00:36 | Photoshop, but it's the
Opacity of the detail in that layer.
| | 00:42 | Where this comes in really handy is
let's say you want to experiment with
| | 00:46 | different varieties of lengths of hair.
You could just make it once and then
| | 00:51 | change the opacity or the strength
of that layer instead of re-sculpting
| | 00:55 | several different layers
with different lengths of hair.
| | 00:57 | Now here is something really cool.
| | 00:59 | Even though the slider goes between 0 and
100, you can type in any number you want.
| | 01:04 | So we can exaggerate the hair by typing in 200.
| | 01:10 | This makes it so easy because you can
sculpt detail and not even have to think
| | 01:14 | about whether it's strong
enough or if it's too strong.
| | 01:16 | Then once you sculpt it into a layer, you can
simply adjust the strength of it afterwards.
| | 01:21 | Let's look at some of the
other things you can do with layers.
| | 01:23 | There is a feature that allows you
to flip the details from one side to another.
| | 01:27 | I'm actually going to turn
off the mask just temporarily so that we
| | 01:31 | don't see that red glow in the way,
and I just want to right-click on the
| | 01:35 | Sculptlayer that I want to flip.
I will just go down to Flip layer.
| | 01:39 | So after thinking about it for a
couple seconds, Mudbox simply reverses the
| | 01:43 | direction of all the details in that layer.
| | 01:45 | Now let's say that I sculpted some
detail on one side of the model, and I
| | 01:49 | either forgot to have symmetry turned on, or I
decide later that I wanted it to be symmetrical.
| | 01:54 | That's no problem at all.
| | 01:56 | First thing I need to do is tell
Mudbox which side I want to mirror from.
| | 02:01 | So let's go into Select > Move Tools and
select Faces. I just want to select some
| | 02:06 | faces on the side that I want to keep.
| | 02:09 | Now let's go up and right-click on that
layer and pick Mirror layer, and after
| | 02:14 | thinking about it for a couple seconds,
now you can see we've got identical
| | 02:18 | mirror images of that layer on both
sides, and if we just deselect--click
| | 02:23 | anywhere in the open area to deselect any faces.
| | 02:27 | One more thing I want to show here is
the Erase tool. This tool is like mask in
| | 02:31 | that it only works on the active layer.
| | 02:33 | So let's go to Sculpt tools, pick
Erase, and let's start working with this.
| | 02:39 | At first it seems just like mask. It is
just getting rid of whatever's on that layer.
| | 02:43 | The difference is that it
gets rid of it permanently.
| | 02:46 | So you couldn't erase the mask and
have this detail come back, it is really
| | 02:50 | erasing it from the layer.
| | 02:52 | Hopefully these examples demonstrate
the power of layers. With them, you are
| | 02:57 | able to test out different ideas and
designs without worrying about messing up
| | 03:00 | anything on the sculpt itself.
| | Collapse this transcript |
| Working with multiple sculpt layers| 00:00 | Now that we've seen all the things you
can do with a single sculpt layer, let's
| | 00:04 | take a look at some of the things
Mudbox can do with Multiple Sculpt layers.
| | 00:08 | You'll find that using Multiple
Sculpt layers opens up a wide range of
| | 00:12 | opportunities to explore different designs.
| | 00:14 | Before we make any new layers, I just
want to show you one thing over here in
| | 00:19 | the L column of the sculpt layers.
You'll notice that there is a 4 right here.
| | 00:24 | This means that the sculpt layer is
associated with the subdivision level 4, and
| | 00:30 | you can only edit this layer when the
model is currently on subdivision level 4.
| | 00:34 | If you switch to any other subdivision
level--so for example, I am going to hit
| | 00:38 | Shift+D to go down a couple levels--
you'll see that you get this crossed out
| | 00:43 | symbol, which means you can't edit the
layer in any subdivision level other than
| | 00:48 | the one it was created on.
| | 00:50 | So I am going to hit D a couple more
times until we go up to level 4, and you
| | 00:55 | can see now the layer is active again.
| | 00:57 | So let's make another sculpt layer, and I
want to put some fine details in this layer.
| | 01:03 | You'll notice that there's
currently no number right here.
| | 01:06 | That means that the layer is open to
be sculpted on in any subdivision level.
| | 01:10 | But once I start sculpting in
this layer, it'll be locked in.
| | 01:14 | So let's hit Ctrl+D to create a new
subdivision level. Now it's Level 5.
| | 01:19 | So if I start sculpting in this layer
now, any further details in this layer
| | 01:24 | will be locked to the subdivision level.
| | 01:27 | So you know, I can make some fine
little hair strands, sculpt it in here, and
| | 01:34 | you'll notice now this is locked into Level 5.
| | 01:36 | Now let's make a third Sculpt layer,
because I want to have multiple sculpt
| | 01:42 | layers that are on a single subdivision level.
| | 01:45 | So in this one I am just going to make some
more detail, just kind of some fine-hair detail.
| | 01:53 | When you're happy with the sculpting
the way you have it, you could adjust the
| | 01:57 | strength of the different layers, and
when you're happy with how these two
| | 02:01 | different layers look, you can
actually combine them into one layer.
| | 02:04 | So let's right-click on this,
go down to Merge Visible.
| | 02:09 | Now you'll notice what happened is
those two layers were collapsed into one,
| | 02:14 | but only the layers that were
on the same subdivision level.
| | 02:17 | The layer that was on subdivision Level 4
remains just the way it was, but now
| | 02:22 | we've got to layers that are merged into one.
| | 02:25 | So merge won't let us combine layers that
exist on two different subdivision levels.
| | 02:30 | However, we can basically
achieve that with flatten.
| | 02:33 | So let's right-click on Sculpt
layer 3 and come down to Flatten.
| | 02:38 | Flatten will lock in all layers from
all subdivision levels, and it flattens it
| | 02:42 | down to the basic sculpt.
| | 02:45 | Be careful, Flatten will also
delete any hidden layers in the process.
| | 02:49 | The result is a model without any
sculpt layers, all of those details are now
| | 02:53 | locked into the regular model.
| | 02:55 | With Multiple Sculpt layers you can
have the flexibility to try out all kinds
| | 02:59 | of different detail combinations.
| | 03:01 | It is really useful when you want to
experiment but don't want to risk messing
| | 03:05 | up your sculpting just to try something out.
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| Sculpting symmetrical details on an asymmetrical model| 00:00 | We've seen already how you can
turn on mirroring and thereby sculpt
| | 00:04 | symmetrically on two sides of a model
at once, and that works great when the
| | 00:08 | model itself is symmetrical.
| | 00:10 | But what can you do when a model has been posed,
for example, and symmetry no longer exists?
| | 00:15 | In this video I'll show you a simple
feature that allows you to use mirrored
| | 00:19 | sculpting on a model that
isn't actually symmetrical anymore.
| | 00:22 | So let's take a look around this model.
| | 00:25 | It is definitely posed so
it's no longer symmetrical.
| | 00:28 | If I turn on X to turn on Mirrored
Sculpting, let's see what happens.
| | 00:32 | So you can see that the two sides of
the symmetrical sculpting do not line up
| | 00:39 | with the two sides of the
bull's anatomy, so that's a problem.
| | 00:42 | What we need to do is tell Mudbox
where the center line of the model is, and
| | 00:47 | there's just a few steps to remember.
| | 00:49 | You want to go to the lowest subdivision
level, and you want to go to the Select
| | 00:55 | and Move tools and pick the Faces tool,
and I'm going to turn on Wireframe--
| | 01:01 | Shift+F--so I can see where
the center line is more easily.
| | 01:04 | Now I just need to pick any two faces
that are on either side of the center line.
| | 01:09 | So I am going to hit X to turn off
Symmetry for a moment, and I am just going to
| | 01:14 | click two of these faces on either side of the
center line that we can see running right down here.
| | 01:19 | Now let's go up to the Mesh menu
and select Set Topological Axis.
| | 01:26 | Now let's hit Ctrl+Shift+A to deselect everything.
We're almost ready to start sculpting.
| | 01:31 | Let's go to our Sculpt tools, and
let's get the Wax tool, for example, and
| | 01:36 | let's go over to the Properties, and we want to turn
on Mirroring--but not just regular X Axis mirroring.
| | 01:43 | But we want to go all the way down to Tangent.
| | 01:46 | So this will respect the actual
symmetry that's inherent in the model.
| | 01:51 | Let's hit D a few times to go up to our
subdivision levels. I am going to turn
| | 01:56 | Wireframe off--Shift+F--and now
let's see what happens if we sculpt.
| | 02:00 | So now that the model is not actually
symmetrical, Mudbox still knows which side
| | 02:08 | it corresponds to on the other side of the model.
| | 02:14 | This feature opens up all kinds of
possibilities for sculpting. In the past
| | 02:18 | you used to have to be very careful
about making sure that you did all of the
| | 02:22 | symmetrical sculpting before doing any
posing or any major asymmetrical sculpting.
| | 02:27 | Or in other instances, if you had to
work on a model that was already posed, you
| | 02:32 | had to painstakingly sculpt both sides of the models
separately in order to fix any symmetrical issues.
| | 02:38 | Now with tangent mirroring, you can pose a model
and then continue to work on symmetrical details.
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| Bringing it together: Sculpting demo| 00:00 | So far in this course I've shown you
what individual Sculpting tools can do.
| | 00:05 | Now I want to bring it all together and do
a little demonstration of what I might
| | 00:09 | do for an overall sculpture.
| | 00:12 | In reality, sculptures take at
least hours, often days worth of work.
| | 00:17 | So we're going to condense
parts of this down and speed them up.
| | 00:20 | I just want to give you an overview of what
the entire sculpting process can look like.
| | 00:24 | I'll just open up the Basic Head,
and we're going to bring in that
| | 00:28 | hank_reference that we looked at earlier.
| | 00:30 | So in the Perspective view, I just want
to open this up and go to ImagePlane,
| | 00:34 | and let's Import our hank_reference
from the Chapter 2 Sculpting Demo folder on
| | 00:40 | the exercise files. And it's a little
bit big, so let's just bring it down to--
| | 00:46 | I don't know--about 0.9. And let's increase the
Depth so we can see the model in front of it.
| | 00:52 | So the first thing I might do is get the Grab tool out.
Make sure I've got Symmetry turned on. That's good with X.
| | 00:58 | And what I just want to do is start getting
the proportions worked out.
| | 01:02 | So I usually start with a pretty big
brush here. Seems like the biggest part of
| | 01:06 | this guy's face is his jaw and chin.
| | 01:10 | So I just really want to bring
these out really nice and big.
| | 01:14 | Maybe I'll use custom grab to
pull it out in different ways.
| | 01:18 | And his mouth really sticks forward,
so I just want to make sure I get the
| | 01:22 | really big proportions first.
| | 01:23 | And his nose kind of sticks forward, so
I'm just going for the big stuff before I
| | 01:31 | get in to the any details.
| | 01:36 | Okay, now that I've got
the big stuff in proportion,
| | 01:39 | I like to go to Wax sometimes and
just start sculpting in the medium-sized
| | 01:43 | details like the fleshy folds.
| | 01:45 | Looks like I might need some more
detail here. I'm just going to subdivide a
| | 01:49 | couple times so now we can get
kind of the more fleshy details.
| | 01:52 | We will just dig in a hole for the mouth
right now, and you might get some jagged edges.
| | 01:57 | I'm just usually smooth those out.
| | 02:03 | I want to increase the Strength of my
Wax here, and it looks like on the
| | 02:11 | reference he doesn't have that much of
a pronounced bridge of the nose so I'm
| | 02:14 | going to try to cut this away a little bit.
| | 02:19 | Sometimes when you use Smooth, you
don't get much result, so I like to go
| | 02:23 | down a subdivision level or two, and then smooth
gives you much more of a pronounced effect.
| | 02:27 | So let's give him some more width to his nose.
| | 02:34 | I just build up volume, and then it
might be a little bit jagged or lumpy, so
| | 02:38 | I'll just smooth it out and build up
some more, and I just like to look at that
| | 02:46 | from all angles, just
constantly making adjustments.
| | 02:52 | Pretty much it's a back-and-forth
organic process. It's just building up, smoothing
| | 02:55 | out, adjusting to seeing what needs to work.
| | 03:02 | Then I try not to spend too much time in
any one place while leaving the rest of
| | 03:05 | the model untouched, we kind of
want to work up the entire model overall.
| | 03:13 | So let's work on the eyes a little bit.
I like to create the depression for the
| | 03:18 | eye socket first, and then I'll
like to make the eyelid shapes.
| | 03:26 | Maybe I'll use the Crease tool to
define this crease here. That's a bit too
| | 03:32 | strong, and we could just hollow out
space for his eyeball to go. Looks like his
| | 03:45 | neck could be little wider a
little deeper from front or back.
| | 03:53 | All right, I'm going to turn off Symmetry now
and put some of that hair on. Okay, not too bad.
| | 04:04 | Okay, well, there's probably some more
tweaking and refining I could do from here,
| | 04:07 | but you can see how in not too much
time you can really get some interesting
| | 04:11 | sculptures going with these
sculpting tools here in Mudbox.
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|
|
3. Working with Multiple ObjectsUsing the Object List| 00:00 | A Mudbox scene involves many things: cameras, lights,
materials, and of course the models themselves.
| | 00:07 | If there are many objects in a scene, it
can sometimes be hard to keep track of
| | 00:11 | them all. Or sometimes object may be
hidden behind other objects and therefore be
| | 00:16 | hard to find and select when you need them.
| | 00:18 | The object list is an index of
everything in a scene so that you can easily find
| | 00:23 | selects and control them all from one place.
| | 00:26 | In this video I'll show you
how to get the most out of it.
| | 00:30 | So we've got one of our exercise files
open already. There's also a tree to add.
| | 00:34 | We can import that as a separate object.
| | 00:37 | Let's go up to File > Import
and grab the tree and Open.
| | 00:42 | You'll notice everything just got
brighter--I'll address that in a moment--but
| | 00:48 | first, let's look over in the object list.
| | 00:51 | We've got our materials for the different objects.
We have got cameras, lights, the objects themselves.
| | 00:58 | So one thing about importing scenes is that you
bring everything along with it, not just the model.
| | 01:04 | So when I brought in the tree, it brought
in the light from that scene, and so now
| | 01:09 | we've got two Lights in the scene, the
Light that was with the tortoise, and the
| | 01:13 | Light that was what the tree scene.
So it's kind of doubling up the Light.
| | 01:17 | So we can just select one of them.
Right-click and Delete the Light.
| | 01:21 | So one good thing about working with
multiple objects is that you can hide some of them.
| | 01:26 | So let's scroll this a little bit so
you can see this better. You can hide the
| | 01:30 | wartortoise, for example. If you just
want to work on the roots of the tree and
| | 01:34 | you don't want to have the
tortoise in the way, you can hide that.
| | 01:38 | Click the circle again to bring it back.
Now we could hide the tree, for example,
| | 01:42 | and work on the shell of the
tortoise without having the tree in the way.
| | 01:45 | In another situation you may want to
see an object but not accidentally select
| | 01:50 | it or change it in any way.
| | 01:51 | So let's bring the tree back, and I
want to keep the tree visible, but I don't
| | 01:56 | want to be able to affect it.
| | 01:58 | So I'm just going to click in this space right here,
and it just jumps my scrollbar up actually.
| | 02:03 | So scrolling back down, we can see that
the tree is now locked, and it's kind of
| | 02:08 | grayed out here in our viewport.
| | 02:10 | So now if I were to edit the wartortoise
the tree would be un-selectable.
| | 02:14 | I could not make any changes to it even if I wanted to.
| | 02:17 | Some objects will have a Plus sign
next to them. This is because the object
| | 02:21 | has a hierarchy of attributes.
| | 02:24 | So we've got the wartortoise right
here and the little Plus sign, so
| | 02:28 | let's see what happens.
| | 02:30 | Okay, so we can see in here what
we have beneath the tortoise is its
| | 02:34 | multiple subdivision levels.
| | 02:36 | You usually don't need to access
these different levels. There's usually not
| | 02:40 | really anything you can do with them, but
it can be good to know that they are there.
| | 02:45 | Sometimes when you import models from other
programs they can be combined into groups.
| | 02:50 | So you could access the individual objects
of that group by expanding the Plus sign.
| | 02:56 | If you right-click an object, you can
get a little menu of things that you could
| | 03:00 | do to it, such as assigning materials,
renaming it, duplicating it, deleting it, and so on.
| | 03:06 | There's just one odd thing that
Mudbox does that I should mention. When you
| | 03:09 | select a model by clicking on it in
the object list, it selects all of the
| | 03:13 | model's polygon faces,
which turns the mesh yellow.
| | 03:17 | You can still sculpt on it while
it's yellow, but it's very distracting.
| | 03:21 | There's two things you can do, one is
you can click on an empty area of the
| | 03:24 | object list--so I'm going to scroll down
and click down here where it's going to
| | 03:30 | open and empty--and you notice we
actually selected something else, but if
| | 03:34 | you have any open space
down there, it'll deselect everything.
| | 03:37 | Something else you can do is you could--
if you have an object that's yellow--is
| | 03:43 | just hit Ctrl+Shift+A, which is a
hotkey that I set for deselecting all.
| | 03:49 | So you'll use the object list to help
keep track of all the objects in your scene.
| | 03:53 | It's especially useful if you have lots
of objects so that you can quickly find
| | 03:57 | particular objects and hide and lock others.
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| Translating objects| 00:00 | Transforming is just a fancy way of
saying moving, rotating, or scaling.
| | 00:05 | You'll often need to transform in Mudbox,
| | 00:08 | especially when working with Multiple
Objects. It's how you position objects
| | 00:12 | relative to one another.
| | 00:13 | So we've got our war tortoise open, and
as it is now, he doesn't have any eyes.
| | 00:18 | So let's make him some eyes.
Let's go up to Create > Mesh and make a Sphere.
| | 00:26 | Now let's use the Transformation
tools to put the eye where it belongs.
| | 00:29 | Let's go to the Select/Move tools tab.
| | 00:33 | You could use the Translate, Rotate,
and Scale under here, but I prefer to use
| | 00:37 | the hotkeys, W, E, and R.
| | 00:40 | Right now the tree is selected, so let's
go and pick the sphere in the Object List.
| | 00:45 | Now if I hit W, we go into Move mode,
and I can just simply grab these different
| | 00:50 | arrows and move it along different
axes, position it where I need to.
| | 00:57 | Now we'll hit R to go into
Scale mode and just shrink this down.
| | 01:01 | I am going to hit F to zoom in on this
so I can see it more closely, and I am
| | 01:07 | just going to go back into Move mode--
so W--and I just want a better view on
| | 01:12 | this and just move it closer
into place. Back in Scale mode, R.
| | 01:19 | You want to be careful. Sometimes Mudbox
will accidentally scale in one of these
| | 01:23 | other axes, and it will stretch out.
| | 01:26 | But I want to scale very proportionally, so
I am just going to scale with the white cube.
| | 01:32 | So it's just kind of back and forth between Scale
and Move so that I can get the eye positioned correctly.
| | 01:41 | Let's see. I just want to view it from
a couple of different angles so I can
| | 01:47 | really get it accurate in here.
| | 01:52 | You can also click and grab on the
white circle in the middle and that will
| | 01:56 | move the object relative to the camera view.
| | 01:59 | Well, that's pretty close. I could do
a little bit of editing to the shape of
| | 02:03 | the eyelid so that this
would fit a little bit better.
| | 02:06 | But this is good enough for right now.
| | 02:08 | Since the eye is spherical, we don't
need to rotate it, but let's see how
| | 02:12 | that would work anyway.
| | 02:13 | I want to hit Ctrl+Shift+A so that we
can't see the yellow highlight anymore,
| | 02:19 | and let's hit E to go into Rotate mode.
| | 02:22 | Also, I want to be able to see what I'm
doing, so let's turn on the Wireframe, Shift+F
| | 02:26 | So now you can just click and
drag on the eyeball to rotate it around.
| | 02:32 | Let me zoom in here so we can see this
more clearly, and you can click on any of
| | 02:38 | these red, green, or blue axes
to rotate it with more accuracy.
| | 02:44 | But you can see how just rotating
around any particular axis that you choose.
| | 02:49 | You may notice that while you are
transforming there are some variables visible
| | 02:53 | in the Properties panel over here.
| | 02:55 | This is simply a numeric representation
of the current object's position, angle,
| | 03:00 | and size in the scene.
| | 03:02 | You could type in numbers here if
you want it to be really precise.
| | 03:05 | You'll use Move, Rotate, and Scale on
a regular basis to position and orient
| | 03:09 | objects relative to each other.
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| Duplicating and flipping an object| 00:00 | There are many times when you want to
have symmetrical objects in your scene,
| | 00:04 | for example, two shoes on a
character's feet. You could make each object
| | 00:08 | separately, but it would be a lot of
work to sculpt the same detail on one
| | 00:13 | object and then sculpt it again on the other.
| | 00:15 | By using Mudbox's Duplication and
Flipping features, you can work on just one
| | 00:18 | object and then copy it and
flip it over to the other side.
| | 00:22 | So we've got our war tortoise here,
and let's zoom in on the head.
| | 00:25 | You'll notice he's got the eye we made
in the last video, but he is missing an
| | 00:29 | eye on the other side, so let's fix that.
| | 00:31 | Now we could go up to Create and make a
new sphere and size it and position it
| | 00:36 | manually, but we can just
duplicate the eye that we had before.
| | 00:40 | So let's find it over in the Object List, sphere,
and let's right-click and Duplicate Object.
| | 00:46 | So we've got another copy, and it's
sitting right on top of the previous eye.
| | 00:51 | To confirm that, I am going to hit W to
go into Move mode and just move one eye
| | 00:56 | out, and you can see that, yes, it was a
duplicate just sitting right on top of
| | 01:00 | the previous eye, so I'm
just going to undo that.
| | 01:03 | So to flip it over, let's just go up to
the Mesh menu, go to Flip Mesh, and Around X.
| | 01:09 | Now you can flip on any axis,
usually X is the one that works best for
| | 01:14 | symmetrical characters and stuff like that.
But sometimes it might be one of the others.
| | 01:18 | If you get a result that you didn't expect,
you can undo it and try one of the other ones.
| | 01:23 | So let's try X, and let's look around
to the other side, see if that worked.
| | 01:29 | Okay, great. It worked.
| | 01:30 | Let's go look at some of the more
options in the Flip Mesh options here.
| | 01:35 | So Around Local X, Y, and Z means that
the object will flip, but it won't go to
| | 01:41 | the other side of the model. It'll
just flip around itself, and then there is
| | 01:45 | also From Y-Up to Z-Up and vice-versa.
These are for correcting the orientation
| | 01:51 | of models. Sometimes different programs
disagree on which direction is up.
| | 01:56 | So in some scenes the direction
is Y for up, and in some it's Z.
| | 02:02 | So you could import a model to Mudbox,
and it would be like a character.
| | 02:07 | It should be standing up straight, it might
be laying on its back, or lying on its belly.
| | 02:11 | You could fix it by picking one of these.
Okay, so let's go back to our model.
| | 02:18 | Now that we have two eyeballs,
let's rename them in the Object List.
| | 02:21 | So just right-click on this and go to
Rename, and let's call this eyeLeft, and
| | 02:30 | do the same thing for the
other sphere, Rename, eyeRight.
| | 02:35 | It's always a good idea to keep your
objects named, especially if you have a
| | 02:40 | lot of objects in a scene. That way it can be easy
to find any particular object that you're looking for.
| | 02:45 | You'll find that duplicating and flipping are
two functions that you'll use a lot in Mudbox.
| | 02:51 | You can make just one object and then copy it over
and over again, rather than recreating it by hand.
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| Transferring detail between two models| 00:00 | In a perfect world, you would
never have to change a model after you
| | 00:04 | started sculpting on it.
| | 00:05 | However, what tends to happen more
often is that you start working on a model
| | 00:09 | and then it turns out that a client
changes their mind, and you have to go back
| | 00:13 | and make drastic changes to a design after
you've already put a lot of work into sculpting.
| | 00:18 | In the past this meant having to
scrap all that work and start over.
| | 00:22 | With Mudbox you can transfer sculpted
detail from one model to another so that
| | 00:27 | when design changes happen, you can
keep working without too much trouble.
| | 00:31 | So you've got the bull exercise file open,
which has some nice detail sculpted into it.
| | 00:37 | Now let's say that my client decides
that they want a version without the horns.
| | 00:42 | Instead of starting over with the new
model, let's use transfer details to do
| | 00:45 | most of the work for us.
| | 00:48 | So let's import the version of the
model without horns. I'm going to go to
| | 00:53 | File > Import and open bull_no_horns.
| | 00:56 | Let's look it in the object list, just
to make sure everything is correct.
| | 01:01 | Just slide this over a little bit.
Let's hide the bull. Okay, great.
| | 01:05 | So the bull has horns, as you can see,
and then we've got this other model, mesh1.
| | 01:10 | I am just going to deselect that--Ctrl+Shift+A--
and you can see that it is
| | 01:16 | a bull or a cow without horns, so let's
get the details of the bull transferred
| | 01:22 | onto the version without horns.
Let's go up to Mesh > Transfer Details.
| | 01:29 | So now we've got some settings here to go over.
| | 01:33 | The Source model is going to be the model that has
all the detail that we like, that we want to keep.
| | 01:40 | And the Target model is the version
that we want to put the detail onto.
| | 01:45 | So Target model, we want mesh1, Source
model we want to be the bull, and usually
| | 01:51 | the highest level is the one we want,
so Level 3 should work pretty well.
| | 01:55 | That's the subdivision level that
has the highest level of detail.
| | 01:59 | Search Distance, this is something that
you might have to play with a little bit.
| | 02:04 | It's basically the greatest distance
between the two different models that
| | 02:08 | Mudbox will look for to find details.
| | 02:11 | It's hard to know exactly what number
to use, so usually I do some trial and
| | 02:15 | error before I find the right
number. We can leave it at 4 for now.
| | 02:19 | And make sure you've got
the Advanced tab opened up.
| | 02:22 | If you're having trouble getting good
results, you can experiment with these settings.
| | 02:26 | They're pretty good by default, so I won't say
too much about them other than this last one.
| | 02:31 | The Transfer Base as Sculpt Layer means
that when detail gets transferred, it'll
| | 02:36 | be placed in a sculpt layer.
| | 02:38 | I like to turn this on because it gives
me more flexibility when cleaning up any
| | 02:42 | problems that might happen.
Now let's click Transfer to make it happen.
| | 02:47 | Mudbox is going to think
about it for a few seconds.
| | 02:50 | Let's hide the original bull
model and see what happened.
| | 02:54 | Mudbox highlights in yellow any areas of the model
that didn't get details transferred correctly.
| | 03:00 | This is usually because parts of the
model were too far away from the source mesh.
| | 03:05 | So I'm just going to hit Ctrl+Shift+A
so we can see what that looks like.
| | 03:09 | So yeah, definitely. You can see that
there's this patchwork of parts of the
| | 03:12 | models that were too far apart
to get that detail transferred.
| | 03:16 | So I'm just going to hit Ctrl+Z
to undo the transfer of details.
| | 03:20 | Just need to hit it a few times, we
are back to normal, Ctrl+Shift+A to
| | 03:26 | clear that selection, and let's go
back up to Mesh and Transfer Details, and
| | 03:34 | we'll just plug in the model again.
Source model we want to be bull-Level 3,
| | 03:38 | Target model, mesh1.
| | 03:40 | Now we need to change the Search Distance.
You want to experiment to get this
| | 03:44 | number just high enough so that all the
detail gets transferred but not much
| | 03:48 | higher than it has to be, because you can
start to get weird results if it's too high.
| | 03:52 | I did some tests earlier and found that
16 works good for this model, so it's
| | 03:57 | roughly around 16, doesn't have to be exact.
| | 03:59 | Of course, the number that works
best will vary from project to project.
| | 04:03 | Let's hit Transfer Details.
Just took a few seconds.
| | 04:07 | Now let's hide the original bull, and
you can see that you have a lot of nice
| | 04:12 | detail here, and maybe there are a
couple areas that didn't quite get everything
| | 04:17 | exact, but it's almost all there,
and we can fix that later on.
| | 04:21 | There are many situations where this
technique comes in handy. For example, you
| | 04:24 | could sculpt on a temporary mesh
that's not optimized for animation.
| | 04:28 | Then after you sculpt a new model
with good topology for deformation could
| | 04:32 | be made, and you could use Transfer Details to get
the sculpted details onto the finalized model.
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| Cleaning up problems with transfer details| 00:00 | Sometimes when using Transfer Details,
there can be some areas that need fixing.
| | 00:05 | There's a few things that cause
problems with Transfer Details.
| | 00:08 | In this video I'll show you how to fix
those problems and also give some tips on
| | 00:12 | how to avoid them in the first place.
| | 00:14 | So, we've got the exercise file open. It's the
bull, exactly how we left it in the last video.
| | 00:20 | Now sometimes when you load up a file
that has some yellow selections, Mudbox
| | 00:25 | automatically deselects them when you
reload it up, so I created a selection set
| | 00:31 | that will reselect those areas, just in
case you're running into that problem.
| | 00:34 | It's here in the object
list, it's problem areas.
| | 00:37 | If you just click on that you'll see the same
selection that we left it in the last video.
| | 00:42 | And just as a refresher, the yellow areas
are the parts of a model where transfer
| | 00:47 | details had some trouble matching
the shape between the two models.
| | 00:52 | So before going any further, let's take
a look in the layers and notice that a
| | 00:56 | sculpt layer was created when
we did the Transfer Details.
| | 01:01 | So we can just confirm that all the
details are in this layer by hiding it.
| | 01:06 | When we hit turn off that layer all the
details go away, and if we turn it back
| | 01:10 | on, the detail should come back momentarily.
So let's zoom in closer on the head.
| | 01:14 | Now the area where the horn was is yellow.
| | 01:19 | This is to be expected, because there's
such a huge difference between the two
| | 01:22 | models at that spot. We can clean
this up by using the Mask tool.
| | 01:26 | I'm just going to come down here and
grab Mask, and now I'm just going to brush
| | 01:31 | with it, and I need to make sure
that I've got the correct sculpt layer
| | 01:35 | selected, and I'll just mask that out,
so there is kind of a jagged edge there
| | 01:40 | where the horn met the head, so I can
just kind of clean this up by hiding that
| | 01:45 | area of the Transfer Details.
| | 01:46 | You also just come in with the smooth--
which holding down Shift--and smoothing
| | 01:51 | that out a little bit.
Now let's have a look at the inner ear.
| | 01:53 | I'm just going to rotate this so I can
see that more clearly and hit F with the
| | 01:58 | cursor over the inner ear, zoom in a bit more.
Okay, now you can see that's kind of a mess.
| | 02:04 | Transfer Details has trouble with open
edges, so I want to go ahead and use the mask.
| | 02:10 | I am going to shrink the size of the
brush a little bit and just mask this area.
| | 02:15 | Hopefully be able to clean up some of
this weird stuff that's happening here.
| | 02:26 | Just want to get a different view on it.
Okay, cool. Get all that cleaned up.
| | 02:32 | If you want to avoid problems like
this, try to make sure that your models are
| | 02:36 | all closed surfaces with no open spots or holes.
| | 02:40 | It's not a big problem if you have open edges.
As you can see, it's relatively easily fixed.
| | 02:45 | One last thing that can cause
problems is when a part of the mesh has tight
| | 02:49 | creases, or where the surface is bunched
up like on a leg, so let's zoom out and
| | 02:54 | see what that looks like.
| | 02:55 | I'm just going to hit F with the cursor
over that joint right there, and you can
| | 03:00 | see how the anatomy was kind of pinched
up right here, and it has a little bit
| | 03:04 | of trouble transferring the
details and spots like that.
| | 03:07 | So the same thing here. We can use
Smooth to try and to smooth some of this out,
| | 03:12 | and we can use Mask to clean up some of
these areas, and you'll notice in some
| | 03:16 | places it's masking out a lot more than
we really want, so then we could come in
| | 03:22 | and hold down Ctrl and then erase that
mask a little bit, so we bring it back
| | 03:27 | to normal in some areas and then
just try to smooth some of this out.
| | 03:30 | It can also be helpful to view it from
the inside. So actually, now I've rotated
| | 03:35 | the camera so I see from inside the
model, and now I can just try to mask some
| | 03:39 | this out, and I'll be able to rotate
around a little bit more, yeah.
| | 03:47 | So now I can see from inside
the model, so that's pretty good.
| | 03:50 | So a little bit back and forth with
sculpting and smoothing and using the
| | 03:54 | Mask tool really comes in handy here, and let's
zoom out and see what we've got. So much cleaner.
| | 04:02 | So there is just a few other areas to
clean up, but for the most part it's a
| | 04:07 | pretty straightforward process
of just masking and smoothing out.
| | 04:11 | And even though there's some touch up
work to be done, this sure was a lot
| | 04:15 | easier than re-sculpting all of that
detail just because the horns were removed.
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| Using materials with multiple objects| 00:00 | When working with multiple objects,
there will be times when you want to have
| | 00:04 | multiple materials as well.
Let's say you have a character who wears glasses.
| | 00:09 | You could make a transparent material
and assign it to the lens object, for
| | 00:13 | example, and have a different
material for the character's face.
| | 00:16 | In this exercise file we've got the
bull with the Default Material on it.
| | 00:19 | The material has a Texture Map on a Paint layer.
| | 00:22 | We'll get into the creation of
Paint layers and Texture Maps later on.
| | 00:26 | For now I just want to show you
something that can seem odd to beginner users of
| | 00:30 | Mudbox and how to fix it.
| | 00:32 | The bull is the only object in the
scene right now, but watch what happens when
| | 00:36 | I make a ground plane.
Let's go up to Create > Mesh > Plane.
| | 00:43 | We made a new plane.
Let's go and select it.
| | 00:45 | I just want to move it down, and let's
make it a little bit bigger, hitting R
| | 00:50 | to go into Scale mode. All right!
| | 00:55 | Let's hit Ctrl+Shift+A to deselect that
so we can see it more clearly, and I'm
| | 01:00 | going to make the Manipulator go away
by selecting one of the Sculpt tools.
| | 01:05 | Let's take a look around the scene at this.
| | 01:07 | Now you'll notice that the ground plane
has taken on the same material that the
| | 01:11 | bull has, and this is probably not
what you want, and it can be a little
| | 01:16 | confusing as to why Mudbox did this
until you understand a few things about how
| | 01:21 | Mudbox works with materials.
| | 01:23 | Whenever a new object is created,
it is assigned the Default Material.
| | 01:27 | Since the bull was using that material
with a Texture Map applied to it, any new
| | 01:32 | object will get that material
and use a Texture Map as well.
| | 01:36 | So let's give the ground plane a material of
its own so that it can have a different texture.
| | 01:41 | Let's go in the Object
List and select the plane.
| | 01:45 | Now let's right-click and go to Assign
New Material and click Mudbox Material.
| | 01:51 | And here we can give it whatever color we want.
| | 01:53 | So for example, it could be darker,
like dirt, and we could turn off Specular
| | 01:59 | since dirt isn't really shiny.
Make that pretty dark.
| | 02:05 | Cool. And let's hit Ctrl+Shift+A to
deselect that so it's not bright yellow.
| | 02:11 | Now let's look around this, and we
can see that the ground plane is now
| | 02:15 | a different material.
| | 02:17 | Another thing that can be confusing at first
is knowing which material is on which object.
| | 02:23 | In this scene it's not too hard to
figure out, but what if you have many
| | 02:26 | objects with many materials and you want to make
an adjustment to one of the object's materials.
| | 02:32 | How do you know which material to edit?
| | 02:34 | The best thing to do is to get in
that habit of naming materials as you
| | 02:38 | make them so that you can easily find what
you're looking for over in the Object List.
| | 02:43 | So right now, we've got
Default Material and Material.
| | 02:46 | So we know the Default Material is on
the bull, so I could just right-click and
| | 02:51 | go to Rename and call it bullmaterial or
something that makes sense, and we could
| | 02:58 | rename this one groundmaterial.
| | 03:04 | But I know that I'm not always
that organized, especially when I'm
| | 03:08 | experimenting, so oftentimes I make a
lot of objects and a lot of materials
| | 03:12 | without naming them beforehand.
| | 03:14 | So if you don't know which material
is on an object, you can right-click on
| | 03:18 | an object. So let's go down and right-click on
the bull, for example, and go to Edit Material.
| | 03:26 | Now this will bring up the
material that's on that object.
| | 03:30 | At first, understanding how Mudbox deals
with materials and textures was a little
| | 03:34 | odd to me because I was
used to how ZBrush works.
| | 03:36 | However, after realizing that it's
much closer to how 3ds Max or Maya works
| | 03:41 | with materials, Mudbox
made much more sense to me.
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|
|
4. Painting TexturesUsing UV maps| 00:00 | Before we can do any painting in Mudbox
or extract any kind of maps for use in
| | 00:05 | other programs, we have to make
sure that the model has a UV layout.
| | 00:09 | A UV layout is a flattened
representation of all the polygons in the model.
| | 00:14 | It's kind of like a flat map of the world.
| | 00:17 | In this video, I'll show you how to view and tweak
UV maps for a model so that textures can be created.
| | 00:23 | Mudbox is very limited in how it can edit UVs.
| | 00:26 | You'll definitely want to use another program
to create the UV layout first, like 3ds Max or Maya.
| | 00:32 | Mudbox is meant to work hand in hand with
other programs that take care of the UVs.
| | 00:37 | For the most part, the way that
Mudbox deals with UVs is under the hood.
| | 00:41 | The important thing is to know that a
model has UVs before attempting to paint on it.
| | 00:47 | Let's open up the default
Bull that comes with Mudbox.
| | 00:51 | First of all, let's take a look at the
UVs by clicking on the UV View tab.
| | 00:55 | This shows us that the model already has
UVs laid out in a pretty efficient way.
| | 01:00 | Mudbox doesn't have tools to lay out UVs
this nicely, so this was probably done
| | 01:05 | in a program like Maya or 3ds Max.
| | 01:08 | There's one other way in which you can view the
UVs and actually do some simple editing to them.
| | 01:13 | Let's go back to the 3D view, now go to the
Mesh menu, and go down to Flatten to UV Space.
| | 01:21 | What this does is it temporarily flattens
out the model so that it matches the UV layout.
| | 01:26 | This is useful because we can now use
some of the sculpting tools to edit it.
| | 01:30 | I'm just going to zoom in a little closer
here and turn on Wireframe with Shift+F.
| | 01:34 | You can actually use
any of the sculpting tools on it.
| | 01:38 | So Sculpt, you could actually pull this around.
| | 01:42 | I don't really know why you
would want to do this, but you can.
| | 01:45 | Some of the other tools are actually
more useful, so let me undo that, Ctrl+Z.
| | 01:49 | One tool that's really useful here is Grab,
so I'm going to just increase the size
| | 01:54 | of the brush a little bit, and now if
you wanted to edit the UVs of this model
| | 01:58 | you could just simply grab and pull
around and make some modifications.
| | 02:03 | Let's say we want to use this space
a little bit more efficiently.
| | 02:07 | You could definitely do that.
| | 02:09 | You could also use Pinch, kind of
pull the UVs together like this.
| | 02:16 | So what we were doing here is we were
only affecting the shape of the UVs, the
| | 02:20 | way the textures mapped onto an object.
| | 02:22 | This isn't changing how the model will
look at all, and when we come out of this
| | 02:27 | view you'll see that we'll go right back
to normal. The model will look just the
| | 02:31 | same as it did before we
made any of these changes.
| | 02:34 | Let's see. There are a couple other
tools that can be useful here, so for
| | 02:38 | example, Smear. We could use this and
kind of push around the UVs of a little bit.
| | 02:42 | You can use Smooth here, so I'm just
going to hold down the Shift and smooth the
| | 02:46 | UVs out a little bit.
| | 02:48 | This is actually something I wish I could do
in Maya is smooth things just as easily as this.
| | 02:53 | So every once in a while I'll take a model
into Mudbox just for smoothing out the UVs.
| | 03:00 | You could even use Freeze here if you
wanted to protect some of the model or
| | 03:04 | some of the UVs from any editing.
| | 03:06 | Let's say I just wanted to work on this
one part right here, then I could go and
| | 03:10 | grab Smear and just move this part
around and not worry about affecting any
| | 03:14 | of the frozen area.
| | 03:18 | Now that we've made some changes, let's
go back to the Mesh menu and click on
| | 03:23 | Unflatten from UV Space.
| | 03:24 | We'll just zoom out here so
we can see the whole thing.
| | 03:27 | So the model is exactly the same as it
was before just the UVs have changed.
| | 03:31 | You could even verify that by going
into the UV view and seeing that it is
| | 03:35 | actually a little bit
different now than it used to be.
| | 03:38 | You see a little bit of an overlay from
the way it was before and the way it is now.
| | 03:43 | Although there's not a lot of things
that you can do with UVs in Mudbox, it
| | 03:47 | will be important to be able to see what
they look like and make minor tweaks to them.
| | 03:51 | For the most part, you'll be making UVs
in some other program better suited to
| | 03:55 | the task before you import the model to Mudbox.
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| Creating and importing UVs| 00:00 | Although it's nice when the model
already has UVs that have been laid out before
| | 00:05 | you start sculpting, this isn't always possible.
| | 00:07 | You can still sculpt on a model that
doesn't have UVs, and then when you're
| | 00:11 | ready to export maps or do any painting you can
import a UV layout or create UVs at that point.
| | 00:18 | So we have our wartortoise exercise file
open, and let's see what the UVs look like.
| | 00:23 | I'm just going to go in to the UV view,
and you can see that it's kind of a mess.
| | 00:28 | UVs should not have any overlaps, so
you can see in here there are parts where
| | 00:32 | some of the UV layout overlaps other parts.
| | 00:35 | You can see that there's UVs that extend beyond
the appropriate square that they should live in.
| | 00:41 | So these really aren't
going to work for Painting Maps.
| | 00:44 | Let's use Mudbox to create a UV layout for us.
| | 00:47 | I'm going to go back into 3D view and
make sure we've got the object selected
| | 00:52 | here, and let's just go
into Mesh and Create UVs.
| | 00:58 | Now it's warning us that the mesh
already has UVs, but that's fine. We want to
| | 01:02 | replace them. They're not very good as they are.
| | 01:04 | Now we have the option of
setting the Number of UV tiles.
| | 01:07 | This is an advanced setting.
| | 01:09 | If you don't know how many you want to
create, then you should keep it at 1.
| | 01:13 | Basically, the number you set will spread
the UVs across multiple texture images.
| | 01:18 | This can be nice for really extreme
levels of detail, but it also makes
| | 01:21 | things more complicated.
Let's see what it looks like in the UV view now.
| | 01:29 | Let me just zoom in.
| | 01:31 | So you can see that Mudbox broke every
single polygon into its own UV shell.
| | 01:38 | This isn't really the most efficient
way to create UVs. It's just kind of a
| | 01:42 | quick and dirty way to create UVs.
| | 01:44 | What I highly recommend is laying out
UVs in a program that's more suited for it,
| | 01:49 | like 3ds Max or Maya.
| | 01:51 | However, it can be something to get
you started painting texture maps.
| | 01:54 | So now let's import UVs from a model
that had its UVs laid out in Maya, and
| | 02:01 | we're going to replace
this really blocky layout.
| | 02:04 | So let's go into that 3D view, and now
let's go to File and Import UV, and from
| | 02:11 | our exercise files we're just going to
open mayauvs and go ahead and click Open.
| | 02:16 | When we import, Mudbox wants to know how to
apply the new UVs to the existing object.
| | 02:22 | Usually Vertex ID is good because
you should be applying UVs between two
| | 02:27 | different versions of the same model.
| | 02:29 | The only difference between the
two models really should be the UVs.
| | 02:32 | Every vertex in the model has a number,
and when you import UVs Mudbox will
| | 02:37 | match up the vertex numbers
and everything should work fine.
| | 02:40 | Occasionally however, sometimes
software will renumber the vertices, which could
| | 02:45 | result in the UVs getting jumbled. If
that happens you can tell Mudbox to apply
| | 02:50 | the new UVs based on their position and space.
| | 02:53 | As long as the two models have the
exact same polygonal structure, choosing
| | 02:57 | Position should work if Vertex ID doesn't.
The Tolerance setting is just for the Position option.
| | 03:04 | This will compensate in case some of
the positions of vertices are slightly
| | 03:07 | different between the two models.
| | 03:09 | If that happens, you can experiment
with the right number to put here to get a
| | 03:12 | good result; however, I'm just going to leave
it on Vertex ID because that works 99% of time.
| | 03:18 | Let's see how this works.
That was pretty fast.
| | 03:21 | Let's go in the UV view now
and see what this looks like.
| | 03:24 | Okay, that's great.
| | 03:26 | Now the UVs match the nice
clean layout that I did in Maya.
| | 03:29 | While you can get a lot done in
Mudbox without having to worry about UVs,
| | 03:34 | you'll almost always have to create them or
import them to use textures in other programs.
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| Creating paint layers| 00:00 | In Mudbox, when you paint on a 3D model, that
paint gets directly placed into a texture map.
| | 00:06 | This is different from programs like ZBrush
where you paint onto the vertices of the model.
| | 00:12 | After creating UVs, the one other thing
that you have to do before painting is to
| | 00:16 | create a Paint layer.
| | 00:18 | A Paint layer is basically an image file
that Mudbox lets you paint directly onto.
| | 00:23 | If you're familiar with Photoshop, you'll find paint
layers to be very similar to layers in Photoshop.
| | 00:28 | So we've got our exercise file loaded,
now let's do some painting on it.
| | 00:33 | Let's go into the Layers tab and make
sure that we've got Paint activated.
| | 00:38 | Now let's make a new layer
by clicking on this icon.
| | 00:41 | So there's a few settings to
go over, first is the Name.
| | 00:45 | You can simply put in whatever makes
sense to you. I'm going to call it color.
| | 00:49 | Now for the Size is basically whatever
you need it to be. If you need a really
| | 00:53 | high-resolution image, then you
probably want to go for a 4K map.
| | 00:57 | Usually 2K works good for most situations, so
I'm just going to leave it on that as default.
| | 01:02 | As for Save As there are several different
file formats you can choose from.
| | 01:06 | Usually I like to go with TIFF, 16 bit
Floating Point, that's a good middle point.
| | 01:11 | If you don't know specifically what you
want, this is usually a good place to go.
| | 01:15 | Finally, the Channel type. This tells
Mudbox how to use the painted information.
| | 01:21 | Remember when we edited the Material
types to make them shiny, transparent,
| | 01:25 | glowing, and so on?
| | 01:26 | Well, these channels let you paint
those kinds of properties onto the model.
| | 01:30 | The great thing about this is that
instead of the whole model having the
| | 01:35 | same properties, you can selectively paint
some areas more shiny than others, for example.
| | 01:40 | I'll get deeper into
Channels later in the course.
| | 01:43 | For now let's just pick Diffuse which
simply means color, and let's click OK.
| | 01:49 | So now what we have is a layer that we
can paint into. Let's do some painting so
| | 01:53 | that we have something to see.
| | 01:54 | Let's go under the Paint tools tab,
pick the Paint Brush, and let's set a Color
| | 02:00 | here and just go ahead and start painting.
| | 02:07 | You can control Paint
layers much like Sculpt layer.
| | 02:10 | So for example, you could hide them,
you could lock them so you couldn't
| | 02:14 | accidentally edit them, and
you can change their Opacity.
| | 02:18 | We'll get into layers and
channels much more deeply later on.
| | 02:23 | For now I just wanted to show
enough to get started painting.
| | 02:27 | You'll find that layers are very
useful and allow you to create all kinds of
| | 02:31 | effects that would be very
difficult to make by painting by hand.
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| Using basic painting tools| 00:00 | Painting tools in Mudbox are kind of
like Sculpting tools, but instead of
| | 00:04 | altering the shape of the mesh,
Painting tools apply color, texture, and other
| | 00:08 | surface qualities to the model.
| | 00:10 | It's used in combination with
channels, and paint layers to create a wide
| | 00:14 | variety of effects.
| | 00:15 | Although a lot of the tool settings are
the same as Sculpt tool settings, there
| | 00:19 | are a few differences to look out for.
| | 00:21 | So let's make sure we've got the
Paint tools tab open and the Paint Brush
| | 00:25 | selected so we can see its attributes here.
The first property is, of course, its Color.
| | 00:31 | You can just simply click on that
and get this Color Swatch where you can
| | 00:34 | change the color any way you want.
| | 00:37 | Other than that, the Paint Brush
properties are just like Sculpting properties.
| | 00:39 | There is Size, Intensity, Stamps,
Mirroring, and so on--except for one weird thing.
| | 00:47 | With the Sculpt tools, you can flood
the model and cover the whole thing with a
| | 00:51 | single application of the tools.
| | 00:53 | However, with the Paint tools, the
Flood will only fill the parts of the model
| | 00:57 | that are visible on screen.
Let me show you what that I mean.
| | 01:01 | In Sculpt tools, let me show
you, it has the Flood button.
| | 01:05 | In Paint tools, Paint
Brush has Flood From Camera.
| | 01:10 | So let's see what this does.
I just flooded the model with the active color.
| | 01:15 | Now, let's rotate around.
| | 01:16 | You can see that any part of the model
that wasn't visible to the camera wasn't
| | 01:21 | affected by that flood.
| | 01:22 | I'm really not sure why Mudbox does
this, because it would be very useful to
| | 01:27 | flood the entire model rather
than just the part that I can see.
| | 01:31 | There is a way around this, however.
| | 01:33 | If you want to fill a layer with a
solid color, you don't have to keep flooding
| | 01:37 | from all angles or
manually paint the whole thing.
| | 01:40 | You can flatten to UV view, so go
up to Mesh, and Flatten to UV Space.
| | 01:45 | Let's just rotate so we
can see this more clearly.
| | 01:48 | Okay, so now we can see the UVs with
all the painting that we've done to it ,and
| | 01:52 | of course some of it is painted pink
like we flooded and some of it isn't.
| | 01:57 | If we flood from camera now, it's going to
fill the whole thing with the same color.
| | 02:02 | That's because when we view the
model in Flatten UV Space, we're
| | 02:06 | seeing everything at once.
| | 02:08 | Now we can go back to Mesh and
Unflatten from UV Space, and now the entire
| | 02:12 | model is covered with the same color.
| | 02:15 | Hopefully, future versions of Mudbox are
going to fix that so you can flood the
| | 02:19 | entire model at once without having
to go look at it in Flatten UV mode.
| | 02:22 | Let's look at some of the other Painting tools.
There's the Airbrush, and there's the Pencil.
| | 02:28 | They're pretty much the same thing as
Paint Brush except Airbrush has a lot
| | 02:32 | softer affect, and Pencil is a very
small sharp brush, but you can really get
| | 02:38 | the same effects just by playing
with the Size and the Strength.
| | 02:41 | So I don't usually ever pick these
tools, I just modify the Paint Brush if I
| | 02:45 | need that kind of an effect.
| | 02:46 | Let me just make some marks with the
Pencil so that we have something to look at
| | 02:51 | when we use the Blur tool next.
| | 02:53 | I'm just going to zoom in here and
make this brush a little bit larger.
| | 02:57 | Just make some marks. All right!
Let's look at the Blur tool.
| | 03:04 | This is kind of like Smooth except
instead of smoothing the geometry of the
| | 03:08 | model, it smoothes the paint.
| | 03:10 | You can see here, it's really blurring that out.
| | 03:13 | If you don't want quite such a
strong effect, you can decrease the Blur
| | 03:18 | Strength, and you can see it's
now blurring not quite so harshly.
| | 03:25 | Also, similarly to the Smooth tool,
you can access Blur by holding down Shift
| | 03:30 | when you've got any of the
other Paint tools active.
| | 03:33 | So right now, I've got the Paint Brush.
| | 03:35 | Let me just change the color
here, make it easier to see.
| | 03:37 | Now, I just hold down Shift, and I
switch into Smooth mode or to Blur mode.
| | 03:45 | Now, let's see what the Eyedropper does.
| | 03:48 | This is used for picking
colors directly off the model.
| | 03:51 | So if I click over here, you can see that the
active color switches to wherever I clicked.
| | 03:56 | This is useful if you want to paint
with an exact color that's already used.
| | 04:00 | So instead of trying to find that
color manually, you can just click on the
| | 04:04 | model and make that color
used by the Paint Brush.
| | 04:07 | And finally, let's look at Paint Erase.
| | 04:13 | This simply removes any painting and
restores the color that is the default
| | 04:17 | color of the material.
| | 04:21 | You'll probably find that painting in
Mudbox is just like painting in any other
| | 04:25 | 2D painting program, like Photoshop.
| | 04:28 | The only difference being that you're painting
on a 3D object rather than on a flat surface.
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| Using adjustment painting tools| 00:00 | Moving beyond the basic Painting tools
are a set of brushes that can affect any
| | 00:04 | color or texture that's already painted.
| | 00:07 | These Adjustment tools are useful
for tuning and tweaking existing color.
| | 00:12 | So, what we have here is a model
with some color painted onto it.
| | 00:16 | We can use the Adjustment Painting
tools to get a few interesting effects.
| | 00:20 | If you're used to Photoshop or most
any other digital painting program, these
| | 00:24 | should seem fairly familiar to you.
First, let's look at Dodge.
| | 00:30 | Dodge simply lightens any colors that
you painted on, pretty straightforward.
| | 00:37 | And then there is Burn, which does
exactly the opposite, darkens all colors.
| | 00:42 | Now, if you hold down Ctrl while using
Burn, it actually turns into Dodge.
| | 00:48 | And vice-versa with Dodge, if you
hold down Ctrl, it turns into Burn.
| | 00:53 | So for that reason, I usually
don't like to use both of these buttons.
| | 00:57 | I want to scoot Dodge out of the way,
down to the end, so I can just use Burn.
| | 01:03 | Okay, let's look at Contrast.
I am going to make my brush a little bit bigger.
| | 01:07 | So Contrast will make light colors
even lighter and dark colors even darker.
| | 01:16 | If you hold down Ctrl while you use this,
dark colors are going to get lighter and
| | 01:20 | light colors will get darker until they
reach kind of a mid-tone gray. All right!
| | 01:27 | Moving down to Sponge. Sponge will remove
saturation from any colors, making them turn gray.
| | 01:34 | If you hold down Ctrl while you use
Sponge, it's actually going to add
| | 01:38 | saturation, make colors more vibrant.
Let's go down to Hue now.
| | 01:43 | Hue will paint with the color that you choose, but it
will leave saturation and brightness the same.
| | 01:48 | So if you paint with this, everything
is going to turn red or the active color,
| | 01:54 | but it will stay the same
brightness or saturation.
| | 02:00 | Finally, in this movie, let's look at Invert.
| | 02:02 | This simply makes the color turn to the opposite,
so dark red will turn to light blue and so on.
| | 02:12 | These tools come in handy when you've
painted some colors and texture that you
| | 02:16 | like, but then you realize you want to
change it just a bit, whether a little
| | 02:20 | darker or lighter, redder or bluer,
stronger or softer, you can use these
| | 02:25 | tools to make those adjustments rather than
repainting details just because they're slightly off.
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| Painting with the advanced tools| 00:00 | So far we've seen how you can use the
Paint tools to paint and adjust colors by hand.
| | 00:05 | With the more advanced tools we can
paint all the detail of a photograph
| | 00:09 | directly onto a model, copy detail from
one part of a model to another, and use
| | 00:14 | the texture of a model itself
to control how paint is applied.
| | 00:18 | These tools are great timesavers,
because without them you'd have to
| | 00:22 | meticulously paint a lot
of these textures by hand.
| | 00:24 | Let's see how they work.
| | 00:25 | So, we've got our
wartortoise exercise file open.
| | 00:28 | There is one other exercise file
I want to look at really fast.
| | 00:35 | We have this tortoise shell image that
we're going to use as a stencil, and we
| | 00:39 | need to get this copied into
the Mudbox Stencils folder.
| | 00:42 | If you need a refresher on how to do
that, please check out the movie in the
| | 00:46 | introduction chapter on how to
work with Mudbox's file structure.
| | 00:50 | I'm just going to hit Ctrl+C, or
Command+C to copy it, and let's go into
| | 00:55 | Documents > Mudbox, our version number, data >
Stencils and just paste this in back to Mudbox.
| | 01:05 | We're going to be using
the Projection tool first.
| | 01:09 | Now, this little pop-up tells
us that it works with stencil.
| | 01:12 | So let's load in that stencil,
pick the tortoise shell, and hit Open.
| | 01:19 | Now it should add it to the end of
the list. There it is! All right!
| | 01:23 | Let's just activate this.
| | 01:25 | So, we can use this just like
we did with stencils before.
| | 01:28 | If you want to adjust the position of
it, you hold down S, and you can just
| | 01:32 | click and drag to rotate, and holding
down S, and using the middle-button will
| | 01:37 | move it around and S with the
right button will shrink it or grow it.
| | 01:44 | Let's get the model positioned.
| | 01:45 | I just want to zoom in here on the
back, and now we can use the stencil
| | 01:52 | controls, holding down S to
position the stencil over the model.
| | 01:59 | Now, let's just start painting with it.
| | 02:02 | One thing you might notice is that
it's a lot darker than the photograph was,
| | 02:06 | and this is because earlier in the
course we changed the Offset from 0 to 0.54.
| | 02:13 | That works fine if you're sculpting
with stencils, but if you're painting with
| | 02:17 | them, it tends to darken the image.
| | 02:19 | So I want to just take
this all the way back to 0.
| | 02:23 | Now, let's see what happens if we paint.
Yeah, this is much better.
| | 02:27 | Now, it's painting much more accurately to
the information that's in the photograph.
| | 02:35 | Now, I could spend some time painting the rest of
this model, but let's skip ahead to the next tool.
| | 02:40 | Go ahead and hit Q to get out of Stencil mode.
Let's look at the Clone tool.
| | 02:47 | This works just like the Clone tool in
Photoshop, copying texture information
| | 02:51 | from one part of the model to another.
| | 02:54 | So let's actually copy some of this
texture that we just used with the
| | 02:57 | projection onto other parts of the shell.
| | 03:01 | With the Clone tool active, you
simply hit Ctrl and click, and now you just
| | 03:07 | start painting from somewhere else, and
it clones from where you clicked right
| | 03:13 | onto the painting location.
| | 03:15 | Let's try it again from this
spot, Ctrl-click, and paint.
| | 03:23 | So it might take a few tries
to get all the spots covered.
| | 03:27 | But this sure is a lot more useful
than trying to paint all this by hand.
| | 03:31 | I am going to subdivide the model a
couple of times, we already have a couple
| | 03:36 | subdivision levels in this model.
| | 03:38 | So I just want to bring out some
detail for the next tool that we're going to
| | 03:43 | use, which is Dry Brush.
| | 03:44 | This tool takes into account the
surface of the model as it paints.
| | 03:47 | A dry brush in real-world painting applies
paint only to the raised parts of a surface.
| | 03:52 | The result is that the paint takes on
the texture of a canvas, for example.
| | 03:56 | So let's select a color to use here.
| | 03:59 | Sure that light beige color works fine,
and let's come up here to these scales
| | 04:06 | on the leg and just paint with this.
| | 04:08 | So you can see it's painting on the raised parts
and not really painting in the recessed areas.
| | 04:16 | I'm actually going to decrease the
strength of this a little bit, because it
| | 04:19 | seemed to be a little overpowering.
| | 04:23 | There, now you kind of get the sense
that it's painting more on the protruding
| | 04:28 | parts and not painting underneath the overhang.
| | 04:32 | This is useful because a lot of the
color that you may want to paint will need
| | 04:36 | to relate to the surface of detail of
the mode. For example, the recessed
| | 04:40 | portions of the tortoise skin might be
a different color than the bumpy parts.
| | 04:45 | Rather than meticulously painting those
color differences by hand, you can use
| | 04:48 | the Dry Brush to automatically paint
on only the raised parts of the surface.
| | 04:54 | By holding down Ctrl as you brush, the tool
will switch to only affect the sunken in parts.
| | 04:59 | So let's see how that works.
| | 05:07 | There, so it painted on the sunken areas
and mostly left the raised areas alone.
| | 05:11 | Getting used to these tools should
really save you time when it comes to
| | 05:14 | painting, especially when what you want
to paint can be found in photographs or
| | 05:18 | is intricately related to the sculpted detail.
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| Editing stencils| 00:00 | We've used Stencils a few times
already to project photographic detail
| | 00:04 | directly onto the model.
| | 00:06 | But what if there's something about
the photograph that isn't quite right?
| | 00:09 | Maybe the colors aren't quite what you
want or the shape doesn't fit the model.
| | 00:13 | You could edit the photo in some other
program and bring it back into Mudbox,
| | 00:17 | but that would be time-consuming.
| | 00:18 | Luckily, we can use Mudbox's Paint
and Sculpt tools directly on 2D Stencils
| | 00:23 | before projecting them onto the 3D model.
| | 00:26 | So, we've got our exercise file open, now we need to get
the photograph placed in the Mudbox Stencils tool.
| | 00:33 | Let's go to our Windows Explorer and
to our Exercise Files > Chapter 4 > Editing
| | 00:39 | Stencils, and let's get the face file,
and I'm just going to copy that, and
| | 00:45 | let's place it in the Mudbox Stencils folder.
| | 00:48 | If you're having trouble finding where
it is, please refer back to the movie in
| | 00:52 | the introduction chapter about
how Mudbox's file structure works.
| | 00:57 | I am just going to paste
it in there. Back to Mudbox.
| | 01:01 | Let's get that Stencil loaded up, Add
Stencil > face > Open, and let's make sure
| | 01:08 | it's in here, at the very end, great!
Let's go ahead and click on that to activate it.
| | 01:12 | Now we're going to want to
paint it with a projection.
| | 01:15 | So let's go over it and activate the
Projection tool, and let's try to line up
| | 01:20 | the model with the photograph.
| | 01:23 | So I'm just going to position the
model here in the center, and then just
| | 01:28 | refresh here, hold down S to control
the stencil, and I just want to get the
| | 01:33 | eyes lined up first.
Maybe I'll rotate it a little bit.
| | 01:39 | Once I get the eyes in place, then I can fit
the rest of the face around it. Pretty good!
| | 01:46 | The eyes are looking good, but the nose
and the mouth aren't quite lining up right.
| | 01:50 | So we can edit the stencil to fix that.
Let's go up to Edit > Edit Stencil.
| | 01:55 | Now, one thing you might notice is
sometimes a model will turn blue.
| | 01:59 | That's because Mudbox will unload textures
sometimes from the model to save memory, so
| | 02:04 | you don't need to worry about that, though.
| | 02:06 | So, when we're in Edit Stencil mode,
this little window will pop up, and you can
| | 02:11 | change the Stencil view display.
| | 02:13 | So by default, it's on this one
which is kind of like Gray, Transparent,
| | 02:17 | Black and White mode.
| | 02:18 | You can also set it to a Color
Transparent mode or a Color Fully Opaque mode.
| | 02:24 | Let's set it to Color and Semi Transparent
so that we can line up the features
| | 02:28 | of the face with the features of the photograph.
| | 02:30 | We can use the Grab sculpt
tool to push around the model.
| | 02:34 | I'm just going to raise up this
thing right here, so I can see all the
| | 02:38 | tools more clearly. Let's click Grab.
| | 02:41 | Now, if you've ever used the Liquify tool in
Photoshop, you'll find this is very similar.
| | 02:45 | I'm just grabbing the photograph and pushing
it around so that it lines up with the model.
| | 02:53 | Let's see if we can get the nose
a little bit more lined up here.
| | 02:57 | I just want to get the jaw line lined up here.
| | 03:05 | And one thing I might want to do is
shrink the brush a little bit, so I get a
| | 03:09 | little bit more fine-tuned detail.
I'm trying to line up the nose.
| | 03:12 | I could spend a little bit longer on
this, but for demonstration purposes, this
| | 03:18 | should be good enough.
| | 03:19 | Something else I can do is go into
Full Opacity mode, and now I can start
| | 03:23 | editing some of the colors with the Paint tools.
| | 03:26 | So you could paint right on this just as if it
were Photoshop or some other 2D editing program.
| | 03:31 | Here is one tool that's
kind of fun, it's Hue Shift.
| | 03:34 | With Hue Shift it's going to shift
all of the hues in the photograph either
| | 03:39 | clockwise or counterclockwise around the
color spectrum, so you can kind of give
| | 03:45 | this photo here some alien-looking
green skin if you wanted to do that.
| | 03:49 | You could take this into Photoshop and do the same
thing, but you can do this right here in Mudbox.
| | 03:55 | So this is really a great timesaver.
So let's say that's what I want.
| | 04:00 | When you're done editing the
Stencil, go ahead and click on Done.
| | 04:02 | Now we drop right back
into Regular Stencil mode.
| | 04:05 | Go into Projection and just start
painting this photograph right on to the model.
| | 04:11 | Now, you can see some things still
didn't quite line up, but if I were going to
| | 04:15 | spend more time on it, I'd make sure
everything was lining up really nice.
| | 04:18 | But for demonstration purposes,
this should be good enough.
| | 04:22 | Let's take a look around.
I am going to hit Q to turn off the Stencil.
| | 04:26 | We can just look at this from different angles.
| | 04:29 | Now of course, what you might want
to do is get photographs from various
| | 04:30 | different angles of a face so that
you could come to the side, load up a
| | 04:33 | stencil of the side of the
face, and do the same thing.
| | 04:38 | Editing Stencils in Mudbox is a handy
way of modifying them so that you can
| | 04:43 | project exactly what you want onto your model.
| | 04:45 | It's also a convenient alternative to
using some external program, especially if
| | 04:48 | you need to be able to see the model through the
stencil so that you can make sure everything lines up.
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| Working with paint layers| 00:00 | Now that we know the basics of
painting and creating paint layers, let's see
| | 00:04 | what they can really do.
| | 00:06 | Paint layers in Mudbox allow us to
experiment with texture variations and to
| | 00:09 | combine effects in fast and powerful ways.
| | 00:13 | Let's take a look at the Paint
layers of our wartortoise exercise file.
| | 00:16 | Make sure you have got the Paints tab
active, and you will notice we have just
| | 00:20 | got one paint layer in here, a Color layer.
| | 00:23 | Let's add another layer by
clicking on the Add Layer button.
| | 00:26 | Everything looks good. We want it to
be a Diffuse layer as well, and click OK.
| | 00:30 | Let's use this layer to experiment with
alternative designs without messing up a
| | 00:34 | nice paint job that we already have.
| | 00:36 | I want to double-click on the layer
name just so I can give it a new name.
| | 00:43 | Now I will use this layer to
paint some dirt and mud onto his feet.
| | 00:46 | You can go into the Paint tools, get
the Paint Brush, and I just want to
| | 00:53 | get kind of dirty muddy color.
| | 00:58 | Let's go ahead and paint
on some mud onto his feet.
| | 01:04 | I am going to hit G to turn off the
grid just to make it easier to see just
| | 01:10 | something quick and dirty.
| | 01:15 | All right, good enough
for demonstration purposes.
| | 01:17 | With that done, let's see what
cool things we can do with this layer.
| | 01:20 | You can of course hide it, and you
could change its opacity, or it's strength.
| | 01:25 | You have also got access to the same
layer blending modes that you can find in
| | 01:31 | almost all other image editing programs.
| | 01:32 | So you could come up here to this
little bar where it says Normal, and you
| | 01:37 | have got all the same blending modes that you've
got in Photoshop, After Effects, programs like that.
| | 01:42 | So you could switch the blending
mode to Multiply, for example.
| | 01:47 | One thing you can do is just click on
the name itself and then use your arrow
| | 01:50 | keys to go up and down through
the different blending modes.
| | 01:54 | So you can get a quick
sense of what they all do.
| | 01:57 | Okay, so I am going to go up to Hard Light.
I kind of like the effect that, that
| | 02:01 | gives, and now if you don't know what
these blending modes do, they are covered
| | 02:05 | very thoroughly in other lynda.com
courses on Photoshop, so I will just leaving
| | 02:09 | them at that for now.
Now let's look at masks.
| | 02:12 | Let's click on this little Mask icon.
| | 02:14 | Masks let you paint out areas
of a layer that should be hidden.
| | 02:18 | So with the mask on the Dirt layer, we
can get more control over how the dirt is
| | 02:22 | covering the base layer.
Masks are based on color values.
| | 02:25 | So the Hue and Saturation
of the color don't matter.
| | 02:28 | So I am just going to paint into a mask
with the paintbrush, and let's get kind
| | 02:32 | of a medium gray color. So if we paint
with this, we are kind of just painting
| | 02:38 | away at that experiment layer with the mask.
We are just kind of covering it up.
| | 02:46 | If you get a white color, it's going to
bring the mask back to full intensity,
| | 02:55 | and if we go into a really dark color,
like black, it's basically going to hide
| | 03:00 | everything that's on that layer.
The mask is going to cover it up.
| | 03:03 | We could combine this effect
with the Dry Brush, for example.
| | 03:06 | Let's see what happens. We will go
into Dry Brush. I am going to get a dark
| | 03:12 | color here. Let's go around to this other side.
| | 03:16 | So now you see while I am brushing
with the Dry Brush, it's brushing away the
| | 03:21 | dirt from the parts of the model that
are more exposed, like the scales where
| | 03:25 | they are protruding more, and it's
living the dirt behind in the crevices, which
| | 03:28 | might be something that would happen naturally.
| | 03:32 | This could simulate the effect of dust
settling in the cracks between the scales
| | 03:36 | but getting rubbed off in more exposed areas.
Now all the dirt that we made is still there.
| | 03:41 | If we hide the mask, you can
see all the dirt is still there.
| | 03:45 | One last thing I want to do here is merge the
dirt with the base so that it's all one layer.
| | 03:50 | If you are done with the layer, and
you know you will never need to edit it
| | 03:54 | again, you can collapse them together.
| | 03:56 | To collapse layers together, go ahead and
right-click on one and go down to Merge Visible.
| | 04:02 | Now it's all one paint layer again.
Paint layers can be used in so many ways.
| | 04:07 | They are great for testing out painting
variations or for making changes without
| | 04:11 | ruining the paint that you already have.
I use them all the time.
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| Texturing with Ptex| 00:00 | The texturing work that we've done so far
has all been done on models with UVs laid out.
| | 00:05 | Using UVs for texturing is one of the oldest
and most ubiquitous 3D technologies out there.
| | 00:11 | But there's a new kid in town named
PTEX, and he is going to revolutionize how
| | 00:14 | 3D models get textured.
| | 00:17 | The technology is still a little bit
experimental and isn't fully supported in
| | 00:21 | most other 3D programs.
| | 00:22 | Luckily you can convert PTEX textures to UV
textures after you make them and vice-versa.
| | 00:29 | The future looks like it's going in the
PTEX direction, so it's probably a good
| | 00:33 | idea to learn how it works.
So let's get to it.
| | 00:36 | You can set up a model for PTEX before
texturing or convert a UV textured model to PTEX.
| | 00:41 | It's the same process either way.
| | 00:43 | So for this demonstration, I will use
this model that already has painting with UVs.
| | 00:47 | Just to confirm that that's the case.
Let's go to UV view, and I will show
| | 00:52 | you, yes, definitely. There are UVs laid out.
Now let's covert the UVs to PTEX.
| | 00:57 | Let's go up to Mesh and click PTEX Setup.
| | 01:01 | Now one thing you want to do is make
sure you are on the lowest subdivision
| | 01:04 | level before you use this, so I am just
going to hit Shift+D a couple of times,
| | 01:09 | 'til we are at the lowest level.
| | 01:11 | Okay, let's try that again. Mesh > PTEX Setup.
| | 01:13 | So this is just letting us know that the
model already has painting with UVs, so
| | 01:18 | we want to convert the painting to PTEX
layers, and this is just letting us know
| | 01:23 | that the operation is not undoable,
and it will convert the textures after we
| | 01:28 | are done setting it up.
| | 01:30 | So Mudbox has this little pop-up that
helps guide you through the process of
| | 01:33 | setting a PTEX, but I'm going to go
ahead and show you how that works, so go
| | 01:38 | ahead and hit Close.
Now let's zoom in here on the model.
| | 01:41 | So this is showing you the resolution
that you are going to get from PTEX, so
| | 01:44 | you can kind of see it's slightly
pixilated, a little bit blurry here, if you
| | 01:48 | zoom in really close.
| | 01:49 | So you want to have a sense of how
sharp you need your textures to be.
| | 01:53 | What kind of resolution you want.
| | 01:55 | So I usually just kind of zoom in,
and I'll hit Increase to increase the
| | 02:00 | resolution until I get a density that I want.
| | 02:04 | You can always increase or decrease
layers, so it's really not that important to
| | 02:08 | lock it in right now, but it will also
show you what this resolution is roughly
| | 02:13 | equivalent to in UV-based textures, so
this would be about 2300 pixels on either
| | 02:20 | side on a texture. So if you want a
really high-resolution image, you could keep
| | 02:26 | going up and up, but it's going
to also use more system resources.
| | 02:30 | So usually about in the range of 2000 to 3000
equivalency, or 5 million texels is about good.
| | 02:36 | When you are done, go ahead and click Done.
| | 02:39 | Now Mudbox is thinking about how to
convert the UV-based textures to PTEX.
| | 02:43 | This could take anywhere from a few seconds to a
few minutes depending on how complex your model is.
| | 02:48 | This might be a good time to
explain exactly what PTEX is.
| | 02:51 | PTEX breaks up each polygon of the model
and sort of gives it its own texture map.
| | 02:56 | This is similar to the way that Mudbox creates
UVs by tiling each polygon separately.
| | 03:01 | However, PTEX does this much more
efficiently and with some added capabilities.
| | 03:06 | Let's zoom out and see what we have got.
| | 03:09 | So the model isn't really
going to look much different.
| | 03:12 | Go ahead and hit D a few
times to subdivide a model.
| | 03:15 | It's really going to look exactly the
same as it did before, and here is one of
| | 03:19 | the big advantages of PTEX.
| | 03:20 | You can assign different
resolutions to different polygons.
| | 03:24 | So for example, if you have a
character whose body is covered with clothing in
| | 03:27 | some areas, you could give a very low
density to those parts and save the high-
| | 03:32 | resolutions textures for
the parts that will be seen.
| | 03:35 | Let's see how you do that.
| | 03:36 | I am going to go ahead and zoom in
on the face, and let's go down some
| | 03:41 | subdivision levels, back down to the
lowest, and let's say I want extra high
| | 03:46 | texture detail on the face, so what we could
do is go into our Select Tools, go to Faces.
| | 03:52 | I am just going to grab the Lasso Select
tool here and make a selection around the head.
| | 03:58 | Now let's go into Mesh PTEX Setup, and
now we can create a different resolution
| | 04:05 | just for those selected faces.
| | 04:07 | So let's zoom in right here on the
border so we can see the difference.
| | 04:11 | I am going to hit Increase, so you
can see we are only increasing the
| | 04:15 | resolution on the head.
| | 04:16 | It's still kind of blurry and pixilated
here, and it's getting much sharper here.
| | 04:20 | Go ahead and click Done.
So it finished that.
| | 04:22 | Let's zoom out. I am going to hit
Ctrl+Shift+A to deselect everything.
| | 04:28 | Now let's see what happens when we paint.
| | 04:30 | We can go to the Paint tool, get Paint Brush,
let's shrink the size down a little bit.
| | 04:35 | I am just going to paint across that
line, so you notice where we increase the
| | 04:40 | Texture Resolution. We are getting a
much sharper amount of detail here, and
| | 04:45 | then across that border
it's little bit blurrier.
| | 04:49 | So this can really help you when you're
trying to conserve memory and place only
| | 04:54 | the high-resolution
textures where you really need it.
| | 04:58 | So for the time being, I still use UV-
based textures because they're guaranteed
| | 05:02 | to be compatible with other programs.
| | 05:04 | However, as PTEX technology matures,
it's going to become much more of a
| | 05:09 | standard for texturing 3D models.
| | 05:11 | It's main benefits either you can use
PTEX to start texturing even if you don't
| | 05:15 | have UVs laid out yet, and you can
also have different resolutions for
| | 05:18 | different parts of the model.
| | Collapse this transcript |
|
|
5. Using Texture ChannelsUnderstanding texture channels| 00:00 | So we've seen how to paint color into
paint layers, but that's just the beginning.
| | 00:05 | One of the most powerful features of
Mudbox is the ability to paint other
| | 00:09 | channels besides just color.
| | 00:11 | Just a few years ago, if you wanted
to paint things like transparency,
| | 00:14 | glossiness, bump glow, and so forth,
you had to paint black and white maps in
| | 00:19 | Photoshop and just hope that looked
right when you loaded it into a 3D program.
| | 00:24 | That process was slow and
involved a lot of guesswork.
| | 00:27 | Now you can paint those attributes
directly onto the model and see exactly what
| | 00:31 | they're going to look like without
any guesswork and without loading and
| | 00:35 | reloading maps over and over
again into a separate program.
| | 00:38 | So let's go down to it.
So we have got our exercise file open.
| | 00:42 | Let's go and make a New Paint layer.
| | 00:44 | Instead of choosing Diffuse like we have
done with painting color, let's pick Specular.
| | 00:50 | Specular is a fancy way of saying
Highlight. It's the appearance of light
| | 00:54 | bouncing off the surface.
| | 00:56 | The color that you paint into the
Specular Channel is the color of the highlight.
| | 01:00 | So right now, the color is set to Black.
Let's see what happens when we paint with that.
| | 01:05 | Black will mean no highlight at all, so it's
going to make the surface look dull and matte.
| | 01:10 | You can see as I rotate the camera around,
wherever I painted it there is no highlight.
| | 01:17 | Now let's see what happens if I
paint with a more bright color.
| | 01:21 | Pick an orange here. Now the
highlight takes on that orange appearance.
| | 01:28 | Let me show you something
really funny you can do with this.
| | 01:34 | I am going to go to Hue Shift tool,
and I am just going to randomly paint a
| | 01:39 | bunch of stroke shifting the Hue
around, kind of making a rainbow of colors
| | 01:43 | across the face, and this is painting
only into the specularity, so it's the
| | 01:48 | highlight color that's changing.
That's good enough for now.
| | 01:52 | So notice as you move the camera
around, you are getting this really pretty
| | 01:56 | shimmering highlights, kind of simulates
the effects of mother-of-pearl, perhaps.
| | 02:01 | Now let's make another channel.
I am going to pick Gloss this time, and OK.
| | 02:07 | Gloss is another attribute of highlights.
| | 02:09 | It defines how dull or
polished this surface will look.
| | 02:12 | In this channel the color doesn't matter,
it's just the brightness or darkness
| | 02:15 | of color that affects the gloss.
| | 02:18 | So I am going to get the Paint Brush,
and let's get a really dark color.
| | 02:22 | So if you paint with this, the
surface is going to look pretty dull.
| | 02:31 | If you get a bright color, like a white,
now you can see that the highlights are
| | 02:35 | getting really sharp, just kind of
making this surface look polished or wet.
| | 02:42 | Now let's make an Incandescence channel.
Let's make a new channel and Incandescence.
| | 02:48 | This is how you make things look like
they are glowing. I am going to get a
| | 02:52 | red color, and let's bring the strength down
a little bit. I am going to paint on the ears.
| | 02:58 | This is going to stimulate the
appearance of light scattering through the skin.
| | 03:04 | It's faking the look of subsurface scattering.
| | 03:09 | You could also make a fun Rudolph The
Red-Nosed Reindeer effect, or maybe ET's
| | 03:13 | glowing fingers with Incandescence.
Now let's make an Opacity channel.
| | 03:24 | Like Gloss, this channel only looks at
the lightness or darkness of the color
| | 03:28 | that you paint with.
| | 03:29 | So let's get a black, and let's increase the Strength
a little bit so we can see more of pronounced effect.
| | 03:37 | Wherever you paint a dark color into
the Opacity channel, it's going to turn
| | 03:43 | the model transparent.
| | 03:44 | Now you may be wondering why we are
seeing through the model all the way through
| | 03:49 | the back of the head, and that's
because by default, Mudbox only shows the
| | 03:53 | front of every surface.
It's not showing the backside or the inside.
| | 03:57 | If this is confusing, and you want to
see the inside, you can go up to Display
| | 04:01 | and turn on the Show Both Sides.
| | 04:04 | Now this might not be exactly what you
want because the inside is going to be
| | 04:08 | seen as totally black.
| | 04:11 | So I usually don't like to have
that on. I usually keep that off.
| | 04:18 | But you can see as you are painting
with Opacity here, you can make a really
| | 04:22 | nice, perhaps, an insect wing effects
where you have that colored highlight
| | 04:27 | along with that transparency, looks really fun.
| | 04:31 | So painting texture channels is one of
the most powerful features of Mudbox.
| | 04:36 | The ability to paint these attributes
directly onto the model and see exactly
| | 04:40 | what they're going to look like is
invaluable for texture mapping work.
| | 04:44 | I'll go more into depth with some of
the other channels later in this chapter,
| | 04:48 | but for now I just wanted to introduce some
of the cool things you can do with channels.
| | Collapse this transcript |
| Painting bump maps| 00:00 | The ability to paint bump maps is
really one of the hidden gems of Mudbox.
| | 00:05 | You may think that that's redundant,
like why would I want to paint a bump map
| | 00:09 | that simulates surface detail when
I'm in a sculpting program that lets me
| | 00:13 | actually sculpt that detail physically?
| | 00:16 | Well, there's one really good reason,
and that's because to sculpt really fine
| | 00:20 | detailed texture, you would have to
subdivide a model to maybe well over
| | 00:25 | 10 million polygons in some cases.
| | 00:28 | This becomes a problem because all
those polygons eat up hard drive space,
| | 00:32 | memory, and also take a lot
more processor power to compute.
| | 00:36 | The result is that Mudbox could get bogged down.
| | 00:39 | The solution is to paint that detail
with a bump map instead, because Texture
| | 00:43 | Maps are much more memory
efficient than polygons.
| | 00:46 | Let's jump in and see how this works.
Let's open up the Basic Head.
| | 00:50 | I am going to make a new texture channel
here, and let's set it to Bump Map, and
| | 00:56 | I am also going to make the Size fairly
large, 4000, and let's also save it as a
| | 01:02 | TIFF, 16 bit Floating Point, and OK.
| | 01:06 | Bump Maps are grayscale images, so
wherever you paint with white it will bump
| | 01:11 | up and wherever you paint
with black it will push in.
| | 01:14 | Let me demonstrate.
| | 01:15 | We will get the Paint Brush activated
here, and I am just going to zoom in close.
| | 01:21 | Let's shrink the brush a little bit,
and let's see what happens.
| | 01:27 | So I am painting with black, and it's
pushing in. We could go over here and
| | 01:31 | paint with white, and
notice it's going to bump up.
| | 01:35 | If I paint with a neutral
gray, watch what happens.
| | 01:40 | It's kind of like we are treating
everything back to its neutral point.
| | 01:45 | Let me just undo that to demonstrate something.
| | 01:50 | Mudbox is displaying the shades of gray
that we paint as bump, but sometimes it
| | 01:55 | can be helpful to look at the
actual colors rather than the effect.
| | 01:59 | To do this, right-click on the
layer and pick Solo As Diffuse.
| | 02:05 | What this is doing is showing us
the texture channel with its raw color
| | 02:09 | information before it gets interpreted as bump.
| | 02:12 | With this mode on, notice that
the Visibility icon turns yellow.
| | 02:17 | This means that we are in Solo As Diffuse mode.
| | 02:21 | Looking at the model, you can see
the painting and the shades of gray, but
| | 02:24 | there's also this checkerboard pattern.
| | 02:26 | This means that the layer
is empty in those areas.
| | 02:29 | All new paint layers start out
being transparent, or empty of paint.
| | 02:34 | Before we really get to work with
painting bump maps, we should fill the whole
| | 02:37 | thing with a neutral gray.
| | 02:38 | We can either paint the whole thing
manually with the big brush or flatten to
| | 02:43 | UVs base, and then Flood From Camera.
| | 02:44 | So I am just going to zoom out a
little bit here and just get a big brush and
| | 02:52 | just paint the whole thing gray.
| | 02:56 | Let's turn off this Solo as Diffuse mode
and then right click on the layer and
| | 03:01 | come down to Unsolo.
Now let's paint some bump.
| | 03:05 | You can use most any of the painting
tools to do it, and for the most part it
| | 03:08 | behaves just like sculpting.
| | 03:10 | So I am just going to grab a white
color here. Let's zoom in and shrink the
| | 03:16 | Brush Size a bit, and here you can just
paint with bump, and it feels just like
| | 03:21 | sculpting for the most part. You can
hold down Ctrl as you are then going to
| | 03:25 | invert to the opposite color.
So it behaves very much like sculpting.
| | 03:30 | There are a few differences, however.
| | 03:32 | Remember that you're painting with
shades of gray, so since I'm painting with
| | 03:36 | whites, for example, right now once
the bump channel is filled with white, it
| | 03:41 | won't go any higher.
| | 03:43 | I am trying to click and paint right here, but it's
already white, so it's already at maximum bump.
| | 03:48 | Bump isn't meant for
sculpting large-volume changes.
| | 03:51 | It's best for fine surface detail.
| | 03:53 | Now let's turn on the wireframe, Shift+F.
Notice how the bump map is independent
| | 04:00 | of the Mesh Density.
| | 04:02 | This is great because you can now sculpt
fine details without actually having to
| | 04:05 | subdivide the mesh so much.
| | 04:07 | So you can see I have shrunk my brush
way down, and I can still sculpt very fine
| | 04:14 | details even though the mesh is
nowhere close to the density. I would need to
| | 04:19 | sculpt this type of
detail directly onto the mesh.
| | 04:21 | Let me just make a couple more strokes here.
| | 04:26 | So now let's subdivide the model a
couple of times and actually do some
| | 04:29 | sculpting on this model to compare
bump sculpting with real sculpting.
| | 04:34 | We've got 2 million polygons now.
| | 04:38 | I am going to hit Shift+F to turn off
the wireframe, and now let's go on to
| | 04:43 | Sculpt tools, and I will gray Wax
here, and let's see what happens.
| | 04:47 | So if I am sculpting with wax--actually
that's really too much strength, and let me
| | 04:51 | bring that Strength down,
and maybe a little bit higher.
| | 04:58 | Okay, so that's almost the same effect.
| | 05:01 | So I am going to zoom in, and notice how
when we move the camera to the side, you
| | 05:06 | can see that the sculpting we did with
wax is actually deforming the surface,
| | 05:11 | whereas the bump you can see--if we
look at it from a very oblique angle--you
| | 05:16 | can see it's not actually changing the
surface of the model, whereas sculpting
| | 05:21 | with wax can actually let me sculpt up
rather than pushing in. You can see it is
| | 05:26 | actually changing the surface of the model.
| | 05:30 | One last thing I want to mention is
that when you paint with bump over a UV
| | 05:34 | seam, it can look broken or disjointed.
Let me show you what I mean.
| | 05:37 | Let me go to the Paint Brush, and this
model has a UV seam along the top of the head
| | 05:43 | Let's see if we can find that.
Okay, here it is.
| | 05:48 | So you see this line right through here?
That's where there is a UV seam on the model.
| | 05:54 | Okay, we found another one right here.
| | 05:56 | When you are painting in Mudbox
with the bump map, you might see these
| | 06:01 | lined along the UV seams.
Don't worry it's just a Mudbox glitch.
| | 06:06 | If you export the map to another program, the
bump will display without any seams visible.
| | 06:11 | So painting bump maps can save you a
lot of headache when sculpting fine
| | 06:15 | details, because you don't actually have to have
a super-dense mesh just to get super-fine details.
| | Collapse this transcript |
| Making the most of texture channels| 00:00 | Now that we've got the basics of paint
layers and texture channels understood, I
| | 00:04 | want to do a fun mini project that
really ties all of the stuff together with a
| | 00:09 | few tips and tricks thrown in.
| | 00:11 | Texture channels and paint layers
are really so versatile that it can be
| | 00:15 | overwhelming and hard to see
how they can really be put to use.
| | 00:19 | So, for this video, I want to demonstrate how all
of this can actually be used in a real project.
| | 00:24 | We're going to make a
Venetian mask on the Basic head.
| | 00:27 | Now let's go ahead and make a new
diffuse layer. Okay, it looks good, and what I
| | 00:35 | want to do is fill this with black. It
might not make a lot of sense at first,
| | 00:39 | but you'll see where I'm going with this layer.
| | 00:42 | You get the paint brush with a nice
big size on it, and it's going to color
| | 00:48 | black, and I am just going
to paint over the whole thing.
| | 00:58 | Okay, great. I am going to hit G to turn
off the grid. It's just kind of annoying.
| | 01:03 | Now I'm going to pick the color White,
and I want to paint where I want a
| | 01:08 | Venetian mask to be, so
let me just zoom in here.
| | 01:11 | I am going to shrink my brush down a
little bit, and just wherever you feel like
| | 01:15 | you want to paint this mask, and we
might skip ahead a little bit too.
| | 01:20 | This might take a little bit more time. It's kind of
boring to watch someone else just paint something.
| | 01:25 | I'm just cutting out the eyes Right
now, by holding down Ctrl, so I get the
| | 01:29 | opposite color, and I am going to turn
on Symmetry as well, so I could get two
| | 01:33 | perfectly symmetrical eyes.
I am going to turn off the Mirroring.
| | 01:38 | Okay, so we skipped ahead through some
of that tedious painting, and we've got
| | 01:42 | kind of a mask design here on the face now.
Let's rename this paint layer maskshape.
| | 01:47 | I'm just going to double-click
on it and type in maskshape.
| | 01:53 | Now the border of the mask shape is a
little bit blurry, and I want to make it
| | 01:57 | sharper so that the mask
feels more separate from the face.
| | 02:00 | So I'm going to right-click on the layer,
and go down to Adjust Color.
| | 02:04 | This gives you controls over the Hue,
Saturation, and Value of the layer.
| | 02:08 | We want to use the curves to
give the layer more contrast.
| | 02:12 | So I'm just going to slide this other way,
and let's see, you could drag some of
| | 02:17 | these curves around, similar to curves
in Photoshop, and it lets us have a lot
| | 02:22 | more contrast in this Paint layer.
| | 02:24 | This will force most of the light values
to white and most of the dark values to
| | 02:27 | black, resulting in more contrast.
Go ahead and click OK.
| | 02:31 | With that done, let's make a new diffuse
layer for the actual color of the mask,
| | 02:37 | and we don't actually need it to be so high resolution,
so I'm actually going to change this to 512.
| | 02:42 | Now what I want to do is I want to
turn this black and white painting that we
| | 02:47 | did into a mask for the Paint layer,
so I'm just going to click and drag on
| | 02:53 | the Mask Shape and drag it on top of the
Paint layer so it turns yellow and release.
| | 02:57 | Now the mask shape that we made
is a mask for this paint layer.
| | 03:01 | So in this Paint layer now, we could
pick a gold color. For example, we could
| | 03:05 | make a gold mask, great, and let's
make the brush little bit bigger and just
| | 03:11 | start simply painting
gold into this paint layer.
| | 03:15 | Now since we're using the black and
white painting that we did before as a mask,
| | 03:21 | the painting with gold that we're
doing is only being applied where that
| | 03:25 | mask was painted white.
| | 03:28 | Now the mask should have some thickness.
It should come off of the face a little
| | 03:32 | bit, so let's make a bump channel. We'll
go and make new channel, set it to Bump,
| | 03:40 | sounds good. It doesn't matter the size,
because we're actually going to copying
| | 03:43 | this mask shape into the bump channel.
| | 03:45 | Now you could go and paint a bump map
so that it lines up with the color, but
| | 03:50 | that would be a lot of work, and it would
be really tedious to get exactly the same
| | 03:54 | shape painted for the bump as we
currently have for the mask color, so let's
| | 03:58 | just right click on the maskshape and
go to Duplicate Selected, and now let's
| | 04:03 | drag this down into the bump map channel.
| | 04:07 | So let's take a look around
the model and see what we get.
| | 04:09 | So that bump has now made the mask
look like it's ticking off of the face a
| | 04:13 | little bit. We don't need the default
paint layer that was made when we made
| | 04:17 | this bump map channel, so we could just
right click on it and Delete Selected.
| | 04:21 | Now let's make the mask look reflective like real
gold. We're going to edit the material properties.
| | 04:28 | So let's go into the Object List and select
the Default Material that's on our object right now.
| | 04:32 | We want to make the material slightly
reflective, so let's go down to Reflection
| | 04:37 | Strength, and I just want to put in a
very slight amount reflection, like 0.1.
| | 04:43 | Now the whole material is reflective.
Let's stick and look around and see what
| | 04:47 | this looks like, but we want to limit
that reflectivity to just the mask, so
| | 04:52 | let's go back to our Paint layers.
| | 04:54 | I am going to make a new channel, and
let's set it to Reflection Mask and click OK.
| | 05:01 | Now let's duplicate that mask again, and let's
drag that duplicate down into the Reflection Mask.
| | 05:12 | So that black and white image now is
masking out where the material will be
| | 05:17 | reflective and where it won't be.
| | 05:18 | So since that mask is white,
everywhere that the Venetian mask is the
| | 05:24 | reflectivity only counts in that area, and it
doesn't count everywhere at this map was painted black.
| | 05:33 | Like before, we can delete this default
paint layer that was created with the channel.
| | 05:38 | Hopefully, this gives you some
insight into the many ways in which texture
| | 05:41 | channels can be manipulated and combined.
| | 05:44 | You can see that it saves a lot of
time to duplicate layers and move them to
| | 05:48 | other channels than it would be to
repaint them every time. I use channels and
| | 05:52 | layers like this all the time to isolate
areas of my models so that I can apply
| | 05:56 | very specific effects to different areas.
| | Collapse this transcript |
| Transfering paint layers between models| 00:00 | Transferring texture information
between two objects is similar to the transfer
| | 00:05 | of sculpted details that we
did earlier in this course.
| | 00:09 | This time, however, rather than placing
the high-res details of one model onto
| | 00:12 | another, we will be transferring paint layers.
| | 00:15 | If two models have the same UV layout, you
can just load the same textures onto two models.
| | 00:21 | However, if the geometry or the UVs are
different between the two models, or if
| | 00:25 | one is using you UVs and the other
is P text, you can use this feature to
| | 00:30 | project details and
textures from one model to another.
| | 00:34 | So let's look at our exercise file.
We've got a fairly high resolution, highly
| | 00:38 | detailed keg, and there's also a low-
resolution keg file. I am going to hit
| | 00:44 | Shift+F just so you can see the
wireframe more clearly on that.
| | 00:48 | So the high resolution version is
something that might be used in the film, and
| | 00:51 | this low-poly version is something
that might be used in a game. Let me just
| | 00:55 | hide the low-poly keg version really quick.
| | 00:57 | Now I want to get all of this texture
detail from the high-resolution version to
| | 01:01 | the low-resolution version.
| | 01:03 | So the way we do that is by going up to
Maps, going to Extract Texture Maps and
| | 01:10 | making a new operation.
| | 01:12 | Now let's turn on Transfer Paint
layers. We just scroll down a little bit.
| | 01:17 | So the Target model is a low-poly
version that currently doesn't have any
| | 01:21 | textures and the Source models
are the high-resolution models.
| | 01:26 | So let's pick the lowpolykeg here in
our Object List. Let's make it visible
| | 01:32 | first, now let's select it, and we'll
Add Selected here in Extract Texture Maps.
| | 01:38 | Now let's select the wood, and also I'm
going to Ctrl-click the bands so that
| | 01:46 | we have both the wood and these
metal bands active in this operation, and
| | 01:52 | let's Add Selected here.
| | 01:54 | And one thing I want to do is
turn off Smooth Target models.
| | 01:57 | That's because if we leave this on,
Mudbox is going to some fancy smoothing, but
| | 02:02 | I actually want to leave the
UVs of the target model the same.
| | 02:07 | If you want to experiment with both
ways, that's good. It's kind of hard to
| | 02:12 | explain, but the result might not
turn out so well if you leave this on.
| | 02:18 | Okay, scrolling down further. There's
different methods, there's Subdivision
| | 02:22 | or there's Ray Casting. You would
use Subdivision if both models were the
| | 02:27 | same, so if there were different textures on two
copies of the same model, you would use Subdivision.
| | 02:32 | However, they're totally different
models, so we're going to use Ray Casting.
| | 02:37 | For most of this settings, the default
works pretty well, and I am going to come
| | 02:42 | down to the very bottom where
we've got Extract, and let's hit that.
| | 02:47 | So Mudbox is going to take a few
seconds to think about it. It finished.
| | 02:52 | Let's hide the original high-resolution bands
and the wood, so we just have the lowpolykeg.
| | 03:02 | So, let's hit Ctrl+Shift+A to unselect
that, so you can see we've got all the
| | 03:08 | texture information that was in that
high-resolution version now on the low-poly version.
| | 03:11 | Let's take a look at the Paint layers.
| | 03:14 | So it transferred the bump
maps and the diffuse from the
| | 03:18 | high-resolution versions.
| | 03:20 | Now we created these
textures from two different objects.
| | 03:23 | There was the wood, and there was the
bands, so that's why we have two different
| | 03:27 | diffuse layers here and two
different bump layers. You can actually just
| | 03:32 | combine them into one, so I'm just going
to right-click and go to Merge Visible.
| | 03:36 | Same thing up here, right-click Merge Visible.
| | 03:38 | Transferring paint layers is a really
useful tool, especially when you need to
| | 03:42 | texture two different versions of a model.
| | 03:45 | As we saw in this example, we can
texture high-poly version and then transfer
| | 03:49 | the paint layers to a low-poly version rather than
having to re-texture the low-poly version from scratch.
| | Collapse this transcript |
| Making normal maps| 00:00 | When working in Mudbox, it's not
uncommon to have models with millions of
| | 00:04 | polygons, and that's not such a big
deal when working on just one model.
| | 00:09 | However, when a whole scene is put
together in Maya, for example, or in a
| | 00:13 | video game, all those polygons would
be too much for one computer to handle.
| | 00:18 | The solution is often to use Normal Maps.
They are like Bump Maps but higher quality.
| | 00:23 | They contain detailed information about
the surface detail of a high-poly model,
| | 00:28 | and it can be mapped onto a low-poly model.
| | 00:31 | The result is a low-poly model that looks like
it has a lot more detail than it really does.
| | 00:37 | This saves on memory and processing power.
Let's see how to make one.
| | 00:41 | So we have got our keg from the last
movie, and this is the low-poly version.
| | 00:45 | If we go into the ObjectList, here we
can see we've got a lowpolykeg here.
| | 00:50 | I can hide it, turn it back on.
I'm going to hit Shift+F, turn on wireframe.
| | 00:55 | It's kind of faint, but you might be
able to see the low-poly wireframe there.
| | 01:01 | Let's hide this, and it will show we
do have still the high-poly wood here.
| | 01:06 | It's going to take just a second for
the textures to load. That's why the
| | 01:10 | model is currently blue.
| | 01:12 | Sometimes Mudbox unloads textures
from memory, and then it can take a
| | 01:16 | little while to load them back in,
and while it's loading those in, it can
| | 01:19 | turn the model blue, and then there
is also the bands, turn those on.
| | 01:25 | Okay, there go the textures.
| | 01:27 | Okay, so here is the high-poly version,
and we turn the lowpolykeg back on.
| | 01:32 | Now let's get all the little shape
details of the high-poly keg into a normal
| | 01:37 | map for the low-poly version.
| | 01:39 | I am just going to hide the
lowpolykeg again really quick.
| | 01:42 | You can see like there's lots of little
details like cracks in the wood, and the
| | 01:45 | way that the bands overlap is
creating an interesting shape change here.
| | 01:50 | Mudbox can calculate the shape
differences between the two versions of the keg
| | 01:54 | and put all that information into a normal app.
| | 01:57 | So let's go up to Maps > ExtractTextureMaps
and do a New Operation, and let's save
| | 02:03 | this as a Normal Map, and we will do
it pretty much like we just did before.
| | 02:09 | I want to turn off Smooth Target
models, and let's do something slightly
| | 02:14 | different this time.
| | 02:15 | Let's do Add All and then
just remove the ones I don't want.
| | 02:22 | Add All, and let's see, I only want the
bands and the wood for this one, Remove.
| | 02:34 | Let's see these should be fine just by default.
| | 02:37 | Image Size, let's raise this up a
little bit higher so we get some more detail.
| | 02:41 | It's really up to your preference and
from project to project, the image size
| | 02:45 | could be different
depending on the needs you have.
| | 02:47 | I am just going to set it to a 2k
map for this one, and then Map Type.
| | 02:53 | If this were a PTEX image, if the model
we are using PTEX, we would set this to
| | 02:58 | PTEX, otherwise Texture.
| | 02:59 | The low-poly keg has UVs, so
we are going to use Texture.
| | 03:03 | We just need to define a
place to save the normal map to.
| | 03:06 | So we will just open this up.
| | 03:08 | I am just going to make a New Folder
under Documents and call it keg, and we
| | 03:14 | will just give the File name.
You can really save it anywhere you want.
| | 03:18 | I usually save it somewhere in the same
place where I'm saving the Mudbox scene file.
| | 03:24 | Let's Extract it.
Looks like it finished.
| | 03:29 | Go ahead and hit Ok.
| | 03:31 | We can close this, and now I just need
to hide the bands and the wood, and let's
| | 03:37 | bring in the lowpolykeg now.
| | 03:40 | So it should just take a few seconds, and
we will be able to see the textures applied.
| | 03:44 | Let's zoom in here.
Now this is the low-poly version.
| | 03:47 | Let's go to the layers and the Paint tab
in here, and let's expand the NormalMap.
| | 03:52 | So this is where it just placed
the normal map that we created.
| | 03:55 | So let's turn this on and off.
| | 03:57 | So you can see with the normal map on,
we have a lot more detail here, and it's
| | 04:02 | still just a low-poly model.
| | 04:03 | This is not a high-detailed model.
It's a low-poly model with a normal map applied.
| | 04:09 | So let's solo this layer as diffuse.
Right-click on it and go to Solo As Diffuse.
| | 04:15 | So now we can see what the normal map looks
like before it gets interpreted as surface detail.
| | 04:20 | The map is simply using red, green,
and blue data in the image, to store
| | 04:25 | information about the high-poly
model surface detail.
| | 04:29 | Normal maps are very commonly used in video
games, where they have to conserve polygons.
| | 04:34 | So instead of loading a model with
5 million polygons into a game, you can send
| | 04:38 | the low-poly version with 5,000 polygons and a normal
map that simulates all the high-resolution detail.
| | Collapse this transcript |
| Creating ambient occlusion maps| 00:00 | Like normal maps, Ambient Occlusion
maps are a way to reduce the amount of
| | 00:05 | work that the computer has to do to
display the illusion of 3D reality on
| | 00:09 | your computer screen.
| | 00:11 | Whereas normal maps are able to
condense extreme detail into a map,
| | 00:14 | Ambient occlusion or AO maps
simulate the effect of self-shadowing.
| | 00:20 | It can be a subtle effect in the real
world, but it goes a long way in CG to
| | 00:25 | help images look more real.
| | 00:27 | Also, if a model has that shadow
information baked into it, it saves time when
| | 00:31 | rendering so that the computer
doesn't have to recalculate those shadows for
| | 00:35 | every frame of an animation.
Let's see how it works.
| | 00:38 | So we have got out bull exercise
file opened up, and we make an ambient
| | 00:42 | occlusion map in a very similar way to
the other maps we have same made so far.
| | 00:46 | Let's go up to the Maps menu > Extract Texture Maps >
New Operation, and let's pick Ambient Occlusion Map.
| | 00:54 | So there's only one model in the scene, so
Mudbox has already included it as the
| | 00:59 | standard targets and source models.
| | 01:02 | It also placed the Source model in
level 2 and the highest subdivision level
| | 01:07 | and the Target model in
lowest subdivision level.
| | 01:11 | By default, you are usually going to
want to be like this unless you know what
| | 01:15 | you are doing, and you have some special
reason why you want it to be some other way.
| | 01:19 | I would recommend leaving it that way.
| | 01:21 | Okay, let's go down to the
Output Map, Good Quality is fine.
| | 01:26 | Subdivision Method, that's good. We
want to leave it on that because we are
| | 01:31 | comparing two different
subdivision levels within the same model.
| | 01:34 | If it were two different models,
we would want to use Ray Casting.
| | 01:38 | The Image Size, set it to whatever resolution
you need, a 1K map works fine for me for this.
| | 01:46 | These Advanced features are something that if
you know what you're doing you can change them.
| | 01:51 | I find that they work just
fine at the default settings.
| | 01:55 | And the Output options,
we need to give it a name.
| | 01:58 | So let's call it bull-ao, and let's
go ahead and Extract. Okay, it's done.
| | 02:07 | Let's see what it did.
| | 02:08 | It's going to place the AO map in the
layers palette, here in the Diffuse channel.
| | 02:14 | It doesn't have a name right now, so I
am just going to double-click this and
| | 02:17 | just call it ao, and it may be kind
of hard to see exactly what it's doing
| | 02:21 | because of the lighting situation here,
so we can turn off lighting by hitting Shift+L.
| | 02:27 | So now all we see is literally
exactly what is in the Texture channel.
| | 02:32 | Now it kind of looks like there's a light
turned on because we are seeing shadows.
| | 02:36 | But that's all information that's baked
right into the AO map that we just created.
| | 02:41 | So for example, we could turn off the
AO map, and we would see just the solid
| | 02:47 | color information, no shadowing, no lights.
Let's go ahead and turn AO back on.
| | 02:52 | We can use this AO map in lots of
different ways to control how the different
| | 02:56 | texture channels look.
| | 02:58 | Let's change the blending mode to Multiply.
This blending mode has a darkening effect.
| | 03:03 | Everywhere that the map is dark, it
darkens the layer below it by that much.
| | 03:07 | So you can see it's blending the shadow
information from the AO map with the basic color.
| | 03:14 | So let's hide the AO channel really
quick just to see what the difference is.
| | 03:17 | Let's go ahead and turn the lights back on.
| | 03:19 | I am going to hit Shift+L, and
now let's make a reflection mask.
| | 03:25 | So I am going to make a new channel,
set it to Reflection Mask, and hit OK, and
| | 03:31 | it's created it down here in the Paint channels.
Let's go ahead and turn that on.
| | 03:35 | Now we are not going to see anything yet,
because the material of the bull is not reflective.
| | 03:39 | So, let's go into our
ObjectList and find the material.
| | 03:42 | Here is the Default Material, scroll
down in its properties, and I just want to
| | 03:47 | want to make it slightly reflective.
| | 03:49 | So I am going to set the
Reflection Strength to 0.03.
| | 03:52 | This kind of simulates a
lustrous and oily coat of fur.
| | 03:55 | Now Let's go back to our layers tab, and
let's see what the Reflection Mask is doing.
| | 04:02 | Nothing yet, because we haven't put the
AO layer in there, so let's go back up
| | 04:06 | to our AO map, and let's just
right-click and Duplicate Selected.
| | 04:11 | So now we can take this copy and bring
it down into our Reflection Mask channel.
| | 04:17 | All right, now let's hide and unhide
this, so we can see what it's doing.
| | 04:22 | So it's kind of a subtle effect, but
it's masking out the reflection in the
| | 04:27 | parts of the model that are in
recessed areas where light would have a hard
| | 04:30 | time reaching into.
| | 04:32 | So this is nice subtle effect that
helps with the realism of your models.
| | 04:37 | Ambient Occlusion maps are really
great because they create a map out of an
| | 04:41 | effect that is rather time consuming
to render on a frame by frame basis.
| | 04:45 | They are useful for mixing with other
types of maps when you want to control
| | 04:49 | them based on how much light and
shadow would generally fall on a surface.
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| Generating displacement maps| 00:00 | We've already looked at normal maps as
one way of taking the detail of a very
| | 00:04 | dense mesh and putting it in a map that
can be placed on a low density mesh, and
| | 00:09 | that works well in many situations.
However, a normal map has some limitations.
| | 00:14 | It doesn't actually change the shape of a model.
| | 00:17 | The silhouette of the model will
remain relatively smooth and undetailed if
| | 00:21 | you use a normal map.
| | 00:23 | This can be a problem if you need very high
quality renders for film or for close-ups.
| | 00:28 | With displacement maps, you can work
with a low-poly model on your animation
| | 00:31 | software, and then when you render,
the software will subdivide the model and
| | 00:36 | reapply all the fine details.
| | 00:38 | This gets all that detail back so that
shadows render more accurately and every
| | 00:43 | nook and cranny will be visible in silhouette.
| | 00:45 | The process for making a displacement
map is very similar to what we've been
| | 00:49 | doing with normal maps and such so far.
| | 00:51 | Let's look at our exercise file really quickly.
| | 00:53 | We've got our war tortoise on a lowest
subdivision level. Let's just hit D a
| | 00:58 | few times to go up our subdivision levels.
| | 01:00 | Okay, so I'm just going up our
subdivision levels. You can see that there's
| | 01:06 | quite a bit of detail.
| | 01:08 | All of the difference in detail that
you see between the highest subdivision
| | 01:11 | level and the lowest will be
placed in a displacement map.
| | 01:16 | So let's go up to Maps > Extract Texture
Maps, and do a New Operation, make sure
| | 01:20 | you select Displacement Map, and since
there's only one object in the scene,
| | 01:26 | Mudbox has already placed it in the
Target and Source models. However, we need
| | 01:30 | to make the Source model set to
the Highest Subdivision Level.
| | 01:35 | So now it's going to compare the
highest subdivision level with the lowest.
| | 01:40 | Let's set a few more settings here. Let's go
to Ray Casting and change this to subdivision.
| | 01:46 | This is because both the Target and
Source are the same model, so I can just
| | 01:51 | subdivide to find the difference.
| | 01:52 | If there were different models,
you'd want to use Ray Casting.
| | 01:55 | Image Size is basically whatever you
need to set it to for your project.
| | 01:59 | I find maybe I want to use 2K, since
there's a lot of detail, and now we can
| | 02:07 | just give it a name, and
call it tortoise displace.
| | 02:12 | One setting here, there's Preview
as Bump Map, so after the map is
| | 02:17 | generated, Mudbox will replace the displacement
map into a bump channel for preview purposes.
| | 02:23 | Okay, looks like everything
is set. Let's go to Extract.
| | 02:30 | We can close this window. So we're still
on the lowest subdivision level, but it
| | 02:34 | looks like we've captured all of
that detail in the displacement map.
| | 02:37 | Just to confirm, let's go to our layers
tab, and you can see it made a bump map,
| | 02:43 | and let's just hide this.
| | 02:45 | So all of that detail is not actually
visible in the geometry of the model,
| | 02:49 | it's just in that map.
| | 02:51 | Let's look at the Displacement
Map as a diffuse map really quick.
| | 02:54 | Go ahead and right-click on it and go
down to Solo as diffuse, and I'm also
| | 02:58 | going to hit Shift+L to turn off any lighting.
| | 03:01 | Okay, so now we're seeing just what was created.
| | 03:04 | It's basically a black and white map,
and any parts of the map that are white
| | 03:08 | get raised up, and any parts
that are dark get pushed in.
| | 03:14 | Go ahead and right click on the
layer and unsolo, and hit Shift+L to
| | 03:20 | turn lighting back on.
| | 03:22 | Displacement maps have their place,
but they aren't always necessary.
| | 03:25 | It's usually only used on models that have a
lot of heavy detail like this war tortoise.
| | 03:30 | I usually try to make my base models
detailed enough so that all of the major
| | 03:34 | detail will be visible in
silhouette without a displacement map.
| | 03:38 | However, sometimes you can't always
plan ahead for everything, and displacement
| | 03:42 | maps may become a necessity.
| | 03:45 | Armed with this knowledge, you'll
know what to do when that time comes.
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| Preparing texture files for use in other applications| 00:00 | As fun as it can be to paint all of
these textures and create all these maps
| | 00:04 | within Mudbox, you'll often need to
use what you create in other programs.
| | 00:09 | Whether it's for an animation in Maya,
a game in Unity, or a 3D printer, getting
| | 00:14 | your maps out of Mudbox is
usually the ultimate goal.
| | 00:17 | Fortunately the process
is fairly straightforward.
| | 00:20 | There is just a few things you need to know.
| | 00:22 | So we've got our exercise file, and it's
the bull, like we had in the last movie.
| | 00:27 | He's got several paint layers. Whenever
you create textures and paint layers in
| | 00:30 | Mudbox, a folder is created that
contains those maps as image files.
| | 00:35 | Let's look at the exercise
file on the Finder or Explorer.
| | 00:38 | So this is the bull.mud file,
that's the model that we loaded up.
| | 00:43 | And anytime you save a scene with
textures or paint layers, it's going to save
| | 00:49 | those inside of a folder that has the same name
as the scene file with an added hyphen, files.
| | 00:56 | So let's go ahead and click on
this and see what it has inside.
| | 00:59 | So these are basically all of
our paint layers as image files.
| | 01:04 | When you load up a scene, Mudbox looks
for a folder with the same name as the
| | 01:09 | scene file, of course with the -files after it.
Now let's go back a folder.
| | 01:15 | If you change one of the names of these
files--so for example, if we call this
| | 01:19 | bull2--and then you try to open up
this file, Mudbox won't know where to find
| | 01:24 | all of the textures because it has
a different name from the folder.
| | 01:28 | Also if you want to copy your files
somewhere else, make sure you take both the
| | 01:32 | file and the folder with you rather
than just taking one of them, otherwise
| | 01:37 | Mudbox won't know where to find the textures.
| | 01:40 | So be careful to keep these files and
folders together and named consistently.
| | 01:44 | If you're sending your model to
any of the other Autodesk digital
| | 01:47 | content creation packages like 3ds Max,
Maya or Softimage, the textures
| | 01:52 | are sent automatically.
| | 01:54 | Simply done by going to the File menu and
choosing Send to Maya, 3ds Max, or Softimage.
| | 02:02 | If you want to use the model in a
different program that's not supported like
| | 02:05 | Cinema 4D or Blender, you'd have to
export the model as an OBJ or an FBX file.
| | 02:12 | Let's see how you do that.
| | 02:13 | Let's go up to the object list and
select the bull, and let's just go to
| | 02:18 | File > Export Selection, and then we'd just
select a location and our format, FBX or OBJ.
| | 02:29 | I'm just going to unselect by hitting
Ctrl+Shift+A. Then after you loaded the
| | 02:33 | model in a different program, you could
navigate to the bull-files folder and
| | 02:38 | load up the texture maps from these images.
| | 02:41 | The great thing about this is that if
you make changes to the paint layers
| | 02:45 | in Mudbox and then save at the scene, the
texture will be saved and updated automatically.
| | 02:50 | You may have to reload the
textures in another program, however.
| | 02:53 | One last way to get textures out
of Mudbox is by exporting them.
| | 02:56 | So let's go back to our layers tab, and let's
right-click on--for example--the Diffuse layer.
| | 03:04 | We can go down to Export Selected.
| | 03:06 | So from here you can choose a location and
the format and a name and just simply save it.
| | 03:14 | You can also export an
entire channel as a PSD file.
| | 03:18 | So if we right-click on a channel and
click Export Channel to PSD, we could go
| | 03:24 | ahead and give it a name--so let's
call it bull, click Save--and Mudbox will
| | 03:31 | automatically start up Photoshop.
| | 03:34 | And here we've got a file with some
layers, so we could hide the wireframe, and
| | 03:39 | here we've got our texture, and a base color.
| | 03:43 | So you could make changes in here and
hit Save and then go back to Mudbox, and
| | 03:47 | it will automatically update in Mudbox.
| | 03:50 | Depending on the situation in which
program you'll be using after Mudbox, you
| | 03:54 | could use any of these techniques
or even a combination of them.
| | 03:57 | Whichever way you choose to do it,
getting textures out of Mudbox for use in
| | 04:01 | other programs is almost always the end goal.
| | 04:03 | So it's good to know
every way that it can be done.
| | Collapse this transcript |
|
|
6. Posing a CharacterIntroduction to joints and posing| 00:00 | Mudbox allows you to create a simple
bone structure inside of a model and use it
| | 00:04 | to pose a character.
| | 00:06 | I'll warn you that from the start,
it's only meant to do basic posing.
| | 00:10 | If you want something complex or highly
refined, you'll be better off rigging in a
| | 00:14 | program like Maya or Softimage
that has dedicated rigging tools.
| | 00:19 | Then you could import the rig
model to Mudbox in the FBX format.
| | 00:23 | For basic tasks like testing out
different pose ideas or just simply to adjust
| | 00:28 | the angle of an arm, for example,
Mudbox can get the job done quickly.
| | 00:32 | Let's see how it works.
| | 00:33 | Let's open up the human
body that comes with Mudbox.
| | 00:36 | Let me just adjust the view so we
can see the whole character on screen.
| | 00:41 | Now let's go to the Pose Tools tab,
and we want to create a new joint.
| | 00:46 | Let's take a look at the
options before we do anything.
| | 00:50 | Let's turn on one joint at a time.
| | 00:52 | This is a setting that puts
Mudbox in the most basic posing mode.
| | 00:56 | It should be called quick and dirty mode, really.
Let's try it out in this mode first.
| | 01:01 | Now let's zoom in on the neck of the character.
I'm just going to try to get up here closer.
| | 01:06 | Let's just click and drag up towards the head.
| | 01:09 | Now you may notice as you hold down
the cursor and move around, there are two
| | 01:15 | things that Mudbox is doing.
| | 01:16 | One is it's showing you a blocky line
that will separate the parts of the model
| | 01:21 | that will be affected by this
joint from the parts that won't be.
| | 01:24 | And second it's showing an arrow.
| | 01:26 | The longer you drag the arrow the
softer the transition will be between the
| | 01:29 | affected and unaffected areas.
So let's just try it.
| | 01:34 | I'll release the mouse here,
and let's see what we get.
| | 01:36 | Now that we've made a joint,
let's go into Pose mode.
| | 01:39 | I can just click and
drag on it to rotate around.
| | 01:48 | We can also middle-click
on it, and it will scale.
| | 01:53 | So you could kind of
stretch out proportions this way.
| | 01:56 | If you hold down the Shift key
it will scale proportionally.
| | 02:01 | Now let's go make a new joint.
| | 02:03 | When we've got one joint at a time
turned on, any new joint you make will
| | 02:08 | replace the currently existing joint.
| | 02:10 | So let me zoom out a little bit, and
let's make a new joint at the elbow, and
| | 02:16 | let's go back to pose.
| | 02:18 | So now the joint we made at the neck is
gone, and we could pose at the arm instead.
| | 02:25 | Be careful when using one at a time
mode, because if you have an already
| | 02:29 | existing skeleton on your character,
and you've used that mode, it's going to
| | 02:32 | erase all of your existing joints.
| | 02:34 | So you may want to play around with
creating joints and making really soft
| | 02:38 | transitions like with a really long
arrow like this, and now if we pose we get a
| | 02:44 | really soft deformation.
| | 02:46 | Now let me just undo that, and I'll create a new
joint, and I'll make it with a really sharp transition.
| | 02:55 | So just a very short arrow, and let's pose that.
| | 03:01 | So you can see you get a
much sharper transition.
| | 03:07 | So let's look at some more of
the joint creation settings.
| | 03:11 | Under Placement, there are two
options: Interior or Surface.
| | 03:15 | Most of the time, I leave it on
Interior because it places the joint in the
| | 03:19 | inside of the anatomical structure,
which is where joints are on real people.
| | 03:24 | In some special situations you might
want to place the joint on the surface.
| | 03:28 | Not really sure when I would use
that, but if you know you need to do that
| | 03:32 | you've got that option.
The last setting is Weights.
| | 03:36 | This is how Mudbox determines which parts
of the model will be affected by a joint.
| | 03:40 | By default, it's on Automatic, which
does a pretty good job most of the time.
| | 03:44 | Another setting is Topology.
| | 03:47 | I haven't really found a use for this
setting. It behaves mostly like Automatic
| | 03:51 | but just not as well.
There is another setting called Click and Paint.
| | 03:57 | So with this you could create a joint,
and then while you're holding down the
| | 04:02 | key, you just drag around, and it
creates an affected area that you can paint
| | 04:09 | right after you create the joint.
| | 04:12 | So now you could go into Pose
mode--we'll just zoom out a bit.
| | 04:15 | Go into Pose mode and
rotate that section around.
| | 04:20 | Sometimes this comes in handy, but
I don't really use it very often.
| | 04:25 | Back into Create Joint, we'll look
at the last Weights mode is None.
| | 04:32 | The None mode is usually for when
you're making several joints at once, and you
| | 04:36 | want to go in and manually
paint weights afterwards.
| | 04:39 | I'll get more into that mode later on.
| | 04:41 | For now the important thing to
understand is that joints are a great way to pose
| | 04:45 | or even just make
adjustments to the design of a model.
| | 04:48 | Generally the result you get from posing
won't be final, you'll probably have to
| | 04:52 | go in and manually sculpt some
areas that didn't get posed just right.
| | 04:56 | So for example, here on the elbow
you may see that it looks a little bit noodly.
| | 05:01 | You might want to go in and sculpt this
to help solidify that joint angle.
| | 05:06 | So even though there might be some
fixing to be done, joints are a great way to
| | 05:10 | get started with a pose.
| | Collapse this transcript |
| Creating joint skeletons| 00:00 | Now that we've seen how to create a
single joint for quick one-time adjustments,
| | 00:05 | let's now see how to make a joint
chain, or skeleton. Joint skeletons are more
| | 00:10 | permanent and allow you to
create more intricate poses.
| | 00:13 | As I mentioned before, although
Mudbox does a good job of making basic
| | 00:17 | skeletons, it's no
replacement for a real animation rig.
| | 00:21 | If you know how to rig in another
program that can export FBX files, you'll
| | 00:25 | probably be better off doing it
there and then importing it to Mudbox.
| | 00:30 | Let's opened up a basic
Human Body to start with.
| | 00:33 | I am just going to position this so I
can see it better on screen, and let's
| | 00:39 | go to the Joint tool.
| | 00:42 | This time let's make sure we've got One
joint at a time turned off, and we want
| | 00:46 | to make symmetrical joints since our
character is symmetrical, we can Placement
| | 00:50 | at Interior and Weights at Automatic.
| | 00:53 | Let's start making joints.
I like go down the limbs.
| | 00:56 | So let's zoom in here on the leg,
and let's start at the hip joint.
| | 01:00 | So I'm just can a click and drag from
the hip joint, and I want to make sure
| | 01:04 | that the border between the affected and
unaffected areas aren't crossing over each other.
| | 01:08 | That could cause problems.
| | 01:10 | So let's make sure that each leg
joints only affects each leg independently,
| | 01:17 | and now one more time at the knee, at the
ankle, and one last time at the ball of the foot.
| | 01:26 | Okay, great. Let's go ahead and zoom out here.
Now let's go in reverse, down the arms.
| | 01:32 | Want to start at the end of the arms,
and I'll work my way backwards. You can see
| | 01:39 | that Mudbox figures it out, whichever way you go.
| | 01:42 | The shoulder is a little bit tricky. You
want to make sore that it's angled from
| | 01:45 | the armpit, then up to the top of the shoulder.
| | 01:48 | Let's turn off Mirroring for the rest
of it, and let's make a joint at the neck.
| | 01:55 | So go ahead and click somewhere at the
base of the neck and then send an arrow
| | 01:59 | up to the base of the head, and then
one more time from the base of the head up
| | 02:05 | to the top of the head.
| | 02:06 | Now you notice it didn't connect
the two. Sometimes that happens.
| | 02:10 | So I'm just go ahead hit undo, and
let's try it from a different angle.
| | 02:15 | There it goes. Sometimes Mudbox is
finicky and doesn't want to do it, so you have
| | 02:18 | to undo and try a few times.
| | 02:20 | Let's go back now and create one in the
chest, and let's try one more from the
| | 02:28 | belly down to the legs.
| | 02:30 | Now what will happens sometimes--and
it's a little bit inconsistent, it's hard to
| | 02:35 | predict when it's going to happen.
| | 02:37 | Now sometimes you might create a
joint, and you will get this error.
| | 02:41 | Mudbox could not create the
specified joint. No more than four joints can
| | 02:45 | influence any one area of the model.
| | 02:47 | Sometimes you might have to do
trial and error, delete joints, and re-create
| | 02:52 | them, maybe restart the whole scene over again.
| | 02:54 | Anything you need to do
to get the joint created.
| | 02:57 | It can really finicky and
unpredictable when this error is going to occur.
| | 03:01 | But we have enough joints right
now, so we can continue with this.
| | 03:05 | Let's zoom out and see were we have.
As you can see, for quick and dirty
| | 03:09 | skeletons made for posing,
Mudbox does a pretty good job.
| | 03:12 | It may take some trial and error to get
it to work in some situations, but once
| | 03:16 | you have a skeleton in place, it's
fairly easy to pose and manipulate.
| | 03:20 | We will get into that more in later movies.
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| Painting weights| 00:00 | The automatic weighting that's created when
you make new joints is usually pretty good,
| | 00:05 | but there will be times when you want more
control over how a joint affects the model.
| | 00:09 | Sometimes that joint will accidentally
affect too much or too little of the mesh.
| | 00:14 | The Weights tool will help you control
these things by allowing you to paint and
| | 00:18 | smooth a joint's area of influence.
| | 00:20 | So we've got our exercise file here.
This is a more detailed model and a more
| | 00:25 | detailed skeleton that I made in Maya.
You can see we even got fingers in here.
| | 00:32 | The joint weighting on this is pretty good,
but there are a few things I want to fix.
| | 00:36 | For one, Mudbox doesn't have a way to
directly attach different objects to a
| | 00:40 | single skeleton like you could in
other programs by simply linking or
| | 00:43 | parenting, because of that you can see
that the teeth and the eyes don't follow
| | 00:47 | the head joint. Let me just zoom in
here and grab the Post tool, and I'll
| | 00:52 | rotate the head joint, and you notice
the eyes and teeth are not moving along,
| | 00:56 | so we're going to fix that.
Let's hit Ctrl+Z to Undo that.
| | 00:59 | Also the weighting in a
few places could be refined.
| | 01:02 | So for example, in the armpit when I
move the arm down you can see that it's
| | 01:07 | collapsing a little bit here in the
armpit, I would like to clean that up.
| | 01:11 | We can use Weights tool to fix both of
these issues. First, let's do the arm.
| | 01:16 | Before I start going and moving joints
around, I want to save my neutral pose so
| | 01:20 | I can always go back to it.
| | 01:21 | So let me Undo the movement of that
joint that I did, and I want to go up to
| | 01:26 | window and down to Poses, and I want to save
a new pose, so I want to call this neutral.
| | 01:38 | So now we could pose things and do all
kinds of weird adjustments, and then go
| | 01:42 | to the neutral pose, click that, and
it'll go right back to where we saved.
| | 01:47 | So now let's move the arm down and
zoom in to the armpit and fix this area.
| | 01:52 | Let me go into the Weights tool, and I'm
just going to change the size of the brush here.
| | 02:01 | So with this we can just paint on any
of these areas hence automatically going
| | 02:05 | to change the weighting.
You can also hold Ctrl to remove weighting.
| | 02:15 | Now if I go to Pose you can see that
the mesh is going to snap into place
| | 02:20 | according to where I painted the weights.
| | 02:25 | So you see I accidentally unpainted too
much here, so let me go back and paint this in.
| | 02:32 | And switch to the Pose tool.
| | 02:34 | Now you can see that that
snapped back into place.
| | 02:38 | So, all I did was remove some weighting
from this area and added some weighting
| | 02:42 | here, and it's looking a lot better.
Now let's get the teeth and eyes weighted.
| | 02:45 | I'm going to zoom out, go up to the
head, and let's hide the body for now.
| | 02:52 | We go into the Object List and find
the body objects, and I just hide that.
| | 02:58 | Let's go into the Weights tool and
select the head joint, so we can see it kind
| | 03:03 | of highlights when we move over it.
| | 03:04 | Got the head joint selected now, and
let's use the Marquee tool, and we'll just
| | 03:09 | drag over both the eyeballs.
| | 03:11 | So now the eyeballs are
weighted 100% of the head joint.
| | 03:14 | You can also do the same thing with the
upper teeth, I'm actually going to hide
| | 03:20 | the lower teeth and also hide the
lower gums really quick so I don't
| | 03:26 | accidentally select those.
| | 03:28 | Let's add those to the head joint, and
now let's bring the lower teeth back and
| | 03:32 | hide the upper teeth, and I'm going to
change to the jaw joint, so it's very
| | 03:38 | last joint up here, let me select that.
| | 03:41 | So I want to select this joint up here.
I can't actually do it with the Weights tool.
| | 03:46 | I need to go back to the Pose tool
and then select that joint, and then
| | 03:51 | go back to Weights, and now I can
draw a marquee over the bottom teeth.
| | 03:55 | Okay, so now the bottom teeth should
be weighted to the jaw joint, and the
| | 04:01 | eyes on the upper teeth should be weighted
to the head joint. Let's make sure it's works.
| | 04:06 | I'll go back into Pose mode, and
let's also bring back the body, and let's
| | 04:12 | click and drag on this.
| | 04:14 | Okay great, so you can see as we move
the jaw joint, the jaw on the body moves
| | 04:18 | as well as the teeth, and let's
move the head joint here. That's great.
| | 04:23 | Everything goes along.
| | 04:24 | Let's go back up to Windows > Poses,
and let's put the pose back in neutral.
| | 04:32 | Okay, great let zoom out now.
| | 04:35 | Painting weights is a great way to control
how polygon objects are affected by joints.
| | 04:40 | Whether you're solidly attaching small
objects to a larger skeleton or making
| | 04:45 | skin bend more smoothly, the Weights
tool can help you get all that done.
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| Posing a character| 00:00 | Now that we have a skeleton made, it's
time to put that joint chain to use and
| | 00:04 | actually pose the character.
| | 00:06 | Like the process of creating a joint
chain, posing in Mudbox is a simplified
| | 00:11 | version of what you might find
in programs like 3ds Max or Maya.
| | 00:15 | Because it's fairly simple, it doesn't
allow you the precise control that you
| | 00:19 | can have in other programs
that are focused on animation.
| | 00:22 | Let's see how it works.
| | 00:23 | Now have already done a little bit of posing
as we worked on the weights in the last movie.
| | 00:28 | Now let's really understand how
joints can be moved and rotated.
| | 00:31 | Make sure you've got the Pose tools
tab open and the Pose tool activated.
| | 00:36 | Go ahead and a click and drag on a joint.
Doing so will simply rotate the joint around.
| | 00:44 | Now click and drag on any segment
between joints. Dragging on the segment will
| | 00:48 | rotate it around relative to the
screen, kind of like hands on a clock.
| | 00:53 | If you want to rotate along a different plane,
you have to view the model from a different angle.
| | 00:58 | So let's see if I view the model from the top.
| | 01:00 | Now I can rotate the arm forwards and
backwards, which you couldn't do from the front view.
| | 01:06 | Now I'm just go ahead Ctrl+Z
a few times to undo that.
| | 01:09 | Here is something interesting you
could do, hold down Ctrl while you click
| | 01:13 | and drag on a joint.
| | 01:16 | This keeps that joint and
everything below it in one place and moves
| | 01:20 | everything else around.
| | 01:22 | This could be useful if you want to
pose the character gripping on the
| | 01:25 | something, and you like the position
where the hand is but then you decide you
| | 01:29 | want to move the rest of the body.
| | 01:31 | Now click and drag with the middle
button. This will scale the joint.
| | 01:37 | So it scales in all kinds of different directions.
| | 01:39 | If you hold down Shift while you're
scaling, it'll scale proportionally.
| | 01:42 | So let's give the guy really big hands.
There we go.
| | 01:47 | Now let's say you externally place to
joints in the wrong place, we can fix that
| | 01:52 | with the Move Pivot tool.
| | 01:54 | So let's say the elbow isn't quite in
the right place. We could move it down over
| | 01:57 | here or actually to really see a
drastic difference we could move the joint
| | 02:01 | somewhere where it really shouldn't be.
| | 02:03 | Then go back to the Pose tool, and now you
see that it's rotating from a different position.
| | 02:08 | Of course, if you move a joint like
this, you are probably going to want to
| | 02:12 | paint the weights differently so that
border of the weighted region is closer
| | 02:16 | to the joint location.
| | 02:19 | Posing has many uses. It can be used to
test out how a character will deform for
| | 02:24 | an animation in a different program.
| | 02:26 | You can also use its pose is still
character for particular renderer or 3D print.
| | 02:31 | Although you can do allow with joints,
there is usually some cleanup work that
| | 02:35 | needs to be done to make
post anatomy look natural.
| | 02:38 | But at least it's a solid
start in the right direction.
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|
|
7. Presenting WorkLighting the scene| 00:00 | Although the default lighting in
Mudbox is good for sculpting and texturing,
| | 00:04 | there maybe times when you
want to customize the lighting.
| | 00:07 | Perhaps you know that a model will be
used in a particular scene, and you want
| | 00:11 | to make sure that it
looks good in that situation.
| | 00:14 | Another scenario is simply
presenting a model within Mudbox.
| | 00:17 | The lighting tools in Mudbox are quite
rudimentary compared to what you'll find
| | 00:21 | in Maya or Softimage, but they
can give you a basic place to start.
| | 00:25 | Let's see what they can do.
So we've got our bull scene set up here.
| | 00:29 | Let's go to the Object list and find the light.
We've got Light 01 - Directional.
| | 00:37 | Let's look at its properties down here.
Here we can set its color.
| | 00:40 | This is pretty straightforward.
| | 00:42 | It's basically the color of
the light, no mysteries here.
| | 00:44 | Go ahead and click Done. Next is Intensity.
You can set this to whatever you want.
| | 00:50 | It's also pretty straightforward.
| | 00:52 | You may not be aware you could also type
in a higher number here. So let's try 2.
| | 00:57 | That looks pretty good.
| | 00:59 | You could even type in a
negative number. Let's try -2.
| | 01:02 | That will actually suck light out of the scene.
Let's go ahead and make that +2 again.
| | 01:08 | Now the Scale setting doesn't seem to
do anything until you turn on Show Light.
| | 01:15 | So here's a light and Scale is
really just the Scale of that icon that
| | 01:19 | represents the Light.
| | 01:20 | It doesn't actually change how
the light affects the model at all.
| | 01:24 | The Locked To Camera setting is
something that I usually leave on.
| | 01:27 | It means that the light will always
shine on the scene from the same position
| | 01:31 | relative to the camera.
Let me turn off Show Light for a second here.
| | 01:34 | If I look around the model you can see
that the light is always striking the
| | 01:39 | model from the same
position relative to the camera.
| | 01:42 | You might not exactly see what I'm
looking at, but if I change Lock To Camera
| | 01:46 | you may see more clearly
what I am talking about.
| | 01:49 | So now if I move to a different part of
the model, you can see that it's backlit.
| | 01:53 | The light that used to be shining
fairly straight on and illuminating the
| | 01:58 | bull is now seen from behind the model and the
model looks kind of dark from the other side.
| | 02:03 | Now if turn Lock to Camera back on
and go back around to the bottom of the
| | 02:08 | model, you can see now that I am getting a
consistent lighting no matter where I move the model.
| | 02:14 | So I usually like to leave this on.
Now let's turn on Show Grips.
| | 02:19 | This simply lets you rotate the light.
| | 02:21 | So you could grab on any of these axes
and rotate the position of the light.
| | 02:25 | If you turn on Show Light, it can
make a little bit easier to visualize.
| | 02:29 | You could actually grab anywhere
and just rotate it from an angle.
| | 02:35 | Even if you don't have grips or the
light turned on, you can still rotate the
| | 02:40 | light around by holding down
L and clicking and dragging.
| | 02:45 | So this way you can just
position the light visually.
| | 02:47 | Just whatever looks good
to you can leave it there.
| | 02:50 | The light can also cast shadows, so let's
make a ground plan for shadows to land on.
| | 02:54 | Go up to Create > Mesh > Plane.
| | 02:58 | Let's rotate the camera
so we can see this better.
| | 03:02 | Let's hit W to go into Move mode.
Let me just zoom out a bit here.
| | 03:08 | We've got the bull selected, let's
make sure we've got the plane selected.
| | 03:11 | Let's bring it down a little bit, hit R to go
into Scale mode, go ahead and make that bigger.
| | 03:21 | And finally, let's make sure
that it's got its own material.
| | 03:24 | So right-click on plane, go to Assign
New Material > Mudbox Material, and let's
| | 03:30 | just give it a nice dark dirt color,
and let's turn Specular to black, because
| | 03:35 | we don't need any shine on dirt.
Dirt is a matte material. Okay, great.
| | 03:39 | Now I am just going to hit Ctrl+Shift+A to deselect
that, and I want to get rid of that manipulator.
| | 03:47 | So I am jut going to go into some other tool
so that the Scale tool becomes deactivated.
| | 03:53 | Let's go back to the light now, and
let's open up the Shadows tab, scroll down,
| | 03:57 | and let's turn on shadows.
| | 03:59 | There is the Depth Map Bias. This
setting determines how far away as shadow
| | 04:05 | casting object can be from a shadow
receiving objects and still have a shadow be cast.
| | 04:11 | I usually don't change this unless
I am getting weird shadow artifacts.
| | 04:14 | Then I will just adjust it
so the scene looks right.
| | 04:17 | For Depth Map Resolution you basically
want to set this as low as you can and
| | 04:22 | still have the scene look good.
So let's zoom in a little bit here.
| | 04:25 | If I zoom in close enough you can see that
the shadow is kind of pixelated and blocky.
| | 04:31 | So let's change some of these settings.
| | 04:33 | You can set it lower, and it gets even
more blocky, or you could go higher,
| | 04:38 | and it'll get sharper.
Let's try zooming out now.
| | 04:42 | It looks like the textures
are reloading on the bull.
| | 04:45 | So that's why it's burn blue temporarily.
So our interactivity is pretty good still.
| | 04:52 | It's not slowing down even though
we have really high-quality shadows.
| | 04:55 | If you're noticing a slowdown
you might want to set this lower.
| | 04:59 | You'll find that lights in Mudbox
aren't made for lighting whole scenes so much
| | 05:03 | as they're made for lighting individual objects.
| | 05:06 | For the most part, I just use the default
light because it does a pretty good job
| | 05:10 | of just letting you model
without being distracting.
| | 05:13 | However, if you want to do something a
little more fancy, you have that option.
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| Using point and image-based lights| 00:00 | Beyond the basic directional light,
there's also two other kinds of lights,
| | 00:05 | Point and Image Based.
| | 00:06 | These can be used to create a
variety of lighting effects.
| | 00:09 | Let's see what they can do.
First, let's create a point light.
| | 00:13 | Go up to Create > Lights > Point.
| | 00:16 | Now let's go find it in our
Object list so we can control it.
| | 00:21 | Light02 - Point, let's select that.
| | 00:24 | Point lights have some properties in common with
directional lights as well as some differences.
| | 00:29 | You can set color and intensity just
the same, but point lights also come with
| | 00:33 | decay as well as the ability
to position them in 3D space.
| | 00:37 | So let's turn on grips and see what that means.
| | 00:40 | Let's just rotate around the scene a
little bit just to see where our light is.
| | 00:44 | Okay, it's kind of inside the bull. Let's
move this out by dragging on these arrows here.
| | 00:50 | Now the light is pretty dim as it is right now.
| | 00:53 | So I am just going to go
and set the Intensity to 20.
| | 00:56 | One good use for point lights is to draw
attention to a particular part of the model.
| | 01:01 | I feel like the head is a focal
point of interest for the bull.
| | 01:04 | So I am going to make it
brighter than the back end.
| | 01:07 | Let's position the light so that the
front end is brighter, and actually I kind
| | 01:19 | of wanted the intensity to be the brighter.
| | 01:21 | Let's see what 60 does.
Okay, not too bad.
| | 01:27 | The light falls off over a distance so the parts
that are closer to the light are brighter.
| | 01:31 | The head is closer to the light, so
it's brighter than the back end of the bull.
| | 01:36 | Now let's take a look at
Image Based lighting, or IBLs.
| | 01:39 | IBLs are simply photographs
that Mudbox uses as light sources.
| | 01:44 | Usually, these are photos that are made from
360-degree panoramas of particular environments.
| | 01:50 | Mudbox comes with a few of these built-in.
| | 01:52 | Let's go to Create > Lights > Image Based.
So it's already applied in image.
| | 01:59 | Let's see exactly what it's doing.
| | 02:01 | Go ahead and select the light
so we can see its properties.
| | 02:05 | So we can set the intensity.
| | 02:06 | I think it's a little
bright right now as it is.
| | 02:09 | So let's bring it all the way down and
then just bring it up just enough so it
| | 02:13 | has just little rim light, a
little bit of accent to the image.
| | 02:17 | If we show grips we can
rotate this light around.
| | 02:20 | So you might want to position it in a
different place to get a different effect.
| | 02:25 | Let's turn off Grips, and
let's load in a different file.
| | 02:29 | Right now it's loading in this one right here.
It's called mudbox3PointDefault.
| | 02:35 | So let's click on this button
here and load in a different image.
| | 02:38 | This is kind of the built-in Mudbox
directory where it stores the built-in images.
| | 02:43 | So let's scroll down to textures and
go to Lightprobes, and there's just a
| | 02:50 | variety of images in here.
| | 02:52 | You can experiment with different ones to see
what kind of effect you get, but I like kitchen.
| | 02:56 | So let's go ahead and open that.
| | 02:58 | From here on out it's a matter of
tweaking the various intensities and positions
| | 03:01 | of the lights to achieve the
look that you're going for.
| | 03:04 | Like I mentioned before, I rarely
mess with lights when I am sculpting.
| | 03:07 | These features are for setting up
models for presentation for the most part.
| | 03:11 | If you want to do some serious lighting,
you will have to go into a more robust
| | 03:15 | 3D package like 3ds Max or Maya.
| | 03:17 | However, for lighting single objects,
Mudbox is pretty fast and easy by comparison.
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| Setting up viewport effects| 00:00 | When it comes time to presenting your
final work in Mudbox, there are few special
| | 00:05 | things you can do to make it look its best.
| | 00:07 | Although the default lights and
materials in Mudbox are good for sculpting
| | 00:10 | and painting, they might not have enough wow
factors for showing off the work to other people.
| | 00:16 | Viewport filters are some special
effects that can really make your work pop.
| | 00:20 | Let's see how they work.
| | 00:21 | So we have got our bull here in the scene, and we
are almost ready to make some presentation renders.
| | 00:26 | Before we do that, let's go
to Viewport Filters panel.
| | 00:30 | These filters can enhance
the appearance of your work.
| | 00:32 | Let's start with the Tonemapper, and
let's click on the name in order to
| | 00:37 | adjust its properties.
| | 00:38 | The Tonemapper can create an overall
lightening or darkening affect, kind of like
| | 00:43 | controlling exposure on a camera.
| | 00:45 | Feel free to adjust the Gamma and the
Luminance Max until you find a result
| | 00:51 | that's appealing to you.
| | 00:52 | There is really no rule as to where
you set this, it's just basically to help
| | 00:58 | the image look more appealing visually.
| | 01:00 | Underneath the Glare tab, you
can increase the amount of Glare.
| | 01:03 | This kind of looks cool, but it also
can make it look like a cheesy soap-opera
| | 01:09 | so I usually leave this off.
Okay, next let's look at Depth of Field.
| | 01:15 | I am just going to return the
Tonemapper off and turn on Depth of Field.
| | 01:19 | Let's go ahead and click on
this so we can see the options.
| | 01:22 | This creates the effect of a physical
camera where some parts of the image are
| | 01:26 | in focus and other parts closer
or further away are out of focus.
| | 01:30 | First I like to make sure that my
camera is positioned where I want it to be.
| | 01:34 | So I want to see the head of the
bull a little bit closer to the camera.
| | 01:38 | Then I set the Focus Distance so that
the area I want to be in focus is in focus.
| | 01:43 | It goes up to 1,200, and I need it
to be a little bit higher, so I am just
| | 01:49 | going to type in a higher number here.
| | 01:51 | Let's just type in 2000, and
we will just scale this back.
| | 01:55 | Okay, so we have got the head in focus now.
| | 02:00 | Next you can set the Depth of Field
which determines the range of focus.
| | 02:05 | So the higher the number, the
more depths will be in focus.
| | 02:09 | If you set it to really low number, it's
just going to be a very narrow range of
| | 02:13 | depth from the camera that will be in focus.
So I usually like to set this a bit higher.
| | 02:19 | Finally, the Blur Amount is just that.
| | 02:21 | The higher the number, the more
pronounced the blurring effect.
| | 02:25 | Sometimes you can get some weird artifacts.
You see it's kind of separating and breaking apart here.
| | 02:29 | So usually cranking it too high doesn't
work so well, so I usually just set it
| | 02:34 | 'til it could be a nice
visually-pleasing effect.
| | 02:36 | Okay, let's go ahead and turn that off,
and let's look at Cavity Ambient Occlusion.
| | 02:40 | So look at the properties
here by clicking on the name.
| | 02:44 | So let's turn this on and off a few
times so we can see what it's doing.
| | 02:48 | It's a relatively subtle effect. It's just
darkening anything that's inside of a crevice.
| | 02:54 | You can control the Strength, or
you can control the Sample Radius.
| | 02:59 | There is really no set numbers you
should use, it's just basically playing with
| | 03:03 | them until you get a result
that's visually appealing.
| | 03:08 | I tend not to use this one because
it can create some blocky artifacts.
| | 03:12 | So if you notice right here when I turn
it on, you will see some weird blockiness.
| | 03:18 | So I usually tend not to use this one.
Next, let's turn on Ambient Occlusion.
| | 03:22 | This is also going to create a
darkening effect. It's a quick and dirty
| | 03:27 | version of the ambient occlusion that
we created earlier. Let's check out the
| | 03:30 | properties for this one.
| | 03:32 | Again, the best way to learn this
one is just play with the settings.
| | 03:35 | You will need to do that anyway because
every model is different and every model
| | 03:39 | is going to require a different
setting here to make it look good.
| | 03:43 | One tip that can help you set
it up is to turn on Only AO.
| | 03:46 | This shows you only what the effect of
this viewport filter is doing without
| | 03:52 | seeing any of lights or any of the
texturing or shading or anything.
| | 03:56 | However, I usually find that I get a
better result by turning this off and
| | 04:00 | turning on Screen Distance.
| | 04:02 | We will talk about screen distance later,
but when I turn this on, I actually get
| | 04:06 | a better preview of what Ambient
Occlusion is going to look like.
| | 04:10 | So you can set the Blur radius, get a
little bit more blurry effect, or you can
| | 04:15 | get shaper Ambient Occlusions
depending on where you set this.
| | 04:19 | So I usually just play with this until I
get a result that's visually appealing.
| | 04:25 | Let's turn off Ambient Occlusion for
now and just look at Screen Distance.
| | 04:28 | I want to go ahead and click on this.
This effect is known as Z Depth in other programs.
| | 04:34 | It simply shades the model based on
how close or how far parts of the model
| | 04:38 | are from the camera.
| | 04:39 | This is useful for rendering as a
separate image and then using it to composite
| | 04:43 | with a regular render later in Photoshop.
| | 04:46 | You want to make sure you have the
Grid turned off, so I want to hit G really
| | 04:50 | quick and turn on the grid.
| | 04:52 | Whenever the Grid is on, it
messes with the calculations.
| | 04:54 | So just make sure the Grid is off
if you are using Screen Distance.
| | 04:58 | Okay, let's turn Screen
Distance Off and turn on Normal Map.
| | 05:00 | This is another filter that is meant for
using compositing in some external program.
| | 05:05 | If you are not sure what to do
with this, you probably won't need it.
| | 05:09 | Lastly, there is non-photorealistic, and we
will click on this so we can see the settings.
| | 05:14 | This Filter is supposed to
stimulate a hand drawn look.
| | 05:17 | I don't think it's very convincing,
and I never use it, but feel free to play
| | 05:21 | around with it, though.
One last tip on Viewport Filters in general.
| | 05:25 | When you save your scene and load it
up later, the filters will all be reset.
| | 05:29 | Mudbox doesn't save the filters with the scene.
| | 05:32 | So if you close a scene, you will have
to reset up all the filters the way you
| | 05:36 | want them next time you open the scene.
| | 05:38 | For this reason, I only use
Filters at the very end for rendering.
| | 05:41 | Also, the Filters tend to be a little
distracting, so I don't like to actually do
| | 05:45 | any sculpting or texturing
with the Filters turned on.
| | 05:48 | So Viewport Filters are kind of fun to
play around with, but for the most part
| | 05:51 | they can be kind of gimmicky.
| | 05:53 | I wouldn't recommend using them except
for final rendering, and even then you may
| | 05:58 | be better off creating these effects
in some other program if you know how to
| | 06:01 | use Photoshop or After Effects, for example.
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| Rendering still images and movies| 00:00 | Now that we have all the lights and
effects set up the way we like, it's time to
| | 00:04 | create a final render so that you
can show your work to other people.
| | 00:08 | You can render a still image,
a movie, or a turntable video.
| | 00:11 | Let's see how to do it.
| | 00:13 | As I noted in the last movie, Viewport
filters don't save with the scene files.
| | 00:17 | So if you're loading up the exercise
file for this or loading your own scene
| | 00:21 | since the last video, you'll need to set
up these filters again the way you like
| | 00:24 | them before continuing.
| | 00:25 | So I'm just going to turn on Depth of
Field really quick here, and I'll turn on
| | 00:34 | Ambient Occlusion, and that
will be good, just those two.
| | 00:38 | Let's render a single image.
| | 00:40 | Make sure your camera is positioned
where you want the image to be rendered from.
| | 00:43 | Now let's go up to Render and Save Screen Image.
| | 00:47 | So the settings here are
fairly self-explanatory.
| | 00:49 | You get a little preview of what
the image is going to look like.
| | 00:52 | You can set the image size
and pixel Width and Height.
| | 00:56 | You can make sure that the proportions
are constrained if you want to change the
| | 01:00 | width, then it will automatically change
the Height in proportion, or you could
| | 01:04 | use some Preset Sizes, like 2 times
the Screen Size or 4 times the Screen
| | 01:09 | Size if you want a really large image,
then it automatically sets the Pixel
| | 01:12 | Width and Height for you.
| | 01:13 | But we're just going to Use Screen Size
here so we don't get a huge image, and
| | 01:18 | we'll click Save, and you can
basically save it wherever you want.
| | 01:21 | I'll put it on the Desktop.
| | 01:25 | Call it bullrender and Save,
and instantly it's saved out.
| | 01:30 | Now you could load up the render in any
other program and do whatever you want with it.
| | 01:34 | Now let's look at the Record Movie function.
| | 01:38 | This will record a movie of
anything that you do in Mudbox.
| | 01:40 | So let's go up to Render and Record Movie.
Again, you can set your Image Size.
| | 01:47 | You can set a Frame Rate to Record
at and a Frame Rate to Playback at.
| | 01:52 | Here is one setting that I like to keep on,
Automatically pause recording when idle.
| | 01:57 | So let's say, for example, I stop and
take a break while I go answer the phone
| | 02:01 | or something, this will keep the movie from recording
while it's just sitting there doing nothing.
| | 02:05 | Also, you can record just the 3D
view or the entire Mudbox window.
| | 02:10 | Let's go ahead and keep the Mudbox
window on, and let's start recording.
| | 02:16 | So we're just going to get a little
countdown here, and now anything that I
| | 02:20 | do, any movements of the cameras or any
items that I click on in the interface
| | 02:25 | will all get recorded. And then down
here you can either Pause recording--which it
| | 02:29 | is going to do anyway if I just keep the mouse
from moving--and then we click Stop to end it.
| | 02:37 | You can save it as a QuickTime, as a
Flash file, or as a Small Web Format,
| | 02:43 | Shockwave Flash, or as a File Sequence, but I'm
going to choose .mov here, and let's Save it.
| | 02:50 | I'll put this on the Desktop.
We'll call it bullmovie.
| | 02:58 | Let's take a look at it on the Desktop.
Let's go and hit Play.
| | 03:04 | So it's playing back a little
bit faster, but there you go.
| | 03:09 | So you could send that to somebody. You
could demonstrate what you're working on.
| | 03:12 | So you could record a movie and maybe
teach someone how to use Mudbox yourself,
| | 03:17 | so that's very useful.
So finally, let's create a turntable.
| | 03:21 | Let's go up to Render
and Create Turntable Movie.
| | 03:24 | Again, you can set the Image Size, the
Number of Frames, so turntable is going
| | 03:28 | to go around 360 degrees.
| | 03:31 | The default of 60 frames will spin
the model in 6-degree increments.
| | 03:36 | So feel free to use more or less depending
on how smooth you want the turntable to be.
| | 03:40 | Here is one setting, Antialias. This
will smooth out any of the pixelated edges
| | 03:45 | However, I've noticed that if I turn
this on I get weird artifacts in my render.
| | 03:50 | So I usually turn this off.
| | 03:52 | Feel free to experiment with it, maybe
it's a problem with my video card, but I
| | 03:55 | found it to be buggy.
And again, you can set the Format that you want.
| | 03:59 | I'll leave it on QuickTime, and let's create it.
| | 04:01 | I'll just save it to the Desktop here, click
bullturntable, and it's thinking about it.
| | 04:11 | Depending on your computer resources
and how many frames you set and the Frame
| | 04:16 | Size or whether or not you turned on
Antialiasing, this could take anywhere
| | 04:20 | from a few seconds to up to an hour or more.
Usually it's a few minutes in most situations.
| | 04:27 | So let's hit Play and see what happened.
Okay, pretty good.
| | 04:33 | There is something weird that happened
at the very last frame, but other than
| | 04:37 | that, it seemed to turn out okay.
| | 04:44 | See what happens if we turn on Loop,
then it might not freeze on that one frame,
| | 04:48 | and it might not be so noticeable.
All right, that's not too bad.
| | 04:55 | Think it might have just been an artifact of
the QuickTime player, but anyway, back to Mudbox.
| | 05:01 | So rendering images and movies is the best
way to show your work in Mudbox other people.
| | 05:06 | You can use it not only to show our
finished work, but also to document your
| | 05:10 | process or demonstrate how to do
certain things to other people.
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ConclusionNext steps| 00:00 | Well, we've reached the end of this
course, but there's still many things
| | 00:04 | you can do from here. Mudbox is meant to
work hand in hand with other Autodesk packages.
| | 00:10 | So please check out other courses in
the lynda.com library. For example, you
| | 00:14 | could check out modeling a Character in 3ds Max.
| | 00:17 | It's a course that I made that shows
you how to create a character in 3ds Max
| | 00:21 | that you could then export to
Mudbox for sculpting and texturing.
| | 00:24 | When you are done in Mudbox, you could check
out Character Rigging in Maya with George Maestri.
| | 00:30 | Here you can learn how to set up a
character for animation with joints and rigging.
| | 00:35 | There's also some really cool web sites
I like to go to all the time that
| | 00:39 | really help with my work in Mudbox. For
example, there's finearts.sk. This is a
| | 00:44 | great web site for
Anatomy Reference for artists.
| | 00:47 | Here you can find books for free that
teach you how to draw and sculpt
| | 00:51 | anatomy, and there's also lots of
free reference images that you can use.
| | 00:55 | Another great web site is area.autodesk.com.
Here you'll find Forums just for
| | 01:01 | Mudbox, where people are discussing any
problems they have been sharing tips and
| | 01:05 | tricks and also showing
finished artwork that they've done.
| | 01:10 | Another web site is lunchcrunch.org.
| | 01:13 | Here artists just get together and share
sculpt took been done in about an hour.
| | 01:18 | It's really great for inspiration and learning
some good tips and tricks from fellow artists.
| | 01:24 | Finally, there is cgsociety.org.
| | 01:29 | It's such a great web site where
people get together and discuss new features
| | 01:32 | and software, compare portfolios, talk
about jobs, and challenge each other to
| | 01:37 | become better with the software.
| | 01:40 | So thanks for joining me on this exploration
of Mudbox, and I hope to see you again soon.
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