Join Ryan Kittleson for an in-depth discussion in this video Prepping UV shells for UV Master, part of Digital Creature Creation in ZBrush Photoshop and Maya.
Before we take the Cut Seams into ZBrush, there's a few things that need to be…done in order to make sure that it transfers properly.…Now let me show you what it looks like unfolded.…I am just going to click on the Dewhopper here and zoom out here in our Texture view.…You see that when we unfolded, the UVs it's taken where all the seams were…defined and used that information to flatten and separate the mesh into various shells.…The way Maya flatten the shells isn't very efficient or appealing.…So we are going to use ZBrush's UV Master.…However, there is just one step to do before that.…
You see when ZBrush brings in a mesh from another program, it looks at the UV…layout and it sews up any UVs that are close to each other.…This is very unfortunate, because as it is now, some of these shells are very…small and that makes the space between their UV seams within the tolerance that…ZBrush uses to sew them.…The result is that all of our hard work will get lost if we take this into ZBrush now.…The solution is to scale up all of the shells so that their UV's aren't so tightly packed.…
- Brainstorming and refining a character concept
- Installing custom brushes
- Optimizing tablet settings
- Posing the ZSpheres in ZBrush
- Sculpting muscles and midsize shapes
- Working with DynaMesh
- Using GoZ between ZBrush and Maya
- Creating topology for animation
- Sculpting fine detail
- Cleaning up a mesh in Maya
- Creating the UV layout
- Lighting and shading
- Painting texture maps
- Posing with Transpose tools in ZBrush
- Batch rendering a turntable animation
Skill Level Intermediate
Photoshop CS5 Essential Trainingwith Michael Ninness11h 15m Beginner
1. Preparing Your Workspace
2. Designing the Creature
3. Basic Sculpting in ZBrush
4. Basic Modeling in Maya
5. Creating Topology for Animation
6. Creating the UV Layout
7. Creating a Pedestal Environment
8. Lighting and Shading
10. Posing the Model
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