Fibermesh and Finishing in ZBRUSH!

hey I'm Jay in this video we're gonna be talking about finishing a sculpt in ZBrush and making a final image and fibermesh for hair we're gonna be going from this to this let's get started alright uh first off I just want to thank everybody who was there for the first video that dropped last week um you know if you couldn't tell I was not sure how that was gonna go and you guys are awesome the video got like 10,000 views in a weekend there was all these comments that were all nice and supportive I don't know man it's just really cool thank you all I hope I don't let you down and let's start talking about making hair ok so we're gonna jump right in right now and and we're gonna start with the eyebrow and the eyelash and then we're gonna you know do the whole hair thing I'm gonna speed it up towards the end because it is like the same techniques over and over again but right off the top I just want to go over the few fundamental things to know so you can kind of follow along and what I'm doing if you want to do this yourself but essentially if we jump over here into ZBrush I'm pretty much doing the majority of the work okay with the move brush right here and polygroups which is over here if you don't know poly groups are a color-coded group of polygons that like a selection group but you can look that up you don't know that is and right here by clicking polyframe i can see the color-coded polygroups i can also turn off the line and just see the fill color blah blah blah but in hair we're gonna use polygroups to make groups you know in the hair and those groups get smaller and smaller so we need to find details but I use polygroups a lot and I'm pretty much doing all of the styling almost all the styling with the move brush you can see I even put all my little parameters that I need for doing hair stuff on the move brush right here but I can show you where these things are in the move brush if I go to fiber mesh you can see there's preserve length and the other one to know is front collision tolerance okay this isn't highlighted right now because we don't have hair but if you did it tries to figure out like if something's in front of something else and in general it's just good to have this parameter so you can turn it off preserve length is pretty much what it sounds like if you have reserved length at zero you can grab with the move brush you can grab the hair and just stretch it out but if you put preserve length at 100 then you move it around to move brush and the hair never changes length and then obviously you can pick any number in between so that's pretty much it the move brush and polygroups you'll see this over and over again we'll start out with the eyebrows in the high lashes so you'll probably get a sense of how it works right there and then we'll go through the whole hairstyle let's jump in let's start fiber mesh for the eyebrows and the eyelashes because then you know it'll look more like a person when using the mask we get to really see what the eyebrow is gonna look like okay Susan fire emergency will we get fiber mesh I actually saved some actually saved a little preset here we're gonna start with at least this is probably too much so why don't we turn down is that max fibers yeah when we do okay now how's this too much might be too much again what if we did one this might be good how about 1.5 let me call it okay the length okay let's call that now for the MU brush we're gonna preserve the length front collision tolerance zero these two settings are in the brush settings again maybe a separate video but this is just so that I can I can groom the hair with my move brush so right now that means the smell goes right here alright I'm gonna speed this little part up right here where I get the hairs into position but just taking the time to place it and paying attention to the direction of the hairs preserve link I'm gonna drop a little bit so that can make some longer hairs right here cuz they're length back up okay so we got with this doing my shift are for my BPR render and not perfect but might be fine alright spending a little bit more time grooming now also incorporating that pinch brush trying to get just kind of the swoops in the hair and they're just the general flow okay pretty soon gonna have to move on can't spend too much time here just want to make sure that eyebrows looking good enough you know okay I think that's pretty good back to here link so can we do some eyelashes the same way probably back to the mask kind of varying my pressure here when you bury the pressure it varies the size and the density so I'm actually intentionally having the lower lid have less we'll just see what we get here we'll do the same preset that I have facial hair based the link yeah and this might work actually looks like we got a pretty good amount I worked out how about for the amount we'd use a little bit more I'll do one point one all right except that okay so what we're gonna do first with these is I'm going to make a poly group for all of the top lashes so if you use the mask pen then anytime you touch a fiber mesh it selects the whole mesh so now we've got upper eyelashes and lower eyelashes right oh man I didn't turn symmetry on so I'm gonna do that again okay cemeteries on mask pen if I just touch these fibers they'll become masks that's how I can select all these i'll group masked boom so now I can select the top lashes and then I can start to put these into position here there's her length I'm gonna take down now and I'm going to start to pull these out all right so now with the mask pin I'm gonna come in here and I'm gonna make this here let's just make this a button right here group masked I'm gonna make a G hotkey so let's take off wine so here we go now we can really see it though there's a clump there's a clump there's a clump so I'm making these poly groups so I can clump them make the you know the eyelashes how we would expect kind of come into a tip all right now I can switch to my pinch brush and I can mask by polygroup 100% so now if I go to this poly group that way it's only pinching the polygroup I'm selecting all right now so arranging all these clumps and individual hairs is kind of the the most important part of any kind of groom and it's it's where most of the manual labor comes in so just by mixing and repeating the creating of clumps and then grouping those with pinch brush or move brush and moving those is what's gonna make it look more natural and is gonna be the tool to kind of sculpt you know the believability of these kinds of hair follicles again always important to have reference and you know just have fun I mean I think it's kind of good I mean it's I don't know it's obviously really detail-oriented but in the final stages getting in there and moving like one hair follicle at a time can be really rewarding and so after you do these clumps that you make by hand at the end you can just Auto groups and every hair will be its own group and then you can finally put all those hairs into position alright so I think we made some really good progress I just ran out of time but I want to do the hair like whipping around so I'm gonna come back and do that in another session and then why not just render it too so overall I think a successful study the hair is kind of a stretch goal you know I just wanted to make it cool for an image but also it's a way for me to to keep practicing hair and and the use of fiber mesh and stuff in a quick way so overall I think I'm pretty happy with how it's come out why don't we get a little bit more perspective in here and get a nice render let's get him let's get a O in there - why don't we so overall I think I think we have smiling girl vibes that's good and overall I'm pretty happy with how it came out that's it for right now but I imagine through the magic of editing I'll be back in the next session just let me keep going with the hair and finish up right all right all right so it's been it's been a couple days now oh maybe you can hear that getting some work done on the garage so hopefully that's not too crazy okay so it's been a couple days and we're gonna come back and finish it now and this is kind of a good opportunity to point out that especially I'm doing faces if I have the luxury of taking more than one day coming back to it you can just see all the things that feel wrong you know it just hits you really quick the more time you you work on it the more you kind of get used to it and eventually it's hard to see things that don't feel so unnatural but you know we can use kind of our own radars like right immediately when you see that I'm like oh I think I could improve this so I'm gonna check back with my references and so I'm gonna start off today's session with just doing like big kind of changes so we already had this saved so we know that we can't mess it up but I'm gonna try to finagle some proportions a little bit and you know get myself a little bit happier with the naturalistic feeling of the face before we move on to doing fiber mesh for the hair and and making an image all right so let's get in here and start doing some big changes all right so we're gonna be doing the big impactful changes right off the bat since you know I'm coming back to this at another session again the like the use of subdivisions is going to be huge right now because I get to flow up and down but you're gonna see I'm gonna do some proportion kind of adjustments and and also just clean up some forms I think especially with faces but in general when you're working on something for an extended period of time you just get kind of used to seeing things the way they are at least with me so I get a little blind to something so quickly gonna go in and try to adjust the things that I notice right off the bat so in this case I think it might just be like the shape of the smile you know the wonky ears which are gonna sadly stay kind of wonky but uh but doing the neck right now it's ooh which I kind of ignored before cleaning up the jawline so oh and then the eyes so yeah you know there's the big impact stuff and and then there's just subtle stuff that add up to the overall feel so in general I think I want to make this smile look more natural and I want to make her look more like a young female those probably the things that jumped off the bat jump to me off the bat and I'm doing some sculpting on the neck because I kind of thought I want to do a portrait for the render and I think I want to include the neck but yeah that's the kind of stuff I'm doing right now so sculpting repositioning kind of everything that we were doing before just in a in a somewhat quick session right off the bat and this can be kind of like a disease for me man like tweaking forever I think tweaking is a big part of it but this is a study somewhat you know I'm trying to put somewhat of a time limit but if there were no time limit and and perfection was the goal I would just it would take multiple days and I would tweak forever and here we are freshening up the wrinkles let's go over these wrinkles and we can just get the inflate brush just kind of come in and Flay in between these guys might make some nice-looking wrinkles get this get the scrunch look you know with this expression we're really playing with compression I'll grab the pinch brush right now - why not but like you can see the pinch with the pinch brush we can just kind of help that compression along kind of squeeze in the in the middle of stuff even make a little S shape if we wanted all right gonna tidy up these wrinkles a little bit more and then we'll start speeding this up again I'm also just gonna go over the whole snarl kind of area I think it's important I think of the the snarl right here and these eyelids and and the squint as somewhat of a focal point I think that's where we're gonna look first and I think if we get a natural kind of cute scrunch on the nose and and the eyes it's a little it's a delicate balance I think because I want to get a scrunch in the eyelids right but I you know it's not an old man type of wrinkle and it's not you know you know don't want it to be unappealing you want it to feel like a nice genuine big smile a lot of the tools a lot of the brushes I'm using still just damn standard and clay buildup or clay tubes and I might even break symmetry again a little bit but there we go I want to make sure that it doesn't look too symmetrical because that again that's gonna break that believability all right so this is the progress that we have so far right now I have loaded up where we started and this is where we're at so just some minor adjustments I feel like in general just feeling a little bit more natural a little bit more compression in the mouth I did a little bit of work on the neck and I feel like I resolved kind of shapes of the of the mouth scrunching there so this is where we're at let's draw for like a little render here let's do any images just like somewhat straight on I think this is kind of representative it's kind of based on the reference image it lets us do kind of a portrait and crop in however we want so this is all right so I think we're about ready to do the hair let's start the hair that's the last big challenge of this one I think it's gonna end up making more of an appealing image that's what I'm hoping for in the end I mean we are doing kind of a you know an exercise and trying to keep the stakes a little bit low make the goal achievable but why not try to make a cool image at the same time and for me I you know I want to keep practicing fiber mashing and going faster so let's do that let's just start making some hair that's gonna help this character look more like a young woman and overall I think getting us closer to the final composition is gonna give me more cues and where to focus the little little fine-tuning at the end because overall I'm kind of happy with this but I think we could take some more steps make it a little bit more natural a little bit more organic and believable still feels very symmetrical to me but why not just put the hair on now and then we'll do those finishing touches at the end so let's start doing some fiber mesh okay we need to start by making the hairline this doesn't need to be too perfect either so again keeping the mask a little lighter a little bit more feathered in the areas where I want less hair and thinner hair so for her kind of around the temples and a little bit in the front here I want to create you know the illusion of some thinner baby hairs maybe even some flyaways we'll see but I think this is gonna work this is by no means perfect actually you know what's gonna help I'm gonna grab an image of a girl with a buzzed haircut all right boom let's get like a three-quarter of you okay this first no that's right reference really helps because it was different what do you know and the female hairline is different than a male hairline so you know definitely pay attention to the differences there and the and get some reference like I just did this is gonna make it better and even though we're doing a couple images right we're gonna be a little flattering with the crops and stuff you'd be surprised the more accurate you can get things the more naturalistic everything's gonna come out in the end really all right so let's grill some hair all right so maybe these hairs I just threw off a render by the way we're still in the preview settings as soon as we hit accept a lot of these values we're not gonna be able to change so it's important that we try to get this good so I just throw off a render right now I think the tips need to be thinned and in general maybe the hair could be thinner actually so let's try that I'm gonna sit here and wait for a render again like I said it's important that we get the size of the hair and the amount of the hair like the width of little hairs and the overall amount as close to accurate as we can in beginning we're gonna be able to change length and style it and stuff but we're not gonna be able to come back so if we start work on the hairstyle and then we think oh we need more hairs you're kind of out of luck with the way fiber mesh works so I'm gonna throw off another render and let's see what we got alright so here we are again still feel a little thick to me okay I think this parameter is the coverage I'm not mistaken so if we made coverage nine or eight what would happen yeah so that changed the thickness okay so let's see what this looks like throw another render okay so this hair seems a bit softer I think the amount and everything's gonna work fine I think is gonna work well enough for our purposes here so I think it's time to hit accept and start styling some hair let's do it and so we'll hit accept and then you want to do fast preview mode I'm gonna say no you can see it's already kind of bogging about my machine so you know maybe it means I can just click it right here though so that's the difference I'll keep fast preview on right now it does make it noticeably faster so first things first we're going to I got symmetry on and we're gonna yank the hair out because it's gonna be longer hair so I just got my move brush I got my preserve length set to 0 I'm just gonna be yanking out some hair now okay so I'm going to start with a part okay I'm gonna turn off symmetry now and with my brush I'm gonna start painting these to get generally a part remember if you use the mask pen it actually selects hairs so that's what I'm gonna use to get the part just making sure I'd get all of them and I made that G hot key so let's check our group here there you go so if I unhide the group there you got a perfect part alright now we got two polygroups let's uh let's start by flattening this one out and just wash this all down right now I can just drag the hair down I'm gonna do two cut it and then just hold shift shift like the smooth brush is what shortens it now back to this same thing okay we can turn on mass by polygroups now and I can start styling both these sides like while I'm seeing it which is gonna be useful yeah it turned out that fast preview was kind of like really important so because this is that's if this is this slow now I can only imagine some ear poking through now which is pretty good alright starting to look like a hairstyle that's good that's good and I can already tell that the neck feels a little large I just feel like getting everything in the context is huge on being able to make some judgment calls so getting everything there first I always think it's important to to get as many of the elements as the characters you can together so you can work on as a whole because you can't just work on each individual feature in a vacuum and then hope for the best you know because that's really not gonna it's probably not gonna work out for you okay so right now I'm gonna do some I'm gonna grab one of the groom brushes I'm going to use turbulence here I don't use a whole lot of groom brushes but turbulence really helps turbulence you're just gonna give me some some waviness and some clumpiness you can come back with the smooth brush so it's just a way to get some irregularities with the hair as you can see it's already working so I'm finally gonna throw off a render right now and we'll see let's see what it looks like right now probably not gonna look like the best right but we want to see how our fiber mesh is being interpolated while we render like the curves that we see in ZBrush aren't the actual final curves there's gonna be some smoothing involved and it's just gonna come out looking a lot different so even though we got some kinks in here you know we have to throw off a BPR render to see really what it's what it's looking like and it's gonna take a little bit of time so let's render and check back in with how it looks all right so this is where we're at now um definitely big big difference so I think we did go real thin with the hair which is gonna be alright but I think we're going to utilize like turbulence a lot it's so fine you know it just looks real real thin it looks real like it's looking like one shape right so here let's let's get in here to start messing around all right I think more turbulence more turbulence okay I think we're gonna try and do some groups finally okay get some group action going so I'm gonna start painting with my mask pen we have two groups now ride the left and the right over time as we work on this style we're gonna get more and more groups I'm gonna use these different groups to put sections of the hair to kind of build our style and later we'll make smaller groups to do clumps and then finally we'll even start doing some individual hairs as flyaways but right now I think it'll be useful to get some more break up so I think first thing is getting some of these to be pulled back with these front hairs I think we're just gonna make a group like with these we're just gonna make this a clump so here's kind of our first clump let's see I'm just grabbing the pinch brush I'm gonna pinch this all together and now we made a little hero clump here good just keep changing camera angles you know trying to get like a swoop kind of thing on this like this this just fell out you know from behind her ear alright so now making that part that goes behind her ear too that helps me with pushing this part down so we got a couple more sections now we're gonna throw off another render and let's see what we got here be sure to turn off the polygroup so that you can actually see what your render looks like let's see if this feels a little bit more natural than what we had before I am alright so besides looking a little bit better still to be on if you might have gone too thin it's okay we gotta keep trucking along here I'm just gonna have to do more and more layers I think more and more layers so we'll just paint a couple got the beginnings of a hairstyle here let's get some more clumps here let's do right here let's do let's do one in here I think like just grab that one okay alright so gonna speed this up here cuz there's me a ton of adjusting so you'll see mostly what's going on here is I'm making polygroups either by using the mast pin and painting a selection and then grouping it or by doing Auto groups but pretty much I'm just using the move brush and I'm using masks by polygroups at 100% you can see actually down there at the bottom of the screen and and I'm just kind of styling it this is kind of the grooming part you might call it I mean you know not like actual grooming but in Z brushes terms so the thing is is we have to wrangle all these fibers so you know just like we are with the sculpt and with forms we're going from simple to complicate it we're breaking these up into more and more groups so I want to make sure that you know my foundation is generally right before breaking up into more groups but then this is kind of the fun part too is is creating some clusters of hair and having it overlap and interweave and and in my case too I'm trying to do some hair that's flying around so I'm gonna make smaller clumps and and have them come towards the camera so I'm hoping to not only make her look you know more like a young woman but a more dynamic picture and you see also I'm having to rip off a lot of BPR renders because you know it's the only real way to see what fiber mesh is gonna look like so that's pretty much the process make groups use move brush and rinse and repeat so you can see it's it's coming along so I just kind of want the hair to be like oh and coming coming towards you I think it would be cool like we're talking about getting more dynamic more action in there but also I think we're gonna get to use depth of field and it should be kind of cool coming in and out of perspective like that so so I think what's gonna go on here is I'm gonna position these with fast preview on so we get the benefit of the speed and then I'm gonna turn fast preview off to see what it looks like turns out it's not that accurate so this can be kind of like she's whipping her hair I think is the idea maybe there's some wind I don't know here's looking better looks like it's flipping around as kind of wild I think this is cool cool okay so I think I think I'm on the right track I like how it's looking I think I'm just gonna keep going in this direction and then maybe make some more flyaway hairs so I'm just gonna spend a little bit more time on it and then and then I think we're gonna go back to refining the face and then we can start doing the render so the hair is coming along I'm happy to say guess we're gonna do on this once we run into our little trick again do Auto groups and then we'll just preserve the length yeah and then we're just gonna go crazy a little bit Auto groups will put every individual hair in its own group so now with the move brush and mask by polygroup on I get to just grab some hairs and tear them out one by one to make all these flyaways which is actually pretty fun I think cool now it's all crazy all right now let's see what this looks like pretty cool the fly ways that are really thin I think are really successful so this side I think I want to make this more like this side of things a little better so using the groom blower and using the turbulence probably grew and blower all right now it's been a little bit time on the face yeah overall I'm kind of happy with it I'm see if we can simplify a little bit of forms and then exaggerate some of the some of the wrinkles just a few of them like around the eyes I think around the smile maybe there's something we can do the teeth I don't know and I think also we're gonna make the neck a lot smaller make the next smaller I think that's gonna make her feel younger it'll make the head feel bigger in a way because we're making the next smaller so we're gonna make it a little smaller just scaled the whole thing cool all right let's move this light we get a little bounce light in here just to see what's going on sometimes when you're doing sometimes you're working in ZBrush like because the shadow is always there in the the material kind of like that for now I'll notice like uh you know some of the shapes and forms aren't the best down here because it's kind of hidden so it's always good to move the light around pinch brush also really helps seal up seams and wrinkles and use it to straight and stuff pinch brush definitely part of my life finishing process it's uh put a little color in these eye and why don't we so with the standard let's just just paint color can I drop it ready boom then we do some shadow but if I just dragged out something so focal ship was minus 30 all right so now we have our eyeballs on they're finally painted a little late in the game actually to be honest to have an eye like painted on the character but you'll see now I'm diving into the areas around the eye because things jump out like immediately essentially like the eye shape and tweaking the eyelashes too so just focusing on that on that focal point the eyes and trying to refine those shapes darting around on the nose now too and you'll see I'm gonna go to the cheek too because you know I'm pretty much a squirrel and any any time something jumps out at me I'm jumping around to it but it's the same kind of order of operations I'm throwing off a render right now which is really important in my case because of the fiber mesh like for me to get an accurate you know view of the how the image is gonna look at the Rafah render going in the eyelashes now and creating some clumps just like I did on the hair and also I can do this a symmetrically to give more personality and naturalism in the eyelashes you know making unique clumps so yeah refining refining getting really close to the end now so important for me to check my render my BP our render after I you know do some tweaks so you can see just really refining the shapes same goes for the lower jaw now I'm gonna be trying to to finish up the lip shape and you know just how the smile is reacting like the muscles in the lower lip and the chin I'm also kind of simplifying this area I think and that's that's a good place to start if you're not sure how to resolve something so sometimes I just simplified the forms so yeah I'm gonna keep refining for a little bit why don't we jump over and I'll show you the end result after some more tweaking and we can look at a little bit of before-and-after and then I'll show you how I compose the final image okay so here's the final model that we ended up with right here so I've done a little bit more tweaking here so on the third day when I got ready to do the renders everything jumped out at me again so like we talked about you know when I come at something in a fresh new session especially the next day things just jump out at me so I don't know I feel like I should be able to do this faster but it maybe has something to do with going to sleep and waking up but I immediately thought oh this needs to be repositioned so this is where we ended up at the last session and then when I came back I tweaked it BAM right here so I think this looks a hell of a lot more natural essentially the big thing I did was I made the eyes closer so the eyeballs and the eyes if you watch right there they're a lot closer that feels a lot more natural i scaled the nose just a tad and I dropped it lower and then I poly painted the lips which I think just made it a lot more natural to look at you also kind of see what the lips are doing so even though we're making a black and white image we're not like really texturing it just poly painting this darker value I think made a big difference so yeah this is where we ended up so once we ended up here ready to start doing renders to make it a final image so we'll quickly just go over the basics of what I did there and you can take a look at my photoshop document rendering is probably like its own topic but I wanted to show you all the way through the end so first up well probably first up you want to make sure you have a camera like right now I want to draw and for the camera I have it on 85 that's a pretty natural-looking portrait it's a common focal length for portraits it has less distortion I'm just gonn what you want 50 you've probably worked to or something in between you see that's 50 right there but something like 85 makes a makes a fine portrait so you want to make sure when you're doing renders in ZBrush you want to make sure your document size is big so if I come down to document right now I just have mine it like HD 1080p you can change this to whatever you want but for instance we can just double this I'll hit yes and then it just doubled my canvas but it did like stretch this it flattened it and stretched it so I have to press ctrl n to clear this canvas I'll press tab to bring my UI back so it's already on draw I can just draw up my model again I'll go to edit view and now we're back in in 3d so if I come up the document again and I go to zoom and I zoom out now you can see the canvas so just like Photoshop I'm zooming out I'm looking at my canvas so this canvas is actually 4k so if I scale this up when I rendered these images this will be a 4k image but then we set up something like this when I'm doing render passes I'll usually open up the little tab right here on the left and then then I can just dock my render pallet so oh let's see probably the first thing we want to do is make nicer shadows soft shadows especially with portraits so the basics here are the angle and the rays that's pretty much all I'll change a good starting point you can just do 12 for the angle and then do 24 for the Rays it's a easy rule of thumb to remember to double the Rays for the angle number the angle number is going to give you kind of the width of the softness of your shadows kind of stretch that out and then the Rays is how many rays it's using so it makes it softer more and more blurry but it'll take longer so you can try this out and then if you need more you can up it but like I say it'll take longer so why don't we just move a light around and we'll try a render and see what happens so I just hit shift R which is the default for doing a BP our render and then we'll see what our first initial settings get us all right so here's our render you can see it's a big difference then the preview right so now if I go to document and I hit actual BAM this is my actual resolution of the image I'm making so you can see we're getting cast shadows from the hairs which is cool see if we get it oh here we go here's a cashout up from the nose you can see it's a bit it's a bit more soft scroll around here okay so here's the neck alright so you see we got a couple banding right here some banding we might be able to fix that with the amount of rays so here's some basics I'll do something like this and I'll and I'll save this out when you're ready to save things out you can go to BPR render pass in the render settings and if you click this top left one it's the composed or the composited image okay so if I just click this it'll prompt me and I can save a PSD or a PNG or whatever right and that's true of all these passes so what you want to do is lock off your camera you don't want to change your camera if you're worried about losing it if you go to Z app blink properties hit custom 1 or custom 2 it'll save the camera so that's just a little trick in general you can just do that if you're worried about that way if you like tumble the camera around you're like oh no you can come up here and hit custom one again it'll go back to it when you save these things out you do need to say about your mask ok so you save out a mask you'll need to say about the depth the shadows you can save out if you want I'll usually save out one key light and I'll save out the shadow from that and then I'll just start saving out the composited images you only need you know one version of the mask one version the depth those things aren't changing you could even do SSF s if you want and to do that you'd go into the render properties and hit SSS and then it would render that you only need one of those two but then what I would do is I will start moving the light around so then maybe I want to come from the side now and I want to do you know the intense one from the side ok then we'll see what that looks like ok so now we have this light coming in from the side I would just come up here to the composite one and just name this you know light 1 or light 2 or something like that alright so I'll do that for a few lights the more lights kind of the merrier but you know we're just doing something pretty fast right now I just did - actually I did two rim lights and I did a key and then we jump into Photoshop and we open everything up so here we are in Photoshop and you can see I have two shots actually here's another shot another angle but here's all my composited this is my final Photoshop document so we'll just go through and we'll break out all the different layers and what they're doing so here's the final image if I turn off some curves in my passes folder I have all the passes so I can turn them all off and here's our base so to make my base over in ZBrush I turned off shadows I turned off shadows and then I rendered my key position my key light that first major render and then I rendered it out with the shadows on so if I jump back over to photoshop this is boo this is my render this is like my key render so I have the light coming kind of straight on and I rendered it out and I saved it so this is kind of a point of reference I guess and also I just have this here in case I want to blend it in and out with the layers that I'm making okay so this same position I rendered but I turned off the shadows so now we have no shadows but I can add them back in because I have the shadow right here so if we drag the stuff to take a look at it the shadow is just a black and white image so I can set it to multiply and then by changing the opacity we have control over so like right now if I wanted to lighten the shadows I can just change the opacity I also have to a Oh a Oh is in ZBrush right here you just click a mean occlusion and then it'll be included right here in your render then we have the lights we were talking about so here's my first light a little rim light right here and my rim - overall pretty subtle here's nothing here's this it just brightens it up so that the dark as the forms turn it gets dark right it just looks a little bit unnatural so by having some of this it just lightens it up so our depth map is a Z depth right it's white closest to camera black farthest from the camera so you get a linear depth in 3d we use this to drive the lens blur and also since we have this map I just used it as a soft light and essentially what that did is it brightened what's closer to the camera so you can see what it did with the hair I just thought it's interesting it's a little bit of a layer effect you can see how it even like kind of pulls the face away from the neck I sometimes do that because I think it makes the image look cool and sometimes it doesn't so I don't use it then but that's it this is my final image [Music] all right so that's it for this video in this project thank you for joining me on this one and thank you to everyone who left me those comments on the first video I really appreciate it that was you guys are awesome hope you learned a thing or two if you did enjoy the video hit that like button subscribe if you're not subscribed and I'll catch you all in the next one peace [Music]

Channel: J Hill

Views: 191,160

Rating: 4.9472551 out of 5

Keywords: Zbrush, fibermesh, rendering, girl, smile, photoshop, sculpting, hair, 3d art, cg art, cg hair, zbrush hair, tutorial, jhill, zbrush sculpting, 3d modeling, 3d sculpting, how to make hair, sculpting girl, high poly, render, speed sculpt, sculpting female, fibermesh and finishing, fibermesh in zbrush, #jhill, making hair in zbrush

Id: Xbi_iqk0FZI

Length: 42min 24sec (2544 seconds)

Published: Sun Apr 21 2019