Official ZBrush SUMMIT 2015 Presentation - Furio Tedeschi

is this working cool cool thanks guys for coming here today my name is for you today ski and I just wanted to thank the ZBrush cars Paul Jamie for an awesome event I mean I feel privileged and honored to be here it's like a lot of talent and from where I'm from this is a really big thing for me I currently work at buy away I'm working with on mass effect which is a very big franchise I'll have something to show you guys later on it and I work with a very talented team I got Joe Macmillan which is our art director Herbert Lewis which is my lead and he's the model I'm showing today is Herbert Lewis's Pathfinder which I for me it's one of the best models I've seen in a long time I'm obviously a bit biased about that but you know that's our fill there's joy batata which is one of our hard-surface concept artists and we've just had frederick dau join the team which is sitting over there and we're very very scared to have her than the team so yeah for me I'm just going to start off just by showing some of the work if anybody doesn't not familiar with the kind of work I do this is a where I started a kind of mass hard surface sculpting I have to give credit to Cedric sea arts he's the dude I saw him doing like hard surface scoffs and ZBrush and I was like what the hell you can do this within ZBrush I come from a max 3d max background and just organic forms and the ha I just fell in love with it and I had to try it and so major props to Cedric's the art if you guys dying biggest fan and he presents tomorrow - he's a presenter so this is where it all started for me yeah so I started doing photo bashing like in the early days I must have been about six years old seven years old I'd cut my face out of you know some photographs and I'd have like a Conan movie cover I'd stick it on there with a bit of prey stick I don't know if you guys stay prey stick or blue tack whatever you guys call it and then I'll get them enlarged and my father bless his heart he passed away but he still used to put these up on his wall and yeah so this is kind of like the start of my experimenting with the different arts right so yeah I just want to show you guys basically the passes for this as I said you don't have to do your your passes in key shots some people get obsessed like oh it's keyshot and I everybody has to use key shot ZBrush is very strong in its own accord if you can tweak things in Photoshop which is something I like to do a lot you know you can work this way as well so you can see basically from the base I'll take different passes and these are all ZBrush passes and then another pass that I used a lot is the clown pass this is done in ZBrush learn it's basically using a flat shade material and just applying vivid colors to the model so that in Photoshop I can easily select and tweak what I need it just gives me it makes it more versatile for me to control different parts of the image that I need a horse and in the Batman this was rendered in key shots and these are just the passes for the model I've got a little bit of just Paul if you could let me know 15 minutes before the end I'd like to show the pathfinder model yes and that would be great yes I will let you know when you're about 10 but hey there just do an experiment because they online people aren't seeing the same thing in one sec the infinity look that's pretty weird well okay there we go start it continue on this is just a base model I prepped up for this workshop just to show you guys roughly how I work and just to show you guys some quick techniques and stuff like that in ZBrush so I mean generally I like to use clay tubes I find it a great brush for like building up forms and I mean you can see how simply and quickly you can just start to like generate different ideas for you know anything that you have in mind so basically if even for this face mask it's a very simple shape it's basically like a sphere that I've just squashed onto the model I'm not looking to get the most detailed beautiful model I'm looking for ideas this is this is important for me it's shapes and the way they they speak to each other and the way they interact with each other for me is an important thing but this again is also a very personal thing it's like my best example is like music some guys Matlock you know rock and roll some guys like hey pop doesn't mean it [ __ ] but you know on the other hand it's it's a different different point of view and so it becomes more of a lacking and what you find interesting in shapes and stuff like that so again guys if you have any questions just shoot I've got no problem answering or anything so even with the with this site I usually just build up simple shapes like this I'll come in stop building it up finding something interesting and you can easily start to you know find where you can add some weak points or whatever I also like to use color I find colors and a very important tool to help me design and I'm always adding color very very early on on my scopes and another this is a trick that I thought I'd figured out and speaking to the Gaza they've already worked that out as well but I'll show it and you guys will see it again but basically once I've got a mesh so say something like this and you can see the insides very loose I just focus on the art side but I've got a tutoring material here alright so you can see the polygroups and by coming down into your masking you can easily go by mask and mask by its intensity and what that will do is it's basically taking all your poly information and creating a mask out of that so from this stage you can either you know start hiding areas that you don't want so easily just by creating a poly group as I did there because once the area is moist you can easily create a poly group by hitting ctrl W for any moist area once I have that I can either apply different math cap I can separate it it's extracted into a different sub tool I can read dynamesh it and I mean for me these are the advantages of ZBrush I found working in older programs it was very linear a very linear approach to working yet to do this step before you could get to this step and so and so on with ZBrush it's very versatile I find I can break things go back to things there really isn't any linear process it's a very organic process and so from here you can easily just break apart models you can add like you know change the the poly groove to that and this makes it very quick for me to come into key shots and then start managing my materials exactly how I want them or even a way to start adding extra detail I could extract that whole piece which I like and then say alright I want to add more resolution to the other section so that's one thing and one workflow that I use quite a lot another thing I like to do is once I have something dynamesh and you can see how loose everything is I'm not I'm not trying to add detail a lot of a lot of the up-and-coming guys coming in seem to focus a lot on just adding a whole bunch of detail you need to really get your forms working correct for me it's mostly about the silhouette and the overall forms that's what attracts my eyes detail is just an extra cherry on the top that you add some cool you know cool effects to make a make something look a little bit more interesting another thing with detail I generally like to add it in logical places like so if you look at the human body as you know say it has to be hard surface you've got larger panels right which would go from your arm to your to your dotty old or whatever and then I tend to add the detail in the joint areas so that's where they get more heavy details and I find that's an important thing you do need to have areas of density where you have a lot of detail and then other areas which are a little bit you know more open and have have larger panels just so that I can rest on it if things are too busy it just becomes too much for the brain to handle again this is a comes down to your taste but that's something I like to do so from from a dynamesh model which this was dynamesh before I'll have it I'll have the polygroups done and then in zremesher which is over here you can keep keep your groups so when you run the zremesher instead of having these heavy dense areas of you know geometry which you're not going to really need because sometimes with the dynamesh you know you might just want to add a small detail but you you know you're working with a four-million poly box and you just want to add a screw in the corner which you know sub d modeling allows you to be a little bit more efficient with your modeling and the power of this allows you to stall separate things you've got a nice clean mesh now and this will become a new mesh that I'll keep working over presenting it to the art director and even at this stage taken into Photoshop which is I think there's enough detail that explains the idea of what I'm after and then and again very simple just keep adding pieces and seeing okay that's a pretty cool helmet but you know it might be might be too small for what I need all the art director might want to go for a little bit more of an astronaut kind of NASA looking dude whatever the case is and again with ZBrush you can easily start to change these forms very quickly and what I like to do is I might have you know I might have one of one of them selected and I'll split the whole thing into key shot and then I might take some things off and paint over it and that allows me to generate from three base meshes at least you know six variations on the head using key shot and then jumping into Photoshop changing a couple of things around and this works really well because even even in a 3d even in a game or in a movie you're dealing with the 3d environments so you know a lot of I was working on a movie where like a lot of the all the concepts were done in like 2d which looks great I mean looks great from 2d from the side whatever but you know it's gonna be in a 3d space what does it look like from the top so I remember on Pacific Rim for instance Gemma wanted to see well it looks great from this but how does it look like if ma you know if my creature is like if I'm looking at from the top these things are gonna be huge and with ZBrush you can easily just change the view did you know what I mean you don't have to redraw that whole thing so there's benefits but not to say that one is better than the other it's just to find what you like to use and what you can get your message across or your idea across as quickly as you can any questions right here I'm coming there you go when you when you're starting something whether it's personal or professional do you a lot of artists gather reference of different things I mean I look Duncan I love looking at work online I'm inspired by many artists but I think once you've done it for a while you build up a reservoir of ideas that you like you'll see this with a lot of the you know the more experienced artists and unless it's something specific where you know the art directors like I wanted to look like a sea lion or like I don't know a scorpion fish or something I'm gonna pull up references but I generally like to look at the references then put them away so that my brain kind of imagines what I lacked of the reference I'm not physically looking at every detail and trying to copy exactly what's there and I feel people should do the same even if they get inspired by an artist I see this a lot way you'll have guys that post work but it's just harder to kind of like work out exactly where you want to go with the final design so instead of just copying somebody flat art or something which happens a lot in studios as well.we you'd be surprised how many studios have a reference fold of just like everybody's work that's out there you know so and it's just important to have that but to keep it something that you look at and you go I like that piece there then you walk away from it and it's you will reinterpret that in your own way I find it you can always look at your reference and go hey am I getting close to what I really likes cool but just sit there and looking at it and just kind of sculpting for me that just you're becoming like sheep mentality right you're not really doing anything yeah you it's pretty much like a photocopy machine you know you can take something and recreate it well well done but I got into this to create I've always wanted to Bowl characters and come up with my own ideas and for me to just like you know take somebody else's work and redo it that's not what I like to do so again if this shifts from artists to artists again a personal thing cool yeah yeah I do have more questions if you want to keep it yeah go ahead man all right this is from Twitter ordinary Asian gamer I really wanted to ask this exclamation mark just trying to get the feel here of the question how much human anatomy form can be affected from baekje from looking amazing SF suits or robots so how much human anatomy form can be effected from making amazing style suits or robots I guess we're trying to figure out how much of the Anatomy are you looking at how does it affect how you make your suits and that amis important for anything for any creature anything that's where the joints are right that's where things move so you need to you need to make it look believable it's like you used to have back in the day the little sausage bendy tube thing and it looks crap even to somebody that was what was that what was that sausage bending tubing thing I don't know even used to bend the elbow you to get like it would just be like a raunchy right this is like bad rig so I mean Anatomy plays a huge part anything I creates as you can see there's a chest plate up here that's following the chest area there's the far down here it is the arm muscles you know the muscles coming from the shoulder so Anatomy so the casing is making it work it's really what you're trying don't just throw something there to throw something on there there's no point in adding something that looks cool but you go how does that guy actually move his hand up you know I'm not saying you have to work out every single thing it's an illusion right you're trying to you're trying to hint it something it's not like you're gonna go oh this bolt doesn't work that wouldn't turn like that as long as you give you a good enough idea that something can move in a certain way that's all you're striving for and if you can actually make that piece even a better a cappella designed Pierce cool but it still needs to look like something that would work how the human hand would work and other guys on the video can't see me doing my little stretches yeah but as long as you guys get an idea of the movement right that's what I'm trying to portray so yeah I think that was the question where I'm not sure so now I imagine you and your cubicle with arms just pop it up yeah and that's pretty much how I go about designing I'll show you guys another couple of tricks in ZBrush that I really like to use curse trap which you can see down here so just for adding in quick belt straps anything like that you can just grab the tool the curse trap snap whatever it's called and just dragging and and there's a bit of a funky one so you gotta give me a bit of time yeah because as long as you stretch it out holding shift and wait I actually think I'm on the wrong give me a second guys so you can get it there as you can see you'll start to see when the object snaps around and that was different work because it's not a Donna mesh things if you just give me a second guys delete lower so there we go and you can easily go around and you know quickly add in shapes you know add a lot of these can be like a big pain to add in like another software it's just a lot more time this is a quick quick pattern snap and you've got a strap which you can then go in and you know fix up a little bit it's just basically a temp a temp version of that what else do I use a lot I think that but pretty much covers it for the process from this stage here I'll be showing you guys now how we take it into the next phase which is this is our Pathfinder model at Bioware and just give me one second I want to open it with the right thing so this is our Pathfinder model and this is our in-game model in frostbites this is sculpted by Herbert Lewis and gorgeously done so you can see the level that we take an idea as before and then refine it to a cleaner cleaner State and basically some guys like to use ZBrush for the polish stage some guys like to use 3d max Herbert Lewis likes to use xsr Fredrik Dao loves to just use ZBrush and that's about it so this comes to a personal preference is how you clean your mash up and take it to final but I think this should give you a pretty good idea of how you come up with an idea like you saw before and then take it through to something that's a little bit more finalized that was actually a question from Twitter you're good well what do you use to refine your sculpt do you stain ZBrush or do you go somewhere else ZBrush for a little bit of things the zremesh has been really useful now that it doesn't generate the spirals and any of that stuff it's become a really powerful tool like that and if you hold alt and hit zero romesha you actually get another good rhythm right yes there are two algorithms there yeah which other mean I don't know where this is written down it's in the documentation oh it is I don't even know how I found this up but it's really cool I'm well we've decided no more documentation it's not needed it's fine by me cuz I don't enjoy doing it really okay cool but somebody learned to the minute you know went around like wildfire so I picked it up from somewhere yeah it does help at some point yeah there are two different algorithms for the zremesher actually so you have to hold the Alt key knee click the rematch point you'll get a different algorithm result and so you guys can see here the kind of shapes and fluid forms that we are able to generate out of ZBrush as a base templates like you can see on the top Omni of issue does this mask work yeah there we go so you can see these shapes that we're generating which are very fluid organic kind of shapes that store with the hard surface qualities and I'm a big fan of the style is if anybody that follows my work and tell and yeah that's basically our in-game model and now I'll show you guys these files are pretty big so if it just takes a while to like load up just give it a second while we're waiting for that here's a question from Twitter again ty wants to know what do you think makes a desirable portfolio any advice for getting your foot in the door in a big studio at the end of the day it comes down to the work you do from the personal point of view I people say don't show only show your best pieces I would agree but for me if I'm employing somebody I like to see their sketches as well it's something that I for me looking at the sketch phase I can tell a lot about the artist and just hice thinking quickly for me that's an important thing to see a lot of studios are like nah we don't want to see any crap work we just want to see your polished finished work it depends from Studio to studio but I think at the end of the day it should be about the quality of the work that you're doing and I mean there's no excuse today to not be inspired number one or two I still get asked questions like you know what do you do for inspiration or how do you you know how do you learn a certain technique and I mean there are so many artists now sharing the information I came from an era where there was the net you know that the net there was like maybe one tutorial is a gern of arc kind of thing I remember doing and it's the amount of information you have now is just you can look at like some of your favorite artists and there's like something that they're showing you know and they teaching you how to do their techniques and I think if you've disciplined and you want to and you passionate about doing this it's you can do it it's just a matter of sitting down and doing it put down your PlayStation controller your xbox controller whatever else you do in your free time I'm not gonna go too far with that but spend some time and do some work a lot of the guys are like oh you know you get home after a day of work and the last thing you want to do is switch on the computer and start like doing some things you know just the act of turning on the computer is enough to like just keep you on the couch right just try it stand-up switch that thing on and guaranteed you do one stroke in ZBrush three strokes whatever those three strokes will lead into something else and another idea you got oh damn I could do this and then button the next thing you know it's three o'clock in the morning and you're like damn I'm gonna get to work tomorrow should go to bed but just still running around with all these ideas inspiration for me comes from taking that first step which can sometimes be the hardest step it's just doing it do one thing and one thing will lead onto another and they've trust me there's a lot of times that you'll do stuff when you're like wow that's crap and I feel depressed or whatever and I do this a lot like what our post online is maybe 20% of the work I actually produced I don't like to show a lot of stuff I've got a lot of stuff that you know I've got friends that come over you've never showing that it's great I'm like I don't particularly think it's that nice it's just something I use for me too for me to keep progress and keep interested in what I'm doing there's even a lot of times where I'll just delete everything I've done and you know some people are that silly you should keep everything you do but for me I already took what I need out of that I spent my two hours I spent my three hours and I can delete it and put it to the side it's something I don't need to go back to I find sometimes if I'm working over old models of all time you start to generate a very similar style like I see this a lot of faces and stuff like that if somebody is reusing the same base mesh you you've really restricted yourself unknowingly you know but you've got those ears honest in position the Asura in a certain position and that's basically gonna generate something that's very similar in the long run if you start from a sphere and generate a new base mesh you'll see that you'll land up in a very different looking idea so that's just something I've come across while working but yeah so this is the Pathfinder this is a market that we've done I have posted it up this is got the textures baked into it so these are the high-res models which we do again you can see the amount of detail and love that's being put into these models Herbert Lewis doesn't post or show any work and I think he's one of the top artists in the industry so you know somebody like me I'm in South Africa if I don't put out my work I ain't getting any work yeah so I do need to keep proactive and I another thing I like to do is put out the kind of work that I would like to work on I mean I do a lot of professional work that I don't post up simply because maybe it wasn't the worst project that I worked on but I'm like man I don't want to do that again you know and if I start showing that work out underneath and some companies like all we want you to do exactly what you did then I know I so what I want to do right so I think put out the kind of work that you want to be working on just because you've made a chain you think it's cool don't post it up because you might end up doing chase for the rest of your life you know I'm not kidding like this does happen certain people become top cost in a certain area so just be be wary of what you put out and make sure it's something that you want to work on you know and I'll show you guys some of the close-up details so here's a Twitter question for you yeah for a beginner wanting to do hard surface what are some tips that you could give those people again just start doing it just do it he's going on so don't write a question to me like that go to your PC and start doing it you know I feel like I just got in trouble from dad because he's so much higher and I'm not the one asking the question I didn't mean to be but I mean I'm serious it's like no it's fine I'll put the iPad down with you have you uh have you implemented zmodeler into your workflow at all I have recently but just if because I sometimes don't want to move out of Z of ZBrush and if it's something that's easily done I'll use a zmodeler but I'm still very three max max I'm very you've got a wet-behind-the-ears with it very comfortable with it Fredrik Dao I've seen him work with it he just pops out any shape or my cheers bro are you gonna do that with er no problem just do this semester it's extremely powerful but these kind of things are just some guys that come from a 3dmax background so you prefer to use your your standard traditional tools or xsr Maya and I think it's fantastic that you guys have introduced this poly poly kind of workflow in in ZBrush which had never had I mean the only way I've ever done poly modeling in ZBrush to that degree was if you mask out a face and you polygroup it and you hold alt and shift and move it actually creates extrusions correct and that's for me that's like a primitive version of like what the zmodeler now is become and then just a month of like edge loops you can like stick things to it's super powerful but again this is not going to make you a better artist or worst artist if you want to stick with in ZBrush that's cool but if you do have a preference in something else like me I tend to build Mijares pieces in 3d max but that's only for production quality anything you saw like the Batman the Vader or whatever thing it's it really is just very loose that which is not refined you know I don't sit there worrying about every bolt and every angle I'm not trying to prove something to anybody I'm just trying to have fun like I see a lot of work that guys like you know sticking is like what do you have to prove or you know it just depends on how you wanna how you wonder how you want your work to be represented and for me I just find it easier to generate quick ideas with loose mesh and then at a later stage clean it up but you can see here okay so this model is really heavy but I just wanted to show you guys how much love goes into these models and this is the high res mesh I can't show too much or answer too many like intricate details of things but you can see how much life goes into these models and Herbert really puts his heart and soul into these so I'll actually start from the top so you guys how much time do I have left for you go like another 20 minutes he's 20 yeah do you want less more oh really come on guys I'm retired from yesterday bro you want me to start again hey watch you show them what you're talking with the transpose align the control just grab a sphere so they can see what's the thing you were talking about the transpose line with control then you click you guys can keep asking questions I'm sure there's do you want to know anything about master fect cuz I can't say anything I don't know any any questions you guys have I don't know any question out there in the audience no here we go they aren't you guys were scared it's been all digital here you go thanks for sharing Oh pleasure dude for as I said for me pleasure yeah so you've got a killer design sense when you're making decisions about how you fit shapes together is that mostly intuitive or do you have specific principles okay I get asked this question a lot and it's a hard I mean there's we're talking even with Joe Peterson about that or not and I really I love his work I'm a huge fan and its design is kind of luck I mean there's obviously good and bad design and there's some kind of landmark things that you do need to follow but for me I found it to be a very personal you know it's like we were saying like there's a Ferrari a Bugatti in a Lamborghini right they all very good designs but each one of us will have a different preference to what they like you know I think the Bugatti looks like a squashed pig face from my experience I wouldn't say it's a craft Azana it's just not my liking so this comes from looking back at things things that you like things that you know it's a very hard one to really nail down but I can tell you when there's something I lack I pretty much know I like it so and I do try to stick to those kind of forms there you go there's another one on the floor so my question it has to do with your workflow with 3ds max is it mostly just reach apology and just cleaning up the mesh because I know that you primarily like to stay in ZBrush yes it's basically become that it never used to be I mean I come from the era where you used to like poly model you know a polygon on the eye and then you'd start extruding faces you create the are you create the nose you create the mouth and that took ages you know so doing stuff in ZBrush it's just so much quicker it's like you can literally take forms drag them I mean even if you look at head models what I see today that ten years ago being considered like oh you know everybody that's crazy now it's become the standard and I think this is due to ZBrush that salons allow you to move shapes and forms and it really really like you basically just sculpting and I mean I've got to I give a lot of props to people like Eric Baker who's a certain age and you know he's picked up these tools and he's got a he's got a multitude of years of experience with sculpting and shapes and everything and now he's just picked up a tool and it's taking that reservoir of knowledge and just bring you to a new tool you know so yeah that's kind of like the way I feel about that dude yeah I like the dude at the end that was good there's another one from the floor for your hot hot tub yeah first off I wanted to say um I think it's cool about how you approach the first stroke like how you know that's important like that's that's an amazing philosophy but I have a question about 3d concept in vs. 2d concept and you see not vs. but in you know conjunction or their uses do you see a lot of 3d concepts like somebody makes something in 3d fully as a concept and then present it do you see that a lot of that happening nowadays I'm sorry I completely lost the question oh I've heard like three things and then I couldn't make out what you were saying so do you see a lot of 3d concepts being used in lieu of 2d concepts nowadays yes I think I think a lot of the guys are using 3d concepts because if you think about it you can get lasting information shadow information there's a lot of benefits and people use Sketchup and all sorts of things for that and like even a 2d concept it's like I find sometimes if you are stuck in ZBrush too too much you start to generate those sort of shapes that you used to generating in ZBrush so I think if you just break away and actually start doing stuff with a pen and pencil or a piece of paper 2d wise I think it's important to vary things up and I'm not not sure this work but it's they things that I do in my personal time and they're very crappy so I don't show them but I think it's important to use 3d and I think 2d is awesome if they're I think that was the question Manor I don't know it dude is that cool awesome so what I was telling you guys before you could have like just you know this and if you mask out the top and hold control you're basically extruding this is like old-school poly modeling in ZBrush right so as Paul was talking about before and that's basically just using control you put a mask on what you need and you can just pull shapes out and you can do this to anything you can create you could actually use a combination of this and the new polygroups as well I'm sure it'd be pretty cool I use this a lot just to create more geometry so things don't get too stretchy but now that they've introduced dynamesh i've kind of like let this technique go you'll find some techniques you'll pick up you'll find them to be very useful and then you might find something that works better and you will that just becomes redundant so yeah another question for the floor back here in the corner you guys just keep going I'll just start sculpting something or showing you my workflow yeah do it you just want to know if you have an art book out of your personal concepts and if not do you plan to do some no I don't don't think I'm at that level you're kidding no I don't I don't I don't I I find you you kind of need to be I see a lot of guys putting out art books that aren't even like I'm like who the hell are you you know what I mean I'm serious very cool all right and I think I'm very lucky even when I post stuff on the net I'm still very concerned I'm like I'm never feeling like a hundred percent confident with my work like I speak I see a lot of things on Facebook now and it's getting a bit crazy with all these locks and people off the locks and it's [ __ ] oh sorry guys but it's crap right maybe crafts not even good either it's fine we're not a PG obviously that we've lost that already dude Britney Spears would get a lot of locks yeah it depends what you're looking at it's like little teeny boppers I'd love that sir is that good do you know what I mean I don't know I wouldn't let I wouldn't get into it's strange because the social media is starting to create this weird vibe at the moment but I find a lot of people focus on that too much and again I'll go back to it it's about the work and you need to enjoy what you're doing and sometimes it is selfish because you like well I don't care what anybody else thinks I'm gonna do what I like you know a lot of times in my career even when I went to art school I wanted to draw comics I used to love the stylized approach and my teachers were like no you have to draw like this and for me that's just when people stop putting restrictions on stuff that you have to do I don't know they were all like oh you won't become nothing you've got a lot of passion and I mean like you're very good but you don't you've got no ambition I also put of a little [ __ ] when I was younger so I used to like going out and doing other things but I don't know I feel pretty good now you know I could call those teachers up and be like hey you know where you at now so yeah you know it's like I don't know it depends how you feel about things but as far as an art book I would like to put on an artbook eventually when I feel that I'm at a level that I've it's a reasonable idea for me I feel like a small fish in a big pond knowledge there's no well you could do a survey right now who wants to see an art book from Faria okay done you got you got ten minutes I'm sure they want to see you sculpt that's not a poly mesh yet by the way and again guys keep firing questions I really don't mind talking and doing stuff at the same time sorry I'm just looking for ideas yeah do you have any tricks for taking like a loose piece nasty yeah like a piece and then cleaning it up not to be perfect production ready but like cleaning it up a bit cuz you're thinking oh I like this little part here or who this is getting realized I'll just spend a little bit more time on that specific piece really you just you don't rebuild it you don't do anything like that you so before I might do zremesher where I get a I get that same shape I'll divide it I'll use a project so I'll actually walk you guys through like I'll use the zremesher using alt you think the old pattern you can keep your groups as well which is a super handy feature then once I've got the re0 Misha I'll jump into your project where I'll have that kind of dirty piece but I've got a nice clean mesh now I'll project it one or two times and then start working over and again and that allows me to generate another quicker more refined piece and then you can take a one step further again and then you get to your final but I use that approach a larger so yeah and even even when I'm sculpting I generally like to always start with a dynamesh usually I usually throw it down a little point so I know in which direction I'm in and again like the thing is with ZBrush is that it really makes it fun to explore different shapes and stuff like that you're really not restricted by you know having to add certain things or making sure that this is done before you can step onto the next phase you can very easily you just start brushing things around and a lot of it is happy accidents you know like I might be doing something I'm like oh wow that looks cool or I might earn like that and I get a stroke in there something and looks pretty cool so no I'm talking [ __ ] that doesn't happen but I think even even having having having a good idea of what you're doing allows for happy accidents should be to have more happy accidents if you if you've got a rough idea of some techniques I mean don't disregard the fundamentals but once you learn the rules you learn how to break them and out of that you get a lot of like happy little intricate things that you go oh man that looks cool and then you can start to refine that so yeah dude dude and then I like to use a damn standard brush a lot basically just - all right you guys want to see give me an idea what do you guys would you like to see all right it's not gonna look great but I can try shellfish what's that a horseshoe crab do a crab that sounds cool do what a crab the horseshoe crab but yeah do a crab I heard small bill for real paid him before to say that no we're just kidding so I mean even you can see even using the negative just to pull out quick shapes and this is really how I work I like to work big brushes pretty loose and just looking for shapes and I mean obviously these things I'm pulling from which shapes are like or you know things that have worked for me in the past which I know that works I'll keep doing that but yeah so this is gonna be like a sort of a futuristic crab top looking thing and then snake hook this is actually something I'd like to show you like you guys this is something I use a lot the Accu curve down here this is a little feature that I really like it allows me especially even with hard surface I'll use it with a snake hook and I'll show you with it without it what it does and then what it does when it's actually turned on okay I didn't do anything there we go so you get you get a very nice clean point as opposed to a round profile for what's happening and if I'm doing anything like insect insect Bob I like to generate shapes like this and the fu curve brush really allows world a Q curve featured on there really allows me to point out certain features that I like and then I can come back in with the H polish give it a quick dynamesh if I'm looking for even more shapes another cool thing that ZBrush offers is the dynamesh polish which already you get more robotic and hard-surface kind of feel to what you're doing and this definitely helps you speed up your process I'll use it once or twice at the beginning while I'm working so this is some kind of weird crab thing it's just ads like I mean is everybody here how many of you guys are students everybody okay I was just curious there and how do you find having this kind of facility here very close to you guys they're very cool and thanks to these guys because I mean I've been walking around the school of going upstairs I've gone to the sculpting section I mean I just wanted to get back home and start sculpting something also inspired it so it's really cool to have those guys and if you a student and you're doing a course like go to the classes and stuff with this interests you because trust me there's there's not many places in the world where you can actually have with us and you guys should feel very privileged about that and definitely take advantage of it so this is turning it's a really crazy looking crabby thing there we go and this is basically the way that I just explore shapes so yeah you can come in here even the negative of using the negative version of the damn standard brush as I saying before I like to introduce color very very early on as well so that I mean I find color to be such an important part of the design that it's something I add very early on and on each of the scopes that I do and you can see what a difference it just adds like I'll sometimes actually just color something in like that say and I'm actually just looking for the shape with color at this point and I go alright that's pretty cool yeah there's big red here and then be cool to have maybe some clamps or something like that and I go I can look at it and I go yeah that works and then I'll jump into clay start dropping it in and work around the color so the color is basically sitting down the design for when I'll start going through and I'm working really fast just to show you guys like roughly what I mean but I hope it gives you guys a good indication to what I'm doing and the shape is looking terrible I know but that's the beauty of ZBrush you can go in now and start to play around with things and don't don't be precious with your model like if there's a piece you lock but nothing else is working around it don't like be like oh I need to make everything for keep that piece deleted because it you mark lock it but it's just because it's a nice piece that you've done you don't want to sacrifice the rest of your design for a small detail do you know what I mean save that out to the side clean that thing art don't be precious with your model don't think oh I've done it their jaw that ear looks amazing so now I'm not going to touch anything else around that you know save it off to the side if it's not working with the rest of your design you do need to remove it and so you can see here very quickly you can start to generate jar jar binks thrill and we'll give him a horn just let it he doesn't look like Jojo anymore and again I like to use a lot of insert brushes as well this is another technique I use I'll just drop in an insert insert mesh put it to the side come down to my sub tool I can split this off make sure you rename things cuz sometimes when you're Donna meshing or t transposing or sending things into key shocks if you have similar names in ZBrush that gets confused and one piece will come through and the other piece doesn't so just you don't have to name anything too specifically at home I name things like that in a production environment you try to keep things more professional Photoshop files and stuff but yeah and split it off to the side and you can easily come back in and very quickly you can start to generate something that you can work from right just get an idea doesn't have to be doesn't have to be amazing or beautiful or have every single screw and bolt in there but all right we got last question then we got to unfortunately call it a time one last question here this is a quick process going to key shot and that's when you have the the model that you first set up with the the like for instance you had a bunch of poly groups but do you get in the habit of group splitting when you sent over or you just assign the materials and then send them over that way to keyShot it's like in the habit groups there's multiple ways as I said like even from this I can come down usually if from splitting things up with with the masking like I was doing before so you come down to the intensity and you can see what you're doing I can split it off like that you can either split this off completely you can add a because you're going into key shot and key shot will actually separate your model according to your your different term Madcaps which is a pretty cool feature so all I need to do now is just change the math calf apply that and then the rest of it obvious he needs another math cap so let's just flicked it around put it in like that give me a sec I screwed that up Madcaps not RGB sorry guys those busy changing the RGB level and then you can come down here so now I'm bringing that in two key shots I've got the bottom surface I can add whatever a material I want to it and the top surface is gonna be a separate material it's going to treat it as two separate objects so you can either do it like this and send it straight over across now with a key shut bridge or you can just split it off in a tutu and polygroup and now you've got you know you've got separate pieces that you can treat this deformation at this stage Reed dynamesh and you can start playing with this top shape to whatever degree you want you know whatever you want to do in the back and again you can see why I love the Accu curve all these shapes that I'm generating now I'm generating with the Accu curve and I'll play with this to life on something that I really enjoy and I mean you can go crazy you know and if I see such a fool I don't know give me another like twenty minutes with this I might be sitting here till like 3:00 in the morning like if I'm home yeah it's just one step leads to another and I mean it's pretty kooky but you can see how quickly you can generate some shapes everybody you

Channel: Maxon ZBrush

Views: 31,436

Keywords: ZBrush, ZBrush SUMMIT, Pixologic, SUMMIT 2015, Digital Sculpting, 3D Modeling (Film Job), Computer Animation (Industry), Visual Effects (Film Company Role Or Service), Special Effects (Film Job), 2015, Video Game (Industry), Video Game Development (Industry), BioWare (Video Game Developer), Furio Tedeschi, Mass Effect (Video Game Series)

Id: x4b7HkQsGdE

Length: 56min 6sec (3366 seconds)

Published: Thu Oct 08 2015