Official ZBrush Summit 2016 Presentation - Anatomy Tools

let's do this okay it's such an honor to be opening for the summit this year and I got a lot to get through so I'll be at about twice the speech it's flying through stuff so try to keep up and I've been using ZBrush probably since before most of you were born so I have to take you back a little bit I got my first job in the effects industry at this place which was awesome and it was actually for Star Wars so my first movie was on Episode one that I got to work on but basically building spaceships robots you know the seven-year-old in me was very excited and got to blow stuff up got to cut up droids and things and you know that was my first experience in the movie industry which was awesome but I couldn't help kind of be mesmerized by what was happening in the creature group problem is I sucked so I was a hard surface guy but wanted to get into the creature work so the easiest way to get from one thing to the other was just to pick a movie that nobody wanted to work on which turned out to be the most fun ever actually I think was my favorite film of my entire career but it was awesome but this is my little guy that's my first creature model done in nurbs you guys don't know what that is but I'm just letting you know and this is how he looks in high-res but he was a lot of fun I had a chance to do my first sort of facial library you know animators be kind it's my first it's my first if anybody goes through a range of his expressions and you know there's sort of stuff but then basically this is how he looked in the movie little ear twitches and things yeah but the director basically said look make something cute and make it turn extremely nasty actually strain my platysma muscle doing that facial is facial expression but anyway I had a chance to be to do a creature but I wasn't in the creature group yet so I wanted to be there more permanently so I guess further study was required so I went down and to Monterey and did a five day workshop with now my mentor and good friend Richard McDonald and this is a great time lapse you guys should check out at some point but it's just an average week for him this is the studio working at actual speed but essentially what I found out is my Anatomy sucked and I really you know these people really knew their stuff so more study was needed and that's when I set my assignment of my first anatomy sculpture so you see more hair less of this but I want to reassure you guys it this is how the clay sculpt ended but it didn't it honestly didn't look like this it looked like stacked potatoes for a long while I just kept correcting it and reworking and reworking it but it gave me the 10,000 hours so it makes sense you guys have heard of that before I'm sure but then essentially it was going to take you 10,000 hours to do something make sure it's something you enjoy now and this is how it turned out painted I guess but the nice thing is it got me enough street cred to get into the creature group boom and episode 2 now this is how you used to sculpt creatures you're ready the horror so this is a magic sculpt sculpt done by the ranch and I just took the photographs and I'm putting nerves over the top and just shoot me yeah but that's how it turned out in the movie but my big frustration was this is one of the other creatures I got to sculpt this was super high res back then and you guys are like Asuna you trillion polygons is a bulge right but this was considered super dense but the problem is is you know it was up to the paint group to then put all the detail in and as a modeler that was so frustrating you know you've like hair like it's half-finished and you have to give it away so if there was only if there was a tool that could do this well then I met a couple of these sales guys when I went to my first SIGGRAPH sorry for those of you don't know that's Jaime LaBelle the managing director of pixologic and O'Farrell on the writer of it but I just thought they were booth guys right but at the time I was at this see graph and I said to my CG supervisor I said I think ZBrush is going to change the 3d world like Photoshop changed the 2d world it was that revolutionary for sure and that's the first time I saw that logo yeah yeah okay and there's the booth in typical 80s purple okay but to get ILM to adopt this I mean we were still doing NURBS and I was like this is a cool tool we finally needed an awesome special project to actually make this happen so as I was the model lead on the movie Pirates of the Caribbean - and the technical challenge was immense I mean just Davy Jones here he had 150 different type of sea life on him it just was not an herb solution so this is actually how we got ZBrush into ILM and changed their workflow problem is this was my character I was going to get to sculpt but something else cool happens so it's not a bad story anyway a surprised person came to ILM who's a hero of mine love his movies of course this is directed James Cameron and he made a surprise visit and the President of Ireland just runs into my Destin said James Cameron here is here do something and he walks in with a whole entourage and yet oh so you know no pressure but but basically I was kidnapped I was taken off pirates and I was put on a very cool film but myself and five other artists got to hang out in James Cameron's house in Malibu to do pre-production on Avatar the cool thing for me I was the only modeler and everyone else like Wayne Barlowe jordu schell Neville page Yuri Bartoli they were doing sketches and I got to sculpt them which was awesome so this is the first this is what the Navy first looked like that was the first sculpt it's just done in a couple of hours and then still in ZBrush I texted her got to finish her off and that was the first look she had and then of course hundreds amazing artists did an incredible job to make it look like it is in the final film but if you told me before I came to America that I'd be working for George Lucas's company I'd be in director James Cameron's house and I was not going to be happy right yeah you're taking crazy pills what a man is I guess I had a calling to do something else so quitting your dream job and also if I'd stand on that if I'd stayed on that movie I would have been working on it from 2005 to 2010 and nothing else right so I had a great lunch with James Cameron once in the house and he said yeah this is a dream of mine I want to make this movie for 10 years and I'm like you're right that is a dream of yours so I thought I better pitch to you some things myself so that's when Anatomy tools was born so I thought I'd get married I thought I'd buy a house and then I'd quit I am was a great plan wasn't it but I'm going to fly through these these were just some of the things that I've sculpted during you know the last 10 years or so and these are all nailed down in ZBrush but I really want to get to the next thing that I'll be sharing with you because quite if you have probably seen these things before and then finally did the female just recently but some cool things started to happen the anatomy figures started to show up everywhere it's my friend Gary Moe in the Bleak House two figures two figures I'm just saying and I was a huge fan of the artist Brom right yeah an order came in and it said Gerald Brom and I'm like no it's not yep so anyway he gave me a bunch of prints and I just gave him the anatomy figure awesome right but it started showing up everywhere this is an Avengers and so from here without permission anyway it's nice to be endorsed by Thor and the Hulk and everyone else but then it led to doing workshops because people started to know who we were yeah so yeah we've been to Blizzard epic valve all over has been fantastic this is a practical class Pixar and of course here at the gnomon school fantastic and then I also started dragging friends of mine from the effects world to teach classes with me this is my friend Carlos one thing and then even teaching Surgeons now heavens above but here's the cool thing I want to share with you which were my whole animal Anatomy crew at the front here we're doing animals so I guess what I'm saying we're encouraged to keep going yeah so just check out some of the work they've been doing and then we'll talk about it guys have sinned these are all just work-in-progress and I'll show you some Finnish ones in a minute about human you guys excited alright so I just want to take two seconds to introduce my awesome crew are they doing amazing work yeah can you guys all stand up come on and that's enough that's enough all right that's enough cool so we want to make the world's best Anatomy models I mean how many people are still looking at animal Anatomy books from 80 years ago what's our generation doing you know so we're going to crush it okay so you know we have to make the basic models these are some closing of the work and you know we're going to be starting posting a lot of this stuff on our site but we still need to know how to best represent each animal right so we did some research some animals may be friendlier than we thought and some others that's an Australian joke in there right so and then also to pick the best angle alright so let me share with some of you the more finished work it's a beautiful horse sculpted by both sach Barry and Vaughn and textured and rendered by Vaughn and then on the other side we're doing deeper dissections because we're obviously mentally not well and it's a bit of a quick turntable in low res but these are all going to be desktop models hope you guys are going to love them and then just give you one more example before we move on spy ten that's a crocodile you guys are good and then oh it's normally plays there we go look so this is going to be suspended in acrylic like it's in water cool so if you guys are interested let me know because we're working on about 20-plus animals but I don't know which ones to build first so let me know alright and we'll get it done okay so I thought I'd just end the talk today with some generic anatomy tips right because having taught all over the world it's interesting to me doesn't matter what culture or age group we seem to have the same struggle and the same journey right same mistakes so the reason I wanted to really try to master anatomy is because I also do a lot of fine art and I have the joy of working with circus LA so when you see what they can do you want to know the anatomy this is my friend Marie so for those of you in the workshop next week you get to see her perform here which is going to be awesome so this is it our studio in Vegas and that's from a week ago during that class all right so let's get some quick tips on dealing with working on anatomy and ZBrush I mean if you guys are interested yeah I'm just checking if guys are still awake that's awesome okay first thing is camera this is the same model with different focal lengths in ZBrush right so one thing I mean it's the power of the program it doesn't have an OpenGL camera so you can do you know your trillion polygons but just be aware of it particularly if you're going to leave ZBrush which most of you will and particularly for going to output so I normally set my ZBrush camera pretty close to the average human eye so if you want to set the angle of view to 28 that's a good angle to work out and I also have tiny little pieces of geometry that keep things at welds scale like it's 6 foot and the camera behaves very well then that makes sense to you guys otherwise you can get in trouble with camera the other thing to help your anatomy is how many people stop a little bit to do a portrait right you really focus on doing a portrait you're trying it right I'm trying to say do that with everything do the portrait of their Anatomy and your work will automatically improve but one of the things we've got to realize is that we are terrible observers just by default and artists are even worse so why is eyewitness testimony unreliable is because we're not really observing we're taking a snapshot and just interpreting the share hell out of it right but we want to move from that and what I'd recommend is to you guys to unplug for awhile right get off of the computer I mean not keep digital but actually start doing things like this copy from life so this is what I do in my studio got my little welcome companion on a sculpting stand and then you just go around the model and just sculpt from life right so you're practicing your digital skills but you're learning how to not just trace 3d ask a reference right you're actually learning you're not just tracing so that makes sense to you guys it is so much fun and you can you know undo okay ZBrush central I love how amazing is the work on zero central it's like right but there's also a lot of work of people getting better and that you'll just see the same mistakes made by thousands of people right and let's just see if you make some of these okay good so what you've got to do first is yeah this is before a large Mouse Ren eylem it was a large frog before right but here's my favorite pet peeve I'll just give you an example so everyone know what the sternocleidomastoid is right it's a beautiful muscle of the neck so why do we keep connecting it to the wrong point sternum clavicle mastoid sternocleidomastoid but we keep connecting it to the clavicle I'm just picking a hypothetical right this is a bronze sculpture I did in clay originally and then I just want you to look at the neck this is clearly going past my shoulder girdle everyone catching that yeah you'd be surprised go back to go back to zbrush central after this okay okay some some cool things to avoid there are no horizontals in human nature zero and this will help you avoid creating this guy right so it's ZBrush is such an awesome sculpting medium but you've got to keep things offset they'll just naturally start to balance out and what I mean by that is you end up with these sort of Popeye or michelin man arms right see what I mean by horizontals the muscle bellies are in line with each other very common thing to do so we want to remember those offsets right of how muscle bellies are higher and lower same with the legs yeah it's no verticals either which means that everything on your legs everything else is offset if the angle of the knee is that right it's not straight up and down even the bones of your legs even your ankle bones are not in line so when I say there are no straight lines got it wax on wax off right okay good all right and then also here's a fun thing about the anatomy if you realize both of your limbs and mirrors of each other Master one the other one becomes very easy guys get what I'm trying to say so this is the this could be the bicep of the leg this could be the tricep of the leg five digits extensors flexes right so try to think of them as mirrors right we've got a silhouette here of the leg and you see we've got the flip of the arm you know with the hand on a table I Anatomy are ZBrush central okay don't make your computer models cross-eyed you see this beautiful skull beautifully rendered and there's just something strange about it right it's because we're usually looking ten or fifteen feet which means you need a slight rotation in Y right so that unless they're reading a book or something otherwise you're CG characters are going to look cross-eyed even if it's beautifully done right so slight offset okay proportions this is more common than you think head to small neck to long shoulders to wide waist to small arms to short legs to long right they are common errors when particularly people are starting in ZBrush right with their Anatomy so most people have learned three skeletal masses if they've done some type of training right these guys but what I want to share with you is you must do for everyone see the red things okay so your shoulder girdle all of your muscles above rib number five all of your muscles will be affected by the movement of these or this fourth skeletal mass all right so perfect practice would be you getting that right so how can we track all of these things in any position as anyone sort of used the kind of the Loomis eight heads told if it come it's fantastic right it's awesome if you want to sculpt this forever by the way I'm not doing another Anatomy figure this you could take Angelina Jolie and she's gonna looked at one or terrible right but right what I'm saying is that system breaks down as soon as you go into pose doesn't it now I can't track my eight heads alright so how can I track this in any position yeah yeah these guys know by using the magic measurement okay it first started with Leonardo da Vinci five eyes wide this one right you've seen that before okay now he was a little obsessive because he measured the entire figure in AI it's so let's not do that okay and then anyone know who Robert Beverly Hale is amazing anatomist and artist he then took that further and then I've taken it further again so da Vinci Hale myself all the greats right so it's essentially using one measurement to plot the entire skeleton in any position they're still not interested let's do let me try that again to recreate the figure in any position from one measurement tough crowd okay right yeah yeah yeah I know right it's the only reason I brought you guys all right so it means that it's this measurement right does anyone know that we track bony landmarks to build the figure off it writes like a coat hanger so if this measurement we learned it's also this measurement okay which means our cranium is quite square but from there I find the sternal notch great I've got the start of my rib cage from there I've got the end of my sternum which is the right halfway down my rib cage then to the corner of my ribs then to the as is or anterior superior iliac spine the hip thing right then to the great tree counter all right then three of those make the upper leg two-and-a-half make the lower leg and another half makes a foot or you could just say from here to here there's three measurements good I know you're not impressed yet I'm just getting started all right how many people find a tricky to map the shoulder girdle yeah right it's a it's difficult right so this happens to be the length of your clavicle happens to be the height of your scapula happens to be the distance from the spine of the scapula to the acromion process and actually happens to be the depth of your shoulder girdle so from one measurement I just finished the shoulder girdle that's better that's better and there's two here and there's you know you get the point right so it means that you've got to have a system of reconstruction that's reliable now the cool thing in zbrush you can just set your transform human you umit's your transform units to be this measurement based on any sculpt that you do has anyone drawn a head before like an egg then put a nose on it guess what you've got the magic measurement you can finish the whole figure from there same and ZBrush start with the you know everyone starts with a bowl and a face and ZBrush don't know but you could build and dynamesh the entire figure after you've got this in you guys get what I'm trying to share with you it's going to be anatomically correct good all right okay so reconstruction so what repeatable process do you guys have that gets you something anatomically correct but also if you get in trouble anyone got in trouble and I don't know what's wrong with their work right so you need a way of checks and balances as well this is a live demo again sculpting at actual speed but you see that I'm going through a process so for those of you in the summit workshop tomorrow I'm going to do this going to show you how to do this in ZBrush cool but this is a tower a tower workshop you see I'm working in clay yes I go both ways clay and digital right and you know that's just going to go on forever can I scroll this thing I guess I can anyway this thing's online you can check it out sculpting from Jessica if she's going to show up any minute here no she's not going to show up any minute here Jessica yeah sorry this is a lot longer than I thought it was there she is right but you see that I'm doing a process in order to recreate this right so we'll give you the digital version of it tomorrow anyway I do finish the whole thing but okay we're proud to be sponsors of the event if you guys while you're here you want to type in this code if you want to buy any of our stuff you get anywhere from ten to twenty five percent off enjoy so in closing and then I think we'll have time for questions or whatever I think this is a very destructive comment right I mean there's that really empowering our future generations here I like to change that to this cool so there's a lot a lot of amazing artists presenting at the summit and I'd really it'll be awesome if they want to share their skills with you guys yeah okay thank you so so you're gonna you're gonna take some questions correct you want yes does anybody have any questions here raise your hand I'll meet you and give you the microphone and for online please send your questions to our Twitter hashtag ZBrush summit we got a question here on the floor for you I noticed on your animal that we working from actual autopsy yes because it looked like you'd scan those and then rework them a little bit that's right because we thought if we're going to make something that you guys must trust it's got to be anatomically correct but you'll see that there's a deadness to cadavers so that's why you need the art in the science yeah but it was yeah we're actually taking real specimens so all of the artists here have actually had to do dissection with us everything else right yeah good question there's a question the audience there Oh Spicoli Thomas you got any questions for me from online no questions so far online we got another one we're way in the back am i coming down the middle oh there we go I see it now I see it I see the arm I'm coming about my way you can take the mic I this is a basic question but I just wanted to know what type of clay do you use is it oil-based yeah the for the for the figurative art stuff for the fine art stuff it's Roma plastilina and for the Anatomy work it's Siobhan's clay it was actually JD ed but they have a you know some equivalent to it now so they're all oil-based because I'm too busy and everything would just dry out and crack so you know there be time I got to get back to it so yeah alright oh there's another one right here second row I'm gonna give you the microphone do you find that there's other applications for the golden mean and out in animal Anatomy have you discovered sorry sagen um measurement oh yeah in animal Natalie yes there is um you're probably all familiar with the golden ratio yep and things like that yes so there's just been less published but yeah there's the same sort of race shows that you can use as a system with the animals yeah for sure so we saying we should publish it right got it yeah I know they weren't as excited when you showed the three measurements yeah yeah well you know so any other questions out there from him in the hall there's one right here I see you I'm coming I'm gonna give you the microphone too when I get to you any thoughts on doing a book ebook of just the different subjects just to take on reference for on-site projects and stuff you mean like in applications and just just book just a book or I mean something that it's easily accessible that you can go through different models and how many people have six good question how many people have six or seven anatomy books at home right so my million-dollar question in my classes is like why don't you know it right and it's not it's not that you haven't done the work I think you guys need an operating system to make it accessible right like an easy process where all of that stuff becomes you know intuitive that you can build on I would like to do a book I think I'd like to get my artwork out first if that's okay because if you've had 10 years of helping other people with their artwork you realize that could at a certain point you're gonna have to do your own yeah but I would like to very much so I may be with the team we can actually produce that stuff you know yeah there's another question right here and then there and then back speaking of your artwork when are you going to show it yeah okay very true I have about 30 pieces that I've been sculpting for the last 10 years so if we go to Andrew cause calm and just enter the mailing list then we can get you access to it all right yeah hi what would it be your advice about doing likeness in ZBrush um are you working from imagination for photography or from photography okay one of them is to make sure you know the camera distortion right you just in Photoshop often now the JPEGs and things give you the focal length that's the first thing you've got to dial in your reference to your work environment yeah and the other thing is I would stay in low res as long as possible if you get the principal shapes working do you know me it's so easy to get into detailed mode has anyone been sculpting then they're like smoothing the sculpting no smoothing yet oh right so for lightness is to have multiple reference around you that is not just the one that you're maybe working over the top of right so you're really learning all the little nuances and everything of that person yeah yeah another question back here follow the light okay you follow the light okay how would you recommend going that process of combining anatomy for a different creature oh that's where it gets fun I mentioned before does anyone know Carlos wante he's the reason I stayed at ILM for two more years just to learn from this guy I mean he does things that shouldn't work but he I think to become when you want to play with Anatomy right you've got to have a solid base and a justice any interest on everything on the planet right you may have not noticed but on a lot of Carlos's creatures they're actually Triceratops type scapula's right and just cool stuff like this I'm not saying that's what he's thinking but he's got those those languages if anyone wants to know how to push Anatomy I'll give you Carlos's exercise he gave me you guys want it yeah all right I might am i doing on time you're good you got like plenty of time I'm back here though down I get that yeah look quick mover it really helped me he told me he gave me a sketchbook right empty sketchbook and set at the top of it right squash just the word squash and then on the next page stretch pinch right and you end up learning the language of those things in abstract form you just do abstract drawings that feel like they're stretched feel like they're squashed right so when you start playing with all the anatomy and how things are pushing up against each other or being pulled it you'll pull off the illusion we're all illusionists it's just digital clay here right it doesn't really exist so did that help answer your question yeah all right back here for your next question so in regards to the animal Anatomy line is there anywhere so I've been keeping up with I saw the previews without images on the website I'm specifically waiting for a lion is there anywhere that we can see teasers or things like yeah we Ellen's I'm not sure how many of you have had experience with mass production but you know I guess what I'm trying to say is to achieve the excellence we're showing you it takes a long ramp up time which is also why I'm interested in getting from you what animals you want first yeah and also we're using real fur and eyes and thing I mean not real fur but like artificial fur like we're trying to go to you know level 11 right but we'll also have the resin casting so much the horse and three other animals are coming out so I'm finally very happy to be able to say that so and the running line is going to be beautiful because we have we length from a museum a seven-foot full-size male line it's just you know and get to be face to face to this beautiful animals so and that's a big reason we doing it a lot of us actually our animal lovers and I want to try to preserve these things yep that leads right into a question from online from Thomas hey Andrew do you still do more creatures like scalps nowadays or is only like this real life animal Anatomy um no less although I've had a lot of pressure to teach with some of my friends oh yeah so usually in the classes I do because it's still super fun you know so if we if you guys would like Carlos and I to teach again or you know Steve Wang Simon Lee jordu schell these guys are all legends yep let me know and we'll do it but yeah personally I'm more into fine art now and the figure yeah here's another question for my life mccard Oh any tips you would actually want to give for stylizing an Anatomy yeah I think stylization happens once you've mastered the form right so in other words if you really know what it is in reality then you can start breaking the rules if you like or pushing it up you know um I think is Asian first yeah well I just think be consistent if you stylize something then just make sure that runs through the whole piece you know perfect any other questions here in the house that lights like I can't see like this side of the house okay here we go question um oh sorry yeah do the do the people on your team that are working on animals they tend to have a scientific backgrounds or like study biology or know a mixture I mean they're all mutts you know I think you just have to have a genuine passion for the animal you're picking and you must become an expert on your own animal you know people have been going to breeders to museums right - really and they will I guarantee them that there will be the number one expert on that animal in the world as a digital artist guarantee you know they can talk to a veterinarian by the time they're done for sure yeah so a mixture I mean some people are stronger artistically and less scientifically other it all works you just kind of work with your team with what what skill set they have so yeah good question one way in the back I see it coming okay we're gonna work out this weekend hi do you plan on doing any less traditional animals like mollusks or insects things like that yeah we looked at insects and snakes and all these things but then I'm like it's so easy to get the real thing you know unless you did like an awesome buzz talking to you know a friend of mine about doing maybe beetles this big because that'd be cool right but what I'm saying for a lot of the exotic things they are they're not an endangered species and you can just get taxi donors of them so you know it's hard to be the real thing so yeah yeah great any other questions oh one more coming you guys are doing this on purpose I know it yeah speaking of endangered species have you considered doing like focusing on endangered species at all yeah we have there is obviously the challenge of that because if we are working from dissection there's three left in the world do you mind if we dissect one while we try to save the species yeah I mean I mean no animals are harmed by us these are all specimens that exist I think it's also the demand of interest you know because at the end of the day if we if we make them for you and they're like wow that's really cool that you're saving this animal I have no interest in using as a reference model it's just a happy balance I guess but yeah but the point is is usually for animals like that part of the proceeds of the sales go to that organization right to try to support that yeah for sure great Andrew cause everybody thank you

Channel: Maxon ZBrush

Views: 56,676

Keywords: pixologic, zbrush, 3D, sculpting, modeling, digital, art, design, creation, create, artwork, how to, tutorial, making of, andrew cawrse, anatomy tools, figure drawing

Id: i6KKp8UpjYI

Length: 43min 1sec (2581 seconds)

Published: Tue Oct 18 2016