The Character Art of Horizon Zero Dawn with Guerrilla Games

so I'm gonna stop talking so you guys get ready to buckle up and have a good time here get your questions ready get going ladies and gentlemen everybody Joran applies for guerrilla games there we go there you go hi welcome everybody it's good to see you got a full house yes great to be here so today Ben and I will be presenting the character art of horizon zero dawn so first up my name is Arne Schmitz and I'm gonna senior character artist at guerilla games I started working at guerilla games back in 2012 that was roughly a year before the reveal of Killzone shadow fall before that I studied at the NH TV in Breda and later at the Florence Academy of Art everybody it's great to be here my name is Bennett and I'm also senior character artist at guerilla I joined the team in March 2013 pretty late in production for Killzone Shadowfall and then went straight into production for aizen's you were done and I've been there now for four and a half years already so before we start for the the actual presentation give you a quick overview of what's going to happen within the next 90 minutes so Arnaud is going to do an introduction of we're giving an insight of how we use ZBrush for the fabrics in the game so how we studied the materials how we made sure we get the material expression right already in the high poly stage and he will rip that off using ZBrush as here life he's going to scope like a piece of leather his cloth and he shows your you his workflow and our in-house approach on doing organics yeah rich in fabrics and leathers specially on today and once it's done I take over and I will highlight the hard surface component of the characters because there were all these plates of the robots and I'll tell you a little bit about the history how we came to them added them to the characters and then I'll wrap that off with a live demo here where I scoped something and hard surface and show you also my personal take on hard surface as well and when we still have time left and we do some some QA okay so I give a quick introduction after like doing 13 years for first-person shooters for 13 years we did like a hundred and eighty degree turn we created a open-world RPG which became horizons you were done and when we started doing that we were like oh my god there's so much more characters we have to do when compared to previous titles and really those characters that was so many there were so many materials to take care of because we still want to make sure they have this high quality photo-real graphics going on mic problems so yeah please so because the Ryan's always a heavily narrative' different game with a fixed story all the story characters which was even more than before they had to take or extra attention not in terms of the story not in terms of gameplay but also in terms of the visual design and especially the materials they really had to shine there it was a very interesting part in the world of horizon you know the world is populated and dominated by these vicious looking machines like this cool animal robots and some of them look like dinosaurs those robots they brought a very interesting and pretty exciting component into the game that helped us to make all these characters blend into the world of horizon and make them look horizon ish right and this was all the SyFy components all the robot parts they were which is like the key design key design part yeah of the game characters right because they all live in diverse tribes those sauropods helped us to make them look even more distinct and the cool thing was when we looked at Killzone Shadowfall we worked on it the material palette in sheriff all it was quite limited to a more futuristic palette so it was more like plastics and metals and it had all these artificial fabrics and synthetic fabrics and rubbers materials fiber when they started to work on the rise and we noticed oh my god there was so much more materials we had to take care about because let me just look at the fabric side we had like silk there was velvet there is linen there was wool there was that third there was letter letters hide skin feathers and then on top of all that that came all the decipher materials from the robots there was metals plastics even artificial materials like rubber and parent materials kind of insulation foil things like yeah oil insulation the shiny one and and all this the green liquid the blaze right it was also some sort of liquid materials going on and even many of these came all together on one character so we said there and we were finished texturing one character is like oh I just made one character but I was working on silk and sci-fi parts at the same time which is kind of cool yeah so those characters were pretty challenging but one of the most challenging characters if not the most challenging character was a Lori she's the main character of the game and you play her through we play her adventure and because she has all these different outfits most of the materials in horizon they came all together on her because these outfits that she that you get and that she wears they're mostly based on the visual design language of a particular tribe so it was like all sorts of stuff going on here she has like robot plates on fur for example which is pretty cool yeah and Ellie Honor here he worked on quite a few of these costumes yes so you did mainly Donora once mainly the brave a lot of the outcast and this is phase going to start off now he's going to show you his approach of working on one of these costumes and his uncertainty brush sculpting fabric details awesome yeah right check it away yeah so today I'll be talking about how we approach material expression at guerilla games and my focus will be on the fabrics so first up just some general information the world of horizon knows nine tribes today I'll be talking about these three tribes is specific and one key material per tribe specifically so on the Left we got an aura character in the middle we see a cardiac character and on the right we see of a new character so I'll be covering one key material per tribe and I'll go into detail on how we recreate that in ZBrush so first up - Nora the Nora are a hunter gathering society that live in isolation from all the other tribes and Nora garments use a lot of materials gathered from both animals and nature a common theme is the ornate braiding you can see in some of these characters and these braids can either be made from organic materials such as leather or like synthetic materials scattered from the robots most of their clothing is made out of animal pelts so hide is a super common Nora material some when sculpting these type of garments we start thinking about the construction and we start gathering a lot as a lot of reference to kind of study the material so when constructing these garments we think about how are these things actually made so what's the limiting factor for something like this it's actually it's made from animal hide so the biggest animals in the world of horizon are a boar so that means for very large garments they're going to be stitched together out of multiple pelts so that's something we all we just need to think about and then depending on the thickness the high it will behave very differently you got fake high like this that behaves like leather and you got very fin height that behaves more like a fabric you can observe here how all the folds are kind of big and round it and we also try to think a lot about how this height wears over time you can kind of see a good hint already here so because the garments are exposed to the elements the Nora like outdoorsy people the height will start cracking in areas of high mobility such as armpits or in this case the feet this creates a signature memory folds that are key to selling this material these types of folds are created by areas repeatedly folding in the same place and the grain will break here and that will leave like this Ashton effect and we try to include these kind of observations into our scopes so this is a good example of how one of our scopes would look you can see the sculpt should already look like the material in the ZBrush canvas without any textures or special materials applied and notice again here the heavy concentration of wrinkles in the armpits because that's area of like high mobility and finner height will behave differently than this really thick height so we want to look out for those kind of subtleties so this is a buckskin and it's a very good example of medium thickness hide more of the grain has been scraped away that's why it's softer and why it doesn't have the characteristic leather grain that's you associate with like really thick hide the scrape marks can often be seen in the final piece things like this so we try to include that in the ZBrush scopes as well and you always want to think about the creation process so all Heights are basically animal skins stretched on a rack and when this gets off to rags all this tension you can see here only on the edges that gets released you know so this creates these kind of wave-like folds running through that to the edges and they kind of fade out towards the center these type of folds are usually large to medium size and the edge delamination is also something that's very typical for these type of hides and basically happens because the hide gets wet and rise because it's exposed to the elements and the different layers of hide that will start to like separate out so again the oldest are or all these observations we try to capture them in ZBrush so you can see the wave-like folds I was mentioning before and you can also clearly see how they kind of fade out towards the center and then the edge lamination it's a bit hard to see here and because it's quite small well we use a slash to brush for this and it's a really great way to quickly get this effect only on the entire model nor your edges and I'll show you're doing the workshop how we actually do that so fast yeah so when Hyde gets even thinner than this it starts behaving practically like cloth so that's a good example of that so all the big and rounded wrinkles I was talking about before are kind of gone and what you're left with is our D sharp memory folds you know they got very sharp peaks and valleys and these type of memory folds are not really itched in folds I was referring to in the on the fake hide before but these are more like if you think about an iron shirt you know like those kind of wrinkles yeah so again this is how something like that would look like in zbrush and super simple we just used a mean standard going out and then Damien yeah I think and then trace the stroke from both sides for the Damien standard going in and the key is did not do those strokes parallel but to kind of taper them in the direction and default yeah exactly so that's pretty much all I want to cover about height today and with that being said we're gonna move to the next tribe the card yeah yeah so the cardia are the wealthiest tribe in the world of horizon and that's mainly due to their trading and farming so your is a cool lineup of larger characters so there's skilled craftspeople able to produce intricate fabrics but the working class those are the two here on the right there like denied access to the finest materials but they'll still have better materials than most of the other tribes in the world of horizon linen is the main textile used by the cardia and it's a weave made from the flax plant so weaves weaves are like made by interlacing two sets of yarn at right angles you got the weft which is the horizontal thread and the warp which is the vertical thread and in broad terms the thickness of the yarn will indicate quality so figurin gives a rough fabric it's very sturdy and fin yarn will give you a smooth fabric suited for the rich lots of upper-class characters will wear that so then here on the Left I made a little breakdown of how a linen would Bend versus a hide and then the reason linen can bend much sharper is because it's a weave instead of a solid of material like hide here and the way I personally like to think about it is that there's essentially air in between these weaves and that's why it can bend this sharply this also means in general all the folds in the garment they will tend to follow the warp and the weft direction because they're and the wrinkles will try to follow the path of least resistance and also explains you can see like these kinks that are very common characteristic of linen that's pretty much when the fabric tries to bend over like multiple planes at the same direction it will give you like a like a kink like this in the fabric so as you can see this is kind of what we how we capture all that in ZBrush we're really trying to capture that behavior and one thing you probably notice immediately is that the actual weaves you can see in the game are not included in the sculpt we do that at the material and texturing stage and we use tiling detail maps in our engine to get that super high-resolution look so next up we'll take a look at some of the less well-kept linen so linen picks up a lot of memory folds this is like an iron shirt that was mentioning earlier memory folds are created when the threads are bent to extreme angles this imagine this like being like crumpled somewhere in your closet and this kind of leaves kinks in the treads and it shows up as like an echo of that particular fold so if threads get bent to extreme angles repeatedly they'll start breaking and this is a good example of like really broken-down linen heavy wear will cause the strands and either the weft which is the horizontal or warp which is the vertical direction to break first leaving like so in this example the vertical threads broke first and that's why you get these kind of horizontal waves going through the garment and then eventually when the other direction of the tread breaks as well you get actual holes and then the key thing to take away from this is that holes will always stretch in the direction that broke first so you get these kind of lettering and then you kind of get these kind of long in that direction because it retracts yeah so then this is a good example of how a finished garment like that would look in ZBrush I just want to do a quick shout out to our friends over at sue Jo will model this particular sculpt they did a great job capturing both like the full behavior and all the weathering mentioned during this section and with that being said on linen I want to move on to the next stripe the final tribe for today double nuke yeah so the Banu KF nomadic roots and their priests have a strong spiritual connection with the robots survival is a very important element to the minook this can be seen in their clothing so the main key for the B nucleus to dress warm so they dress in hides first and wax cotton and that last one is because it's waterproof by waxing cotton or any type of fabric you can drastically change the folding behavior the wax fills up all these gaps in between the yarn completely changing its properties so all the draping behavior behavior kind of resembles crumpled paper more than this fabric and it finds like a good picture that kind of illustrates that areas with lots of mobility will have an increased number of these sharp wrinkles so this is how we captured an ZBrush the main goal is to sell the stiffness of the material created by the waxing and a way I like to do it is to go in with a drag track and get like a alpha of a crumpled paper kind of lay that over the general area and then go in with a daemon standard and really kind of accentuate pick out the good wrinkles you want and you can see again in areas like the elbow you're gonna get more defined creases because it's an area of high mobility and I just also wanted to mention again that all these materials both the hides the linen Andes wax cotton should already be clearly readable in ZBrush canvas without any textures or materials being applied we should already tell in the high poly what type of material is this so it's it's distinct yeah so it's half the texturing work exactly so that was the main part of the presentation for me the big thing that's left now is the live demo so this Pete model as oh sorry it's basically broken down into three separate things so first up and we say do a speed mole and turn it into a Marvelous Designer pattern by just drawing directly all the seam lines on the speed model then I'm gonna make a wrinkle brush which is pretty much roll brush that uses a marvelous designer sim as its alpha and the main chunk of my life demo will be where I take roll Marvelous Designer export just say obj file turn it into a workable mesh with subdivisions and make the material definition read like hide so let's get started the first section is actually a video because it was a bit tedious see that place I think you have to change the pointer to yes so I'm doing here usually we kind of have speed balls that indicate the volume of your final cloth but in this case we're gonna recreate some of a low spans which were pretty tight so I'm just gonna draw directly on the base body in this case so what we're gonna do here is I'm just gonna draw along with a black brush the seam lines and the reason we do this is because all the patterns in the world of horizon are pretty unique they're quite unconventional so you can't just go online and just find some pants patterns and expect it to work so the easiest way is to kind of kind of reconstruct them the other way we're just drawn directly on the you know in 3d and then use UVs to kind of reconstruct it so you can kind of see me painting here and one thing I also wanted to mention is why are we using Marvelous Designer instead of just sculpting things directly in ZBrush it's true you can sculpt like really amazing clothes in ZBrush well it's it's you know very time intensive and we're having a huge cast of characters and the key is to keep it consistent and that's why mark what marvelous comes in and we couldn't do just one set of pans and use a tour of many characters every character was so unique that we had to redo everything from scratch yeah Morris designer so at this point I'm going to just switch over to ZBrush and finish this off so this is the final model so what we're gonna do is we're going to convert our poly paint to a mask nice white color intensity okay and now we're just gonna solo split the hidden split the mask points and that will leave you with a garment like this and then you're just gonna go to see plugins and then UV master and you're just gonna unwrap this I kind of prepped this already so this movies this has UVs and you notice also I kind of sliced off one side because it's a symmetrical pattern so then we just kind of go to UV map morph UVs and what you do at this point is to export this and take it into Marvelous Designer and that would look something like this and what I'm gonna do here is just quickly trace this as a pattern and the point the trick is here is to use the minimal amount of points to just keep it easy for yourself and then use the curve line tool to actually capture all the specific shapes and this will fit perfectly in the end once you actually stitch it together stitch it together which is super nice so yeah this is very simple just matching all matching all the shapes I'll just skip forward a bit looks so this is what it looks like once you're done then you kind of symmetrize the pattern kind of laid out everything a bit more neatly and I just also imported like a low-res version of the base body and kind of draped everything around it roughly and then I'll just show you how our final Marvelous Designer pattern looks like so at this point I come in and I made sure all the scene lengths are the same in between all these patterns because you don't want to get unwanted tension and this is kind of how far we take things in the designer at this point you would export it back into ZBrush and add all this material definition we've been talking about so I actually got that pre-loaded so these are the specific pants in ZBrush and as you can see here again all these memory wrinkles I was talking about before are present especially in areas of lots of deformation and then this kind of leads into the next subject you can also notice all these seams they have like these nice contact wrinkles where it's kind of suggesting that there's stitching going on so I'm just gonna show you how we made a brush like this so brush making tutorial yeah I've made this a marvelous designer designer is super simple you just put a piece of fabric on the ground plane and you put a little elastic band here on the side and you just give it like 98 percent elasticity or something and you'll get like some nice wrinkles so then we're gonna go into m RG ez m mr-- gzb grabber and make a elf and make an alpha out of it and there we go there we go and then go back here I'll make a layer and then we're just going to apply it at alpha to the brush and you want to make sure you're going to make it into a roll brush so it's modifiers roll and because this it's like a non square alpha you want to set the role distance to to that that works really well for this particular alpha you know slightly smaller brush size so you can kind of go in and add seam lines you can also just invert it yeah it's usually better just one side and then you usually play with the layer opacity to kind of tone that down and we got like a whole series of these for linens for hides you know and the key is here to keep the consistency because all the big wrinkles are Marvelous Designer it's nice of all these small contact wrinkles also have the same marvelous designer look to it so basically if every type of fabric we made our next set of brushes you know that kind of reflective material responds so for these wrinkles and the pull and the stretch it's like an entire library of this stuff so that sped up the workflow a little bit yeah it's really handy yeah so now we're gonna go into the main chunk of the Haight live demo where we're just gonna convert this into this is like a obj out of Marvelous Designer angles I'll show ya like this is not really workable so I'm just gonna quickly turn this into a workable topology and turn it into hide afterwards so the first thing you want to do is make a duplicate out of it then we're gonna go zremesh this real quick default options are fine that's the cool things just won't click and it got workable - yeah exactly it's really grateful and then I want to capture all the detail from the original one so I'm just gonna give this for subdivision levels and do a quick reproject I always put my blur to zero I'd rather have the first thing and have the control over you know to kind of just move it out myself so that's that's cool that captured all the details and I'm gonna switch in my favorite brush in ZBrush smooth directional it's super useful too wrinkles to clean up any type of cloth because you got like control over your direction you can go in against it and really smooth it out or you can go with the wrinkles which is like the main way of using it and you actually keep all the definition and then if you get some artifacts like this you just release shift at the end real quick to kind of clean get like a clean smooth at the end so this just will take a second to kind of clean all this up and after that we're gonna go in into adding thickness yeah so we're gonna use panel loops for that and it's really cool if you set your edge edges correctly on panel loops the amount of edges you can just do a reconstructive on it afterwards so you can get all your subdivision levels back so this one is for subdivision level so in this case I'm gonna use 8h loops so just deleted my subdivs so it can make edge loops out of it so polish zero no bevel elevation minus 100 and then loops so it goes inside yeah you always want to go inside it you know you don't want to change the actual surface you just want to go give it some thickness so then that's actually perfect thickness and then actually want to show off like this ol is nicely poly grouped even the edges have separate polygroups you know sometimes you want to sometimes you don't but it's easier to fix it than to have to recreate it so this is a great great starting point so then I'm gonna just switch over to the correct sub tool where I've already placed this just using move brush and a standard brush on the child alloy character bit of tweaking yeah and now we're gonna actually start modeling this up to look like height so this workflow is based heavily on layers like old effects aren't layers and for time reasons I'm just gonna do a little section of it and then delete my results in just turn on a layer where this effect has been applied to the whole character so first up our we fold so I got my brushes here and we fold better so this is actually one of the default alphas 58 just with a harder radial fade on it I love that one yeah it's really good so go for wrinkled stuff yeah creature skin so what I'm doing here is I'm going in in the areas that I would expect to have like these deep memory wrinkles and kind of start applying that and then one thing practical thing you don't want to draw straight you kind of just want to wiggle your stroke while you're doing this to kind of get a lively effect and again we're always trying to think about how this works you don't just want to apply this globally so if this is the waste the twisting would mainly happen in this area so that's what I'm gonna apply like the bulk of my memory wrinkles reference on the seconds yeah yeah this thing is always a reference yeah we even bought some actual leather stuff yeah in the office and fur and things that's really cool what happens so it's always great to see that in real and how it behaves mm-hmm stress it and the keys also if you use a light pressure you can kind of add some general kind of wrinkles and you smooth directional to kind of blend them out we're just kind of to don't have the transitions being super hearts between memory folds and nothing so just kill that and turn on the layer so you can kind of see the global results okay so I switch to like a more pleasant material there you can see that all right that's pretty good so next up we're gonna add some drag tracks to just the point here is we're gonna add some happy accidents to it which is really nice like people who ever suffer from like blank canvas syndrome where you just like you know you don't know what to do if you're looking at like a blob of Gio it's really nice to just add a bunch of al-faisal in there and kind of pick out the happy accidents this is especially for things like cloth sculpting it's amazing so what I'm doing here some just putting direct direct on it and you do want to align it these alphas have a direction so you're putting them down with purpose I still be the logic yeah exactly and then because this is ladder this is a super good one for linen actually but I like to have it even a bit on height and then we're gonna go in with our letter drag and again very directional you want to kind of layer this and you can already start seeing some happy accidents for me and of course this looks way ugly right now because it's like super intense but you just want to tone this down a lot so you can get like hints of this that you can use later to kind of you know sculpt up something nice to layer intensity yeah that's the key more control the end so this would be like something like 0.1 I'll put it to 0.2 just for the audience sake but like 0.1 this would be enough already when you're doing this for real so just kill this and put on the actual layer so you can see it's very subtle but there's there's something there you can use next up like hide has this drain and it really kind of informs a lot of the wrinkles so we want to just cover let's see if I got the Craig brush yeah the entire surface in this and the key is to not have the drain of the texture but it's kind of have the wrinkle direction in here so it is again just the standard alpha 58 on a straight brush and you discover the entire surface like this and again the layer intensity is gonna be toned way way down but this is just you know setting us up for all these happy accidents when we're actually going in and doing all the deliberate sculpting it's also good for for out direction right if the auto director wants some layers with more intense but less intense yeah way less destructive so we can just go back and increase the intensity a bit it kind of gives you a clearer ZBrush files but I never move my layers until like you know once the thing is approved keep the layers yeah and try to name your layers as well I'm a bit messy myself but then in the end you just use the morph target you know to just like more of your visible thing and collapse it to in a single layer so in the meanwhile while I was talking I switched this on you again super super subtle but especially in these areas it will help you out later a lot it's good yeah and then we're gonna start going in and being a bit more deliberate about her memory folds this time so yeah you can see it's quite a lot of building up a surface so you can see here this is gonna be a kind of continuous team I'm using the same brush as before but I'm going in with a very small brush size and I'm kind of starting to work from big to small kind of defining you know the wrinkles I like kind of exploiting all those happy accidents so you just kind of go in and do a whole treatment on the entire surface like this and then next thing we want to use one of those raw brushes we're going to know all these different panels are going to be stitched together in the final model we kind of know that from the concept art that was given to us so you kind of want to show that give an indication that there's tension so this is another roll brush for this it's it's nice if you isolate the pad and they're individual panels so you kind of just go in it can be quite aggressive and it's nice to go in and out on this as well because otherwise all your wrinkles will just go out and like the global shading will kind of reveal the trick so on this one as well it's very nice work in and out and then again it's just lower the intensity to something that's actually appropriate yeah that's actually pretty good and then we'll just turn it on on all the edges so you can see on the original one I actually did it slightly bigger so it's starting to look pretty cool and now that all these kind of drag drags and all these kind of alpha tricks have been applied you go in and the actual sculpting work so first up what I'm going to do is take a Damien standard and really aggressively kind of Block in all my main folds and the the trick for this is you can guess by at this point already I'm gonna lower the intensity down a lot but you want to break up some of this marvelous feel and this is a really controlled way to kind of emphasize the folds you want and also you know kind of make them unique and because it's height as well you want you definitely want to put in those ones that go in deep characteristics yeah then we'll go in with the Santa brush and this point I'm actually gonna start exploiting all those happy accidents I was talking about before and just mentioned it didn't really do anything with it so I'm seeing in these alphas all kind of things that are lining up also like for example here you can kind of want to line up those roll brush wrinkles with actual Marvelous Designer sim also when you're building up mass like this it's good to build up the mouse on the other side of the wrinkles because like gravity always pulls everything down so you want to keep that in mind when you're building and you're building this up and again you're just going have you hand it and you'll your tongue on the layers in the end it's more like giving it the characteristic feel of yeah I'll get material mm-hmm at this point I also start actually playing around with the light which is has a huge impact on how you kind of perceive your wrinkles so again before we continue we're just gonna put this down and now we're gonna go in just repeat the same process but with a lot smaller brushes we're gonna go in Danish standard and actually make these memory wrinkles not just superficial details would actually start etching the successful ones in kind of just ignore the ones you don't feel are adding that much to the look and you're actually emphasizing the ones that you feel have potential so I'm I'm for this live demo for times sake I just switch from the big sized brushes immediately to kind of small brushes but you know what I'm just doing production work I would usually do this in like a three step process where I just go in with very big brushes then I'll go in with like medium sized brushes and in the end we'll just finish it off with very tiny brushes and that's kind of a good general artistic thing to do is always work from the very big shapes to the to the small shapes so I'll just put 10 down and we're sorry and we're saying to get something and then we're gonna go in with a small standard brush and now you can actually start to sell the really successful ones that's not somebody's and again I'll switch the actual layer on where the whole garment actually got this treatment and then you'll see the big impact this kind of pass makes but when I'm actually doing this I'm very careful about like my light placement and also basically switching between basic material and basic material to to kind of assess the highlight and still kind of tweak my layers at this point and add or subtract some of the look a good global trick I can show you is also you go down on subdivision levels and then you've got smooth directional again and you can kind of really nuke folds or you can kind of kill still kind of have them but this is into detail this is really good on a layer to have as well if you kind of you know you just work on a very matte material in a lighting situation that's pretty forward like this you have a tendency to kind of over exaggerate it and then once you actually put the light to a bit more true position which would be more of a sunlight position then you see like oh I really overdid it and then like a layer at the bottom with some smooth directional can really easily fix a lot of your problems so I'm just gonna delete all of that and turn on how this actually turned out there you go so you can see the a lot of the big moves I did were very subtle and the the smaller moves are more you know emphasized really kind of controlling it so next up I'm actually gonna uh nice elate this and show up my stitches so we got an information for this to quickly place them but for times sake I just you know show the study tool because we the focus is here to just show the actual you know making it look like hide so I'm gonna come in and we're just gonna punch some holes sorry standard damage standard to the rescue I've got questions before why you don't just have like a separate drag rect for this well you know it's so easy yeah say why should you say just point some walls and then super simple just kind of there we go so that's like all the holes punched in and then we're gonna go to the edge delamination trick I mentioned during the presentation so I shot / - there's actually just a normal ZBrush its edges hidden so yeah it's just hidden in the in the lightbox so for this you want to set that settings Craig you you gotta have back face masking on or always so completely destroy the back surface and then again the trick is not to just make a simple stroke like that but kind of wiggle your stroke to give it a lot of characteristic see I kind of need to align your canvas when you're doing it like that and then yeah that's actually pretty cool you just kind of wiggle it along the edge and again I'm just working at this I'm not even touching you intensity I know I got this on a layer so just just you know the layer intensity after the fact and especially if you're doing this you got a lot of ground to cover so you just want to have a clear indication of where you've been already oh yeah you got to make sure you go in the right direction if you go the wrong direction it's gonna go only the opposite side obviously so yes I think that will get a human point yeah and that's yep usually 0.2 or 0.1 does the trick for this yeah so you can kind of see especially from a from a medium distance you know you always got your final text you know your final pixel density for your textures in mind so from the medium distance this is going to read very good so you switch that on on the entire thing and then the last thing we want to do is we just added these holes and all this edge delamination and you want to do one final pass of adding all this in manually so we're just gonna go in a standard brush and kind of start thinking about it like these things would probably tear out and kind of line up with some of those alphas we got before and for example also here these these kind of stitches that would kind of tear out the surface a bit so you want to add really think about it so you don't just put in a lazy alpha you always want to come in at one point and actually start manually working it in to make it like an artistic hole you know also it's standard really good to actually add some weight behind your lines again don't be afraid to overwork it and then just you know reduce the layer intensity that's kind of the way to go and also just kind of keep changing to like bigger size change your light materials around kind of assess it in different situations so like it's a bit intense here see when it kind of continued it no there's a certain pool to it right yeah you want to pull it flips yeah you want to make it feel like it's either going underneath or you want to make it feel like there's an actual strong pool to it and that's usually by going the other way and kind of making it feel like this so it's actually pulling pulling the fabric this is also very good shape for it and then just kind of turn on the actual production thing we did here so it's a bit more subtle because the light intensity but reduce then they use the morphed wick to actually just blend this into a named layer cool so I'm just gonna zoom out now and add the subtool for the rest of the garment I just want to bring to your attention that this is the actual GTL we use that the production and like all the normal maps for the final game measure beta from this particular model so I'm gonna switch back to PowerPoint out and then like this is actually how that character ended up in the game and just wanted to point out again to you like all this hides like knowing B sub height sections with like really thick hide and buckskin this really shows up in the final result it's not just like it it's a lighter color you actually can kind of feel all this wobbling I was talking about and you can feel how this is stiffer than before so that's really the key of all this before I'm gonna hand it over to Ben who's going to talk about hard surface stuff I'm just gonna like kind of boil it down into my tree and takeaways so we got creation and history of the garment has a huge impact on its Luke so that's kind of are you an aura character we're just like living outdoors it was get like wet from the rain and just has like dry out or you like a rich old room whereas like people taking care of your clothing you know a material expression should already be visible in the sculpt in the ZBrush canvas so and don't kind of use the excuse like I'll fix it during the texturing stage it should be clearly visible in the ZBrush canvas that's what makes a really strong sculpt and then Marvelous Designer is a great tool for defining the main faults but ZBrush is where the real magic happens of material definition the way I like to think about it is that every sheet in Marvelous Designer is like a fresh sheet of a specific you know type but you want to add all that history to it all those memory wrinkles and all the wear and you know you need to see rush to do that's the only place where you can do it successfully so with that being said we're just gonna hand it over to Ben the PC will take or like we need a couple minutes to kind of set things up correctly so this is a good time to start asking some questions cool a lot of no he's got a question from well too late all right here we go here's question yeah we we change them all the time actually but in the end you'll just find out that especially the letter one is really good so that's them the main one who we end up used for like most of all these materials and then the actual distinction between like buckskin or really thick height you actually end up doing a ZBrush most of the time yeah I hope that answers your question I got another question right here cool thanks are you talking about how we created the role brush using the EMR gzb grant yeah yeah that one he's asking if there was any more cleanup for this one I did just a lights move on it because if it's super hard it will read more like linen and I knew for the live demo I wanted to create something that's more of a hide so then I just added like a general smooth just a couple of taps from the from a big sized brush that's all the Edit thing I did in ZBrush yeah okay way over here at the corner yeah got another one for you that's mainly done in in Marvelous Designer where you actually kind of just just rotate the pattern like this is that simple because that's many big big fold things and then still all the same techniques you would apply to Lin and generally apply to this that type of fabrics as well okay all right here and then we'll give it back to bed we're done kitten yeah you're done yep I'm ready okay one more do it okay so we had a great external vendor who did a lot of 3d scanning for us so all our portraits are based of actual 3d scans we had full fax captures for this and then we also do some characterization they also did the characterization for us so we kind of don't just keep it with the digital doubles but we add like a bit of artistic flair to all of these heads to really make them alive so that there was a trick to the faces cool you ready yep all right I'm gonna touch on the hard surface component of the characters now that honors done all the fabrics and the Nottie organic materials I'm going to cover all the non organic materials and those non organic materials they obviously they come from the robots in the world of horizon so this is the Sun dojo right there and usually when people hunt down animals I usually do it for the fur and for the food and all the meat and the hunting tribes in the world of horizon they had done these machines for the robot parts because they want to use them for all sorts of different things so they use them for example for for weaponry so because these materials they are stable they're extra tough and they're very flexible the horizon tribes they use these artificial and stable materials for weapon parts very the most forces and whereas a lot of tension happens where any natural material would break so they figured out Hades materials are so much more tough and so flexible it will make our weapons more powerful that's why we use them and then they use these parts for for clothing and for ornaments and decorations so when we look at the lower matriarch here on the left she has all these cables from the robots into movin and like in waves and different patterns and they use the cables as necklaces even with extra shiny parts in it like copper pieces maybe or brass and he has it around her forearm so it looks very decorative saying for the cars are noble woman here on the right she wears Moody offensive and rare filled with pores that are hard to find so there have quite up some value to fit her already expensive look in the tire because she looks sir like rich and I'm pretty noble yeah she's know so anti use these these parts obviously yeah for as Armour like the new hunter on the on the left here he wears like these Robo plates on the shoulder as a shoulder cover he has a headdress right there to cover his head and some of the characters have like belt buckles are on the forearm the Kaja Matata hunter here on the right he also has the Robo plates is armor but more and more style point of view more design but still functional like knee pads and headdress and and chest piece and the shoulder pad mm-hmm so an apart has been used from as armor the Banu shamans used them those parts for more symbolic reasons because the shamans like I already said they have this spiritual connection to the robots so that tried to make the animals shape of the robot shape with by taking the pieces and building these schools these robot skills on top of their heads too so to show that they have the spiritual connection between them now the challenge was when we look at these machines we had the characters kind of there from the design point of view in 2d and we had some robots done now we had to bring the robot parts onto the characters and there's the challenge there was that these parts were made for an animal body and not for a human body and the second thing was because those robots are so large the parts are pretty large so we had to kind of fit them on a human character that was quite tiny and then it was a human body not an animal body so our goal was that they look the parts look like the guy here on the left like the nor hunter here that he has these shoulder pieces fitting there he has like a upper arm guard like a forearm guard and he has the cables to like really sick cables there could also be like guarding the floor on here and the goal was okay these parts could fit on a human character but they had to follow some specific rules they still had to follow the art direction of the particular tribe because we couldn't just use the same rubber parts and all of them because they still had to look very diverse they I still had to support the silhouette and the design of the character and the parts had to match the body size and the body shapes and the anatomy whilst they shouldn't look like they were specifically made for the character but the depart should look like they came directly taken from the machine because they're hunters they hunt them down and they salvage the robot carcass and they take those parts and put them on themselves so it still had to look like they came they were taken from those machines and still they had to follow the art direction and also still functional for animation and rigging and when we did our early tests we yeah we messed up with our riggers so that was loaded those characters with parts and they looked cool but it didn't work in America because that is huge like coal ours and huge shoulder pads and so it was it looked cool but it wasn't a functional anymore so after doing some trial and error in 2d and ok let's let's do a trans in 3d and see how it looks let's take some robot parts and copy and paste them on a character and they started to look like this and that was right yeah ridiculous so it didn't work out at all I mean yes it's a character that has robot pieces on him and I kind of covered him a bit but that doesn't look like they have a purpose it's not really a shoulder pad it's not following his Anatomy really it does it's not connected with a cloth at all and the other thing was because we had to scale down the robot parts we also scaled down all the details with it so when we put them on the characters the detail scale of the character itself and the detail scale of the robot parts that didn't match and that there were not in harmony anymore there was out balance and it didn't work so we thought ok let's analyze this and we figured out that all the time we it needs or takes to browse through all the robot meshes and the CTLs were extremely heavy it was like 500 million for one of those robots polygons so we had to load them in chunks so browsing through the robots looking for peace that could fit we still didn't know take it out put it on the character and then use move brush and fudge it in plays transpose smooth and again and move elastic and kind of make it fit somehow and read animation clean up well the designers already gone by then from the original piece so we figured out okay all this time it takes to do that it would take us much more time than just starting to sculpt these robot parts just from scratch based on the concept art that was given and then starting from scratch using dynamesh and just go in but we still had to match the already established hard surface style that we already had so what we did is in character art we took a look at the robots that we already had and we figured out what are the key shapes with all the key details and kind of the signature parts the signature forms and signature details and we figured out okay when we look at those we have like a big round curve right there usually followed by a straight line that's here and there's a hard edge and here is another straight line and that goes around here we have a curve negative straight line a curve straight line and we notice this keeps going on through the entire robot designs even in the smaller shapes so if a curve right here there's a straight line we have these u shapes going on we have like smoothed out parts that turn into a lid of a plate of a plane change we have like these little extrusions happening here and here and all the parts repeat themselves somehow we have again a straight line here and have a curve we have a straight line here and have curved over there and a straight line and here's well curvy straight curvy so we know the kid does some kind of rhythm going on there was the first thing and then capturing the smaller details the smaller smaller shapes that start to repeat themselves there's a u-shaped detail here it's the same one here now we have that again here and there and here to be it in the shade this small and over there blurry I think this one is even the gallery outside I don't know and and the third thing was all these parts because they look like scenes CNC machined robot pieces they have a function and then we look at this knee joint we have this extension that goes on on this big piece here it looks like it's following the round shape of the the knee joint so imagine this pieces would be on a character we would still notice hey it must belong to something this must have been part of an elbow joint or the knee joint and this is what we actually wanted we wanted the visual connection between the parts that on the characters and the robots so this image here is just a small selection of details that we like a detail library that we've created so it's all a mix of alphas brushes and stuff that we wanted to scoop by hand and we started to apply these signature details onto the sculpts with it on the Robo plates of the characters and the first results were really promising so these are all parts done from scratch and we look at the guy here in the middle this piece was done with a dynamic sphere originally but we added this straight line curve straight line curve we have the small u-shaped details again there's another u-shape and this looks like a piece that came from a robot same with this guy and then over here the triangle little u shape there u-shaped curve straight line again and this was all made by hand so the cool thing was it took us less time it we could work directly off the concept art so concept art was happy the art direction was happy and we were happy because it was so much fun to do this by hand and there's another example the Nora female hunter here on the left she lost her herd so this chess piece she has just copied out of the sphere but then we added this u-shaped detail with a few extrusions and we got the visual connection back to the robots and this guy on the right it's the citizen numbered claw clasp yeah so many characters I was mess up the names and this headdress was modeled directly after the concept but then we added the hot surface detail and it looked like they came from the robots again really cool so much fun and those were actually really fun to do is that the Panucci shaman headdresses and these work some kind of Snickers concept art that took pieces of the existing robots and photo bashed them together to design them in 2d and we went over there and said okay hey guys which parts of the robots did you use can you point me to them yeah we use this part in this piece this was a good starting point to get the big shapes done but there is still a lot of manual labor to do to make those parts fit together and blend into each other so they just don't intersect and I like stacked into each other so the when you do hard surface a big important thing is that all the parts are being connected and it makes sense that I joined each other nicely there interlocks the brackets so you really sell the design and these were fun to do and this is what I'm going to do in my life demo I got yeah I got another concept done from our concept artist and for for today and what I'm gonna do I'm gonna scope parts of this headdress and to save you from the boredom of the first 30 minutes where it just would fight a blob of Geo and a simple sphere and try to get the shapes done I would rather have a more established scoped to show some tips and tricks so I've recorded the first 30 minutes and I compress it down to four and we're gonna watch that first I'll comment on it and it will walk you through the process and then I'll continue live here on the machine where we left off yeah please so I got this base mesh just cool-looking fear on his head the concept art here on the left and then start just blocking out the basic shapes so what the cool thing about this concept it's it's pretty sketchy but it is a few different grayscale tones and those tones tell me I can split the meshes so this is like different parts then I use a lot to split mask point feature to steal a piece of Geo to have a new subtool and just work from there and here in the beginning I already start to figure out how could these plates connect basically following the concept art first and keeping it very very loose he's kind of blind right now but that's gonna change soon so I see this this piece here this lower piece it looks like it's it's separated from the upper one from the forehead and I already split this off using split mass points again I'm still very low grass on the dynamesh which is okay so I start to work out all the basic shapes you know don't go into detail if you're not happy with the basic shapes that's the small picture small yeah exactly so I start to work out some of the smaller details and I usually treat these three sketches in ZBrush like a pencil sketch you know you do some hints here there's an hints there where you think you might add a little piece in there this is what I do in zippers as well I do a little stroke here and a little move brush on the other side maybe does will be something I'd like to put in and then clip brush awesome brush right there really cool using lot of masking and basically it's just work with like six seven brushes it's like move mask clip claybuildup or clay tubes standard clay Damien standard one of the best brushes ever and the move brush or move elastic sometimes can give you some cool results as well I'm trying to work out that back plate here and while we're trying to think about how could these places these parts connects I do some really rough strokes with the claim plate tubes to indicate hey that could be a little detail or a little clip or something but nothing is set in stone I'm still not attached to the entire design it's just get try to get right get the basic shapes right he's using move brush again I'm already went up higher in the dynamesh resolution because I'm think I'm kind of like where the big shapes are going so I go or you start doing the small ones and here I'm trying to think about already how could these plates connects and building in little suggestions of little clips or extrusions that are parallel and could connect these parts visually and this one all right now this is like common thing I do it I like to use or like to steal a piece of Geo because instead of adding another sphere to the subtool palette and I drag it over there and flatten it I just do quick masking split math points it's a new subtool and then from there because splitting a piece of Geo even if you have plates that's need to align to each other it's way better so this lower piece mask feature then these are the new new cool gizmo that we have now in our 8 that's a lifesaver that sometimes it's really cool fixing the fur but then flip brush transpose masking clay brush simple tool said just keep going and then indicating these extrusions that he has on the side here using masking techniques I use these a lot when I do these more machine parts machine lines and plane changes and extrusions I use a lot of these masking and the claybuildup just draw these lines and see how the framework is going to work right there working on this extrusion see has just indicating in some details and then of those bunny ears it's going to wear well he is only one big one on his on his right side but I just work in symmetry for now and then delete the left and turn off symmetry and I've worked my way up what is simple Damien started to carve in some lines keeping it really loose and rough and now starting to straighten out a few parts because this is this is roller plates they're like machine parts that are pretty flat they're pretty straight or you to look like more hard surface and I'd like to use the clip circle to do these half view shapes it look like it's tutions and then we dynamesh and you got like a half you shape right there I love clip brush a clip circle and then using the the planar brush to make it flat trying some details and I changed my mind not going for it using the planer again okay so excuse me yeah my voice is kinda dry okay all right videos done it's time for the magic looking better secret there okay so let's just continue where we left off okay last the last minute of the video worked on this piece and well like this just show is how I use the planar brush to extend like a thickness that I have here and I like to turn back face masking off because I don't want to pull the opposite Gio through so it's all flat and if I usually if I use the planar brush and I just click and drag I will extend this this layer here of this flatness over to the other parts but I don't want that I want to extend this so I hit alt and grab this one it's just an extent continue that then we dynamesh and then use the edge polish and we clean this up a bit so just to show you okay what happened here in the last minute of the video well let's go back to that helmet guy and I'm at a point where I can start thinking about how do these plates connect and how can we make that look like kind of hard surface so I'd like to do here first is take the move brush and I see this is like a diagonal thing and it cuts through the lines of these parts I can see a line coming from here I can see a line coming from here all the way through maybe I want to have a 90 degree angle to kind of follow the flow of the lines a little bit so I just pull this out over here don't mind if it gets a bit wobbly you can always bend animation and use the th polish to clean that out let's do that actually right now polish use the alt feature to kind of pull the G out take this one isolate and take clay tubes to this.h polish again old I always switch between Alton the standard view and the standard setting of the H polish so when I have a concave shape I use alt so that you has been pulled out or and if there's a convex shape then I use the standard H polish setting so I always switch in between it really quickly so I can have a nice flat surface okay this is not an ID agree ankle anymore so that's okay and I used to move brush here and there's a nice feature in the brush settings that's called the actual curve here I could craft and on and if I have mapped to a hotkey so the standard move brush does like this but if it turn actually wrong it would pull out like one vertex all the way through and that helps me right here to get this 90-degree angle with the move brush vacucraft and on turn it back off there we go stana move brush I have this line bacteria that I want to still follow this one side with that we down to mention that and then just use my H polish again do this okay I want to go back to this one right now I have this extrusion so this is some kind of thickness and I want this plate to join this one so it had some kind of makes sense so what I like to do is I use the mask brush to stand up on and draw a nice mask on this one and I let it end where this line is because I want this to follow the line don't step over the line okay and here I like to add a bit more thickness because okay what I'm going to do is I'm going to execute this out but instead of having this side and this side having the same thickness I want to make this detail look a bit more interesting so I will change just the thickness of this side compared to that one then invert that and then I'll click on that together give it the normal there we go and just move this out like this then we dynamesh and then I just use the move brush to move that in place make it join this piece quickly h polish what is out quickly this doesn't have to be a production mesh right now already for baking this is more still in a more concept phase take this guy now here's the thing now I have an extrusion that goes out and I can't even make this detail look more interesting by adding some contrast so I have this one going out I want to add a extrusion that goes in so that makes like a little detail nests kind of look way more interesting in a bit more detail and do the same thing just mess this out and then reverted move this in polish brush this I can't even do the same thing here I think that's okay so we look at it from a distance this starts to build up quite nicely well let's take maybe do the same thing and add a little one right there I like to use the clip brush on this one just move this in I could you could have done that using the transpose again but just use a different one the clip brush alright so they start to get a bit more interesting now before I continue with this I'm like okay I'm happy with this now maybe I come back to it later move to the next piece I'm always switching in between points and on the scope they don't get to attract it to one area because if I'm starting to get stuck a little bit okay leave it for now go back to another piece because they're all all the parts all the details they have to work with each other and if you have a detail on one plate it can influence the look or the feel of a detail or the influence of the of another one so you always go back between the details I just go to this one now and I see okay I have this the thickness of this piece that I just highlighted the thickness here is a bit more than on this one I'd like to have the same the same thickness going all the way around so just use the move brush and move this out so it's the same thickness all the way through this are here maybe related stuff just there okay now I go back to this one I want to add a bit more dynamesh resolution dynamesh resolution yep because it is quite rough and there's a little trick I learned from one of the tutorials from Mike Jensen I think was a pretty cool guy he did some amazing stuff and here's a little trick where you can use the Move brushes as the wiggle did you update and then increase the dynamesh resolution without even changing or doing big changes there you go this is what I want the the high-res because I'm extracting some details now so what I like to do is in order to make this plate join this one in a more interesting way and this one this one here is a bit thicker I'm doing the same technique I did before just mask out like a piece that could fit from the size and do the same thing here on this one and all the way invert this and then I move it out again and just stop where the thickness ends so and this is the this is the the aspect that connects those two plates these extrusions here have the same thickness as this one then we look at this and this is what I want to look for you want to look for like things that are parts or aspects that bring hard surface plates together and just we dynamically dynamesh this I have geode I can work with and I clean this up to make this looking like that it's flatter it doesn't look too concept II and more machines here okay so this is something we could work with it maybe use the move brush and flatten there's a bit more so it looks more 90 degree angled in place it's kind of the same width so already had like a suggestion of a little detail and I'm still not sure if I go for it but I want to continue with this one maybe first is that in place and now again have the the point where have extrusions going out now I want to add something that goes in again and this section it just screams for an extrusion going inwards releases it just hits me and like extorts let's do that so I could actually do something like this well just mask up this one so it follows this line right there but I've even want to add contrast to make this area look interesting so I just continue and make it thicker and then invert and move it in and this is like a happy accident because this plate here continues which is kind of cool and I see okay this one reaching into this piece tells me yeah continue continue all the way really cool oh I softened the mask right there there we go just go for the move brush let's go for big move this in and this is like when you work on this the type of detail one change goes into another so it's really key to just go in and do something just just do it and you will see it will one piece will go into another it will almost solve itself now I lost the extrusion inwards no problem let's do it again let's do it here see how that looks if you're not sure just try it you can always change things there we go start look into bed again okay so I have this now and I like to add a bit more stuff here and here I want to use one of my custom brushes I did for the work doing horizon because like I said part partially it is these signature details are done using alphas and brushes and some stuff was manually sculpted now time to use one of those brushes and I think I think it good one to use is this one because what it does it adds a bit of softness to the surface which also is a nice contrast compared to the hard shapes let's just do that and I'm really not entirely sure how I want to add it so I start to drag it out and see what happens check it out this way I think this is what I like maybe not so big I think this is kind of cool but it also did it on these ones we could keep it as a happy accident but I actually not happy with it I want the the flatness of it we have before Sigma H polish and just flatten this out again so the stars already look more interesting so when we look at from the side this looks like a clip that holds both plates together and this is what we want let's go back up here to this big plate and Ori suggested in the concert artists we're already showing that this plate is kind of going into this one and I have this u-shape here followed again but of straight lines and this shape is just okay how can I make these two plates connect even more together I thought okay I can repeat this like on this side what going on into the other direction so let's just do let's just do it don't talk too much go in just do it and it just might ask out those areas and I want to keep a eye width it's here this is just a loose stroke of it but right now it is a suggestion of how wide I could go with the mascara just go this one then I go transpose it's this guy and drag this out see there they go yes I got the story geo so we just read Animesh dad to have our resolution back and then I use mask lasso tool s out this section because what I want is I want this U shape over here this is where the clip circle comes in place again circle Center just in place you hold space you move the guy around I try to yeah that's good work then if you'd animation this now this is where our planar brush comes into place I still have back fast mask and turned on and I just move and make this flat right there so this was flattening it inwards and now I get this one flat I just need to press also tell the G to go out sorry just pick this one what's happening ten more minutes ten minutes okay that's good and do the same thing here and then just be done a machinist and take my h polish do this even take the edge polish here because I think the Geo is in a state where I don't destroy it too much and even do that kill this one quickly it doesn't have to be super great and super smooth it will always be cleaned up later for baking our no Maps and I just use I usually move brush a lot to clean up these straight lines sometimes you have to go and spend a few more minutes and make it really sharp H polish here again have the straight line there we go we dynamesh once again use the smooth brush a little bit to smooth out those hard edges because when you bake down normal so you want the edges to respond nice to the highlights all right so we're there and then let's just draw out the same mask we head here to switch back to mask pen this let's go like that because I want this plate to join this one so it has to follow the shape just draw this out kind of follow the shape roughly okay okay then I flip the mask here what I want to do I want this unmasked section here be as flat as this one so what I do I switch back to this and I quickly use the old transpose and just click on that surface so it's aligns perfectly perpendicular to it and I switch back to this guy it's still mask and I still have my transpose there and I hope got the W for the move hold shift and just click and drag and drag this flat out so it's joins the other one nicely then I move this in maybe like that so I have like both planes plates join each other here right now we're just partially a goal achieved not just to have to work out this section of beer still have like six minutes I'd like to show you a few more other tricks on this one and like a few more custom brushes one of these because I made the custom process in a way that they complement each other and they're not very specific we had custom brushes made of the robot plates but they were very very specific so they could work on one type of surface but it didn't work on another so I kept the brushes we did very modular so for example this guy it just drags out like a flat piece and extrusion in it but you can do so much with it you can just add it maybe here on this guy or this section so I have like this the square or let's see what happens if I add it here there we go stop done detail finished and or I combined it with another one which is the layer brush the layer brush has an old stock brush but it's so powerful I still love it usually it just does that it keeps I'm sorry it keeps drawing a continuous surface until you like remove your pen from the surface then you start again you have another one but it keeps doing the same thickness all the way through we can increase the intensity to do something like this right or something like this but this is still pretty loose and like hand drawn and if you drank like 2 litres of cafe we don't want that right so there's a cool feature in the stroke section that's called backtrack and we set it to line and then tell it snap to track so I can drink as much coffee as I want and I will still have a cool line like this because it stays on the track so what I can do here is I can just take the layer brush and let's see what happens here all right that's pretty cool or like their detail done awesome or I can go and make a long one using alt just it goes in and then right in the in the middle I let go and I have a detail like that so I could do this at this one or I'd make it really big make a big piece layer brush make it small and go in and do a detail like that so I have a hot strip is details sitting there so it's just a layer brush there's one brush but it's still so powerful and I really can recommend using it then we can combine it with another custom brush let's say I do this one and drag this guy out right there and then use the layer to do something like this so it's still using custom brushes but I can alter their look by using different ones and combine in with each other so the whole scope doesn't become too repetitive and then once we're done I finished dissolve like at home so this is the way I made these plates join each other I did the same thing masking out extruding then cleaning it up and this even like screams with another detail but we're running out of time so it's been think it's so much fun to do that and here did a different take on this one I even had this plate invading the other one and this was more like if a machine part going in oh yeah now we know you know how I did this right so there we go and here's this one with the layer brush again so yeah that's my hard surface taken how we did it internally good-looking I hope you enjoyed the show Figg it's time for the last couple slides right have a few most like yeah yes real quick no where's the presentation now you need to started bring it yeah oh yeah yeah all right so we want to show you a couple of screenshots from they were done from the community and this was all from neogaf so they all use the photo mode and they did some really cool screen shows with that and here we can see child a lie yeah and there's a cool thing about her she's not wearing any role plates and that's because she's a child she's not that Huntress yet she hasn't learned how to hunt down robots and as she progresses through the game she gets all those this gear because she gets more advanced and more skilled and you know all of the story is being told within the design of the clothing like the scarf yeah the scarf is a cool example of that in the first cutscene you see roast with baby Eloy and she's kind of swaddled in this kind of blue fabric which turns out to be her scarf when she's child a law which is really oversized as you could see in my sculpt and then when you actually get the outcast outfit it's actually a fitting scarf for her adult version which is really cool so it's like this right threads her adulthood and it was the way she grew up it was already also in during the production process while we worked on her which was such a blast working on this project here we have for ya which is an expert hunter so is the robot parts and actually merged in with fur which is like super cool like robot parts on forever yeah that I mean the this show is a great example as the sheer amount of details and possibilities we had in the world of horizon that we can combine so many details on one character and the possibilities visually for design and character and character artists they're almost unlimited in our concept artists they knew that and they went totally nuts with the designs I haven't seen design like that before so I was like showing off some of the cool environments as well like beautiful I love the the braiding and the weave of some robot cables and stuff right there it's all modeled in so these are pretty high res game meshes yeah actually this is one of my favorites yeah he shows the older kind of thing going on with the costume and action shot so we have here that the the fabrics the official ones the rubber materials and then the the tribal aspects of it really cool this is the scarf we were talking about before so this alloy grown up with same scarf it's got a little detail and here you can tell them a serial expression that this is really thin hide and it really looks like it's feels like it's going to flow in the wind yeah and again pay attention to all this kind of you can feel that it used to be stretched on a rack so it kind of left this kind of wobbling edge effect and now it is like my personal favorite I love this costume really sells all the rich cardia fabrics and then combined with the super cool shaped language of the robot plates for the cardia now you know now you know how these details are done I guess all those plates I she'll be very super cool this costume really reflects the talk we gave today because it was a pure collaboration between Benna me where I did all the fabrics and bended all the robotic elements all the hard surface stuff so it really came together nicely brings back some good memories and then we're gonna have the last cloth sim of today my simulation right there yep hiring yeah we're looking for new colleagues work with us to the next drill our project so you know if you're interested to come talk to us like after the talk cool so now we're open to questions fire I also enjoyed the presentation you can take a we have time for a couple questions so a question from online but you know for hard-surface what percentage is really all high polygon done in ZBrush are you doing everything we're doing pretty much everything in ZBrush here we did also do the cleanup in the first stages we tried to remodel stuff for sub D by hand but it took way too much it looked clean but it took way too much time but then we ended up doing everything in ZBrush and it was so fast for Derek for the actual bakes on the image it looks fine it looks great it doesn't have to be super slick and super smooth because for the target pixel density to be going for this type of cleanup was waiting enough yeah question here oh we got a ringer right now front I like it on the walk thanks man have like a this big folder and a hard drive that has like look at lung disease CNC machine parts and motorsports motorcycles that have like these cool lines and machine work as well but mostly it's like this scene see place that you can see everywhere that have like this different plane changes of 90-degree angles and lots of like military jets helicopters everything that's in the real life and sometimes it's just walk around the city and take pictures of motorbikes because they can really help oh this is cool now you have your phone with you right you don't have to bring a huge camera I have a phone just take a picture this is how you fill up your library and this supposed to usually do and then most the times just try things out how it works no way - that way - that so - our questions right here we've got external partners who help us with all the you ving or the retopo eating all the baking it's um it's used huge help the actual in-house team is very small we like to keep that small team vibe in-house and then we rely on our outsource partners to actually you know enable us to do the bulk of that character work we need to do we keep the hero stuff in-house mainly because they dictate the other yeah like if it's very heavily are directed it's nice to be able to you know talk to the people directly yes yeah alright we'll take a question right here yeah Kuban dynamesh know no reason zremesh unless it's really necessary in a specific shape that we want but mostly it's just animation you go with h polish you go trim dynamic you go planar keep just nice and smooth so the goal is there's a nice material it's the normal map material in ZBrush and yeah when you use that it gives a kind of a quick representation of what it looks like on a normal map and that way you can check if they have still wobbly surfaces and you can smooth those out and if it looks good with that normal map map cap you can be kind of sure that it will look good on the baked I think it's a good one too we use this one a lot actually clean up pretty good to proof your materials yeah but there's no special tricks going on it's just polishing and cleaning it up yeah we'll take one more question from online what was the average polygon count for the character bottle oh they were pretty heavy yeah I know a loin Hey 500k 500,000 yeah she's a student especially it's like a day for the hair it's just insane 254 for costume and costume and like 50-ish for the face with all the details yeah here are characters like 80,000 the hero characters yeah Haley was crazy no all right everybody guerrilla games [Applause]

Channel: Pixologic ZBrush

Views: 61,734

Rating: 4.9789886 out of 5

Keywords: twitch, games, zbrush, pixologic, zbrush summit, 4r8, horizon zero dawn, guerrilla games, playstation, sony, video games

Id: WabkLpQNIyY

Length: 94min 19sec (5659 seconds)

Published: Sat Oct 07 2017