TMNT Part 3 - Vintage Pizza Hut Lamp Deep (dish) Dive, and a ton of other odds n' ends!

oh dude dude dude uh [Music] me [Music] so [Music] whoops 602 that's all right let me get my lip balm out [Music] find my restream window [Music] there we go everything seems to be working john you how you doing will cyber zayamovic uh yes 5 a.m yeah i'm i'm still i was up at fourth uh probably 4 15. i'm slowly i don't know if it's i don't know if there's something wrong with me or just my doughy old age or mental uh on well-being or whatever but i went to london and was jet lag the whole time and then came back and i've still been i mean i woke up at 4 15 which is not normal but i'm slowly waking up later and later so hopefully um i'm back to normal-ish this week that'd be great um share more hard service tips and tricks be great if i can watch it when i'm home sure i got well i mean i'll be covering a bunch of hard surface stuff today ish in regards to like zmodeler and layout but more prop based however if i go to my drive here and we do a search for z brush hard surface linear walk through there's a bunch of stuff in here that you can here's probably hours and hours of z brush hard surface technique cool good morning rafael parmex uh yeah well so that's a well i guess we'll jump right in uh let me grab so i'm gonna go here's here's the two things i usually link to is youtube playlists here so i'm gonna go ahead and link this you can jump on here and the big things that usually if you're new to zbrush go to the intro to zbrush new and updated playlist if you want to go through any what's new like the zbrush 22 what's new i guess we could cover some of this if you all wanted but it's all here here's the new zbrush 2022 features dive in there and check them out and then the playlist if you want to go back through the playlist so you can go through here look for the big blue genie and then here's you know all my previous playlists on there um today what we're going to be covering because i totally forgot um so we have this whole scene right here if i scroll down you can kind of see a little rotated scene here actually i have it here as well um there we go so we have this scene so if i go from draft quality to full quality you'll see the ray tracing kick in so we're going to be covering this vintage lamp and this arcade and i think it'll go pretty fast so probably some other stuff here so to get some cycles back i'll go ahead and jump that down to draft quality here uh and what else oh yeah art station so if you want to see more again here's the zbrush 2021 what's new if you want to follow along in this scene and basically i'm going to be clicking on this video here and if we skip ahead to where i'm working i guess on that i was working on it fairly late that's some of the stuff's out of order but here's the arcade and then finally here's the vintage lamp so really if you kind of watch us back at like 0.25 x speed in fact let's do that uh playback speed 0.25 x you can kind of just go through and see the making of give or take so starting out with just a cylinder that we're going to uh you know pull this up and then start doing checkerboard stuff and then getting this pizza mapped on there is i think where we'll start um oh yeah we got we got uh z what do we have we have uh painter marmoset maya and zbrush and photoshop open today so a whole plethora of stuff of course you know any of these you can replace with your poison of choice uh zebra's curved brush end is stretching if you decrease size for example uh braid is it possible to fix it not to mind knowledge um one way you can this is and it's not gonna work for a braid i was gonna say if you were just doing like a bunch of repeated objects basically what we're talking about is if i go in here and i do a sphere make polymesh3d and uh you know what let's swap out uh what's something obvious let's take a take a sphere let's go down here to initialize i'm just gonna do a small one so we're gonna do like eight tab eight enter um we go yes is good b create insert mesh new stroke curve mode on oh except i didn't hit make polymesh3d today make polymesh3d b create insert mesh new ah that's what i figured would happen make sure you hit make polymesh3d basically if you take a shape and then you drag it along a curve and then as you decrease in size it kind of squashes the shape um like so here edit nope sphere initialize eight eight make polymesh3d b create insert mesh new stroke there we go open up your curved stuff curve mode so here's our curve mode it's dragging these along if you want less along there you can change that curve step up and that'll go ahead and make it so they're kind of spread out a little bit and then of course you know you take change your brush size just go up here to draw size or tap s on your keyboard and then as you go down here if you turn on intensity it's probably not going to do much because you know it's not a brush intensity but if you turn on size you'll see it'll go from let's switch this around let's go ahead and flip horizontal or vertical and then now you're going to see it's going to go from big too small but it's keep it's maintaining the same bounding box it's just squashing it down uh while still filling in that bounding box so if you wanted to go large size to smaller size um blobs you could um here's maybe a hacky way to do it let's see if this will work sorry we're already off on tangents uh so we're going to plane 3d edit make polymesh3d and um there's other ways to go about this it's kind of a stupid way to go about it but hey let's do it uh we're going to go in here to uh reconstruct subdivision until we're just down to just a blank square delete higher b uh we want it to be yeah this will work b create insert mesh new and then again let's turn on something a little brighter so you can see it skin shader four uh curve mode here and then again we'll we'll do the exact same thing so curve mode curve step up a bit uh draw size will dictate the size so now we've got cards are what should be cards step up oh well now that's interesting oh it's going that way okay well i'm just going to capture this from the side then b create insert mesh new okay curve mode curved step oh it really does not want to do cards anymore huh hmm oh there it is okay so i forgot uh let's go ahead and turn on doubles why i don't lose my mind display properties double now we can see both sides so we have all of these splayed out and we're going to go ahead and turn on our intense or i guess intense it doesn't matter size flip horizontal tap so now you can see um these are kind of diminishing so now you know let's go ahead and change that curse up down just a little bit here there we go so we have a row and if you want to go down the curve just go in here to our curve depth curve that's under brush depth uh we'll embed this to like zero so now if we go to any other object here sphere make polymesh3d and we're gonna say okay i want to drag out a double um a sequence these seem to okay this these seem to be just getting smaller but they're not getting closer together here there's something tickling the back of my brain i guess i'm thinking of interpolate stroke where you can interpolate you can probably use stager but you can't get it to follow a curve with stager that's basically linear interpolation well anyway okay so we have this so let's go ahead and say split mass points and now we can use these as uh nanomesh plane so if we go in here to be uh insert mesh i'm gonna turn off curve mode for here and we're just gonna hover over face with there's the modeler brush actually we gotta do this b insert mesh brush create nanomesh brush hover over a face and certain image polygroup all and so now we can drag out a sphere for every plane but you see the planes get smaller as they go so if you go down here to nanomesh you can say fit and then that way as these and then we can just adjust the size but they'll still stay proportional so now after all that you have a series of planes that you can still manipulate you can go through and move these planes around however you'd like but now they do get bigger to smaller but of course they're more spaced out because it's not like stroke interpolate where it's going from you can't turn on that one option where it's like hey pack them in closer over here relative uh these are all what would they call that um absolute so anyway probably not super helpful but for what it's worth that's um that's some stuff uh let's see cool uh as they're brushing zebras i can use the sculpt on top of details without destroying them elasticity brush sometimes does that but generally speaking what you want to do is you you have details on a form so you have a sphere make polymesh3d and you have subdivision hit you have sort of in history so if we go through here and we say ctrl d ctrl d ctrl d or hit the divide button and then we have a standard brush let's go ahead and just clone this off and say spray noise so you have details on here right oh it's like oh i want to sculpt you know secondary forms under here but not destroy the details you can drop this down and you can move or sculpt these out and then go back up your details will still be there the elasticity brush can kind of do that too it kind of pushes geometry around underneath um but yeah generally speaking i mean if it's organic uh get your forms done first before you head into details um would be the the craftsman answer cool cool uh is the lighting different than three yeah so a marvelous of four i don't know if the lighting model is different but they have ray tracing so that's cool um utilize a better retopology using zero meshes so on my here scroll down until you see a willem dafoe leprechaun and in here we go through and it's all broken down by chapters here so this right here is where we start breaking down this mesh to get to get more controllable topology so let me share this to you start at copy that's and it's not better it's just more controllable you may still have to do some cleanup but at least you can kind of dictate how is zero measures going to work it's basically about poly group same thing for hard surface if you have nice poly groups if you have for example um if we go through here and i don't know what i have cube edit yeah make polymesh3d on this one let's go down to initialize we'll just hit q cube here and again we'll grab this i got a screen shader there i got to remember that as we go through here and we're cue meshing around and i want topology well i have nice edges on here so i can go in here to zero measure half and half size down to zero detect edges it'll go through and just redistribute my geometry into pretty nice quads um and then uh you can actually start going through you can like hit ctrl d to subdivide a couple times if you can delete lower you can go let's do it one more time here and then you can do stuff like you know b brush oh bevel arc bb a and then we can do like a bevel arc so you just go across here and just kind of round you know some of these corners out here and then you can go through with your knife brush now so this is new you can go in here to knife curve rect you can go through here and you can erect these things so we can go through we can just chop out chunks and there's knife oops not slice knife circle now which is cool and but the og was knife curves you can go through here and you can just start you know slicing out you know shapes like so um so we have this but again the important thing is we're putting in polygroups so if you know you do have creases and you do have poly groups here so you can turn on like detect edges but or and keep groups but keep groups smooth groups down to zero zero mesh that'll go through and look at your polygroups here and if you didn't need to keep this polygroup you can go through and say you know what let's merge these control w and we can merge this one now ctrl w and now when we zero mesh this because we have polygroups it'll go through and look at your polygroups and keep them nice and succinct and you can keep hitting half and see how low you can go but that's just a way to kind of control it it kind of falls apart here because again this is kind of a weirdo shape and it's trying to keep quads so you know your mileage may vary depending on the complexity of your shapes but and again if it behooves you to keep this polygroup here to avoid that well then keep them in there and then now into azure mesh that'll make sure that these stay somewhat straightish um our server sculpting is necessary to sculpt and not box modeling it where can i start so well you know what i'm gonna keep that open google drive hard surface linear walkthrough right here you can check this out and there's a lot of stuff in here and there's a lot of different ways if you scroll down to where you get into the artist examples uh the brute force there's kind of a strength you know it is kind of a straddler um jonas and mark uh kiosks masons are kind of more brute forcey and that's just by that i mean going in there getting your volume zero meshing and then just using more sculpting to achieve what you want down here we get into brute force to rebuild so the mike nash and the ben art where they go through and they do a lot of you know zbrush uh what's it called just getting your idea in the round and then going through and rebuilding you know breaking it apart and you know getting that functionality and designing and then rebuilding and then you can just you know you can just sub d model and zbrush and have mixed solutions and you know any any one of these steps doesn't necessarily require jizzy brush you can get your idea out in zbrush and then toss it into another program you can start in fusion 360 or moy bring it into zbrush and work on and then send it back over nothing's impossible there's not a one size fits all it kind of depends on what you're making so the more tools you have in your tool belt the more you're able to look at any individual piece and go oh you know what to recreate this i can use this this or this and this makes more sense you know so you're not stuck but as far as just ideation you know that's just you know using zbrush hell if you want to take a trip down memory lane with me we can go to the oldest youtube video i have and this is this is always funny too because i still get comments on these because they're they got a lot of views because they've been on the internet for 10 years um they added oldest so this thing you know here's the very first video i probably gonna say july 4th hey my birthday uh 2014. outdated but and even in there anybody in here i'm saying these techniques are outdated because this video was recorded well before then so these are just stupid things i was doing at work going through and this was the start of that mech helmet that i you know sent over to kwiksel way back in the day so this is just me getting my idea out and again this was i don't know the version because i can't see it but probably uh the the middle ages this was the the uh pre-renaissance period of zbrush so you know and again these are super old techniques but you know you still can go through and i mean even way back then hard surface was there's tons of ways to do hard surface so cool right on right on uh perhaps make a 3d model for a game losing details and getting low in high poly uh i don't worry about i mean losing details i don't i guess the easiest way for just brand new to you know what like a good one might be uh oh you know what it's probably paid for but i do have the mechanical skull series and also this kind of really old uh creature production series where i go through and i take you know i sculpt out something and i game resident i uv it and i bake it off so when you're talking about low res i don't worry about generally i don't really worry about low res at all you know i get my high res done and now while i'm working my high res i do think about the game res and how you know it needs to be built to be successful in engine but that's more of an experience thing than a technique thing um so i guess i i guess really i guess maybe when you're first starting out you get caught up a lot and like oh my edge flow and my low res and that's what you really concentrate on right now it's more about hey what am i making what's my idea get that out on the round uh start building it out and then i worry about okay what does my low res need to be do i need to subdue model this part you know low res i don't generally and again i say generally because there are some instances where it is useful to kind of think about your low-res in a very uh distinct manner early uh but i i won't muddy the waters too much there but let me go into streaming okay let's say i'll set a chapter for this turtle power michelangelo props and a vintage lab here there we go just uh so i can kind of stay on track a little bit matte shadow like mature you can use to make the areas of the sub tool with the material applied transparent masked off during the render you um you can make yeah you can make stuff transparent if i alt tap this one here i mean it's not gonna be like um that's what i'm looking for amazing but you can go down here so with any selected subtool you can go in here to display properties and then bpr settings turn on transparent shading say yes and then now when you render this you'll it'll be transparent you can see you can kind of see through this and your transparent stuff is going to be under render render properties so render properties transparents turn on now if you close zbrush and open it again this will be on this transparent shading will be on however probably in your render settings this will be off so you got to make sure you go turn this back on and then bpr transparency is right here and you can you can refract stuff and do all sorts of cool things um you know change your properties here to something more shiny to give it more of a glass look you know fill that obviously but if that if that's what you're going after okay so here we go and let's make something a little bit brighter so the first thing i did is i this is one of the rare instances where i needed to be pretty precise a lot of people when they come into zbrush especially if you're uh i don't mean to always pick on these people but they're always the funniest um like uh if arch architectural visualization modular set building person the first thing you want to do in zbrush is a bunch of things that zbrush doesn't isn't really built around which is like model this thing to the nasa degree and then snap it to these specific things and our zbrush is more of a you know work on an object in the round and get your idea out quickly so it's not really set up to be super duper precise um so in those rare instances where i need to do that i'll go into another program again max my model blender who cares and make a cylinder and then i need to uv this very precisely so if i go through here and you know let's turn off the texture so you can see it's literally just a silly i mean i guess i could have mapped it to the entire thing and done the pizza logo stretched to a square but i figured this might be a little bit easier if it's been a while so i figured this might be a little bit easier for my brain just to kind of take the cylinder uv map it out and then make sure it fits perfectly in here so i can kind of put this logo on here now i didn't really you know i didn't even start in here because what i needed to figure out first was how do i make this part well i went through and i got my reference let me close some of this down here i'm going to keep this open though okay so everybody loves hard service art station what's new unique back back playlists sorry uh great clothes okay i need those windows open so now we have here so i got a bunch of reference and i use uh quadro i guess i can load that up too see there we go so i use this program uh of course you can use i use pure ref2 uh but when i need things around my screen and i need to actually because i mean i have my you know i'm talking over here i'm talking here and then i got my reference and i got my windows and i have you know things i'm keeping an eyeball on so these are just like individual squares of reference i can you know go through here and i can even make them transparent i can rotate them i can flip them horizontally and vertically i can cycle through them i can drag out copies of them you know and then grab little other other areas of things i want to look at maybe so it's very it's a more modular kind of viewer so again pick your poison there's a million different ways of skin all sorts of things but anyway the whole point of this is i have reference in here so i have these letters that i need to recreate so i went and looked up a pizza hut font um i want to say is this the template this is working yeah so i basically picked up a pizza hut fond i typed out pizza hut i modified it slightly i took a couple different images that were similar and tried to lay them out to be like here's the general spacing and how these little bars are laid out and basically just recreated it so typed out pizza hut uh stroked that went through probably with just a a brush and just went doop just hold down shift d and went and recreated this in different values so that i can select those values in zbrush and create masks that i can then turn into geometry in zbrush so this is the final result it's just me just basically placing this on a square and then me taking this and applying it to a cylinder in your 3d program of choice in this case maya and it really is just a cylinder uv'd and i think these uvs are probably overlapping so if i take this go into uv mode and hit w yeah so half uv'd half uv because in the original it's pizza hut on one side and then pizza on the other and then taking this cylinder into zed brush and let me see if i can just drop it in here so go ahead a bit of mod hit ctrl n and let's go back to import i'm just going to grab that text layout cylinder here okay thank you yay so here's my cylinder and then we have a texture map applied now texture map isn't going to do as much good on this low-res geometry because what i'm looking for now is ways to kind of grab all of these areas now i suppose if you wanted you could go through and you could sli you could even in max my model blender you could go through here and you could build this out using this as a template and just get very very precise lines um i didn't really have time for that or at least that's my excuse so i went in here to geometry crease so i can as if you do that and you crease your open border edges so if i uncrease all and i hit control d you're going to see they kind of average down so to avoid that i'm going to increase those open edges so now when i hit ctrl d i'm getting more resolution but i'm not it's not um yeah what's the word mushing down oh let me go ahead and link this to you oh i did okay good um so we have this and now we're getting more resolution so as i'm subdividing and i probably subdivide it up to a pretty healthy amount let's say half a million so now we have tons of resolution but this is still just a texture so now we need to transfer this texture to my object here so i can start selecting these areas and that's just going to be a simple matter of going into poly paint and saying poly paint from texture uh gotta turn on mrgb it's gonna keep me honest here there we go so now if i turn off polyframe you're gonna see texture is now off however colorize this little paint bucket here is on so here is with your poly paint off and poly paint is literally just colored um verts so it's resolution dependent if i had tried to transfer that resolution on this is what it would look like on if i just subdivided it once so i so divide it a bunch of times to get more verts so that and again if i go through here let's just turn this off and rgb standard red so if i went through here in poly painted you see i'm just really just coloring the vert positions so i'm just adding an rgb value to every vert and the more verts i have the finer my resolution will be so now it's just a matter of going through here and now let's go back to the video i want to make sure i don't skip something obvious because sometimes i'm smarter when it's not uh early in the morning so oh yeah we also did this uh checkerboard i can show you that in a second so blah blah blah make the checkers okay it's a little too slow playback speed let's say 0.5 there we go checkers yay we'll get to that in a second and then here is our again we just oh that's right we need to go through here and we need to poly group these so one thing you can try and basically i'm just going to get a polygroup for every different value in here you can try going in here to polygroup group by color let me raise this up a little bit here [Music] okay um no um masking poly group group by intensity is what i'm looking for or is it is it masking oh it must be masking by intensity mask by color so you can mask by intensity so now if i go up here let's close some of this down and i say turn off poly paint and go back to white here you can see i'm getting a different mask based on the intensity however really what i want is a full poly group for every single one of these things so i sub you know they can just unmask this although that's an interesting way to kind of go about certain certain things not this in particular so we're going to go down here instead of masking let's see if we can say mask from poly paint all right as i probably grew from poly paint so we're going to click that button and then now again if we turn this off we turn poly frame up poly paint on uh you see didn't do much you can probably play with those settings but i'm pretty sure what i did sorry i'm kind of a roundabout way of explaining this was i went in here to masking mask by color mask by poly paint and then just dragging on here so i'm going to drag on here to the black and then i'm going to say hide colors and you're going to see i'm getting a mask for just this pizza hut um and that's fine so i'm gonna hit okay and then with this i turn off my colorize again now we have a mask probably i could go in here and subdivide and do that again to get a cleaner slightly cleaner mask but i think this will honestly be okay if you just hit control w which is just group mask clear mask you're going to see you're going to get kind of an aliasing we can clean this up if you want to try you can go down here to geometry delete lower and then go well let's just do it delete lower and then edge loop edge loop mass border however actually we won't lose it because it's a poly paint and that'll go through and try and give you a little bit of a cleaner cut however because there's so much geometry it's still giving me an alias look so in reality i'm just going to hit ctrl w convert that mask to a polygroup and then we're going to go back in here turn this back on let's go back in here to our masking let's go ahead and clear our mask let's go mask by polypaint and we're just going to drag oops let's go ahead and turn off hide colors we're going to drag to this kind of grayish we're going to say ok and then we're going to take this and we're going to say control w so now we should have when i turn poly paint back on three different poly groups although it looks like you know what let me think how did i do that how did i do that i wonder if i didn't do that one i wonder again this is where i should keep notes okay because i'm sometimes smarter or sometimes it's not that i'm smarter it's that i edit it to make myself look smarter so and there's no editing on live streams damn it so we're going here to match my poly paint instead of gray let's go ahead and do white to mask hide colors okay we'll hit okay and then again we'll turn this off and i'm going to hit ctrl w this will work so now i have one two distinct polygroups here let's turn off lines you can see just these a little bit better if you want to change these colors you can control click it and then hit ctrl w to give you something maybe a little bit more obvious to look at here something a little less there we go look at that so now we have all three of these distinct polygroups and now this is where i just start splitting stuff off and giving things thickness i think but let's verify that uh-huh oh okay so okay right so here's a way you can smooth out those edges and then i think i just extract thickness off of these if i had to guess however what you're gonna run into is if we go down here to geometry masking mask by uh groups border so you can say mass by groups border you can grow that a little bit if you want to control tap to invert that and then you can go in here to deformation polish by features and you can crank that up and you can see it's going to go through and smooth out all of these lines however it's also going to smooth out some of these corners which depending on your reference you know these things aren't exactly smooth you know they don't get blobby around here so i'll tell you this is how i would love to go about it and in fact if you want a higher degree of polish just make this open circle polish by features and then just tap it and that'll go through and just polish the hell out of those lines however what i probably ended up doing is going into you can go in here to smooth brush modifiers and then you can say uh way to smooth go in here to weighted smooth mode and change that to groups intersection so that's nine or you can hit the comma key go in here to brush lmnopqrs smooth there's a smooth groups you can do so what this does is if i go back to my history here to where we have that really super jagged alias result you can literally go through here and hold down shift to smooth and you can smooth between these transitions and then i'll go ahead and smooth up to those corners and then you just you know don't smooth around the corners and you can maintain those corners a little bit better so that's probably what i did it doesn't really take that long and actually what i what i think i also remember doing is if i turn the line back on you're going to see that mass kind of transferred to my geometry maybe not optimally then go here to zmodeler hold down alt start painting tap shift and then i can just clean up some of this stuff again hold down alt start painting tap shift then you can go through here and you can clean up some of these corners too so if you need a sharper corner i can literally just go in here and fix these poly groups to get a better result you can hold alt and then shift and just so kind of pixel painting not super fun but in our for our purposes here what i'm probably going to do is again who cares mask by features uh maybe grow that mask a little bit ctrl tab to invert go down here polish by features open circles boom now everything's smooth and the reason i'm maybe don't i don't need to smooth that much damn uh just tap tap tap and the reason i'm doing that is so that when i zero mesh zero mesher doesn't try to build in all of that aliasing because i do want a zero mesh you don't have to you can literally just take this stuff and extract it out and it'll just be a big thing but as i was going through and thinking about okay i need to uv these things and i want something a little more controllable i like to have nicer geometry to work with this stuff in between so if i go through here so i can you see i'm ctrl shift tapping any of these polygroups are kind of separated out i'll go ahead and grab this one i'll go ahead and say split hidden so now this is on its own sub tool here this one i was probably least worried about so in this case you can just go through here i mean hell if you wanted to a couple different ways you could do this you go in here to extract and you can just say extract and you can say yes just extract my thickness and then boom there you go um and that'll extract based on this thickness here and it'll actually smooth out those transitions for you a little bit more and then you can just go in and sculpt on this and do whatever you need to to it um probably what i did was run like a zero measure adapted size down quite a bit half just to kind of get some decent geometry that i probably ran a panel loops if i was guessing panel loops will give you i think a little bit more control again i didn't probably go crazy on this you know there's some cleanup that probably needs to be done but so we have this geometry here i'm going to go down here to panel loops here and so there's a thickness there's a polish i'm gonna go ahead and turn that off just down to zero maybe even if i'm really scared i'll turn that to close circle um by turning it down to zero to turn it off uh so we have this here and now if i just you know just click panel loops it'll give me thickness but you can see that thickness is popping out if i want it to be down the middle elevation down to zero panel loops and now it'll just give me it's basically what i'm telling it is give me five one two three four five um divisions in between each and then also give me this bevel profile just kind of this loop thing if you want to simplify this you can you know you can even take undo take bevel down to zero and that'll just make it flat and or you can even go down here to loops and just turn it to one and that'll just give you an extrusion but put it at an elevation of zero and just extrude it back so that's one way you can kind of get this geometry going and then from here you know you could even go in here now that you have a feature and a feature can be a crease and or a polygroup border you can go in here and again just continue to polish by features if you wanted to but what i ended up doing i think you know what i want to say maybe i did keep the bevel up a bit and then thickness is kind of fine and then you do need some loops in order for that bevel to take effect obviously so we'll give it three points here there we go so you can kind of get a nice rounded out version of this and then you can go through and you can say you know deformation uh inflate a little bit if you want to or deflate or whatever and sculpt and do whatever we need to but here is that chunky part and then for these glass parts here ctrl shift tap the letters go ahead and say split hidden this is where i wanted to have a little bit more precise geometry in fact if we switch over now that i think about it we can look at the real deal holy field so now if i click here i'm going to turn hold down shift and turn off these paint brushes you're going to see this you can actually see perfectly great this is actually i just kept this dynamesh so i truly didn't care about that and then this i did go through in zero mesh pretty at a higher rate and then this i was much more controlled this i was very particular so i zero meshed it and then probably went in and did a little bit of cleanup um but also with thickness you know just because it is going to be physically based i didn't want to do double-sided so this is going to be actual thick glass and then this and then uh you know i can show you this real quick too so if you have a cylinder make polymesh3d if you hit w and hold down alt you can scale along one axis so you can shrink this down and then scale it out a little bit if you want to get rid of these and you forget you just didn't go to initialize go down here to edge loop delete loops here and then i can just grab this point here we can just say transpose point and just scoop this up a little bit and in fact let's go in here to slice i'm not sure this is how i did it but just off the top of my head this is one way you can go about it and then we can poly group these just by going into polygroups group by normals and you know probably this is going to be a separate piece so we'll go ahead and split this off and that's another thing too is get out of the mindset that like every 3d object you make is all connected and you have to resolve all these weird issues if it's a separate piece in real life then separate it out don't don't go nuts trying to make everything one piece when you don't have to and especially if that if in the real world it's not one piece you're just making yourself a have a headache insert multiple edge loops uh zero elevation interactive resolution is fine and you know you're gonna look at your reference one two three four and you know you'd want to model to your reference you would go in here to texture import loaded into spotlight if you if i'm ever saying anything where i don't really go into detail remember you can go in here to um spotlight reference and there's a ton of things that spotlight reference however there is an actual uh what's it called let's see plug-in uh this is the cool one ref switcher so this is a plug-in you can get so we'll go in here to ref switcher used it on squid games and here it is perfect so here's ref switcher where i go through and load multiple images and it just swaps them out and keeps your camera settings too so i'm go ahead and send this to y'all shares start at copy [Music] boom there we go so going through here and we're going to say inserts multiple edge loops one two one two three four there we go and then i want to make these checkers so i'm going to say poly group all polygons checker bloop there we go so now we have you know all of these separated out we want to you know space in between them so let's go through here and bevel as loop complete so you can do it one by one you can just go through here and say okay that's my bevel and then just go around and just continue to do that um if you know how many spans you have you can go in here which you probably do if you're paying real close attention to your uh reference we can go in here to activate symmetry in the y direction y is up and down and radial count is at let's say this is a 32 and then you can go through here and you can literally just bevel all at the same time so that we can go through here we can put in a bevel and then for these to be the same you can just bevel once and then just tap tap there we go and then now you have the inter-stitch interstitial stuff now getting these things out of here might be a little tricky surprisingly um let's try this let's go in here to control shift select lasso and i'm just going to click on these edges here to grab those points here and we'll go ahead and say split so now we have our glass and now we have our in betweens and for these i might have done something like this and you can even just do this manually uh oh if you wanted this to be curved you may want to subdivide first before you split these things out um because that'll get you that nice smooth look but we can also go through here and do again manually qmesh we'll do all polygons here you know let's say control w make it all one plug it was fine so you can actually just pull up a little bit and then go down to the back and then hold down and just pull oop say polygroup island uh pull through and then hold down shift to pull this out and then to keep these nice corners we can go in here to dynamic you can see this is just going to you know smooth everything we'll do a smooth subdiv of one but we're going to go in here to cue grid and you know it changes from bevel to chamfer and then now you're going to see if i go back here to something like this we can change kind of that fall off and keep our edges there so probably i did something like that and then for the glass same thing i probably split these you know what i might have done i mean you can go ahead and just say you know and i want all the greens and all the blues but i don't know probably something like this and i'll cue my shad a little bit yeah and then we'll cube it and just hold down shift and q mesh in a little bit i do that right oh we need to change it from island q mesh all polygons there we go so here glass out a little bit and then again go to the back and hold down shift and say qmesh polygroup all i'm just gonna pull in here so we have glass we have this and we have our pizza hut and then more stuff as we get to it get a drink go back to my comments here let's see um do you still approach characters by doing uh concept scopes first yeah i think so uh sometimes i'll jump back and forth between um and actually now i think about it if you go to playlists uh intro to zbrush 2022 what's new i do a little bit of i show a little bit of just you know kind of you know here's the quick block out and then kind of splitting things up and refining and thinking about functionality and then if i wanted to hop into photoshop i don't actually use this method or as far as like image planes in fbx but i do go through here and show let's do this you know so if i want to do kind of figure things out in 2d first so i've got my 3d concept sketch underneath and then i want to go through and be like okay what do i want to make now and you know kind of taking it out of my 3d space and just kind of ideating in again use anything to draw it's basically just going through and figuring out where i where i want my other stuff to go so we'll let this go for another five seconds and this is just refining the blob idea that i had in there and so then now you have i have a better idea of what i would i'd like to do next as i could help back in and you can do this at any stage you can blob it out and then draw over it and then work on it a little bit and then do another screenshot work on a 2d bring it back in and just continue to refine your idea like that because you're going to see things in 3d in the round that are going to make you go oh you know what because if you lock yourself to 3d you can tend to i i shouldn't say you me i tend to spin my wheels a little bit um if i if i only work in 2d i i'm not think i don't think in the round very well some 2d artists do and i'm totally jealous so for me it's a hybrid approach where it's like hey i need to work in the round and design the round so i can think you know about functionality all over and then i can go into 2d and work out specific things and then come back into 3d and then as i refine those specific things i'm still working in the round so i can change the designs as needed to fit what i need and i can also back way out and zoom way in and rotate around and see if everything's working in the round because that's what the end experience is the 3d model not a 2d image if that is your final usually what i make is a 3d model that's supposed to be seen in 3d not something that's supposed to be just seen from the shot but your mileage may vary if it's just for the shot then who cares if it works in the round really and it's nice because you could get it frees you up a little bit to take you know different viewpoints and get a little more use out of it but not totally necessary oh silhouette of the sub tool with the material applied is put in the alpha for a render as black oh yeah sorry about that i misunderstood you can just go in here and say colorize off make your color black and if you really don't want to see anything go in here to flat color and flat color is going to choose white isn't it yeah this is fine choose a material that doesn't have a high spec and then just change the color from white to black you can also if you want to just have that always on underneath preferences thumbnail you can turn this on and there's your silhouette so as you're working your silhouettes always there um i believe this is based on if we switch um how does this work it's been a while since the background okay so we change our background here click off and just change out the black and then now yeah that's about right so if you go through there and change your background to black it'll change your foreground to white so now you have a transparent background but your silhouette is now white and i think what happens is it whatever you change your background to it's going to change that it's going to make the complimentary color yeah so use that to your advantage too you can also make this bigger or smaller i'm good keep this at white you just click and drag this or underneath preferences you can say you know thumbnail size you can zoom in if you want to you can export the thumbnail you can work on it going to be silhouette or it can be the actual model if you turn that off so it's another thing nice to see you two again a monterey tour uh would boost mask work in this case uh if it's based on i think geometry differences where the you're boosting by what geometry has changed um then it would instead of like growing the mass you could boost it but since i was based on just color information i don't think it would boost uh to anything but i think that's just for geometry changes if i'm thinking correctly um which is a colorblind mode for polygroups oh you know what yeah a little bit more controllable way for poly groups would be i mean one thing you can try no it's just color there is a z color in here that you could you can poly group by poly paint and i think it inherits the color uh maybe not um but you could try that somewhere in here is a color z color there you go and you can set up your own palettes friendly palettes in here and then apply color and then maybe transfer that color to the actual poly paint but maybe not uh uv is when i import the model 32 max's uvs gets broken into small squares i change uvs but still facing the same issue um i mean that's an easy fix uh what can sometimes be happening is if you have under your preferences export and i'm saying it's an easy fix in um 3d studio max but to avoid that maybe what's happening is if you go in here to oh boy uh i don't obviously go into this menu a lot where the hell is export it's in here right yeah import export and then under export here if you have group turned on and sometimes when you export objs it'll take your sub tools your polygroups and if you have a different polygroup it'll split that off into its own thing um and then also maybe on here there's like a merge uvs or something or maybe on actually on import on 3d studio there might be an import option for like keeping your uvs merged but essentially if your uvs are right on top of each other you can just grab all your uvs and then just do a merge with very small tolerance and that will sell them back up for you so even if it does split them off you can just urge them back um z brusher is making a flat extraction and then extraction masks out as he moves because movie create thickness how is it possible um extraction mess out uh so a flat extraction just or a very simple extraction would be like make polymesh3d ctrl d to subdivide a couple times so we're gonna go through here and we're gonna extract this off so you can say extract with a very with a very very low thickness so that'll seem like a flat extraction so we're gonna extract and accept i'm just guessing i don't know that i've actually watched it so you do have two separate poly groups and there is a slight thickness on here if you just go in here and move you know it's going to move both sides however you can see here if i do i have alt f assigned to back face mass so i have a little indicator in my interface custom interfaces if you're new to zbrush um youtube channel of course uh this is all in the basics but you can go in here to be like how do i do a custom ui and then a custom interface and menus there's probably like five or six videos on that um check it out but we can go through here and all this really is is uh any for any brush you can go in here to auto masking and you can do topological and not topological back face mask so if your camera can't see it your brush can't see it so now when i go through here and move it's going to leave that alone and in fact you could even get fancy enough to go in here to back face masking curve and flip horizontal you can set up two brushes for that so it'll actually flip which face it's looking at uh but generally speaking you can go through here with your move brush and add thickness however what you can also do is with the gizmo since you technically do have two different polygroups you can hit w control tap one polygroup and then go through and add thickness so again ctrl tab that's going to unmask just that polygroup and then do whatever you want to to this one like so i'm assuming cool uh avoid pinching between polygroups when you run uh polish by groups so if i go through here and i have my polygroup border and i want to say like deformation polished by groups trying to think if there would be a let me see let me do a slice this is a one instance two where if i get this kind of geometry just to get more predictable stuff going on i'll go through here do a zero measure half depth size down keep group smooth groups down to zero and i'll just get new geometry just so i can again have more i mean even this instance it should you know do work pretty well i i polish my groups i don't generally use i'll use polish by features just because it does a they can grab creases and or polygroups but uh same same diff um but it seems to be i mean it is going to pinch quote unquote uh when it has in it that's a feature of this uh feature is that you can go through here and wherever you have multiple polygroups meeting it's going to keep those uh in the same place so it's not going to average between those so if you wanted to avoid that you could probably just do a polish and that would just run an overall polish but you may have to that's where polish by features might come in so in that case it's like hey ignore my groups i just want you to i'm gonna go in here and say you know crease edge of complete here and here on this edge so despite my groups i can go in here i can hit ctrl w make it all one polygroup and i can say polish by features and now it's just going to look at my creasing and that'll avoid you know the hardness between polygroup borders but again that's a feature so i don't know um oh gotcha yeah i i don't think you can you can you can grab thickness from a flat surface if we go back here you know if we have a flat surface like this this is another instance where i might just you know give me give me some decent geometry real quick uh but then again qmesh polygroup ball you can just pull thickness that way and then again if you want to continue pulling in that surface normal direction just hold down shift as you're cue meshing around and then if you want to put some bevels on here quickly since you have poly groups now you can go in here to your edge loop menu and there's a crease uh bevel width so if you just use the bevel width there's no creases however if you go in here and you say you know crease pg you can add a bevel this way where your creases are but even if you just have poly groups you can hold that ctrl and you can bevel this way or you can use the new bevel pro z plugin um let's undo that and again even if this was like nasty and let's go back forward let's say this is like okay we're going to crease pg we're going to hit ctrl d a couple times and we're going to say you know what i just want to dynamesh this result man maybe a little higher oops uh resolution here okay we got a dynamesh result here again if you wanted to clean this up again you can go through here and you can just literally run a deformation polished by features that'll smooth those out for you however bevel pro will actually run that for you as it's beveling but if you want to do it beforehand and again this is this is another instance when i say you don't polish by features and then ziri mesh and just give me better geometry just something better to work with i do that all the time um but if you want to add bevels to this nasty piece of geo you still can we can go in here to z plugin bevel pro and we'll pull this in once it's done processing so if y'all are new to this you see gross this is literally telling us you know where our um the red is well let's do this i'm going to go in here and i'm going to say polish by groups we're just going to run that a little bit and that's going to go through and again do what we did previously which is polish our polygroup so now you can start saying if we go in here to bevel amount let's crank this up to like 0.5 so the bevel amount is here's the red line where your bevel is going to be the blue line is your polygon border and if you start seeing some of this geometry sneak through your uh mesh offset amount so that's basically how it's kind of weird but if we try not to apply here's our bevel we got some geometry sneaking through it's actually creating a piece of geometry and that geometry has thickness that it's booleaning out so in order to get that mesh offset amount we need to go up to maybe say 0.5 and that'll allow us to kind of make that boolean object that you can't see but is there a little bit thicker so that geometry won't poke through if we hit okay now you'll go ahead and get those bevels if you turn off auto apply and then hit okay that'll show you the boolean that it's creating so we go to solo mode here and we just look at these two it'll turn on live boolean for you and we have a subtractive mesh here and well now that's just doing an awful job what's going on here what am i doing wrong um and it basically if i turn this on you can see this is the boolean object that it's creating and that bevel offset amount is making this thicker i don't really explain that really well in my video so i'm doing it here it's making this bevel thicker so that um it's working and like i said before if we go in here to again to this extraction if we go back into bevel pro it should keep our original settings over the settings we just used i should say no maybe not let's do it again and there's also a fixed edges if you see any gaps in here you can say fix edges and they'll go through and do like a mesh cleanup although that seemed to kind of break it hmm polished by groups fix edges polish by groups here and then we'll go in here to bevel amount maybe up a little bit and then polygraph angle we don't really need to worry about mesh edge resolution is kind of cool you can go in here and if we turn on preview edges you can see we have four let's go in here to mesh resolution of one um and that'll give us this result we're going to go ahead and hit ok that will go ahead and apply that result and now you can see you know you got that bevel built in on that nasty dynamesh mesh anyway to see that a little bit better again it's this playlist right here zbrush 2022 what's new and down here somewhere is right here second video first video first real video in there is bevel pro and can you make a character in zbrush ready for production sure why not uh when you have two convex planes meeting um oh um yeah i think that is just using creasing instead of poly groups instead of using the groups use the polish by features and then just use creasing might be better uh if you want to object tracking your character rotate it as moves what logic oh uh you're way smarter than i am i have no idea um intellect one two three yes uh your intellect far exceeds mine i have no idea how to do that uh polish my future two planes are convex it ruins the combat shapes where the two groups meet um if the two planes are convex two planes delete hidden so we have a convex playing here and then oh we need to clean up those edges so this is an instance where those little stragglers will get you let's go over here to masking mask by border control tab to invert that and we'll just do a polish by features open circle and then now when we zero mesh it'll ignore some of those stragglers give us a better result so now we have a convex object and then polished by features i'm just trying to get some i guess i'd have to see exactly what you're talking about um polish by features so open circle it is going to keep those borders hard um it's kind of working as intended i'm not sure um uh oh i use blender but i'm not like a master user by any means um quick question i import an stl model and poly painted but the uv was messed up i tried to use the uv master make me use it but no luck how can we make new uvs that actually work um you don't have to if if you're having problems in uvs working in zbrush and uv master it's not a really controlled it's not super controllable uv in anything extract shapes and maintain the bevel when it's all the same poly group i have a chestplate that i use chisel brushes on and the trenches are all different depths uh you go i mean if you're gonna use the chisel brush i would suggest going in here to brush i mean especially if you wanted the the results to match up and turn your tablet into a mouse by turning off global settings going here to z size and z intensity and just cranking uh this up let's go ahead and reset that cranking both these up for the any sort of chisel brush so tablet pressure and tablet size and then use that that'll maintain that'll make sure that your z intensity is consistent you could also if you really wanted to cap it go into thick skin and just cap it at a certain depth but then that's going to create a flat that you probably don't want practice with zbrush tutorial is my way to do exactly what the tutor does when it one does a workflow which feels not the proper way to do it what do you think sounds right you know can go through and do what they're doing get a feel for how things work and then probably if you want to challenge yourself a little bit more is do that and then the next thing you do pick something else to work on and then that'll break you out of just seeing and doing and then you'll have to do a little bit more problem solving on your own cool thank you stanislav um we're going to create different ao and how to export it uh that would be uh let's see here do i have something i can have an ao with in my scene so i wanna say z plug-in is that where they hell have it oh i haven't used this in forever there are used there should be a oh there it is ambient occlusion so you can compute ambient occlusion and your z plug in here to go through and it'll actually give you switch the flat color here you can see it kind of built in ao on your model here uh so if you needed to export this you can just ctrl tab to invert this go in here to color fill object with black maybe unmask and now you have this ambient occlusion as a texture that you can then export of course you'll either need to bake that result off in which case you're probably just going to bake an ambient occlusion or if you needed to have it your ambient occlusion from a texture have low res uvs go down here and just say texture map create new uh from poly paint that'll transfer your poly paint to your uvs and then your ao quote unquote will be transferred to your texture map yes i'm in austin texas time zone so it's still earlier it's 708. um yeah there you go exactly um uh so if i use a cylinder so we go in here to cylinder make poly mesh 3d here and we we have skin shader 4 and let's go through here and we'll do a quick group by normals um and then polish you know polish groups deformation polish by groups here and it's kind of averaging these out one thing you can do is you can control exactly what the c is so you can go through here let's go ahead and let's do this let's do um let's introduce a little bit of noise so first thing i'm going to do is i'm going to crease by pg ctrl d just to kind of demonstrate this a little bit easier and then i'm going to say uncrease all so we only have polygroups here and then i'm going to introduce a little bit of noise into this entire object here so it's kind of crinkly and let's say you know we want to polish by feature polished by groups uh actually i did a pretty good job so if it's low res it'll kind of div like kind of div it in and it kind of does it kind of goes however to avoid that and again you just want to polish by groups you could mask uh again you can just control where it what it's seeing or what it's a affecting so we can go in here to polish by our group's border invert that and then do a polish by groups however that's not going to solve the problem uh what is it doing deformation polish by groups so we can just you know make these smoother however there's still noise here but you can also try going in here and saying polish by groups and smoothing that out separately but yeah it looks like there's just a little bit of a a divot there um polish by groups trying to get it so that it i'm trying to think of a way that that'll get this back to a perfect cylinder because you can see there is a slight bulge there that might be an instance of if you have high-risk geometry and you're trying to smooth something out and you're having to jump through a bunch of hoops to kind of get it h-polish and trim dynamic and polished by features and you're getting these slight warbles take a step back and go is this the right approach to solve the smooth result i'm trying to get and that's kind of goes into the armor thing where it's like i'm using a bunch of h polish and stuff is it sometimes better to go in and be like hey let me spend five minutes rebuilding this with low-res geo-creasing using dynamic subdivisions rather than spending 40 minutes trying to find a setting or trying to go through here and h-polish and trim dynamic into it i'm not saying there isn't a way to do it probably the easiest way is to go in here and like clip circle center and just not not clip uh yeah yeah clip circle center and then just clip this to a circle but again that's a cylinder and you'd have to have a perfect cylinder for that to even make any sense at all um so that's another possible option to you know get rid of some noise is just to use the clip brushes but yeah i don't know if there's a way to really control that specifically i could be wrong and software summit videos i showed their cool hard surface modeling workflows let's see what they used creasing dynamics of the is there a point where they're finished that they have to commit to these creases or do they do something different i mean they talk about it um and that's in that zbrush hard surface linear workflow i sent out there's a link to the id software presentation um and this kind of goes into destroy the destructiveness of some hard surface techniques and a lot of people when they see like you know you go through here and you you know you do a sculpt and then you zero mesh that and you go through and you do dynamic subdivision and then you put your details on there um they see that as destructive however if you're working at this level of detail with this type of detail um if you were to go through and rebuild this as a subdeem masher just build it as a subdued mesh and somebody said hey i don't like this panel line or these cut ins just because it's sub d geometry doesn't mean it's going to be any easier to go i mean sometimes in zbrush it's easier if it's just a zero mesh kiosk mason-style sculpt to go through here and just smooth out the panel lines that aren't working and remake them much faster than the non-destructive method of sub-d modeling where you have to go in and kill a bunch of edge loops and support loops and resolving all these surfaces you're going to spend 90 minutes getting rid of an edge loop and you can spend two minutes getting rid of a chisel cut line so technically a chisel brush is more destructive than maybe box modeling but there is a certain point box modeling reaches where it's destructive as hell you can use booleans to control that but then at the end of the day if you want to apply that boolean so you can bake something off of it well that's going to be super destructive right and then once it's boolean now you have hard edges and then how do you resolve those hard edges and then now i'm going to need to subdue this so even booleans are incredibly destructive once you apply them if you need to apply them which some cases you don't you can use floaters but you're gonna use floaters for a panel cut a complex panel cut line probably not you know so depending on what you're making the least destructive or maybe just as destructive but faster is actually brute force it sounds crazy but a brute force lazy mouse chisel cut line is sometimes faster easier better results higher quality than doing it the you know sub d way and resolving all that just just so you have a sub d model that you can do what with you have an incredibly complex sub d model at that point that's incredibly difficult to work with for anybody touching the file so but that's again depending on the complexity of something this complex i don't know if somebody's going to help you that much my opinion but your mileage may vary fat cylinder inflated with two poly groups one over the top and bottom of the shaft and you run polished by features on that oh okay so we can we can inflate this out so we can go down here to yeah let's just go back so here's our original cylinder here and we want a fat cylinder so one way to do that is to uh we can just do a deformer i suppose and say ctrl alt and then we can fatten this up and then we want to polish by groups here and it'll go through and kind of do this let's do polish by groups closed circle and that'll kind of do that yeah that kind of that divot in um hmm in that case i may just go through and be like and they like let's say this was a dynamesh here it's like okay this is the end result i'm looking for but it's kind of i don't want to go through here and polish by groups maybe open circle since it's so high poly oh thank you and uh so this is the result i'm getting and i'm not getting the exact thing then at this point i may be like okay you know what alt e m going to my cylinder say split mass points hold on transparent so instead of fighting it i may just be like okay this is a good instance of me just needing to go through here and just recreate this real quick so i'm going to hold down alt and scale it along this here and i need to add more resolution in here so just real quickly insert multiple edge loops we'll give somewhere in fact we could even do insert multiple edges in our active elevation pull out and then just round this off and then now i have this we'll go ahead and do a group by normals crease pg dynamic crease level of three smooth set to before and now i have the perfect rounded cylinder but i'm not dealing with a bunch of you know 460 000 garbage geometry points you know um is what i would do if that's feasible uh just consider rebuilding or recreating rather than polishing um substance normal yeah exactly you can and also you know if you're able to pull this off like john's saying in the texture do it there because then you can go through and erase and do depth and have it on different layers and all that good stuff so is there a link to this document yes i'll just keep linking out after something to try with unwelding and polish after you fix your wave edges yeah let's try that so if we have this and we say apply and we have a deformation polished by features oh we want to add some noise so we have a noisy mesh here and we want to polish this up um there is a let's go down here to delete lower there is a geometry modified topology unweld groups border and so i'm afraid doing this these are unwelded now so now if i go in here and i guess polish by features doesn't really matter which one we use okay excellent so that does get rid of that divot problem um now i wonder are these actually unwelded let's go in here to uh brush auto masking mask by polygroups yeah okay so those are unwelded and they are polishing but they seem to be polishing at the same rate so now if we go in here and we do weld geometry modified to pull in there just weld points um and then let's just do a dynamic so we can see that those stayed and if if some of these points don't grab you can go in here to well distance and crank that up a little bit yeah okay that seemed to work if you can get those points to stay and you can weld them back do that so thank you uh sakura swan you win december 2nd zbrush stream with my zbrush mug um or you can inflate cut off top bottom uh i think we'll see physically based ringer and zbrush that'd be cool i don't know i hope so that'd be neat uh stanzy versus much possible me too i like to do that uh okay so back to here uh we got our stuff all separated out i think we're to the point oh okay this is another thing too this is you know how would you make a shape like this really quickly in another program and how i make it is i don't i don't tend to overthink it i mean there's you can like bridge edges and stuff like this but if i go in here and i say i think i did something like this group by normals ctrl shift delete hidden go through here control shift and we're going to do a slice because i just need the the basic shapes right so we're going to go in here we're going to say inset polygroup all we'll do legacy so this and now i need to like bridge these across but you can also go in here and you can do a slice curve and then hold down spacebar do brush radius and you can literally just slice across here to get these polygroups and then you know what polygroups do you need to keep you know this one and this one and this one and this one and then delete hidden zero mesh half double slides down to zero and let's go ahead and turn on x symmetry let's do a quick mirror and weld there and that'll just kind of rebuild that geometry it kind of did a a weird thing here but we can just slide that so a lot of times what i'll do is just get and we don't even need that insert single edge local down alt and if you want it back just go back in your insert multiple edge loops specified elevation to zero keep polygroup and then just pop one right down the middle so that's another instance of instead of going through here and figuring out exactly what i need i just use zero mesh to kind of go through here too mesh polygon ball get the basic shape um and then do what i need to do as opposed to having to vert massage a bunch of stuff back to the video yeah yeah yeah now the chain i mean chain and the wire and stuff is all pretty self-explanatory and cover real quick if you want um so that's just basically a i guess we can start here so you want to make a chain and one thing you do is going to ring 3d that's a little heavy for a repeating object so i'm going to go in here to initialize we'll say maybe eight and uh eight is a little low let's crank that up a little bit i like to keep um let's say 8 24. make polymesh3d i'll do an extender in here you can control and then ctrl drag up or down and get what you need to but so we have a line right down the middle we can go through here and we can use the extender and we can just go yoink and then there's my chain if i want to beef it up a little bit i can go in here and i can inflate or deflate to test this out let's go ahead ctrl w and say uncrease all i need this to repeat right well if i repeat it now it's going to look like this so what i'll do is i'll control drag up a copy hold down shift and rotate it and now i have these two pieces and we'll put those nudge those right in there and then i'll go ahead and control drag this out and now when i continue up it'll just repeat as expected now you could turn this into a brush so like b create insert mesh new um we still have our stroke open new stroke uh curve mode uh uh so you could do this you could go through here and you could make a chain brush but now you gotta go in here and finagle like uh curved step we need to probably maybe 0.75 just to get those to kind of those change the fits and now you have a chain brush so the first thing i just recommend you to do is you never have to do this again is go brush select icon there you go little chain brush brush save as we're going to save this right into our zbrush 2022 z brushes imm test chain so if you ever need that chain brush again just hit the comma key go into brushes go in here to your underscore imm custom folder and somewhere in here i've probably done this a million times here's test chain double click that and now you have chain brush however what i ended up doing is because this is just a literally a hanging chain was going back in here to our working file right and we'll say append that chain mesh here and we'll just rotate this here so if i need a chain coming out of that little thing we made earlier you know what size do you want it great and then i'll just ctrl drag out until it kind of touches and then there we go so now we have a hanging chain that i don't need to use an imm brush and snap the line or anything like that and then of course for the wire that's just a simple matter of appending a z sphere and then we'll you don't even need to scale it correctly you can even have different size z spheres if you want but append to z sphere e to scale um w to move and q to draw if you want to you can hold down shift as you're making these let's just go up a little bit so here we've got a wire going up and then we're going to hit q and kind of start pushing these three or you can just hit q and just make a bunch and then you can go through here and just kind of snake this through if you grab the joints individually it'll just move the joint if you grab the bone it'll move the hierarchy past that joint um so there we go so that was just a simple matter of you know going through here and making geometry and then past this point of course if you hit a by default it's just going to turn this into a dynamesh but go down here to adapt the skin turn density down to one dynamesh off and now you've got just nice ish geo we can say make adaptive skin and we go through here and we say append that skin z sphere this c sphere we don't need anymore so now we have this geometry um i think honestly what i ended up doing is because this was a more of a flat thing was i went through here i hit ctrl w make it all on polygroup i'm going to go ahead and grab and you know let's do a quick polish by features open circle just going to smooth that out a little bit we'll inflate it back up ctrl shift drag over this and go to the top and ctrl shift alt sorry and then delete hidden and then if you wanted to pass like a bike chain down here you can go in here and say polygroup poly loop here tap alt tap alt grab these two delete hidden stroke frame your polygroup border bi brush insert military m bike chain and then just tap and that'll put a bike chain right down that path so if you had a wire you wanted to follow that path you could do it that way what i think i ended up doing was something like this where it's basically like you know what let me just do another quick and now qmesh all polygons because these wires are actually a little flatter and they have a little uh morph target give me a break um morph target delete more target don't know why that was on there flip um it has a little divot down the middle so i did something like you know bevel put a bevel on here and then maybe insert multiple edge loops keep polygroup here and then maybe trying to member trying to remember you know what let's do interactive elevation let's see if i can't push this in a little bit here and then i could even go through here and kind of pull these out a little bit so i kind of had like you know those two wires and i probably went through here this is what i did double edged complete i probably put a smaller bevel in here and then i did an inset in here and then i did a qmesh polygroup all and then hold down shift and just kind of squeeze squeeze so now when i hit d for dynamic i'll have a you know that little double wire in there that's kind of snaking through my my stuff and if you didn't need to tweak it if it got a little too smooth just remember you go back in here and oops turn off back face mask and uh unmask what is going on oh we have massive hog groups up to 100. my knee-jerk reaction is always the blame blame the program what is the program doing wrong and uh almost always turns out that um i'm being silly and q alt w there we go so you can go through here and just modify this as needed something like that sounds right yep yep okay doom doom oh okay so uh this was taken through substance painter um if you wanna look at my uvs so we have black i have this broken up into four different materials because i wanted i wasn't sure if i needed to treat them with separate um settings basically if i put it all in one material then i have to kind of juggle settings based on one shader but i figured since it was glass probably i was going to separate all these out so here's the vintage lamp this is all ones if i go through here you can see that this has a couple different brass and metal on here and even the wire is all in one this is all one material but it's like metal and plastic so that's a little bit safer now the glass i have on uh separate materials just in case i needed to tweak those settings uh separately um it seems i mean let's see vintage lamp here i don't think i did anything out of it super out of the ordinary iron pewter bronze plastic roughness breakup and that's just usually just like a roughness map so if i hit c to cycle through just kind of a little bit of a overall roughness breakup and then uh just a simple dirt kind of dropped on there all over and then that's the result here and then i exported all this out so file export grab your textures and then just imported these into marmoset here and then again you know this is the full draft quality off if we go in here and we say full quality that kicks on the ray tracing so now you're getting you know all the all the shiny bits so basically the materials were all brought in here and you know what now that i think about i think i did do some trickery in here so if we go in here to the vintage lamp yes um so i can everything's kind of packed in to this node here so we actually have a character light put in there this isn't a bulb that's literally just a light uh from marmoset put in there and then that's based in here and then i think what i did so if i double click these in order to get this to work let's see if i can remember i tricked it so i basically instead of if i turn off the emissive map and i tried to make it just purely like hey have a light shine through this material i was playing i found myself playing a little bit too much with was it diffusion or transmission something in here where i was trying to make it like translucent glass it was just i don't know i'd found it was easier just to go in here and drop the emissive just put an emissive map in there and then use this to kind of dial in how much light's getting through the object quote unquote although that's not really true um and i may have even gone in and made it so that the emissive map i maybe painted this in painter so you can see up here the emissive map isn't so strong where the light would be blocked you know from going up here to this glass as much so i turn i went through and painted this a little gradient darker and then this little gradient darker and then over here in between the glass you can see as it gets closer to the metal here it's that emissive starts falling off i think that's how i controlled that kind of glowing through the glass look so it's not physically correct but um it was a little more controllable um overall for the look i was going for there we go so yeah the emissive intensity and it's actually got a little metal in there on the red how about that um there you go that's the that's the entirety of the pizza sign i think and a bunch of tangents today yes did you use quick uvs from uv mast or something else uh i probably use a combination of uvs and then just maya uvs um trying to remember if i had anything specific let me see file um we can take a look through um props body skateboard arcade oh i don't even have it hmm well easy enough file new scene don't save i always have a backup because i have to export right so we're going to go in here to streaming turtle power michelangelo props bake cylinder ref z tool oh boy bake where is it oh there it is vintage lamp low so let's let's take a peek under the hood uh here's my uv layout for the letters here i had i would assume probably trying to remember this is just auto uv because it really didn't give a crap and then this stuff these i didn't care too much about and i was gonna i actually ended up packing this glass uh together obviously but for these letters here if we just take a look at them what i probably did i mean you could do this in zbrush just as easy you basically what you would have is you'd have a polygroup down the middle and then you could have front and back polygroups and then you just say uv master uh polygroup's turned on unwrap and it would do a fantastic job i was a little bit more fancy in here fancy uh where basically just the back faces were uv'd but it's a simple matter of just uving going through here and uh cutting and then just uv relaxing and then packing calling it a day i could have rotated the letters but i'm not going into photoshop often so i didn't really care that much um how did you separate material for the eyes that i can send you to a better um i think i'd call it out here and james go to james's page and time lapse where's the yeah this one lighting shading and rendering here just follow along with this and you'll be good to go total time starts to finish for the entire thing um gosh not too long um [Music] i mean you can you can see them making a most of well it's not tyler true a lot of the polish happened after the fact but um i think for the entire scene if i was to sit down and just work on this as my job start to finish i would give myself [Music] i guess a month that's easy to say because i did do a little bit of investigation with you know the materials and animating materials and learning a little bit of stuff uh new stuff in here so if i was to do this again you know if i was to do another ninja turtle in another arcade and another different type of lamp i'd say a month would be fair learning all this stuff maybe maybe a month and two weeks six weeks yes pack the uvs together uh yeah the uv packing i did in maya um this stuff these are all painted on so you can actually see in the video here oops somewhere in here i do you know this this again once you know the basic techniques you'll be able to go through here and see exactly uh for instance how i did the little twisty or the little ties on here um so yeah here's a helix cylinder that i just deleted half of this i probably wouldn't do it this way anymore but drag those on this is just z spheres geometry unwrapped and then substance painter applied so um and of course these i stole from uh this this am fm cassette thing i stole directly from if you go to my art station actually when it would be what pavlovic art station intro to zbrush i did a series for art station where we basically made me as a kind of a teen early teen and one of the things we made was that um that thing so if you have art station learning you can go and learn intro to zbrush from there too a lot of options that's a pretty intense one too i think that's like 12 hours uh model the high amount of armor clothing do you merge all the clothes to the body before importing low high poly to substance um kind of depends on how i want to juggle probably i'm going to have the clothes on its own material because the body is going to have a skin shader and the clothing's probably not and the skin shaders are going to have a few more parameters than clothing kind of depends on your pipeline though that's that's not a true blanket statement unwrapped grade the low poly with the normals that you used to use vertex paint and marmoset um i just i baked uh i did i did all my baking um i mean you could do either but i think i did all my bae i just threw everything in the substance and baked it and textured it and then exported it tomorrow such a render but you could do your baking and marmoset for sure would you ever switch the vfx industry um i wouldn't be against it i don't know if they'd be interested in having me for sure for sure okay so um that's that we still got some time um so let's let's keep going uh okay so we're gonna go back yeah oh yep you so let's let's try and find the skateboard uh you know you can basically see me making that on um and this is actually the skateboard is a good example of what we were talking about before where it's like okay oh yeah there's another good example of me being not lazy but just being like okay how do i make this complex shape well i'm just going to clip the shape of the object out and then that's going to give me this overall shape ziri mesh yet extrude it and then instead of being like okay how do i box model this perfect weird complex shape well i got a nice clean extrude but i'm gonna go ahead and dynamesh it i'm gonna use trim on here i'm gonna just kind of use clay brush and h polish to get this weirdo shape start putting my pieces together and now that i have the weirdo shape blocked out z spheres go through and put those points exactly where i want them so that when i'm done doing that i've got you know here's here's my original sculpt right here here's my rebuilt one the rebuilt one was was it boring did it take me five minutes yes did i have to mess with a bunch of z remesher settings trying to get it to follow exactly what i want to save two seconds no it was faster to go in and go hey these are where i want my points it took me five minutes to do i can crease exactly where i want do a dynamic subdiv so i have a nice subdi mesh of this very complex hard surface without having to fight settings on tools so sometimes again and this is brute force rebuilding but it went faster and i got the results i wanted so pick and choose your battles there is what i'm trying to say uh so that's just a sub d mesh now and then go in there and then you know just making wheels you guys know how to do that inset blah blah blah and then this is again just exporting all these out with the uvs um and then just dragging and dropping and this is just the painter process of drag and dropping tiling materials and alt dragging these little paint stamps on there and that's just uh i don't know if we've talked about this but if we go in here and i say you know i want to put a hand print on my black glass here if you hold down alt and drag that on that'll face it to the normal that you dragged it on and then you can just move this hand print around and then you can move scale and rotate it um yeah up here so w e r so now someone smacked it with a with a paint hand there and if you ever want to do nicer renders in here remember you can always send it on over to irae um i don't know if your glass transparency settings it should follow through i don't know if there's something special i need to do there it's been a while since i've done ira glass rendering yeah yeah you may have to mess with some of the oh boy some of these settings in here well there is that no i'd be into the shader refraction absorption something in here you may have to mess with in here but you can see we have that paint on there and of course we can go through here and we can say gimme instead of panorama i like to do a bonifacio and we'll go through here and we'll go ahead and say clear color there we go so now we have a different lighting scenario we got our hand print smacked on there and we're good to go and it won't go out of ira oops did i lose it there it is the person realized there's a way to use the new usd expert for quick look dev and katana i know of any methods besides having to import into maya export alembic thanks um i haven't done it probably i'd have to just try off the top of my head i'm not completely i'm not completely sure i'm trying to remember i'm trying to remember if there was something that i'd seen someone else do on a youtube channel that i that something's tickling the back of my brain about that but um i'd i just have to give it a shot um can you show something about making knots yeah i mean i did i do kind of have close this out i did make some knots in here but i will tell you a secret you know this knot right here and this knot right here these are all fake so those are basically if we go into zbrush here let's go ahead and put this back to draft i'm going to zbrush and um i'm just going to grab a cube i'm going to make a knot real quick split mass points and we'll go through here we'll say uh insert single edge loop i'll put one here and put one here and um you know what probably let's just q mesh u and u it's a little bit sloppy on those corners but that's okay so we'll go ahead and say um crease dynamic and we'll say crease edge alt here so here's and we'll do a crease level of two smooth setup of three so here's one part of that knot and here's the other part of that knot uh in not exactly but that's essentially you know if i go through here and say you ctrl shift a split hidden go to solo mode it's essentially something like this you know i'll have more geometry in here so i can you know insert multiple edge loops keep polygroup and give my some a little more to play with here but essentially that's it it's all just faked knots same thing with the wraps the wraps are all faked you can actually see that in the making of when i'm making the wraps i'm just slicing through and it's more of a it's more of a pick and choose your battles type thing it's like could i have made a wrap that actually is one single piece wrapping around the entire thing sure but unless i'm going to go through and simulate that wrap coming off at some point it's so much faster to just go through and slice and get wraps and when you look at the final result um you know they look like they look good enough like they're wrapped around the objects you know so we got hand wraps and we got arm wraps here uh same deal do they actually wrap do they actually tie in knots could you unravel this nope but it's the illusion of wraps is what i'm going for i guess uh if you did want to tie an actual knot to have the most control i'd probably do that in um or if you wanted to do you know tie a bike chain in a knot it would be the exact same thing we did earlier uh z sphere uh oops you know append z sphere so we can knot something in here but you're gonna see i'm gonna show you two two ways to do it and you're gonna see one way is way faster and easier and get you the same result as the real way so cue hold down shift and again if i mess that up and i'm like oh shoot i'm making things all different sizes no problem just go in here to stroke uh curves helper say z sphere scales to draw size and that'll make them all the same size so you go through here and you can literally use this to tie i guess cue and it's like okay we got this one and we want this to kind of go up and over and around etc etc and next thing you know you might have some sort of knot that you've tied and everything's beautiful and then again you can use that like we did for the chain you can use that to as a path for your bike chain or whatever you want to tie in a knot or you can literally just use this geometry so if we move this in here blah blah blah so here we were tying stuff in notch right and we're going to go down here i'm just going to use my custom menu density down edit topology um let's make adapter skin append easier here so here's our knot control w i'm going to do a quick polish by features and then inflate so here's here's things tied in a knot and then there you go however you're going to see what the end result ends up being like on a shoe is just the top part that you can see so in this case you can actually go in here just grab a ring this is what i did my buffalo if you all remember that so all those those buffalo things those stitches were probably just half rings probably not full rings but i'll show you how a full ring is just as good so if you want to go in here and add your knot or ctrl drag off a copy and put this one here and just move it out and use your move brush you know this that is essentially what a knot's doing do you need to actually tie a knot or can you just take two rings and offset them and move stuff around in two seconds and get a knot look depends on you but i take the easy route fans these spheres are modeler which one is easier i use both depends on what i'm making ornate helmet play for uh all right nubia are there any tutorials relevant up to date that i should look at i think there's a different um ornate helmets uh bass relief is awesome for that type of stuff uh if you it's kind of destructive but uh the ability to go through here and like project or use alphas to take something and project it is pretty awesome so bass relief is good for details these aren't super new techniques but you can load up your relief stop playing um this one here i this kind of goes through you know blocking out the model uh again when you're when you're talking about like new techniques these are this is a very old model so not super new um but just different ways you know stan bass relief would have come in great on this type of thing here i'm going to sculpt out a lion as opposed to doing it all manually um what else did i do you can model and then you can insert and then snap to surface and all that good stuff but yeah this is basically a bunch of ornate techniques and imm brushes and recreating the stuff so uh i don't know i'd have to for new techniques i'd have to sit down and actually do it and be like okay how would i do this now i don't off the top of my head i don't know if anybody has that i'm sure i'm positive someone out there has done a ton of armor stuff ornate armor and zbrush gumroad has got to get you something i hope if not i need to just quit my job and just start making videos um sculpting through brute force trying to finish work smarter hot and under harder is tiring yeah and when it comes to ornate actually speaking of i mean kyle let's just look at some examples because some of the stuff is just going to be and it's basically you know going through and breaking down a problem so i'm going to go through here um let's look at some more nate stuff so here at the british museum uh this is a really good example of okay how would you go about making this well you break it down into simple component shapes and probably what i do is go in with a dynamesh block uh trim or knife out the silhouette maybe trim or knife these curves here and then get me some poly groups and ziri mesh it to get the overall shape and then maybe you know mask and extract and then z remesh this shape and then go through and by the time i'm done this one complex object is really just a series of like 40 or 50 kind of simple objects now when you get into the ornate stuff where it's like okay how would you go through and do this man probably just a brush and a lazy mouse i mean if you have a perfect you know stamp from photoshop great probably you don't so it's just gonna be a matter of you know there's no free lunch here i don't think you know so there's gonna be some more nate stuff that's like oh yeah here's an elegant technique of going through here and squeezing down a cylinder and rounding it off and z modeling it and then you know maybe just booleaning that in and dynameshing and smoothing the transition uh but for this stuff hell man it's probably going to be um brute force you know this kind of ornate stuff too is like okay look at the overall shape so build the big shape build another big shape separately it doesn't have to be connected okay get you a nice clean transition uh this stuff oh my god yeah you can break it down into smaller problems you can try to find elegant techniques that'll be less destructive as you work to make your life easier but when you get into this stuff paint it on there and just get put on your favorite episode of uh star trek voyager i'm a next generation man myself but i'm trying to go through and catch up on deep space nine voyager myself but yeah if you want to do ornate um have fun good luck let's see here any more ornate ornate stuff we can break down yeah yeah and i mean this could be a simple but even then when you get into ornate that has wear it's like you can start like with a simple cylinder and then you can go through and you know subdivide it a bunch of times and then every other polygroup you can go through and extrude and get this kind of sawtooth look but then you're gonna have to go through with like a trim dynamic and just kill that detail where you want it or you could do this in the texture but you probably are going to have to uv this in a very specific way so you can tile that sawtooth down you know as you know a single direction and then go through and burnish it up a little bit but uh yeah ornate and brute force name a better combination yeah make this without brute force if you can do that that's probably you know what uh your answer probably is a machine learning an ai it'll do it brute force it'll just do it faster and better than you uh but it'll get there probably in my lifetime um all that stuff will just be done by a machine uh subtitles three polygons so i mask a part of two three polygons there's a hotkey so it masks the whole area of those two polygroups yeah um i i think there's a plug-in that'll do it if i understand the uh let's see make polymesh3d control shift hold on ctrl w ctrl w so in this instance if i want to mask multiple polygroups i'd probably go in here and just say mask polygroup ball u and u and ctrl tab to invert so i just unmask those polygroups and then you know do what i need to to them um so that's a fast way to to just mask out separate polygons as opposed to you know you can control tap a polygroup to select it um but you can also just use the muller to go through and just grab mask and control tap to invert that but i think there is plugins that'll like mask as you hover over but i think that's the same difference um uh personal preference for that skateboard why z sphere over maya reapologize for example because i don't have to go okay i need to go into maya okay is this too heavy do i need to decimate it down do i need to export do i need to import um you can hit go z does go z work and now i'm in maya okay let me blah blah by the time i've done all that i'm already halfway done with my z spheres now i might be a little faster in retopo topogun or my ray topology but again by the time i get in there and start start i'm probably finishing up with my z spheres and then even if it's a wash even if it's like oh i'll get it done faster in here well if you also had the import export import export time both sides you know if you're if you're doing something complex and it's faster to do another program sure for uh for a just an object with five million polygons sitting there spheres goes really fast once you get a feel for it so it's usually a wash for me to go outside of zbrush for most of that stuff if i'm being honest if i need to be very specific on something complex then yeah maybe using you know maya topology tools or whatever you want is up to you um until gentile you can say switching around team blue seems like it could be a better for zbrush performance guess we'll see um but probably not i mean it would have to be a substantial switch as opposed to a an incremental something that's going to be a leapfrogged in a couple months you know um cool thank you john ornate stuff separately and use your projections oh that's another thing too um i don't think i've updated my rig in a while but i do get that question occasionally workstation yeah i think this is the latest one so in the description of this is the specifics of hardware stuff so if you're into hardware stuff it's all down there in the notes there with scanning get that etched in detail uh sure yeah absolutely um your you know photogrammetry and lidar and stuff will get some detail and some of it gets amazing detail some of it not so much [Music] certainly it'll get you primary and secondary forms and then you can go in and like clean it up and if that's the case and your ornate stuff is kind of already dialed in you just got to go in and use a little bit of pinch uh use a little bit of polish use a little bit of clay to kind of make it really tight um then that's that'd definitely be the way i would go that would certainly speed up your workflow and in fact i tried to do i mean it's behind glass but i tried to get multiple shots of some of this stuff too so that i could try and you know you know this these could be easy photogrammetry projects this one wasn't behind glass luckily but um you know if i wanted to you know i could even try i don't i think i'd get a pretty terrible result but i could photogrammetry this and that'll get me at least the primary maybe some of the secondary forms and it would apply the texture on there so i would know where most of that stuff ended up needing to end up going um so that could definitely speed you along even a crappy photogrammetry result with a texture applied is still kind of useful if it gives you a halfway decent result good starting point anyway yeah ai base yeah ai based remeshers uh machine yeah they're they're coming i can't wait kind of if they get real good then they probably won't need me i don't know i'll just walk the earth then i put a hole through geo on a near final piece something with several levels of subdiv with all the details finalized probably a boolean i do have i knew that was going to come up when we were talking about um here in my playlist this uh zbrush 2022 what's new knife so in the knife they have the new knife circle and as soon as you see knife circle oops as soon as you say knife circle everybody the first question of everybody's mouth is going to be like how do you slice through a mesh and well you can't knife through a mesh but you there's a bunch of um how to poke holes through your mesh technique so i'll just start here uh share start at copy so there's a bunch of hole poking techniques in there from that point uh detail rose copy details made them in alphas use them as a mask and insert them into the handle yeah excellent yeah and again if you can do nice alphas and apply them even as a displacement if you have nice uvs and you know exactly where to do that in photoshop or whatever and also you can if you have that much work already done consider just applying it in the texture if that's feasible for you uh you can use these spheres to create a stroke path place it maybe use a place imm and finish the second cloth brushes uh yeah you can use z spheres and then you can pass um you can just use an imm brush that's kind of just a wide piece of fabric and then just it'll just brush fabric depth or you can just be a flat plane there's a flat plane in here too because you can always add depth later depth later uh brush curve flat so again if you wanted to have a z sphere path and it would follow that z sphere path for cloth let's say and then um again let's go ahead and let's do this let's say subdivide this a bunch of times so we can go through here with our pinch brush not a bunch of times but we'll go in here to dynamics turn off gravity and floor collision and then pinch we'll go down here to elasticity so any brush and zbrush you can turn on simulation so then you can go through here and you can like you know get this cloth to do what you want to do after it's following the path and or see out here it's like okay i've got cloth and it's is the kind of shapes that i want on the cloth and then i'll use my pinch brush with simulation to kind of dial in a little bit more of that cloth look and of course you can also go in here and do you know firmness and and or go in here and drop down your resolution uh this is all zbrush 2021 what's new stuff for anybody wondering what all this claw stuff is but that's how you can hit get cloth to follow a curve and then also turn in the cloth now when you go to add thickness to this since i like to if i'm doing cloth with wrinkles on it i don't necessarily want thickness on that cloth um i guess when one way to do it you can go through here and you can say extrude polygroup all there is a way in my videos where i talk about like doing dynamic thickness mixed with segments to get this for you automatically with a little bit of math but the one way to do it is we can go through here we'll say flip so now we have cloth with thickness and then if i need to reconstruct i can go in here and i can say okay insert single edge loop so here's one subdivision so if i hit reconstruct it'll reconstruct back however here's two subdivisions reconstruct reconstruct here's i'm just putting a line in between all these here's three subdivisions one two three so here i am back to my original and here i am back with my detailed cloth with thickness with reconstructive subdivision um for what it's worth that was the british museum so we have british museum and then i went to the natural history museum so here's just the museum-y stuff then here's me for my my tired ass face um and then here's the natural science history museum in here here's some cool stuff here's the early humans how cool is that neat neat neat dodo bird maybe photogrammetry this they give you a good start you got reflections on the glass though so it may not work great but and we'll see uh iphone's letter is really not good if it is on a good one i haven't tried it yes and yeah you're exactly right we're all of us are a little little bit of ai in a little meat package is it worth applying what alphas to get game ready wood ass is it better to just work on the edges in zbrush and drive all the small details of texture i found super detailed scopes noisy absolutely if unless you're 3d printing something i i much prefer if it doesn't break the silhouette i much prefer just working in i guess we can go through that real quick it was gonna be a weird issue loading up i wonder if it's been fixed wait for it okay file recent uh we gotta have it in here perhaps accessories really the one the one thing there it is yeah so instead of you know because you can do it you can take an alpha with wood alpha and like you there's even a surface noise you can go through and do um however the and this is all one material or one material assigned to this so i only have one uh texture set there we go so you're gonna see here instead of going through again if that if any and even these you know scratches on the surface stuff if they don't affect the silhouette then i just put it in the the texture like the big stuff like this whole back half is sawed off well i can't do that in the texture so i need to do that in the model but if it doesn't break the silhouette then yeah just it you it's much less destructive and a little bit more controllable and uh much easier to say because if you were to model this in 3d and then you needed to get your albedo to line up with your model like oh my god that'd be so many hopes to jump through as opposed to i can literally just go in here and say wood drag and drop and then now i have wood and then i can go through here and adjust you know how much um i can go through and rotate that wood and then what attributes do we have on your fibers layers i can go in here to the height and i can dial down the amount of wood grain showing up at the same you know i can go through here and i can change the color and the color will match up with my model or my details because obviously look at that has a nice nice polished now if you'd if you did want this to be well no i'm doing opacity so that i would have to put in a height blocker layer but you get the point there we go easy wood applied now the problem is if you did need to 3d print this out with a wood grain well then yeah you may you can try to export this as a displacement and then apply that to your model but at that point it might be easier just to do it in zbrush do you do much 3d printing not at all however i do have a um elgoo as i pronounce it they sent me a 3d printer so i do need to set that up over break when i have five minutes i'll set that up and we'll start printing some stuff out that'll be fun right uh maybe we'll plank something super organic uh yes uh and if you actually there's a fun one let me go through here i want to say not that i don't think i would do this method necessarily but just because it reminded me if i go in here to patterns planks there's like a there's like a little plank brush in here um but probably what i would do for wooden planks is you know we could probably just use this let's say yeah uh delete higher delete lower control shift delete hidden and then we'll go through here and we'll say insert single edge loop hold down alt so we have a path for my planks since then if i want to do uh planks here let's i hope it doesn't crash because sometimes when i hop out of a tool sometimes it will cube 3d edit make polymes 3d um one way if i want to just get you can see how i just have garbage geometry on here again zero mesh half that size down to zero detect edges that'll go through and give me a little bit better geometry and again i could just keep doing that uh there we go nice wood plank right um so i can turn this into an insert mesh brush b create insert mesh new so now i have an insert mesh brush but if i go back here and i'm saying gimme them wooden planks i could model this so that i can unsew all these edges and model these however i can now go back to our insert mesh brush that we have and i'm going to say brush create insert nanomesh brush so now when i drag this on and i say insert nanomesh all polygons as you plug your ball here and then we need to two ways to go about fixing this you can go down here to geometry modify topology and there should be a align edge uh but also under nanomesh there should be an alignment aligned to normal uh or aligned a short edge line to long edge there you go so we'll do a line to long edge and the cool thing about this is so now we've got our planks and then you know you can do the scale so they all kind of meet up here but you can also dial in variance so you can go through here and do length width height maybe a little rotational variance so that as you're doing your medieval planks you know you'll get a little bit of variance in there or and or you could do multiple instrument brushes and then kind of mix and match different types of planks um etc um android have scanned with uh most of all i'm not sure i don't do a ton of scanning with my phone i just do photographs but i should probably look into that last version as you wish to use this for sending your videos to help me catch back up excellent yeah actually actually you're in really good shape then because um if you or anybody if you go to my youtube channel uh all of my what's new actually my heart station page might be a little bit easier uh again so here's youtube channel playlists and that's where all the stuff is and then if you need something a little bit easier for your eyes maybe uh and here my very first so you can do intro to zbrush uh probably your best you know and here's an intro to the zbrush course i think you got up and then if you go down here here's zbrush4r8 what's new and you can literally just go to what's new uh videos all the way up to 2022 and you should be in pretty good shape for z brush stuff i happen to create an n gone with z modeller zbrush allergic to end guns yes you cannot create end guns in zbrush greetings from round rock oh gosh you're like 40 miles away from me i i lived in round rock for a couple years lived in georgetown for a lot of years too cool how are we doing on time oh we're over well all right thanks everybody i know we went on a lot of tangents uh but hopefully they were useful answered a lot of questions went over the the lamp so hopefully that was cool for peeps uh i want to add screws rivets how do i make them exactly the same size throughout the model there's a couple different ways one way is with nano mesh specifically so for example if we go in here you can go in here bi brush insert grab it in you know this here's a screw hold down control and that'll snap it to your brush size so you can do that however you can also say brush create a nano mesh brush and you can go through here and you can say oops and we'll say m phillips so this will be a nanomesh brush i want a nanomesh on all the polygroups here and then you can go in here and you can say you know what let's do a pattern oops h tile we'll do i'll do three i'll do four four and four and then you can do different pattern types you can say grid you can do border you can do corners you know and then you can go in here with your size and make those do whatever you want you do cross i think diagonal plus sign yeah all sorts of stuff so that'll be one way to do it as well so hold down control to imm them or you can use nanomesh cool thanks again everybody and uh i'll see you on tuesday i'll be streaming on pixellogix channel of course it'll be on my youtube channel afterwards too so cool thanks everybody have a great rest of your

Channel: Michael Pavlovich

Views: 4,762

Keywords: ZBrush, TMNT, teenage mutant ninja turtles, TMNT sculpt, ninja turtles, ninja turtles model, ninja turtle, pizza hut model, pizza hut 3d, 3d lamp

Id: srH0LLlYPGg

Length: 134min 44sec (8084 seconds)

Published: Thu Dec 02 2021