ZBrush 2021.7 new features overview!

hello hello testing testing good morning everyone we are about to start um hey valek troscar are there out there hara i'm sorry i don't know how to pronounce your name welcome to the stream i have my chat next to me so i should be able to you know have a look have a look at the chat and if you have any questions try to answer them on the spot which is the idea with these live sessions hey derek awesome all right so it looks like everything is working just fine in terms of the tech hopefully those hopefully i don't jinx it just with by saying that um let me just check my wacom all good alrighty so um once again welcome everyone this is gonna be slightly different from what i usually do um just because what what you can see right now is uh something that i did when i was testing the new features of xerox 20 21.7 but also the interface is quite different the reason is because this is meant to be or this is a live stream or a live session that i'm doing as a bonus for my ucg students so in case you don't know what that is i'm going to walk you through it like very briefly but just so that you know you know just to have a little bit of context of why things are a little bit different from what i usually do on my live streams or my custom ui that sort of thing um and the reason i wanted to make it kind of like an open type of session not just for the students is because i think the methodology that i'm going to use to showcase the new features is something that anyone can benefit from it and it's essentially what one of the the core elements that we use in the in the learning approach and the methodology in the course as well so uh if you're interested in the course as well you can have a little sneak peek on of you know how we deal with new features or how we uh basically learn zebras awesome clear alrighty so um this thing that i have right here this is the the final render the final image that i did in marmoset toolbar to uh two back four but it is all done in zbrush and in fact the the uh the uvs and everything like that is pretty pretty simple pretty straightforward there's nothing uh too you know techy about it in fact this is just a decimated mesh from a high-res high-res mesh that i'm going to show you in a second but um a lot of these things were done with the new features not everything in fact that's one of the first thing that i want to mention when a new version of series comes up or there is a new set of features it's kind of like a building up on existing things and existing workflows that you already have so it doesn't mean that new features that's all you have to do to create like these awesome things is just you can improve your existing workflows and you already have the core uh ideas of how sewers work and the you know the brush system the features that have been already in series and you're familiar with new features you can just incorporate into the into the workflow so the idea here is that everything that i've done with this let's say this helmet skull techie head is using a lot of the new features but it's also having that strong foundation of going through the pre-existing features that you probably already know so i'm gonna go ahead and move that out of the way i'm now resize it so i have a different screen here next to me so that i can see what i'm doing all right um so here we go this is the this is the head that i use that's exactly the same mesh that i use as high-res and i moved it into the low-res with a quick decimation i'll show you that as well um just so that you have like an idea of the kind of like the final result of what i did to to go to marmoset so this is a pretty high-res mesh um it is a five million almost six million polygons in here but it's just a dynamesh object so if i turn off polyframe poly paint and enable polyframe you'll see it's pretty it's pretty dense it's actually hard to see the topology because it's pretty dense so it's just a dynamesh object so what i did after was to duplicate that mesh and this one right here is a little bit easier i duplicated that mesh i decimated using the decimation master and i just literally slice it down in the middle to create two different polygroups so that it's easy to unwrap and i just literally unwrapped two pieces like cut in half um and now with this one it's just already a much you know a much more manageable geometry thanks to the decimation master and then i projected the high-res mesh into all the details of the high-res mesh into that low-res mesh um all of that in and marvel said but you can use you know x-normal or substance anything that you want really and that's how i go to that you know image that i just showed you before all right so going back to what i was mentioning about the the ucg students so the ucg stands for ultimate zebras guides or ultimate zebra guide course right and the the reason i mentioned this is because that's uh essentially the user interface that you can see right now this is the user interface that we ended up with at the end of that course so if you're a new student or you just join the ucg course by the way let me just show you what that is before we move on so uh this guy that you can see here on the on the right hand side at the bottom corner of the of the screen that's the character that we use that we use in the ultimate search guide course and i i walk you through everything from the very very beginning so like starting from nothing from scratch so you if you're an absolute beginner if you just want to get into xerox this is a program that is designed to take you from like nothing that not not knowing anything about zebros to you know fully render a full-on character and and the result that the students have had so far is fantastic so this is the the this is the reason i'm showing you this um and you can find out more in the 3d cons or if you go to the 3d concept artist.com this is the full program i'm going to hide that one this is the full program so you can see all of the all of the modules everything that is covered um but you know it's for absolute beginners so if you don't feel that you um you are quite there just yet with your creations in xerox this is uh something that could definitely help you with with that okay so let me see chad um derek the rendering process no this is focusing on just the the xerox updates um the the little kind of like brief context that i gave you is just so that you know how i approached it it's nothing too complicated in fact uh and the materials are from i think i can remember now i think it's from i did some in substance and the other ones are from marmoset um honestly i cannot remember i usually jump between like too many software and too many um tools when i'm like testing things but um it's either or anyway i can have a look and let you know um all right so the other reason i'm showing you this um this ui is because this is exactly the way that we approach a learning of a new tool in the in the course uh in the ultimate sewage guide course um so that's one of the methodologies that we use that is uh it's been proven to be quite good which is customizing your ui from the very beginning so this is the the ui that we use and i have this custom palette so that's the first thing that i want to show you that you can do the same thing as well so you can kind of like work alongside me in this brief session if you do something like that so i set up this custom palette that if i can bring up with a custom shortcut because this custom palette uh has the the main features of zebras 2022 series 20 21.7 right so i have uh different sub-palettes in here and i'm going to go through them hopefully in the first section of this of this session and then i'm going to show you a practical example of that but essentially yeah if you if i open up the knife brushes so these are two of the new brushes that come with zeros 20 21.7 um the bevel brushes a couple of extra things that have already been there in xeros but they are quite important or quite useful for these brushes in fact this bit radius should be in here in the half brushes so i'm going to show you how to edit this very quickly so i have a custom menu and custom menu right here and i'm going to open up the brush palette so this is what you can do if you want to build your own custom ui so that you can keep track of the new features right so i'm going to go ahead and go to preferences config enable customize and you'll see the ui shifts a little bit you can go to preference as well and if you click on custom ui here you can click on create new menu make sure that before you do that you save the current ui or your current setup if you want to keep it because as soon as you create a new a new menu there's no way there's no real way to remove that that menu once you create it so you have to go back to a previous ui that you have saved so just make sure that you do that but once you do this you can just name it whatever you want and in my case i named it 20 21.7 features and i organize this set of features of the new version in there so that i know uh first i can keep track of those when i'm testing second of all uh well i can show you exactly which are the new features and how we can interact with them in a little bit more of an organized manner so that you can you know remember instead of trying to think oh is this like a new feature is this something that i can it's been there for a while and that sort of thing so again preferences create a new menu if you want a custom palette and in the custom palette i just click on this custom sub palette and drop that in the in that main palette so that i can divide it into multiple ones right so this b radius is something that it's in the clipping brushes right here right um and i'm going to get to it so if you want to move these to a different palette you can hold ctrl alt click and drag and put it let's say in here right and that's just adding it to that section to that sub palette obviously i'm just duplicating things here so i'm going to hold ctrl alt click and drag this one and drop it into the canvas to remove it and that's pretty much it right you can follow exactly the same process that i just did to customize it um again if you're if you're already part of the ucg course you're pretty familiar with this process and you know it's one of the the main things that we do anyway so i'm going to go ahead and click on config enable customize and i'm going to close this one up i also assign a shortcut so once you finish customizing this so enable customize you can hold ctrl and alt click on the menu and as soon as you uh hold control click ctrl alt and click on that menu you after that you can assign any shortcut so i just assigned something to my ek remote in the wacom so i can bring that from any point in the ui just to make it easier so i don't have to jump between different pallets right so let's go ahead and start let me just show you all of them so we have the knife brushes bevel brushes interpolate and adjust last this one's fantastic stager probably it doesn't sound like much but probably this is my my favorite feature masking stuff poly group and poly paint and some cool extras that i'm gonna get to it this one is not something that you you know i don't think it has been covered that much in some of the videos that you find online as well but it's a pretty cool thing so i'll just show you that as well right but let's go ahead and start with the first one so um the knife brushes are kind of like the new version or the new uh improved version of the clipping and the slice curves right and it is just absolutely fantastic let me actually turn this one off and turn on a smaller one or a smaller one a less piece with a with less geometry right so the knife brushes allow you to basically cut through the model and and chip things away so that's how i generated some of the paneling on this creature or this helmet because it is it's kind of like an organic hard surface i would describe it as organic hard surface or um or a more yeah yeah more organic hard surface stuff so if i hold ctrl and shift right you can click on the thumbnail here and you see these two brushes right because i already have them in in my interface i all i'll have to do is just click on the knife and i'm gonna click okay um and i'm gonna hold ctrl and shift and it creates a curve like um like a line like you would have with any of the clipping brushes or the slice brushes but um one of the main differences or two of the main differences is that first and i think i have oh yeah i forgot so this is a this is a hollow piece because it was meant to be like a like a helmet and i haven't closed it yet so that's why you see this this hole in there but it essentially cuts through the model and if i turn on polyframe it creates a nice set of topology the edges are triangulated like uh like a boolean topology but it for the most part it's a pretty clean topology and it gives you a polygroup right so that's the main thing now this is something that you can do with the with the trim curves for example like so there's nothing crazy new and interesting in here the the crazy new stuff is that you can actually go in like so hold the alt key tapping on the alt key a couple of times sorry a couple of times do that and you see that not only you clip and and remove that area but it's actually going inside the model so that before that uh before this new brush was introduced you know using the clip brushes or the trim brushes it was really hard to get something as clean as this and again it has polygroups and everything right so you can run a serial measure and something like that and it just it just works so this one is fantastic the other one is pretty much the same the difference is the stroke so one is just kind of like a curve that you have a bit more control for like clean um clean cuts but with the with this lasso you can just do this type of things right one cool tip that i can give you is that depending on um and i don't know if this is true for all the brushes that are like this but um for this one right here if you start from let's say left to right it's gonna clip things away the the section that you let me just show you because this is actually hard to to explain so um hold ctrl and shift and i'm going to start from the left and then go to the right right so if i do that i sort of like chip this thing away if i start the other way around it just inverts it so it just cuts because the resting out right so you can um just think about the direction um it doesn't have to be left or right it can also be like this like up and down right so depending on on the direction that you use so sometimes you might be doing this and and you think i actually want to have this piece i don't want i want to remove the rest so just make sure that you undo that and then you do it the other way around so that's an interesting cool thing that um you know you can keep in mind and it's not necessarily um implicit in when you when you bring in those brushes um it is kind of like the same thing if you bring in the knife lasso if you do this you see there is like a shaded line um so whatever that that shadow that shaded version or part of the line is that's what's going to be cut right so it's the same thing so if i want to do the opposite i just need to draw uh draw that line from the other from the other side just to clip that up so that's an important but simple concept to to keep in mind when using those brushes now the b radius is something that um i found like to be the most useful for these brushes right and the b radius is something that you can bring in with most of the let's say um like the clipping brushes or yeah the clipping brush and i think the the slice as well and the trim and what it does is just based on the brush radius it's just gonna cut that piece off so if you have that selected in your um with if you hold ctrl and shift basically and you have any of those brushes selected what you can do is hold ctrl and space bar and that would bring that that pop-up and you can click okay b radius and enable it again that's the reason you can do it with control space to bring that up but that's the reason i put it in here so i'm going to enable that and i'm going to click on knife lasso and now because i have that b radius enabled the the effect of what i'm going to cut and what i'm what i'm going to do is based on the brush radius so let me bring in my epic pen right so yeah so now my my brush radius is oh it's more like the diameter really of the brush um but the radius of the brush what it's going to do is determine the thickness of whatever i cut off so this brush if i go ahead and do something like this with the mask lasso and the b radius enabled it's going to cut this part off right or if i hold the um the alt key to invert that effect is going to cut the the rest of the stuff and just give me that line so let's do that try to hold ctrl and shift try to do the same thing there we go it took a little little while uh but it but it didn't right so um and it's actually quite close to the to the radius anyway not to the diameter like i said so that's pretty much what it did and if you check the geometry you have nice nice poly grouping again you can ignore the inside of this mesh is not very clean um at the bottom and at the back so super handy stuff let's undo that and if i want to do the opposite so if instead of generating kind of like that ring or that loop what i want to do is create a gap between these pieces and that's essentially what i did with these um most of these pieces that the the larger areas of this mesh that you can see here and i'm going to definitely show you how that works so if i hold ctrl and shift and do this but then hold the alt key and hold the alt key there we go it just inverts the effect of the brush like with many brushes in zbrush it just inverts the effect so instead of keeping that piece um it just clips it or not clips it literally knives through it and and remove that piece all together so that's i'm going to show you a practical example again in the in the next section of the of the live stream of how i use these to um we can maybe get into you know i have a nick sucralose base machine here which is you know it should fit you know this is the head of the reference that i used to to put this together right uh so it's this helmet fits uh within that humanoid phase or human face so maybe we can do something very quickly for the maybe like a suit or an armor for the rest that's the idea hopefully we have time all right cool i just got a message saying that youtube is not receiving enough video to maintain a smooth streaming so anyone in the chat that just confirms that you're still seeing everything all right please uh hey berkai how you doing good to see you here all right um just double check the quality of the stream cool all right thanks justine um awesome so let's go ahead and move on sorry about that um that silent uh spot there in the stream so the next one the next brushes that also were introduced in cbrs 20 21.7 are these bevel brushes and these bevel brushes and the modifier that i have here this hasn't been introduced this is the the simple modifier or the the modifier slider that has been in zero since you know probably the beginning um with the brushes but it is it is relevant to these brushes because uh they control the profile of the curve right so these brushes are quite um quite useful and you can use them in a bunch of different ways again hopefully i can show you that in in real time but these are the type of brushes that i use to generate like little details like i remember doing like a full on flat flattening of this in here i also use these brushes to sort of clip these areas um these areas right here um you know flooding is set on certain bits and pieces and i'm going to show you how i use that um you know in a very specific way but they're like super useful like super super easy to use there's no it's not not really like a like a trick or anything they just work nicely but there are a few things in terms of the of the warfare on how to use them that i can show you that hopefully would help so um let me just bring in a cube make it a polymesh3d and make it just uh yeah make it a dynamesh cube right that's plenty of resolution um just to show you what the brushes do and then um again i can show you in like a practical example of them so these brushes if i go ahead and select the bevel brush this is now my selected brush and you see as soon as i selected that one the modifier changed to this 50 a value of 50 in the brush modifier so if i um do it with a small brush size right if i hold i don't have to hold ctrl anything i just click and drag and the distance between these two points these yellow uh circles with an indeed with a green indicator that tell me uh let's do it again it tells me the the distance of that new bevel so i drag in and then if i go back that's when the effect of the brush comes into play but you see this is nothing this is nothing very interesting the reason that this is happening is because ultimately what this brush is going to do is based on the brush size it's going to push that geometry towards that bevel brush okay or that bevel effect so this is actually trying to do um a nice bevel in this corner but because of the size of my brush is not doing a good job so that's the first thing that you have to keep in mind so let's undo that i'm going to right click and increase my brush size quite a bit it doesn't matter don't don't worry too much about the the size of the brush because the the profile of that bevel that you're going to create with this brush is not given by the brush but is given by this modifier so again i'm going to click and drag and now that i have a larger brush if i go back now we have a nice bevel that we can get with just doing this so this is a super nice and clean way to generate these surfaces now a couple things again this is again super super easy if i reduce my brush size right and try to do the same thing in another area a let's do it in here click and drag try to do the same thing again it is going to have the same problem but if i still have my brush size like a small brush size and i just do a tiny little bit of a bevel um it's going to work just fine right so this is a tiny bevel right here so essentially the the beveling let's go ahead and get a bit closer here so this bevel right the distance is given by the those modifiers not modifiers those um those things that serialize i don't know those indicators right so between this point that i clicked that i originally clicked and then i dragged that's the that's literally the size of the bevel right so you can determine the size of the bevel just by doing that uh the size of the brush doesn't really matter in this case it's just so that as long as the brush is larger than this so again if you imagine so this is my my bevel starting from this point and this point if my brush is big enough to cover that size right that's all good if my brush is smaller than that that's when you might run into issues or into problems that um but you know it's not a big deal you can fix them right now if you want to change the profile of that curve or of the of the bevel that's when this modifier comes into place and if you want to figure out what this is or find out what that is you can go to brush palette modifiers and it's this one right here so this is the slider that i brought into my palette so let's go ahead and go to this area right here let's increase the brush size and i'm going to go ahead and change this profile maybe push it to 100 do the same thing go back now again larger brush size okay this is gonna be not um it's a little bit hard to see but the the profile of that curve is is slightly different it's not easy to see but i'm going to show you the easiest way to see that so if i take this the modifier which is by default here to 50 right and he set it to i said to minus 50 right so the the negative value instead of giving me that rounded shape is gonna is gonna flatten that area so i can do the same thing let's do this there we go so now that profile is not a curve profile is more of a flat surface so the difference is or like not the difference but the the effect of that modifier is essentially changing between the bevel brush and the bevel flat so let's set this one back to 50 which is the default so if i click on bevel flat you see that modifier now goes to -100 so the bevel flat and the bevel [Music] arc these two are essentially the same brush the same type of brush it's just that the modifier of that brush is the one that controls the effect of it or the behavior of the brushes so again super simple things to do the only thing to keep in mind is this is ultimately pushing the geometry so that's the reason i keep this as a dynamesh object if i turn on polyframe you see there's a little bit of a you know it looks a little bit weird um in this case but it's not it's not a big deal and i'm going to show you other tools that now you can use to fix that and create something very very nice all right so the way that i've been using these brushes again i'll show you a practical example when we get to the suit of the creature character i think we have plenty of time but essentially you can control the placement of these things and this is how i've been using it with masking brushes so i can hold ctrl and click and drag that creates a mask in here i'm going to invert that mask and then i can use the same brush to flatten this area like this clear the mask and of course the more resolution that you have in the basement the better but you know now we have a nice clean surface in here all right so that's um that's the that's the the new brushes in a nutshell so we have covered the knife brushes the bevel brushes and the modifier of the bevel brushes so i'm going a little bit fast in here just because i ideally i'm going to show you this in practice but i want to go through all of them very quickly so then we have the interpolate last and the interpolate brushes those ones are fantastic um before i move on i'm going to have a sip of water and see if any there's any questions is cutting with boolean better than the knife brush uh it is depending on what your intention is uh the knife brushes are just very quick and easy which with the booleans you can do you can achieve a very similar thing but you'll have to boolean a folder or boolean the subtools to to get the result whereas with the knife brushes is just select a brush and do it i would use the boolean approach to to have a more control uh cut out piece so you know you have like a like a cube or a triangle something that is very very sharp very clear um piece that you want to take out that's when i would use the booleans ah yeah the the best part of 2021.7 is that they removed the lazy mouse from the mask lasso uh yeah i couldn't agree more that's that was one of the the settings that i set up um with my my preferences to to remove that it was um it wasn't the best thing for me either okay so if there is any questions feel free to put them in the chat like i said i have it right next to me so i can have a look at what you guys are asking and i can put it in here all right so the next ones are these uh interpolate and the stroke count and adjust last i also have the repeat last and repeat last relative uh but those ones you know have been in series for a while the difference is that now these are in the main stroke palette so if you go to the stroke palette this is basically what i what i grabbed i grabbed the adjust last all of these buttons and sliders that's what i put in my interpolate and adjust last again these ones are pretty simple what i can do is let's select the damn center brush i can go ahead and do something like that and then do something like that right two different brushes and before i move the camera i can click on interpolate and that's it that's the interpolate feature in a nutshell so sirius is going to take a look at the first stroke and the second stroke and it's going to interpolate a bunch of strokes uh so you see there is a deformation between a flat or you know straight line to a curvy line so it interpolates that um it's kind of like a linear blend if you if you had um a layer for example a sculpting layer and you have something that is a straight and then you have a curve a modifier or something or like a bend curve applied to it and in that layer you can just use this lighter in that that layer to to control this so this one is you know pretty handy i use that quite a bit as well in certain areas to create this this type of patterns and these things around here in this helmet so let's let me just show you cool ways that you can use this so again you can click and drag for the first one and then maybe the second one could be something smaller and a bit stronger right here now the the issue with this uh or not issue but the thing that you have to keep in mind with this workflow is that series is looking at the two strokes that you created to interpolate them like the two last strokes to interpolate them and you can go ahead and click on this stroke count and you can reduce that right and click interpolate and that's just gonna reduce obviously the amount of brushes you can actually um this is you know hopefully it's not going to crush anything but if you crank this up quite a bit and click interpolate that's essentially it's almost like doing a a paneling cut with this shape and this is another reason that i wanted to show you this because i've been using it like this and you can clean this up in a in a bunch of different ways so let me just do one more thing if i do this and then do another one these are my two uh two strokes that siri is going to use to interpolate but if i rotate the camera and then go ahead okay let's interpolate that zebras is just going to take the last stroke which is that little like tiny stroke in here and the camera moving and create this um this weird thing right which you know it's probably not what you want uh the reason is because zero treats uh the rotation of the camera which is not really a rotation of the camera like i've mentioned in the ucg course is is basically picking up the model in 3d in the canvas and changing the rotation like moving the the model so it's not necessarily a camera uh so that's why it's kind of it's counted as a stroke so that's the need the only thing that you have to keep in mind that if you want to use interpolate you have to do one and two strokes and don't move the camera before you interpolate so um a practical way to use this for instance would be for example let's go ahead and click on the layer brush or let's just use the the standard brush actually just keep it simple and i'm going to hold the alt key to do this sort of paneling it's going to press a little bit hard in there okay and then do the same thing in here right and then let's go ahead and interpolate with 62 strokes right so between that initial stroke and the second one you can generate this nice sort of like tapering effect of this of this area right here and like i said there's there are different ways with the new tools that we can clean this up um so i'm gonna show you that in the next in the next section uh but yeah i just wanted to show you that that interpolate tool or interpolate feature is not necessarily something that you can just use to generate patterns um you know line patterns or actually let me just do this here and here and interpret like that but not with so many right so you can create these this type of patterns and it could become something quite interesting if you're doing um i don't know something like this i don't know what this could be but it's a it's a really powerful tool but don't limit yourself uh to think that okay this is just to repeat the same stroke and and um generate patterns like this you can actually create this type of uh interesting patterns quite easily in fact just um you know just by pushing you know something like really really strong in here and this is the same stroke by the way i haven't let go and then maybe something that is smaller and not as harsh right and let's go ahead and interpolate that with a bunch of strokes right so you can generate that in fact another thing you can do i actually haven't tried this but i just thought of it you can potentially and this is in theory it would work you can push in with the first stroke and then push out with the second stroke right so the first one is embedding that piece and the second one is pulling it out and again using 50 strokes or something like that we can interpolate that and now that's what i mean it didn't didn't work because it just tries to interpolate the last stroke but anyway i didn't i hadn't tried that before but these type of things um are quite useful and you can do the same thing if you were to do it with the um you know with the normal effect you can interpolate those and generate these these pieces so this is mostly how i've been using the ones that are more obvious oops something frozen there the ones that are more obvious are those those lines in there so uh let's go back in here this testing cue and i do this a lot like i would recommend just to take a cue and try all these features in one place before you try to um you put it inside like a proper or applied to a proper project um hey miguel uh one question will they do us will they do a section in spanish try to follow um good night stuck so um again this is meant to be a a specific lesson for the the ucg students i just opened it to everyone that is interested in the new features um and that's a that's a course that is all in english but i'm happy to maybe do another session later on in spanish if that helps as well um yeah for sure we can we can plan that out depending on how this one go and if it's actually helping people all right so um that's basically the interpolate and the interpolate stroke you can define the amount of strokes that you're interpolating and you can do use that with any brush in fact you can use insert brushes which is pretty cool so i'm going to select these and in this interface i actually hit that i'm going to press the embro the m key so in my custom ui that i have for the students i i hit the imm viewer you can go to the preference palette and you can go to if i remember corrector interface imm viewer and you can click on this switch to turn it on and off um in in the course i i hit it because it sort of like eats up a little bit of the space of the screen and you can just assign a or not assign it actually it is the shortcut for that if you press the letter m it just open up the same thing and you can choose things from here so i'm going to do that i'm going to press m i'm going to select um maybe just something simple a sphere like this and this is an imm brush that i can click and drag right in fact before i do that i'm just gonna change the the depth of the brush so go to brush depth and i'm going to push that halfway in and this is the the tool that i use or that that zebra uses to determine how embedded an imm brush is so now it's going to embed almost like halfway in so it creates kind of like a like a bolt type of thing all right so i'm going to hold ctrl sorry not control just click and drag to create that first insert and then i'm going to do another tiny one in here and those are essentially two strokes that you can go ahead and interpolate so you can create something like this um maybe not that many strokes let's keep it simple again six oops three there we go so um i'm interpolating three strokes so you can see there are three spheres interpolated um which is super handy but um you'll see as well that because the the initial one is larger than the the second stroke uh the gap is not very consistent so that is what you have in here in this interpolate button you have this little um yeah this dot in here and whenever you see that dot in any of the zebras interface uh like in the resolution here um the polish features you know all of these things that have like a little dot that is to uh give you an alternative algorithm or an alternative way to run the same process in zbrush so if i undo that and click on that tiny dot in there to make it open click on interpolate now series is gonna try to maintain that that spacing a lot more of course in this case um you know it is not necessarily the best way um but you will see it more obviously in um you know if you do it maybe with a with a smaller brush let's let's click that and maybe increase the strokes interpolate yeah so you have a more consistent um gap between them so this is a pretty handy thing just so you know it is just by enabling that interpolate button right there to um to space out things a little bit more even especially if you use two insert brushes that are different sizes can you change that to us to a bullying operation after the stroke justine i'm not entirely sure what you are referring to but if you're referring to these uh insert spheres absolutely you can just because there are insert meshes you can essentially separate all of them sorry because there are separate meshes they are and and their imm brushes when you insert them they have different polygroups so you can hide let's go to selection you can hide them right and split split hidden and then you can take that one below set these two subtractive and that's it you can turn on live volumes right and you can yeah you can subtract those pieces as well so super handy stuff all right so that that covers kind of like the interpolate and the on the stroke now the repeat last and the repeat last relative are super handy as well and that one to me or those um those features to me are extremely useful with the last uh that just last which is i would say there are two things in xerox 2021.7 that i think are amazing in terms of boosting your productivity and you and your workflow right so if um yeah so the two of them the two features that i love are the adjust last and i'll show you again practical example of that and this stager but we're gonna get to that in a second so um the repeat lesson repeat last relative they're being in zebras you know for for ages essentially what you can do is let's go ahead and select dumb standard brush you can do one stroke like this and then if you go ahead and repeat last series gonna look at the same stroke that you did and it's gonna repeat it so you can keep repeating that that stroke to you know keep pushing that in right so that's just repeating the last stroke but now you can do that and instead of doing repeat last you can adjust that a lot easier just with the adjust last modifier or sorry slider so you can just look at what's the latest of those strokes that you created in this case just that line and you can adjust it right you can also go in negative values and you can go and push this up like so which is super handy right so this is the type of thing that that you can do with the last uh just that's just one of the many things you can do with it the the repeat last relative this is basically it allows you to repeat the stroke but relative to the the cursor so if i do something like this and i repeat last it's just going to repeat the same in the same area right oops i move the camera remember zero streets the movement of the camera as a stroke so if i if i move the camera and repeat last i'm just gonna repeat the movement of the camera that's it but the the other one this repeat last relative again it's been in zeros for ages it's just repeating the same stroke based on the cursor so the shortcut is shift one so if you hover over that it tells you shift one so i have um i have my keyboard in here so i'm gonna show you you can do something like this this is one stroke right and then you can hover over this area and hold shift one and it just repeats exactly the same the same stroke but in different areas so these are tools that have been in zebras for a while but now they're coming to play or they become like super handy when you have the adjust last right so the adjust last is gonna only look at the last the stroke that i have in here which you know is fantastic and it allows you to tweak that that sort of thing but you can also use the adjust last with the the history so you have an undo history here at the top and what you can do is set a point before you do these strokes and adjust anything from that point onwards so i'm gonna go back yeah let's go back here right and i'm going to hold the ctrl key and actually you don't have to go back you can just if you know what the starting point is you can just hold ctrl and click on the timeline but you know just for the sake of demonstration i went back all the way i'm going to hold ctrl and click once on that point and now i'm going to go forward so now zebras knows that there is a let's call this a reference point that has no details right so that's that's the reference point that had no none of these details um i don't know what that is um and then we are right now we're here in the current point of the timeline where we have details right sorry about the the writing anyway um so with the adjust last when we bring that siri is going to look at these two points and it's going to say okay whatever has been done from that point to this point we are gonna go ahead and adjust it regardless of what it is it could be pushing things out pushing things in it doesn't matter we can adjust all of them at once so i'm gonna go ahead now that i have that point and by the way you can tell that there is a point set in the timeline by um by looking at this kind of like light gray dot so i'm going to click on adjust last and you see now i'm adjusting everything at once so i can remove everything if i set it to zero go back in negative values so i can push you know this might be like an interesting way to create tentacles or like the the suckers for a tentacle type of thing especially those dots um but you know it's a it's a pretty it's pretty handy thing like i said one of the best tools now and it can be applied to a whole bunch of different workflows but yeah again that's just making use of of that um that history right and the reason we don't have the history for everything else is because we split those those points in here so the points are actually in here so if i wanted to set up let's set a point in there oops all right something like that right um so this is the the original one i set a point a reference point right there at the beginning i should be able to just adjust all of those things including that original bevel that i did with the with the brush uh so i can literally just go back to to what what i had at the beginning so um yeah hopefully that that helps i'm just going to duplicate that mesh so that we have oh by the way if you ever find that there is like this red um dot that can give you up that can give you problems and that it just means that there might be a sub tool that also that already has a a reference point which is this one in this case so i can just click on that and remove it um and you'll see that that red line is is gone so that's that's kind of like an important distinction to to make about the uh how this feature works all right so we have done um and i think i have oh this is the reason why some things were a little bit wonky i had the the touch uh mode of my cintiq on all right now i can move a little bit easier cool um so where were we yeah so we have done interpolate and lastly interpolate last relative sorry replete repeat last and replay last replay last relative interpolate stroke count and now the adjust last now the adjust last i'm gonna go back to it again because it's one of the best ones and it can or the best features in in the new version and it can be used in a whole bunch of different ways all you have to do to all you have to remember about this is that whatever you your last stroke is regardless of what it is um it can be adjusted quite easily and then you can use the history to adjust multiple ones so this is something that i've been using for let's say doing some kind of paneling effect you can use the the layer brush to do something like that right and then you can just adjust it which is pretty cool right um so what i did there was i was adjusting the adjustment so it could become a little bit uh you know a bit meta so if i do something like this which is not very let's just do it again um just gonna try to find an angle that you like you can find that you can see easily so if i do this right this is not very strong and i can take my adjust last and i push it to five so that adjustment that i just did there that becomes that becomes my latest change or my latest stroke so if i do it again series is not going to look not at the actual stroke that i created but at the difference that that adjustment did before so i can just exaggerate that and now this becomes my new one so i can do the same one more time so you see it's kind of like exponentially adding because what you're doing is adjusting a little bit and then it takes that p that that piece and adjust it a little bit more more and so on and so forth and now that i have this extraction or extrusion i can go back and do the negative value and i can just push this quite a bit and i decide where where to go um so this is super handy right now hopefully this this helps i'll show you more of these in um in the next section so we're going to take a quick break just i'm going to grab some water and um and we continue but you know the the stager the masking stuff and all of that those are tools that are pretty easy to use and i'm going to apply them or i'm going to use them when i apply them in the in the character so uh very briefly what these do stager it allows you to set a home stage and if i were to let's go ahead and append a ring 3d just to show you a bit of the the feature and then we we use it a bit better right so we have this ring 3d as a separate sub tool um i can go ahead and enable symmetry right and you know we can do maybe with a dumpster so you can see a bit better what i'm doing so you can do this type of things and because we have symmetry it works great but let's say that we're working on um on a character right and i'll show you that in a second and i want to place this somewhere else that's where the home stage and home on target stage come into play and again this one is the second feature that i think is the most valuable from this update at least for me in terms of my workflow i can go ahead and set a home stage at this point where i have the symmetry and all of that and i can see it and i can play around with it and edit it or whatever but then i can just use something like the gizmo 3d let's turn off symmetry now maybe scale it down rotate it let's just place it in there let's say that that's i don't know that's a ring that is going to be there in the final object all i have to do is set a target stage now these two switches are on the geometry palette at the bottom so geometry stager these two right here and then you have the switch stage which is what i have in here right so this switch stage allows you to jump between that original state and the new one okay so this is is not necessarily the same thing but it's kind of like an older feature that it's um that it's been in series for ages uh which is i don't even remember what it is now um yeah the set pivot point and clear pivot point uh this used to be a way of moving the center of the world to a piece that was off the center of the world but you know it was it was quite handy and you can use the same thing with local symmetry but the great thing about this is that you're not just limiting yourself as moving your piece outside of that center of the of the world you can actually rotate the scale and edit this as many times as you want to so um for example if i if i want to go back let's click on switch stage to go back to the center and reuse geomet symmetry which if i i mean this state you cannot use symmetry in fact you can try to turn on local symmetry but still the symmetry is not necessarily going to work as as well you could use possible symmetry i suppose but yeah that's not the idea so again let's go back here and let's use the move brush and i'm just gonna do something like this i don't know what this is going to be it's just another abstract piece to show you um the details or the features sorry but obviously what i'm doing here is just stretching the polygon right or the stretching the polygons i can go ahead and switch back and see how that looks in the actual uh placement of that piece right so um if you think about i don't know if you can see it in here you won't be able to see it properly but the character that i use in my ucg course has like um like a like a little bag um yeah like a cross but i don't know how you call that it's just a like like a purse or something it's just a bag a leather bag and that is on one side right so that for that specific object you can work in this way you can just have a home stage where you have the ability to keep the the symmetry the symmetry and and all of that and then you have a target stage where you can actually place that in the model and and see the effect now what's great about this is that let's go back to switch stage i can go ahead and dynamesh this so i literally just changed completely the topology let me just smooth this out a bit right in fact let's just do insert brush and i'm going to select something like this bring that in right and clear that mask um so i just literally use insert meshes and change the topology with dynamesh if i wanted to i can re-dynamesh that as well but i'm not going to do it just because i want to show you that anything that you do in here it is translated perfectly fine to the position or to the target stage so this is one of them like i said one of the greatest things about the well this is one of the greatest features of the new version in terms of workflow because you can literally work for production in a t-pose or an a-pose um but you can have all the assets or accessories of a character in that t-pose so that you can you know take advantage of like the center of the wall symmetrical um areas radial symmetry any of that so if i go back and go into solo we can also turn on radial symmetry in this y-axis right we can add you know that sort of thing we can also use damson the brush like that right so you can take advantage of all of those tools and then switch to this stage and everything is gonna it's gonna work just fine so um one of the best features right and i'm gonna show you again hopefully i keep saying the same thing but i want to cover the basics first and then show you a bit of the how i've been using it and show you more tricks that are pretty cool um all right so that's essentially it now if you have multiple pieces that's why these all home and all target are four so in other words if i take this cube and i can set a home state or stage move that out of the way rotate it scale it or you know whatever else set it to target stage now what i do what i have is a couple of a couple of tools that are we eat with they have different stages basically right so i can just go one by one and click switch and switch to bring them all back or i can use these new buttons that makes it more automated so every sub tool that has a target stage and a home stage let's set them all to target so that's it or all to home right so this is again um i keep going on about it but it is one of the most useful tools uh at least for the workflow that i use um to to be able to just go between the kind of like the pose asset the post accessory let's say and the one in the center of the world that you can utilize all of this and you know you can re-topologize or use zero measures so that's another great thing about it let's say let's take let's take this let's just switch that to the solo mode i'm gonna re-dynamesh with a very low resolution smooth everything out re-dynamesh again and i'm gonna use this serial measure just to show you that you can use a cleaner topology let's reduce that in half right pretty clean topology and you can still maintain the the home stage and the target stage so essentially you can do um dynamesh and sketching everything that you want and you can still see um a visual of where you know your asset or your mesh looks in the in the scene that you're building um and once you're ready you just simply go back to this home stage do all the retopology you can even do projection if you have two of these uh of the same um and then you have like a pretty clean way to you know generate the serial measure with a center line in the middle so you have symmetry uh or like a clean topology on both sides at least that are symmetrical and then you have the ability to send that back in and use subdivision levels all that good stuff all right so that's the stager amazing stuff now let's go back to um to this guy let's set it to switch stage i'm just going to turn that off and i'm going to go back to these things just to show you some of the new other stuff so the masking stuff so you have the mask change points the boost mask dilute mask then you have mirror by possible symmetry and flip by possible symmetry these ones um are super handy um but you know if i have time i'll show you that basically is this pretty simple if you have like a possible symmetry if i go back to my character which has very symmetrical pose um you can go ahead and use a mask pen and mask something like this and because this one has a possible symmetry i can just go ahead and mirror by posable symmetry so it just mirrors that mask obviously in this case is not you know not very handy but you could you know let's um just that you can see more what i mean about this um i'm just gonna rotate this all right so now we have this in a pose right if i go ahead and i want to mask out the the hands of this character i just mask one of the hands right and i can mirror by posable symmetry and because it is a symmetrical character i just took that that mask on one side and i just mirrored to the other one that's the same so it's pretty basic but quite handy and you can do the same thing by flipping so i can flip by possible symmetry and it's just moving it to one side and if i want to i can just mirror from that side right so that's just a very quick and useful way let me undo all of that to uh to work with masking so that's the that's the simple one all right let's do it here but the the really awesome ones are the mask change points and boost and the loot mask so if i go ahead and use something like the damn standard brush i can or let's use the clay brush so it's a little bit more obvious i can go ahead and you know do something like this right and i can move around this doesn't have anything to do with the strokes or anything um it just remembers what are the the changed points so if i go back between this state and this state that's the change points and i can click on mask change points and if i click that zeros now is gonna mask out those details that's another crazy um boost to the productivity because now i can just easily isolate those points right and i can continue you know to work on them so for example i can invert that whoops i can go ahead and invert that mask holding ctrl and click once on the canvas and i can just go ahead and polish just that area without affecting the rest i can inflate that piece you know i can bring in the trim dynamic and essentially anything else that you want to do with this donut shape but you know the mask is is gone right sorry the mask is there uh it's not gone so a cool way to to use this would be to for example use uh let's actually use another brush let's use let's use the bevel flat right so i'm gonna click and drag and i'm gonna flat all of that and i can click on mask change points so now i have these points that are masked and they're essentially just restricting it to up to the change points so i can invert the mask for example and bring the gizmo center to the unmask areas and i can just move that like so right so these this specific way is or this um this methodology is what i use for um some of these more rounded shapes that you see here um i can't remember which ones exactly but i did use that for example in here some of the rounded areas some of them are insert meshes but some of them are just using that technique so i would just use the bevel brush to bevel that point and then crease that nice soft mask that you can use you know with the gizmo 3d you can rotate it and i actually scale that in specific axis like so just to make it a bit more rounded um you know but it's it's quite clean right now if you don't want this to be as soft like the transition between the mask and on mask areas that's let me undo all of that go back to here that's when the s the boost mask and the dilute mask come into play so the boost mask is going to is is the equivalent to sharpen and i'm blurring the mask but the big difference they're not blurring or or sharpening the big difference is that whatever you do like the dilution the dilute or the boost is going to restrict to only the change points so if i boost the mask i can keep clicking boost boost boost boost boost many times and it's going to get to a point that the mask is not going to expand anymore because there's not going to be any other change points so now this is a pretty sharp oh yeah it's a pretty sharp mask but it's only restricted to the change point that's the big difference that is pretty good um and dilute mask as well so if i click on dilute mask it's the same thing just it's kind of like a blurring that mask maybe i went too too crazy with it with the boosting but it is kind of like um let's undo a few of those yeah i think i clicked too many times but now this is a pretty sharp mask that i can invert bring in the gizmo centered and let's just move that in the y-axis is now going to give you a pretty solid piece right and again this is a dynamesh you can just re-dynamise and clean this up a little bit of course i wasn't trying to get that piece but that's that's essentially how it works now another thing you can do you can hold um let's use the mask mask pen you can create a mask like this just so that we can restrict the the effect of this flat brush a bit more right to this area oops and mass change points now um the only thing that i that i didn't um that i think didn't think through is that the masking if i remove the mask that's not gonna it's not gonna allow me to change the mass points however there is another way to go about it and that brings me to the polygrouping right so if i enable this i can tell zeros to group the last change points so let me undo all of that and do something like this these are the change points i can polygroup visible right so that's what the the polygroup turned this line that's what these um group change points this button does is just the same thing as the mask is going to look at what are the change points and it's going to poly group them which is probably one of the best features as well all of these features are incredibly useful for uh productivity and and you know enhancing your workflow by the way all of these masking tools are on the masking palette obviously i forgot to mention that so these are the points that i have in here so you have the the mask change points the boost mask the loot mask flip and mirror so all of these um five buttons right here that's what i have in the masking stuff and the poly groups and poly paint area so if you go to polygroups the one that i just use is this one right here group change points so that's the one that based on the change of the points that you have done that's what you get right so now you can go ahead and you know isolate these for example right and mask it out holding control and click outside bring the rest and you know you can do anything that you need to do with that masked area right so you can invert that and you can start polishing just this just this bead if you wanted to you can concentrate on you know further adding details with a clay brush or whatever you want in just this area but it becomes really really handy now you have more more poly groups right if you had more polygroups for the for the rest of the pieces you can just run you can do polish by features right or polish by groups you see it sort of cleans the difference of them between the polygroups but it just softens everything else so you can do a clay polish after that so this is this very various different ways to to clean up and and polish the the surface but having the ability to just mask out the change points or polygroup those it is just amazing so one of the cool things as well you can do is and i'm going to show you this in in the character um let's uh let's use the clay brush you can do something like this and as soon as you do that you can just go ahead and click on polygroups or change group change points right which you can also do the same thing manually by masking change points and then hold ctrl and w to assign a polygon so it's you know using the group change points just saves you um a step in that in that workflow and if i wanna you know make sure that this is a nicer set of like the the edge around is a bit nicer i can hold ctrl and shift select that and i can just polish by features a few times right so that's just cleaning that up and now we have without affecting anything else i have that piece in here and i can you know now select that hold ctrl to select the to add a mask invert that mask bring in the gizmo and push that so incredibly powerful stuff by the way so this is part of what i wanted to show you so now these are the change points so i can group that as well and mask that out oh it's not working when you have mask and you use the change points that could be a little bit tricky but anyway i just wanted to show you something else but that's essentially the different workflows that i would use with the change groups and the uh change mask um again these things that i have in here they're more like enhancement to current workforce is not necessarily like like a brush that does something specific this can be used in a whole bunch of different ways um so we'll we'll get to that so the last thing just before a quick break and then we actually go into the tricks and tips uh using them in a in a character is uh the cool extras so this is a pretty pretty simple thing but i think it's it's quite good i mean there are other cool extras like in the preference palette now you can have the import export settings are all in here they're all global um this is a little bit more advanced maybe uh so you know depending on on your level of proficiency in xerox and how you use it in your workflows this might not be as relevant but for example for me um you know making sure that the groups are turned off exporting read groups if i have polygroups and if i'm going to use it in maya or you know other three applications um if you export it with groups then and you import it without like just with the default settings is going to split the meshes based on the polygroups and so it's going to separate that and that's on something that if you had a bunch of different subtools and you want to do bakes or something like that outside zebras it was it was a little bit painful to do it through every single sub tool uh so now you know this is the type of things that have been added to the to the new version uh so this is now a global setting so it's pretty powerful uh so again this thing the the mo and the modal opacity um that's something to do with a references so um for example i can go to the texture and i'm going to select let's go ahead and select the zebras logo cool so that's the zebras logo i can go ahead now and go to the image plane with that image selected and i can click load image so now it is basically adding that image as my as my image plane and i can you know try to match that logo and start working on this to try to to match that logo um before what i used to do was let's actually open up or get out of solomon so you can see more of the sub tools and let's go i don't know if this one still has no i already moved it all right just move this around so before i used to just go to transform palette and i can go to um transparency and ghost or or not depending on what you want uh and this transparent allows me to see a little bit better the some of the selected sub tools right so that i can match it but the rest of them are not necessarily you know transparent or transparent enough you can also use ghost again this is up to you but now what you have is the ability to control the model opacity from just this slider right here and this is a lot it's a different transparency it's kind of like a multiplying the effect um so you can also play around with changing the the material as well if you know if it gives you a much better reference point right but you can control the the opacity of that model from that slider right here or you can toggle this mo which is the model opacity on and off very easily so this is something that if you if you do like um you try to do hyper realistic characters so uh if you're trying to model something based on a on a concept and you have the like a character sheet or something that is like the reference this is something quite useful that i would put in my in my ui and that is within the texture palette if you open up the reference views here on the image plane sorry let's do that again um this model opacity and mo that's the that's the two new things that that you that i have now in the in the ui and i also have the front because i can just toggle this off from here and i will toggle off the the you know with clicking on this one totals of the image plane so that i can keep sculpting right and i can just select that that texture again and turn that on if i want to but you know a little extra that i think is super valuable especially to use that as as reference alrighty so that covers basically all of the new stuff again there are like a couple of more um things that i haven't show you which are the um flip by possible symmetry and mirror by uh by possible symmetry but that has to do with with poly paint and also the regroup visible let's just show you the regroup visible very quickly let's actually go to this one that has multiple polygroups so um if i go ahead and click on regroup visible let's turn everything off except that one click on regroup visible now sebrus is going to look at whatever you have in here any any polygroup and it's just going to cycle through different um different ids for the polygroups so that's going to give you different polygroups right but it's quite handy especially if you were to let's say hide this right um and i wanna i wanna just give a different polygroup to this to this visible area right um instead of hiding everything and just having the or instead of starting hiding pieces to just have the piece that i want to give a single polygroup um i just need to go ahead and click on regroup visible and siri is going to look at whatever is visible is going to give me different polygroups maintaining the ones that i have and now i have uh two sets of polygroups in here you know and you can do this like so as well and this group visible so it's gonna maintain let's say that difference in the polygraph scene here all of that and i can bring everything and you know and i can keep iterating just um regrouping everything different so super handy stuff again it's more like an enhancement of the workflow um i'll show you some of this stuff as well in just a second [Music] well one more thing before we move on so with this character if i go ahead and paint something let's go ahead and divide a couple more times and i'm going to select the standard brush i'm going to turn off rgb and turn off z add and select let's fill the object with white and use red color so now i can paint right that's where this flip postable symmetry and mirror by by possible symmetry uh come into play which are basically you can paint something now with poly paint and then you can use mirror to mirror that on the other side or you can go ahead and flip that geometry oh sorry that um that painting and again works with possible symmetry that's why the name flipped by possible symmetry or mirrored by possible symmetry so um you can now just have your model and then if you decide to change something on one side paint something you can mirror it so pretty handy stuff now you notice that when i click on mirror by postable symmetry this um this area also gets uh you know it's almost like diluting the or or washing out the colors it's not a very strong color it's almost like taking that full-on red that i had here and splitting the intensity into so if you want to fix that if you want to have that what you can do as well is um let's see if that is going to work yeah so the the mass change points you know when you when you add poly paint that's actually it's not necessarily changing the points but you are adding something new to those points so that that poly paint that i just did you can click on mask change points and it's going to mask out that that painted area which is awesome as well so i'm thinking about like you know little details that you you can just drag in and paint in fact let's uh let's fill object again let's change the alpha to [Music] alpha oh maybe maybe alpha 25 and change the stroke to drag rack click and drag maybe a bit more resolution click and drag right so i have this piece in here imagine if i'm doing some sort of like a lizard thing i can go ahead and click on mask change points and now these are the chain the the points that have been changed again is nothing to do with the volume is more about a poly pin and i can go ahead now and i can flip that mask by possible symmetry right so now the same thing is in the other side just the mask i can invert that mask and now i can flip the the poly pin so now that that reassures me that actually tells me that these two things are are just fine now another thing you can do is ch um let's go back once invert that mask so i'm going to turn off the poly pin just to show you that i have this mask on this side i can also go ahead in and just click on mirror by possible symmetry right so now i have the the mask in both sides as well and if i turn poly pain i have already have the poly pin so something we can do is invert that and i can go ahead and use the inflate for example right and so that way you can maintain the best of both worlds so you have the mask area so you can control where you are those details and then you also have the polyp and this inflated let me just don't do that because this is another thing you can do if i inflate that right those are my change my new change points you can regroup sorry group change points so now we have a different polygroup in those areas that were masked um or you can oops mask change points again so again this is is more about the workflow really than anything so now i have these masks change points and i can boost or dilute that mask um and so on and so forth but i'm gonna undo all of that just wanted to to briefly finish the the sets the set of um features in xerox all right i'm going to reset that brush okay um and now we are ready to move on and start maybe adding some you know uh basically show you the the actual features in action of how i've been using it to create some kind of like a suit at this part is going to be pretty easy pretty quick as i hope and and yeah it's just to show you more of the tricks something that you can use in your workflow um and essentially how i created this this bit and piece so before i take a quick break um just that literally two minutes break while i go for some some water is there any question that you guys have uh so far that i can plan for answering in the next section section of the stream hey rai hey javier good to see you here no worries cool um i know there is a little bit of a delay in the in the chat or in the in the stream so um i'm just going to go ahead and take the break right now and when i come back i i'll read the i'll read the questions if there's anything on on the on the chat all right so um bear with me i'll be back in two seconds well two minutes all right um we're back and now we're gonna start with with the actual fun stuff so hopefully that initial section um helped out just to like a quick rundown through the different different features but now we're going to actually put that into into action like using use those um those tools so let me just reset the current brush okay so one of the first things that i should say is that it's again because this is for for the usage students um don't try to replace workflows with new features that's one of the the things that i think is very important to to highlight new features are to enhance uh specific workflows but there might be other ways that um if you're used to it and and it just works for you you don't have to move to something else and i'll give you a clear example of that um just because you know when you when you have like the ability to use different tools or new tools you might just want to jump straight away into into them and just use those instead of like something that you feel more comfortable with which is fair enough all i'm saying is that um the new tools might might be might give you ideas of how to uh how to create something but it doesn't necessarily mean that is the best way to do it that's ultimately what i'm trying to say so oops i think something just froze uh we might have to to reset or restart zbrush but it's all good um so okay i'm gonna i'm gonna duplicate the mesh at the the body and i'm gonna divide this a couple of times uh this one as well just to smooth it out uh but this one the duplication i'm gonna delete the lower right so what i was saying before about you know adopting new features but also thinking about existing workflows that you feel comfortable with is is this right so for the panels the the blocking of the like the setup of this suit you can do it in many different ways right so the one of the easiest way to create panels nowadays with zebros is the mesh project right so you can select mesh project and just literally mask or use the mask brushes to mask on area and produce a panel so that's a very simple way to approach it but again it's just about how you use it just think about the new features as enhancing your workflows if you're used to it or if you already know how to work with certain tools just see if the new features actually enhance and and make your life easier or you know if you can control the same the surfaces in the same way it's all about the outcome so i don't know if that makes sense but i'll give you more examples of that so what i'll do is i'm going to select my knife brushes with the b radius enable and i'm going to select the let's use the the knife curve right by the way one of the cool things about these brushes as well is that they work with symmetry so i can enable symmetry um you know which is something that i think the trim dynamic the trim brushes yeah the trim brushes they don't work with symmetry but this one does so remember the b radius is based on the size of my brush so i'm going to reduce my brush size like that and now the whole point or the whole idea with this process is to block out the shapes of the main shapes if this was um some kind of like um you know hard surface suit or some sci-fi stuff that i like uh so i'm gonna hold ctrl and shift then alt and just go through it oops let's do that again actually i'm going to do some kind of like shoulder pad like that i'm going to hold the alt key and let go so again remember that's the using the b radius so that's sort of following the radius of my brush in here and because i hold the alt key i remove that piece like i just use the knife brush to remove that piece um and that's it right the next thing i want to do and again what i'm doing right now is trying to block the the main areas of the of that suit which is what i did for the for the head as well for the for the helmet uh concentrating on the big forms first and using some of the tools and new tools to get me there faster so another cool thing that you can do with these brushes with the knife brushes is you can hold ctrl and shift to access them and if i you don't have to go all the way through you can just stop writing the gap holding the alt and you'll see it doesn't um go all the way right it just stops whenever it finds a gap so that's another fantastic thing so you can go and do this holding alt and you can keep cutting this into pieces if you wanted to i'm going to keep that one all right so let's do something here for the for the arm as well and as you can see he's doing it in in the mirror symmetry which is awesome i'm going to do something maybe from this angle holding the alt every time that i they that i draw a new curve uh i'm essentially holding the old key just to draw a new um or to cut that piece instead of you know if i don't do alt it's just gonna give me this which is not what i want in this case so i'm going to do something for maybe the chest like so in this case it didn't do the the the symmetry because i went all the way through but again it's i don't have um subdivision levels so i can just mirror and mirror and weld everything just to get the side the same sort of clean line i'm gonna do the same thing same thing in here with a bit of a sharper line and i'm doing all of it from the camera angle but you know we can we can tweak that later uh let's just go ahead and do a couple more maybe something here for the wrist something like that um and maybe something for the neck maybe from a different camera angle holding alt alt oh by the way you can also press the space bar to reposition your curves after you you draw them so ctrl shift alt and then press the space bar and alt all right um another cool thing and this again this is one of the reasons these new brushes are so powerful is that you can just go ahead and do something like maybe with the knife lasso just to do something else something like this right hold the alt key so that again and it sort of like clips that area maybe that is too close and i'm going to reduce my brush size so that it gives me a smaller smaller gap oops control and shift i'm trying to design something that makes sense um yeah something like this and maybe we can hold ctrl and shift and hold the alt key and just that's probably gonna be easy to do it with this knife something like that uh we can remove that later on um i don't know this is this is going to be something quick um i think it's i think it works all right so this is kind of like the blocking of what what i wanted to do um again for this type of panels you could very easily use something like the uh the projection or the mesh project thing is called yeah much project uh but i'm used to this workflow so that's the reason i'm using the new tools or the newest features uh with this workflow right so let me just have a look at the chat awesome yeah it's a knife my brushes are pretty awesome as well um does the knife brush completely replace the trim curve brushes not necessarily no um it depends really so to be honest if i hold ctrl and shift um if i go ahead and use the trim brushes the trim brush is going to give you a different type of topology um as a resulting mesh i yeah i i don't see i i kind of think from top of my head like uh like a situation where the the all trim brushes are going to be more powerful than the than the knife brushes but um but yeah if i think of something i'll let you know yeah you still have the the all brushes available to you all right so um i'm going to go ahead and enable the polyframe and this guy already had some poly frames uh remember if i want to re polygroup and this is one of the the reasons um this new feature of polygrouping is really powerful i can regroup everything but it's going to maintain all the different polygroups i'm going to go ahead and i'm gonna remove everything that i don't need right that's why i have a duplicate of that mesh so i'm gonna hold ctrl and shift and just go through all the pieces that i wanna keep invert that and yeah that's pretty much it and i'm going to go ahead and use another another tool which is for you guys would be under the poly grouping you can click on auto groups in the ucg we use that quite a bit as well so we have it in the ui here so i can click on auto group and that just automatically groups everything that is separate so i can keep removing pieces that i don't need so maybe this one this one this one maybe one of these and the head and maybe this part here but the rest are pieces that i can keep and i can work on for that suit right um so all i have to do now is delete hidden here which for anyone that is not part of the ucg with this ui would be on the geometry modify topology delete hidden okay cool so now we have done that i'm going to mirror and weld just to have the same polygroups on both sides um that's just going to be the easiest things now one little trick that i can give you or you know if you have something that already has like a nice topology you don't wanna or you have um subdivision levels and you don't wanna mirror and well to to generate the polygroups and you can't be bothered just going one by one and polygrouping like essentially doing this type of thing and then polygrouping and so on and so forth and you don't want to do mirroring well you can also go to the polygroup palette sorry poly paint palette and you can poly paint from polygroups so you can click on that right and then you can use the flip well in this case i don't have i don't think i have them the possible symmetry anymore anymore but you could potentially if you have a nicer topology you can just mirror yeah i don't have the symmetry anymore but you can you can mirror that and this is just an extra thing in case you don't want to do the the mirror well so you mirror those um those poly the poly paint and then you can just go to polygroup and then you can do polygroup from poly paint um with this button right here and that allows you to generate polygroups based on the color which is pretty handy all right so let's mirror that and let's get out of solo so now we have those pieces in here that are single-sided meshes so what i like to do is and again so far i've only used the the knife brushes but the rest of these can be easily done with you know other um other features in zebras so we have a you know fairly decent topology it's just the edges that are not necessarily working so what i'll do is i'm going to click on i'm going to leave adaptive on when i click on half and i'm going to sirimesh this whole thing and now we have a nice serial measure let's do that again maybe not too much i'm just going to give the the c measure some help because there's like a tiny poly group in here that i don't that i don't want so i'm going to use the select lasso to hide this this is just a bit of a clean up before i run the sirimesha because it's you know it's trying to keep those and let's delete hidden and let's try that one more time in fact before i run it with a half i'm just going to remesh it just so that we get pretty much the same thing but with a cleaner topology and now we can start you know going in um subdivision or going low in low subdivisions again there's some areas that can be improved even further but for the most part i think again i'm gonna dynamesh this again just want to have like a cleaner topology for the next step which um again it can be in a number of ways so you can use the um the serial measure oh sorry the c modeler and then extrude every single piece but what i'll do is go to the dynamics of division which is something else that we use quite a bit in the ucg course we have it here but i'm going to click on dynamic just to smooth that area right and we also going to use the thickness and the thickness allows you to dynamically generate that thickness for those panels all right so right now this looks pretty good um actually let's go out dynamic i just realized that i don't like to have this as a loop in here doesn't really make sense so i'm gonna delete those and here at the back there we go and i'm going to delete those as well so it's just a bit of cleanup really what i'm doing in here so all right let's go back dynamic on and we can control the thickness with this with this slider all right cool so that's that's working fine again this doesn't look like anything super interesting just yet but we're gonna use some of the new features in a second so um one thing i like to do is i don't want this to be as harsh i want something a bit more kind of like padding um more like a like a strong fabric rather than like metal or anything like that so one thing you can do is first of all go to chris and i'm going to click click on on crease all so that's going to remove all creasing that you might have in the edges just in case and then go back to dynamics of division and we're going to click on post subdivision so that series doesn't apply that that subdivision after the extrusion so now we have a nice set of edges that we can control if you want something sharper you can just leave that on right and if you want to control the the amount of sharpness of that edge you can crease by polygroups which is what we currently have here in the crease panel um in fact let me just show you that this is a it's a nice trick it doesn't have anything to do with what we're doing right now but it's you know this is a pretty sharp and clean edge but if you want something just a tiny bit more in terms of the beveling so this is something you can do you can crease by poly grips this one right here and you'll see it just changes a little bit that's just to to make the edge um too much to make the the border a crisp edge or a creased edge and then once you have that you can determine the level of crisp crease creasing or crispness or sharpness of the crease from this slider so if i can reduce that to point let's go for two and then we can increase the smooth subdivision um something like that it's not very easy to see oh i had the puzzle division enabled so turn that off and now we can control that crease creasing level from this slider so you see it's just adding a tiny bit so even if you're doing something like super sharp or hard surface having a little bit of bevel does does help but yeah i don't want any of that so i'm just going to increase all i want to keep everything relatively you know soft in that in that section but yeah so now we have this initial state and now we can go ahead to the dynamic and we can go ahead and apply that so when we applied we just immediately go back to the subdivision level which you can keep if you wanted to i'm gonna go ahead and just go straight to dynamesh just deleting that um if i needed to right now i don't need to but i'm just gonna use dynamesh because this is something that i could use to add more details and to you know further enhance the yeah whatever we have in here so now we're going to start using some of the tools the new tools in zebras all right so the the first thing that you can do for example is to inflate everything just to tighten the the difference a bit more of these pieces so that's something else you can use i'm going to use the move topological as well with symmetry and i'm just going to adjust the placement of these things so for example this uh this area right here i need to make sure that it reads as a as a soft piece because it doesn't really make sense the character wouldn't be able to to move the arms if it is like a like a solid piece um so that's the type of thing that i would start thinking about at this stage same thing with this this is kind of like action rather than like a hard shell otherwise you know oops everything froze for a second yeah so i was in other words the character wouldn't be able to move that um all right so let's start with you know something something cool that we can do um let's say here for the for the shoulder i want some kind of like like tube or something that can connect to something else not sure yet right so i'm going to go ahead and bring in a new mesh i'm going to click on append i'm going to click on cylinder all right um i think something's going on with with the internet and things are slowing down just a bit so hopefully it's not affecting the the stream too much um so with that with that mesh i'm going to go into solo mode and i'm going to bring in the gizmo 3d scale this like so maybe um and i'm going to bring in the c modula turn on polyframe when i right click in fact let's not do any any of that just just yet i'm going to show you some more tools uh some of the new tools instead all right so i'm going to turn this into a dynamesh object right and i'm going to go ahead and also set this to the stager sorry to the home stage and i'm gonna go ahead and scale this down and i'm gonna place it in here so essentially the in the area that i want to have this piece there we go and now i can just go into solo mode and switch oh sorry let's set the target very important and now we can switch to that home stage and we can start playing around with this so the first thing is i'm going to enable symmetry go to transform set the radial symmetry with the y axis that's the one in the kind of like center um and i'm going to increase this radial count to something like 32 so we have plenty of um of instances of this brush so i can smooth this a lot faster right and then i can use the the move brush that sort of thing right but i'm going to use another brush that is new again that i show you which is this bevel brush and we can use that brush with radial symmetry so essentially do this very quickly so increase i'm just adding a little bit of beveling there just to create that crease and then you can use the smooth brush and because it is a dynamesh we can re-dynamise the whole thing so that gives me a very nice very nice piece you know very quickly so that's another really cool thing that you can do with the bevel brushes and use them in in radial with radial symmetry now for this piece as well i'm going to go ahead and use let's go for the clay brush for example and with symmetry i'm also going to show you this weed without the line but with color and i'm going to hold the alt key just to push that in right and again because i want this to be a little bit like stronger i can use my adjust last right so i can push that in and then keep pushing that as well there we go re-dynamesh the whole thing i can smooth out all of that i can then use another bevel brush like the flat flat edge and i can flatten that piece like so re-dynamesh smooth everything you know and i can keep doing the same thing i mean the fact that this is radial symmetry uh it just makes things a lot easier but you can combine that that existing workflow that existing feature of the radial symmetry with um yeah with everything that we've been doing uh that i've been showing you in this in this stream which is the you know essentially the the new the new brushes on the new features all right so uh something else that we can do is um let's use the clay brush again i'm just gonna use that clay brush to clean that up uh but you can use the um group change points so now we have a nice polygroup and i'm gonna go ahead and do the same thing here with the trim dynamic so i can use the trim dynamic to make sure that this is a nice and flat edge that is also changing some points maybe not everywhere so let's do that a bit better right so that ensures that this is a nice and flat edge but also we can poly group it right so now we have these two polygroups um working really really nicely and we can go ahead and now use something like polish by groups so in the deformation palette you have these polish by groups so if i get closer you'll see that even though this is a very low res mesh because of the dynamesh if i use the polish by groups sir is going to respect that you know that crisp edge between the groups and clean this up quite a bit i can do that a few times just by doing that i have something very very clean uh with polygroups that we can you know further use um something else you can do is for example holding ctrl and shift i'm going to select this one and also i'm going to press v in my keyboard to be able to visualize everything and we can go to again auto groups in here so now these are two different polygroups if i don't like the colors of this i can just go ahead and use the regroup visible right or bring everything now we have one two three and four polygroups that i can regroup if i wanted to let's go ahead and use the knife brush as well the curve and i'm gonna start off symmetry i want to clip that in there holding shift so that it's a nice and straight oops i have the radius enabled ctrl shift and again holding shift so that is a nice and clean area we have another polygroup in there and you know we're starting to build something that it looks pretty cool right um you know at this point it's pretty simple but let's go ahead and make it a bit more interesting right so i'm gonna use um see first of all i'm going to increase my dynamics resolution quite a bit to 500 or 400 and it's going to double check that it's going to be good yeah it's probably enough i'm going to do a polish by groups again just to sharpen those those corners maybe a bit more right and i'm going to use the damn standard brush with radial symmetry and i can do some some nice indentations in here let's go ahead and do something like this and then another one in here right and hopefully you know what i'm going with this i can go ahead and interpolate that we maybe i don't know 20 strokes see how that looks so maybe that's too much and i think the let's do it with the with the uh layer brush because i don't have it in here so let's go with layer brush and just because the damps on the brush it's uh it's not as even as what i wanted to so i'm going to hold the alt key that's one plus two i mean you can leave it like this if you wanted to just want to show you something else interpolate um and i think i found the problem so if you do this let's say from top to bottom and then from bottom to top uh series is going to interpolate flipping those things so it's going to create this uh this effect which is not what we want so you can interpolate it with radial symmetry that's the point but i think i'm just going to keep it simple and do something like that right um so first thing we can do is mask by change points and again polygroup that if we wanted to so that we have more control of this afterwards so we can isolate these mask that embed that mask bringing the gizmo center to the unmasked areas and we can push that in like so right and we can re-dynamesh the whole thing um that sort of thing all right so now in these areas or in these gaps maybe we can bring in some insert meshes let's press m i'm going to click on just a simple sphere i don't know if this makes sense to have it there maybe yeah maybe something like that instead works a bit better um again it's just to show you the kind of like the the tools that i've been showing you in action and just to make things interesting let's use the damn standard brush to create a quick panel in here right and then use the adjust last to push that in quite a bit and if you want to have control over this gap as well again what you can do is go back in time before you do that before you add that panel so it's just literally two to two on twos hold ctrl to set that point go forward and you can also do group change points as well right so the group change points works in the same way as the the mass change points that you can set a point in the timeline and say okay i want all of these things to be grouped in the same way so now we have this group as well so we can isolate that maybe in this one in this case makes a lot more sense if i actually isolate that and give another group so that we can you know split these two and control them separately if we wanted to and use the you know polish by groups that sort of thing um but anyway the point now is that we have this this thing that we can play around with let's do dynamesh now with the spheres and smooth everything out and now we can get out of solo mode and we can switch that to [Music] this stage or this yeah the stage that that we wanted to um all right so now i'm gonna turn off symmetry i'm gonna use the standard brush and i'm gonna show you another really really cool uh trick i'm gonna select the armor play thingy and i'm just gonna select or add a bit of um of a bumping here so that sort of like fits in right and if i go to the other side i can actually visualize this a bit better let's do that and we already hit like the two hour mark so i'm gonna just to make sure that everything is all all good um i'm gonna i'm gonna wrap it up with a with a bunch of like little tricks that that you can use so uh in this case what i'll do is i'm gonna mask an area like so right just make sure yep um and i did have symmetry but if i didn't have symmetry i can just mirror that mask as well and i can invert that bring in the gizmo to that area this is like the usual stuff nothing too fancy here just so that we can bring that in um and we have that and now i can just take this if i wanted to i can duplicate that and mirror it and you know still have the ability to change that in the home stage uh but you know i usually all right so another froze frozen screen there um i usually just work on one side and then i mirror and weld everything at the end but you know how having the ability to have all these pieces in the home station the target stage uh it just speeds things up quite a bit all right so this one that i'm going to show you in the next tip is pretty cool using the repeat glass and the adjust and it is just fantastic so i'm going to go ahead and take something like the damp sander brush yeah this is pretty cool if you want something sharp you can use the chisel brushes as well but this one is gives you the ability to you know design things a little bit better i i think um so i'm gonna start from here and go like that and like that right so just a simple code using the damn standard brush in a mesh that has relatively high resolution right now before you do this i would advise to lock the camera which is that icon that i have in there and the reason i say locking the camera is because remember i say at the beginning that if you if you move the camera and serious counts that count that as um as a stroke and we want to use the repeat last now the repeat last is this one right here that i mentioned before right so if i click on repeat last series is going to take the same stroke and embed that even more or you can use the adjust last to you know have more control now that's not the trick the trick is that the the stroke the repeat or the replay last can use any any any brush because it's only looking at the stroke itself not the brush so um before i do that i'm gonna hold ctrl and and remove that actually sorry i just i just noticed that that might be one of the the issues all right so i'm gonna undo these and do it one more time i'll be doing let's do it again let's keep it simple all right so um what i was saying is that replay last we'll take a look at the stroke not the brush so we can essentially switch between brushes and retain the brush so what i'll do is first i'm gonna do this um or i did that damn standard brush now i'm gonna switch to pinch and i'm going to play the last one so siri is going to go through the same stroke and it's going to pinch that very nicely to to sort of like clean up this panel not only that we can then use the adjust last to see how you know how sharp we want that panel to be which is you know probably one of my favorite little tricks that um with the new the new tools right the ability to go through these uh and generate this this type of paneling really quickly uh you can do the same thing again just to repeat the idea of the adjust last to repeat that process i'm going to use the standard brush and maybe go through this area it's a smaller brush size just something like that something different right so we can do the same thing we can go to repeat last and just enhance that a bit more maybe we can go to maybe let's do it a couple more times or one more time just to make it really really really strong then i can switch to the edge polish right and i can click on repeat last that's not going to be very obvious let's try trim dynamic that's a bit more obvious or you know let's um let's go with the inflate brush actually i'm not entirely sure what the effect i'm going for in this case but you know what let's let's do that and then let's do the damp standard brush as well repeat last and now we have like an insertion in there that we can adjust specifically to that point so we can adjust just that code in that panel right not only that we can go back in time to let's say let's say this point hold ctrl to set a point a target point in here go forward right and now i can click on masking stuff and click on mask change points and now we have these mask points as well um let's remove this now and i can you know add something else in here maybe use the clay brush to bring those those areas of the panel closer maybe just in this area if i wanna i don't know this is this becomes more like a like designing thing more than anything else but i'm going to clear that mask and then just stream dynamic to polish all of these i'm going to click on control here to remove that point there we go um so yeah this type of paneling effect is super cool and and really easy to do with the with the repeat last and the adjust last okay so i'm gonna use uh the dams on the brush again and again i'm going to hold the ctrl key so this is something else you can do if you okay i'm going to do it without it but if you already know that you're going to need a an undo point in the history you can hold control in the point that you are right now and just set a control um yeah a reference point in there and then do everything that you need to do and then just use the the history to do grouping or masking or anything like that so i'm going to take this and do a maybe a line like this and then another one in here and i'm going to go ahead and interpolate that just to use that tool and create that that nice um indentation now if i do the repeat last right now siri is gonna count every every stroke that i interpolated except the first one and the last one so if i do this i'm only affecting the the interpolation as the last stroke not the first and this the second one so i can invert that like so but you know i think i'm just going to push this a little bit and then let's go ahead and refine this kind of connection in there all right so that's pretty cool um let's see what else we can do with this with this technique um something that that i found like very very interesting for this type of more organic hard surface is for example to go ahead and let's go ahead and use the clay the layer brush actually i use that quite a bit for these type of things so i'm going to draw a couple of lines in here right uh don't pay too much too much attention to the design of this just to show you something else alrighty so we have these points um you know that look all right but you can go ahead and polish them a lot more now the trick that i'm going to show you has to do with framing this geometry and add um yeah and not like tubes but right now this piece is like you know it's going to be pretty hard to sort of go through with um with a curved brush and try to match that but thanks to the masking or group change points this is now very easy so all we have to do is go back in time set a point in there go forward again setting a point is just holding ctrl and clicking on the timeline so let's go ahead and group group last change points so now we have a nice set of polygroups in in there that we can use for all sorts of different things right it's just poly grouping is essential in xerox and now this feature allows you to generate you know all the different groups that you want another thing you can do as well actually is i'm gonna hide this and um no let's just keep let's keep it i was gonna show you something else but it's gonna be the same thing anyway that i'm going to show you now so now that i have these polygroups i can very easily isolate them right let's wait until 0 saves let me see if there's any questions in chat all good awesome cool so um again this is pretty you know it's not it's not very clean but we can use the polish by groups or in this case polish by crisp edge i think i'm going to keep the polish back group so that we can retain a little bit of that bumpiness so i'm i'm by doing this by polishing like this i'm actually removing that that definition of the of the layer brush but it doesn't matter that's not the point right now the point is just to create something a little bit cleaner as a guide for the next step which if i bring back everything right now we have these these areas right here i can't remember i think i use this technique in the in the helmet to yeah i think i use it to add those lines in between the panels and and that sort of thing uh so you might use that this technique in this way so now that i have this i can go ahead and either isolate this just so that i only apply this effect to these areas and you can go to the stroke palette and you can go to the modifier sorry to the curve functions and you have this frame mesh and you can choose between you know what to do so in the ucg i believe we do that for the backpack and the and the sleeping mat of the character so any anyone that is that just joined the stream um i'm referring to the ucg course which is currently open by the way so if you're interested in learning zebros um this course is for absolute beginners as well and that's the reason i'm using a different ui and and the methodology that i'm using for um to explain the new features with a custom palette as well so in that course that backpack that you can see and the like the straps maybe and the like the wraps that are holding the sleeping mat that he's carrying in his back that's done with these tools in here so uh what i'll do is i'm gonna leave just border on um and zero is gonna frame all the borders in here right so you cannot see as clearly but there is an actual um there's an actual curve in here so all i have to do now is select the brushes and we can go to let's go to curve multitube and now you can see there are like if i hover over those are actual brushes and i can determine the size of my tube with my brush size something like this and click on that and now i generated those tubes let's click somewhere else and remove that mask right so this is a pretty cool way to generate these very intricate and interesting patterns um making use of the new tools as well as the you know existing or pre-existing workflows to generate this type of thing so yeah this one is is quite fun something else that we can do say maybe let's go ahead and iso let's hold ctrl and shift and isolate these isolate these pieces yep and i'm just going to go ahead and split this split hidden so that we can control this uh separately um and we can go ahead and you know maybe use the i'm just thinking what can we do with this to show you the new features um actually let's go back to this guy maybe isolate this one as well split hidden all right so um in this one what i'll do is i'm going to use the interpolate feature to sort of add some additional paneling effect in here but let's go ahead and and this is one of the the reasons i want to use the interpolate because it has this shape uh so it could be a you know it could work nicely because we can create a line in here that is a bit curvy and another one in here that has kind of like the opposite effect and because cyrus is going to look at this and say okay there is this shape and there is this shape i'm going to interpolate these two linearly so we should end up with something that in the center because they're like similar but opposite in the center there's a um more of a straight line so that's the theory uh we can go ahead and try that out with the let's go ahead and use the the standard brush this is the standard brush so i'm gonna draw a line in here let's do a bit better there and another one in here and let's go ahead and interpolate that so yeah in theory that that works quite well so now we have in the middle that sort of line and that you know that can work as a nice paneling so what else we can do with these is we can go back before i did the two pieces or the two lines and hold ctrl and go forward and i can isolate this either by masking them or using the adjust last or even the uh the polygroups so i can take regroup visible oops not that one group change points and that's going to give me polygroups to just those changes of those lines but as you can see there are they're kind of like bleeding into each other and i don't want that so one thing we can do instead is use the adjust last the adjust last is going to take a look at that reference point that we set in the timeline and allow me to adjust everything or every single stroke at once so i can do this just really increase that that gap and because now the last stroke or the last um the last process that i did was just the adjusting not the the stroke itself if i regroup these uh group change points now the polygraphs should be slightly different oh actually they're not because i'm still having that point in there in time so it's still looking at that point let me hold ctrl and there we go all right so let's see if that works uh it's slightly different but now it's trying to look at the the polygroups but not necessarily what i'm looking for but anyway this is um this is roughly the effect that i was going for anyway so we have that that paneling effect in there um and you know you can keep refining this of course it will make more sense if this is kind of like a line like so right but again it's not as strong as the other ones it doesn't matter we can use the adjust last to push that in same thing in here let's do something like that and adjust lust right so now we have that panel in there so that as you can see is is kind of like a it's all over the place but it's using all the different tools and the different features to adjust this um just something else in case you want to you know what if you want to do something like this follow along and do something like that and then start polishing what i would do in order to polish all these pieces is to split them all in parts like i did with this so let's take this let's take this guy here at the top right i can hold ctrl and shift and i'm going to isolate those right in this case i just want to separate that piece okay so this is a i only want to separate this so this is another trick but this is not a new feature but i think you can find it useful um all right so a few things to keep in mind in this current process that i'm going to show you we have a relatively high res mesh uh with dynamesh right or no dynamics or um we had like plenty of subdivisions that we deleted the lower one um what i want to do is take just this piece right separate that but i want to retain the polygroups okay now if i can go ahead and basically do it manually just try to hide everything and try to get in there but sometimes you might find this um not as easy so that's that's totally fine the other option is to go ahead and auto groups everything and that just allows me to separate this a lot easier you know just go ahead and do that the problem with this is that obviously auto grouping is going to look at every single piece separately and it's going to create a full polygroup so we're going to lose that nice polygroups that we have in here so something that i found um quite useful is to use the poly paint to recreate the kind of like the polygroups so let me just show you that again this nothing to do with a new tool or anything but i think it's quite handy so we can go to [Music] uh poly paint and i'm gonna click on poly paint from polygroups right so this is what i would refer to as a working poly group or a work in progress poly group rather than the final polygraphs why it doesn't really matter we can turn off polyframe right now and you see we just have the colors of that that's part of what i had in or what i have right now in the in the helmet in the other helmet that has all of the colors right so i just use these this tool so now i can go ahead and let's turn off where are we let's turn off the poly paint right turn on the poly frame and let's use the auto groups so now we have different pieces but we also have poly pin right so we can now recover the polygroups based on the poly paint so hopefully this is not too confusing so what i'll do is i'm going to hold ctrl and shift and hide these pieces actually let's also hide all of these extra pieces make sure that's the only one and i'm gonna split hidden by the way for anyone that's not part of the ucg course and doesn't know about this interface the split hidden is under the subtool palette right here you can split hidden there so now we have this piece separately and what i want to do is recover those nice polygroups that i had so that we can do serial measure right so i can use the poly pin right because the poly pin has nothing to do with the polygroups at this stage i can turn that off so we have nice colors and we can go to poly poly poly poly group uh here we go polygroup and we can click on polygroup from poly paint so i'm going to click on that i can turn off the poly pen now and turn on polyframe and you'll see we have polygroups based on the color that we had which is great so now i can hide this piece right so i can do all of that this is a little bit wonky in here but that's just from the original mesh anyway i didn't really pay too much attention to to the extraction in here but you know that doesn't really matter you won't see that so now we have these polygroups we have a pretty high resolution for these little piece um so this is that i'm showing you is just how to move from that sort of sketchy things using all the tools and everything and start moving towards something a bit more polished and presentable um or not presentable but something that you know if you want to send it to a render engine or something it might be more useful so uh yeah let's go ahead and i'm gonna switch to a different material so you guys can see that a bit easier so now we can use the serial mesher right let's keep groups by the way and again again someone not part of the ecg course um we deal like there's a you know a whole set of lessons dedicated to understanding the zero measure and and automate the retopology process a little bit more in the course but basically any anything that is in here um or anything useful that i use in that workflow is in here in the ui so for anyone not in part of the ucg it's right in here so what i'll do is i'm going to keep groups and i'm going to make the smooth groups set to 1 just because there are certain areas like here that are not super clean so this is a process that will be automated automated by zebras when i click on sirimesha and it's going to keep the groups that's the whole point of why i went through the trouble of creating the poly pain and assigned the poly pain or creating poly paint from poly groups and then recovered the poly groups from that poly paint so that we have the nice nice groups here i can go ahead and remesh now and series is going to look at the difference between the different polygroups that we have that's the reason why it's so important to have nice polygroups um which with the new tools as well makes it a lot easier and it's going to generate a nice geometry all right so that is a retopologized version i'm going to go ahead and leave the half on now i can remove the the smooth groups because now the the difference between the polygroups is a lot cleaner and i can keep remeshing this one more time the more you do the faster this process will become all right i think that i think that one looks good um sometimes you get this like little error so i'm gonna undo that um and i'm just gonna clean this up manually so i'm gonna select this polyframe and there that and i'm going to hide this one and group visible just to assign that little extra triangle to this area and let's just use the smooth groups all right so not bad let's see not bad again if you if you want to have something a little bit sharper not as rounded in here is not my case um i'm kind of like going for that rounded roundness anyway but if you want to have something very very sharp uh what you can do as well is before you run this so when you're like let's say at this stage you can take these and polygraphies maybe not that i'm much do it with everything on so that you can see yeah so that little bit i can just poly group that and because now this is a new polygroup if i click on sirimesha sirius is going to take into account that new group to make it a little bit cleaner but you know i think i like it so now let's get out of this mode and now this is a cleaner piece doesn't have any details or anything but you know we can go ahead and do you know start overlapping these panels obviously i'm playing around with like less geometry so it works all right so just to wrap it up let's go ahead and take this thing that we had in in the in the stager thing and i'm going to duplicate that um you can duplicate it and you can still have the home stage and the target stage so what i'll do with this is i'm going to turn off actually i don't know if this is going to work but i'm going to turn off target stage right now so that this this new duplicate has no reference to the target stage but this is still in here i haven't set it up and i can go ahead and mirror that to the other side and in theory i can just click on target stage so that's that's the new target stage of this piece and i can still retain now yeah so um just because i mirrored the target stage is different so that um yeah it wouldn't work i i was just trying to be a bit too clever for my own good so anyway i just mirrored well that's all i wanted to do um i just wanted to test if i can retain that i'm sure there's another way to do it all right so now that i have that um the other thing i was going to show you with this piece oh yeah so i can you know i can duplicate that one more time i want to turn this off because i don't need any of these target stages and in fact let's go back to this one and i'm going to turn that off as well i'm going to take this gizmo and i'm going to center these oops um i think we're going to um we're going to the last bit of the stream yeah something is going on with this stream but anyway it's been good so far so we're just gonna finalize today's stream with this last bit so i'm gonna take this mesh and i'm gonna replace or not replace i'm gonna place it around there i'm gonna mirror it actually so i'm just reusing i'm reusing one of these meshes and let's mirror and weld that and that's that's about it really so again um obviously we didn't have to do much or we didn't have enough time to do a lot of um of the polishing but yeah i think the the stream is going to crash anytime soon but anyway we finished today so um you know we can go ahead and continue doing the the polishing hopefully the the tools that i get that the what i show you in this stream helps you to not only just understand the new features but how to apply them in and and hopefully incorporate them in existing workflows that you already have um they're really really fun and again super useful just to quickly recap what they are uh you can just go through this palette i'm just gonna open them here so that if you want you can take a screenshot of these just so that you have as a reference of what the new tools are and how you and you know if you want you can just recreate this palette like i showed you at the beginning of the stream and you can just place all of these things in um in your own palette and that way it's kind of like a good way to to understand and keep track of the new features and yeah that's that's one of the the advice that i can give you um and that's ultimately what we do with the ultimate series guide course right is just to focus on the process and understanding the core principles of it so anything new that zebros adds which is awesome like these new features it doesn't necessarily uh mean that we have to recreate a whole course because the fundamentals are there and the way that i have sort of structured that course you you got you kind of like get an understanding of the how zebras work so anything new is just like oh these were similar to these i understand that this new feature is uh is a replacement of these or an enhancement of this other feature and that sort of thing so yeah hopefully that that works um and that helps so just to wrap up this this live stream um if you have any questions i'm happy to answer those otherwise we will wrap it up in here at this point and again for anything anyone new uh just so that you know the ultimate sewerage guide course is currently open for enrollment you can just go ahead and enroll today it is a self-paced course and you know the the idea is to take you from from the absolute beginner in fact if i go to the program here the fundamentals of it is like you know from the from the very beginning of series like what exactly is a pixel um why zeros works the work the way it works all the way to um you know detailing um and rendering so there are some uh some bonus modules where i talked about poly painting uh fiber mesh rendering and plus the the bonus module which are just live workshops that essentially cover uh things like booleans deformers dynamics things that are a little bit more advanced sometimes and again things like this this live workshop which is something that i'm trying to do with every new update to do like a live workshop but again the to explain the new features but again the the core principle the program uh covers all the basics so uh you should be able to do to to figure things out on your own um so yeah if you're interested this is the ucg course it is currently open for enrollment you can go ahead and um grab a spot in there and yeah i will make this uh again this is going to be available in my channel if you want to re-watch it um for those of you from the ucg course that are in here i can see some of you guys are in here i will also share the the ui that i currently have especially with this this palette if you want to follow along with this specific palette as well that will be in your resources in your resources section of the course awesome um great so i'm glad that you found it useful glad you like it guys uh i'm going to leave it here and then and i will see you i'll see you next time cheers

Channel: Pablo Muñoz Gómez

Views: 5,853

Keywords: ZBrush 2021.7, ZBrush, ZBrush new features, New features, ZBrush update, Ultimate ZBrush Guide, UZG course, ZBrushGuides, 3DConceptArtist

Id: YWNaYaFkzOA

Length: 156min 35sec (9395 seconds)

Published: Thu Sep 09 2021