ZBRUSH Rendering - Tutorial Part1 - Full Tutorial

hello welcome to this two-part tutorial on how  to render using zbrush and then compositing in   photoshop this video will be split up into two  parts in part one we will look at the basic   light setup and render settings i use for the  main composition of my final sculpt and in part   two i will show the different matte cap materials  that i use to take the final composition further   in photoshop so without further ado let's  get into zbrush part 1 basic light setup so what i normally do is i usually have a color  on my model and i'm not going to go through   how i colored my model i'm just going to show you  the end result um hopefully in future videos i   will have more detail description and presentation  of how i create the colors for my model   but for this very short tutorial i'm going to  show you how i use how i go from this to a final   render in photoshop so first things  first you want to grab our light   and i've just placed one light into the sidebar  here and we want to position the character which i've already saved the pose in in  documents in cluster one but you can set   yours up wherever however you like and then  we go over to lights and we position our   key light this will be the key light  that will that will hold all the shadow   information as well so you wanna play around  and this could take a little time to play   around with until you get it right until you  get the way the shadow is right on the model uh you want to maybe take the distance down on this light try again that's better so when you're happy with  your key light as i am with this one you want to   go over to your render tab and dock that on the  left go into the shadows and bump the shadow   angle up to around 30. this is just going to  give the shadows a bit of a softer read on on   your model so it's not going to be too harsh  it's going to have a blurred effect around   see there's a bit of blurriness going on  in these areas where the shadow was a you   can play around with all these settings if you'd  like but for this key for this tray uh for this   tutorial sorry it's just going to be we're just  going to use the angle ray resolution blend blur   to speed up the process we tend i tend to  keep it like the factory settings but with   the angle turned up until i'm happy with  every where everything and then i will   when it comes to final render put the rays up to  about 400 and then just let that render and um   and that will give me more resolution uh later  on so for now these are the settings that i have   for my shadow and now i want to add a  new light and this light will be the   rim or secondary light for my model rotate the ambient down turn the intensity up and when i press render it should come out like that and you want to play  around with this like quite a bit the further if   you tap on them on the sphere in the light tab  it'll push the light either from the front or   to the back so this is at the front this is at the  back i'm just going to position this light so that   it comes around the edges of the model in the back  or lights the edges around the model at the back   just move that light a little bit more maybe  intense put the intensity up a bit more   a bit too much intensity now maybe  go back down it's all very much uh   you know um playing around with the lights and  getting to a point where you feel it looks good   so we just put the distance down a bit there  we go so that is the first pass that i do and   then when i'm happy with that i will always i  will usually go up to the shadow and bump those   rays up to around 400 come bring push down the the  render properties and pump the details up to four   plug in the occlusion come down to the  occlusion set this blur to zero to one sorry   the raise up to four resolution to about  400 and the z depth to minus 2 plus 1   and this will give us a bit more  of a crisper ambient occlusion   and just press bbr render and just  wait for it to finish rendering once you have finished rendering or zbrush has  finished rendering you should have something that   looks like this on your screen and if you come  over to the bpr render passes you should have   shadow depth shaded masked  and an ambient occlusion whatnot what's the next step you want to do is   uh export each individual one of these images  out as a psd file and then we will return after   i've done that and we'll look at how we can  create more renders to help the final image   pop a bit more with within photoshop later on and  to help uh create more in more depth to our model once you are happy and you have your exported  renders from the first pass then what i   tend to do is start rendering out extra  maps or extra images to help with the compositing stages in in photoshop  so these these maps are going to help   with skin tone it's going to help with details  and lighting specular highlights and stuff like   that so these next stages are the key to  compositing in my style in in photoshop so   let's get started my first thing i always render  out straight after the initial passes is a flat   color pass and flat color pass that for a minute  we're going to turn off the ambient occlusion and   the shadows because we no longer need those  for these renders so and it's just going to   slow us down as well when it comes to rendering  so i will always render out a flat color pass so you want to export this only this map  from now on we have all the other maps   anyway so just export this map as  an as a psd a flat psd color and i'll do that now so i can show you  how i do it so these are the ones i   rendered out previously uh  the amber occlusion the depth   the mask the render the the main render sorry  and the shadow so i want to call this one flat now once you have your flat mask then or  your flat uh image then you can go ahead   and turn off the colors on the side here  so we no longer need the colors on the side   for your character and you want to go over here  and all of these mo materials uh you can find   on zbrush central so i've just downloaded all of  these materials from xero central they're all free   and these are the ones we're going to use well  not all of them but we will use some of these to   help with the post uh photoshop uh com composite  composition later on so what i tend to tend to use   when it comes to organic creatures uh is the smoke  up here matte cap skin o4 and press the render   and it gives you this outcome and you just want  to render export that out put it into a new folder   materials now i don't tend to name these i just tend to  number them but that's because i've been using   doing this for quite a while now but if you want  to name them then go ahead but that really doesn't   matter later on in photoshop because we'll just  be moving them around everywhere in photoshop so   yeah numbering system works fine for that and  then the next one i usually do is this one just export that one and then frame zero one   which will give us some crevice details or  cavity details which we can use in photoshop and then going along to any of these other ones  so i tend to take the soft solar this will help   with subsurface scattering faking  subsurface gathering in photoshop later   the reflected map which will help with  reflections and giving a fake reflection   you can even do the reflective  map number two as well and then there's a lot of other ones here  if you have a little bit of metal like   rusted metal like i have here on his collar  then i would tend to go for a metal texture or a rusted metal texture just trying to find it that will do let me just render that one out and gk bubblegum sl skin matte two so when you're happy with all the different  materials that you've uh you've you've got   uh rendered out you can use as many  as you like or as few as you'd like   i just tend to go for roughly 10. i  always also also also export a normal map   render and this will help  with lighting later on as well you'll see in photoshop later so once we have  all the materials exported then we have to   export some reflective reflective lights so  what i tend to do is go to a blind material   turn it the material to black come down to the  light source turn off the secondary light and   just use the main light to create some specular  highlights so you want to distance up to 100   the ambient occlusion to 3 and then the intensity  can go really high up because you really want   those blown out whites because you're going to  be using it for reflective or room like extra   room lighting so in this case room lighting just  turn we just click on it to click on the sofia   sphere sorry to put it into the back and then we  press the bpr render and it'll give us this white   light around the edges and we're going to  composite this later in photoshop so don't   worry about it looking weird when you see it  here it's all going to be changed later on so   i'm going to put this as lights one and now we have the rim light so let's  put some extra lights in the front you can   even turn the distance down if you like if  i think it's too much light coming through   what's a good one to do is push it to the  back and then bring it close to the edge   and then you'll get this nice fold off on  this side or from the top or from the side   here it just catches the light or fake catches  the light at different angles which is good again you want to be just playing around with  the light and position it in the way that you   really like uh where it's coming  from so we'll we'll export this one   now we won't use every single light but it's  good to have a variety of specular highlights um   so that you can play with it later  on in photoshop so just grab that one you can even have one from the very  bottom if you wanted if you want to   light the speculars from the bottom and once i'm happy with all the blend ones then i  can come over to the material tab go to jelly bean   material and play around with that lighting now  this one's a little different from blinn it has   a a secondary gray hue in it rather than the blin  which is just the black and the white so this one   will have a secondary gray between the black and  white specular which helps define shapes a bit   more i find so if you click on that you can see  it comes out differently you can even bring the   distance down a bit more and  play with the light a bit more there we go so let's say  this one is the one we want and that's that's it that's the the rendering  in zbrush if you wanted you can go further and   add a id map so you can mask off areas in   photoshop and then just work on those areas in  photoshop so i'll just do that now quickly so i have my character no colors on it it's a flat  color so bring it up to the white and we're just   going to add some flat colors to the model so that  we can uh mask off those areas in photoshop later   so add the red for the main model for the eyes  just add a green for the metal we'll add a blue come to the chain down here as well at the same and that ring there the tongue  can be the same as the skin the gums could be the same as the skin and  the teeth will change teeth to a purple or or a lighter blue and then what we'll do is we'll just  render out a quick id map for this one   so come back to main area and just type  in id for the id mask and that's it   so i hope this has helped with the  rendering stage in zbrush for you guys   if you have any other questions please  put them in the comment section below and   we will look in be going into photoshop next to  see how we can composite all the images we just   created to come out with a cool design on the  other side so stay tuned for the next episode you

Channel: MLW Creative

Views: 77,940

Keywords: troll, lordoftherings, conceptart, creatureart, zbrush, zbrushart, zbrushtimelapse, timelapse, 3dtimelapse, trollart, photoshop, photoshoptutorial, photoshoptimelapse, monsterart, creaturedesign, zbrushtutorial, thehobbit, hobbit, thehobbittroll, lotr, Zbrush, Tutorial, Zbrushtutorial

Id: zkCFKieGKuI

Length: 18min 45sec (1125 seconds)

Published: Tue Mar 23 2021