ZBrush Tutorial - Using Dynamesh and ZRemesher the right way

everyone today's video is going to be about dynamesh zremesher and divisions pretty much it's what I think to be the correct way to use dynamesh I got asked this question a lot from students and from other people that want to get into ZBrush dynamesh and the difference between it and zremesher and sculpting with divisions seems like a foggy area I'm going to try to set that straight here we go so right here we have a complex object I use mannequin a mannequin from ZBrush but it's essentially just primitives here that are now kind of digitally melted together with dynamesh so you can see here I have dynamesh activated I just open the dynamesh pane here and click the dynamesh button now your Dyna measuring right here is resolution and I set the blur to zero as always if I'm trying to protect what I'm doing I'll click the project button which will project the dynamesh onto the for my head before so it maintains the shape better each time I identify so right now we have a dynamesh mesh and the reason why that's good is it's freeing this is the first stage of sculpting something in ZBrush for me so there are three stages one is dynamesh is the first thing that you do and you work in dynamesh as much as you can until you get your base shape that you're then happy with so that you're now ready to move on to more detailed forms secondary forms I have some more detail and then finally tertiary forms and finalize this model so first stage dynamesh second stage zremesher which will make a nice clean topology on top of your base shape that you made with dynamesh so now you have a base shape that has clean and even topology that you can now freely detail up so right now first date dynamesh and the reason why we start with down is first stage is it's fast and we don't have to worry about topology so for instance I can be pulling out stuff when you're in dynamesh you have it activated then you just control drag the background and now it'll reproject this dynamesh on here so when we would spread out polygons that you can't really make lines and obviously because we all stretch to now hey it's evenly distributed again like with the rest of this this resolution that I have right here is is about the density is about what I would go up to I wouldn't go above that and we can talk about that about why in a second but right now at this stage I'm trying to make this base shape the cool things about dynamesh are not only can I pull things up and it will redistribute it so that it's even but also I can do crazy things like merge multiple objects together and then melt them together whatever you whatever is one sub tool when you dynamesh it all gets melted together for instance we can pull out something and merge it right back into itself so now we have a pretty complex shape here the shape that we just made right here we wouldn't be able to make with zremesher because what zremesher does is take the shape that you have and then evenly distribute Poly's along it it's not something that you're going to update all the time while you're dynamesh Inge you'll be updating a lot like we just did will be controlled dragging on the background to update the base shape that we've been working on this whole time but once we're happy with the shape like we are now then we move on to zremesher I'll duplicate this so we can keep the thing we had before and now when we zremesh we'll be able to show some difference here so I just use even with the default settings you can play with these to get the result that you want if you want to be specific but right on the box the default settings are pretty good for what we're doing so let's go over the key differences right now one is the shape that I made with dynamesh is preserved pretty well but with less polygons which is good because we're going to divide up because later detail is going to be what's important to us and we're going to want all those polygons to essentially be the pixels of our sculpture so that when it's really dense we can do very fine immaculate work so right now what it's done is preserved our shape and another important thing is you can see the flow topology here these lines are straight and they make a grid along the form in in an even grid like way and that's good because it's more like pixels in a Photoshop document you don't want to be painting or drawing in a digital document like Photoshop if the pixels are uneven and pointed in different directions right because if you draw a straight line it might get all warbly and we'll show that here with dynamesh so here's dynamesh now if we were to dynamesh at a very high resolution or divide up which i'm gonna do right now then what we're getting is a dense mesh we divide our zremesher mesh up we'll get the zremesher mesh - that's hard to say - uh 340,000 and here we have 2 million already so you can see the warbles in here already if I show you the topology you can see how this is this is just this is a mess you don't want to be sculpting on something like this because clearing like those forms aren't going to be clear and making lines and it's gonna be more difficult like you're making it more hard on yourself but with zremesher it's all nice and clean now I can put detail in there if I want I can do pores or lines or wrinkles and I can smooth divide and pinch and what's a more predictable way because there's a clean simple cage that's dividing up zremesher is pretty much going to try to make topology in the most efficient way it can on the shape that you made with dynamesh so in the first stage of dynamesh you're concerned about shape about proportion size angles like the big basic form then we move on to zremesher and now it puts a nice clean mesh that's better for sculpting or finishing onto the shape that you made and as we divide up each stage what we want to be doing is at this at this subdivision level we work as much as we can with whatever our goal is like a strong guy or werewolf or a monster or guy in armor or whatever so at this subdivision level we're going to try to sculpt and get it as close to done as possible where we go okay now I need more resolution then we go up and this method will kind of force you to go from big to small so it's going in order of importance because even though pores and wrinkles are really cool and they're the finishing touch on something that foundation is what you need the whole time so by keeping ourselves in a limited amount of resolution and trying to maximize the forms within each stage is going to be making us focus on the most important things first until we get to the more tertiary things then once we're at a very high resolution we can start to put little details in here you see this is a pretty high resolution and right here the smallest lines get a little warbly on our on our divided mesh or our very high resolution dynamesh with the cross section like this we're going to get an even more unpredictable result so you can see here what's happening is we get some snaggletooth here and then straight line snaggletooth here straight line so it's it's the reason why it's more janky feeling is that the polygons aren't evenly distributed which is like a pixel canvas that the pixels aren't all the same size you're going to get your you're going to get an uneven you're going to get uneven edges and in our sculpting case shadows and highlights you can see the edge here how this is nice and smooth and I could smooth it or crisp it how I want but with the dynamesh because of the way that the things are casting dynamesh dynamicism topology is being cast from multiple directions so you're going to get Criss crosses and when you get criss cross you're going to get triangles and they're it's not taking into account your form as much as it's projecting topology so you can do whatever you want so it's more freeing in the big macro view but when you're when you're starting to narrow it down zremesher is what you finally do to make the or that to make the de Paulo G that follows your form nice and clean which will make your life easier in the end in terms of detailing and the reason why we like subdivisions not only so that we can work up in detail fundamentally but also when you're moving the camera it gives it a proxy to low to use a lower subdivision so that you can move around if you didn't have any subdivisions and it was super high it would be slow your whole scene would be slow the more subtools you have the more slow it is and we're less free because we can't move down in divisions to smooth something out or move it or any number of things that we're going to want to do each each brush and thing that you do is going to act differently based on the resolution so working at just a very high resolution all the time isn't that optimal and it's going to make your life a little bit harder I like to tell people it's like the difference between warm soft clay and clay that's been in the freezer for a while you wouldn't sculpt the whole time with half frozen clay that'd be hard to do trying to merge it together and trying to like move it it is resistance you're creating it yourself and essentially that's what you're doing by having a very high resolution mesh that's why we want to start low and progressively get a little bit higher while trying to do as much as we can at each stage I hope you guys enjoyed this video like it if you did subscribe if you like this sort of thing and if you have any more ideas for subjective videos or anything else in the future drop me a comment message me or whatever peace hey there's another video that I made there's a judge in it over there are links you can click on those and you can also tell me what other types of topics and videos you want me to cover in the next videos let me know ok bye you

Channel: J Hill

Views: 134,079

Rating: 4.9463248 out of 5

Keywords: ZBrush, Help, dynamesh, Tips, Tutorial, Tricks

Id: n8t-SV8rU8o

Length: 10min 31sec (631 seconds)

Published: Sun Aug 16 2015