Character Modeling in Maya and ZBrush
The Making of Jester, Volume One This making_of_demonstration and lecture began with the decision to take a personal sketch, develop it in 3D and produce a life-size print. This would require the development of high-resolution detail and textures that could hold up to a 4000x6000 pixel render, effectively making Jester a film-res character. Observe and listen as Alex shares his workflow, thought process and techniques. Volume One covers the character modeling process using Maya and ZBrush, as well as some lighting, composition and texture exploration. Alex begins by creating an organized base mesh in Maya that accurately follows the 2D design. Using UVlayout, he flattens the UVs of the multiple basemesh_components. Jester is then imported into ZBrush for sculpting and detailing. We give some thought as to the resolution for each subtool that should be sent to Maya and export them with normal maps generated in Zmapper. Once in Maya, the shader networks are blocked-out so that Jester renders in Maya with the same level of detail that he had in ZBrush. The final step prior to texturing is to then create a Photoshop- color study that will guide our further progress on the character.
Chapters: Disk One
1.Overview
2.Base Mesh, Part 1
3.Base Mesh,Part 2
4.Base Mesh, Part 3
5.Base Mesh, Part 4
6.UV Layout, Part 1
7.UV Layout, Part 2
8.UV Layout, Part 3 Chapters: Disk Two 1.Composition/Lighting
2.Sculpting in ZBrush, Part 1
3.Sculpting in ZBrush, Part 2
4.Sculpting in ZBrush, Part 3
5.Maya Shader Set-up
6.Photoshop Color Study Character Texturing and Rendering
The Making of Jester, Volume Two Volume_Two_covers character texturing and shading using Photoshop¬, ZBrush, Bodypaint and Maya, as well as environment creation, lighting and the final composite of the print-res image in Photoshop¬. Jester's 2D line- drawing design does not specify material properties, therefore Alex explores different looks for the various components, settling on weathered leather, metal, cloth and skin. By layering, color correcting and painting over photographic textures, Alex arrives at a photoreal result where each component has its own custom color, bump and specular map. With the character complete, the environment is then designed and created on the fly using Maya and Photoshop¬ for some quick paint- overs to guide the direction. Throughout the making of Jester, Alex shares and explains every step of the process, both technical and aesthetic, making this an invaluable resource for both students and professionals.
filesonic.com fileserve.com
|
