Archive

Lesson Outline (12 lessons)

In this course we will cover many of the methods for working between ZBrush 4 and Maya. 

ZBrush and Maya are both very powerful 3D applications that each offers its own strengths. By combining these two programs into our workflow, we can take advantage of those strengths to get our work done quicker and more efficiently. In this course, we'’ll cover many of the tools and techniques we can use to merge Zbrush and Maya into our workflows. We'll explore methods for manually transferring geometry back and forth between the two applications. We'll also look at creating color maps, Normal maps, and Displacement maps, and transferring those to Maya. We'll look at the GoZ pipeline and how it will make working with Zbrush and Maya a really seamless process. We'll also look at some practical reasons for choosing to use Maya and Zbrush in tandem. In the end, you'll have a good understanding of how you can work efficiently between Maya and Zbrush, leveraging the strengths of both to create your best work. 

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In this course we'll use ZBrush to build and detail a high resolution biker character.

ZBrush is a great tool for putting together characters. You can create base geometry, sculpt and paint your meshes, build accessories and clothing, and work seamlessly between other applications. In this course, we'll go through the process of building up a high resolution character from start to finish using ZBrush as our main application. We'll explore the use of zSpheres in building out our base mesh. We'll use GoZ to quickly take geometry between ZBrush and Maya, although the methods used will apply to other applications as well. We'll also use a bit of Photoshop to edit and create some texture maps we can use in ZBrush to add sculpt and color detail. If you're new to ZBrush, I encourage you to first check out the introductory courses, as well as the courses on some of the new features in ZBrush 4 like Shadowbox and Spotlight. We're going to cover a lot of ground and, in the end, you'll have a finished character, along with the tools you need to create your own high resolution character models.

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• 26 lessons from the eponymous site for the AE and 3ds Max
• All project files are attached
• unfortunately sound a little trouble in terms of emphasis Honourable Shoaib Khan and low audio bitrate
• Despite the fact that Shoaib somewhere plagiarism (which he admits), often come across very useful things

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In this series of lessons we'll learn how to turn a 2d image into a 3d scene using camera projection in Maya and Nuke. By using a reference photo inside Maya and using Nuke's powerful compositing tools and 3d environment, we'll be able to create realistic scenes quickly and easily.
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In this course we will explore methods for building realistic hands using Maya and Mudbox.

Hands are one of the most expressive parts of many of the characters we create. Because of this, a lot of time should often be spent focusing on the hands. There are, of course, a nearly infinite number of styles in which to build a hand. In this course, we will concentrate on a hand that can go with a more realistic character. We'll start by talking a little about the proportions and anatomy of hands. Then we'll go over tools and methods for creating base geometry with topology that will help in sculpting and animating. Then we'll take the mesh into Mudbox and begin sculpting high-resolution details such as skin wrinkles, knuckles, and skin textures. Finally, we'll take our geometry and maps out of Mudbox and back into Maya. Once you've completed this course, you'll have a much better idea of how to go about building hands for your characters and how to create the detail you need in a useable state.

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