![]() ![]() ![]() Now you have low subdivision on all your subtools, you can delete the dynamesh versions and save your new tool with only subdivisions. Once you have that done, duplicate your subtool, or if its made out of multiple subtools, duplicate each and zremesh them to get a low poly version that retains form but is in low polygon for transposing later.Īfter you've done that, subdivide each subtool and then project details from your high poly dynamesh subtool. What you would do for this is first sculpt your high poly model without thinking of polygons. Secondly, I was wondering something about dynamesh, are dynamesh models funamentally different from ones you just use subdivision on or are they essentially the same when dynamesh is toggled off? Like, does dynamesh cause any issues with using the transpose tool or anything? Just checking because I'm not entirely sure how it works, just the basics of using it. Firstly, if I'm using Dynamesh what kind of dynamesh resolution would be considered low-poly enough for the transposing part? Is there anything I should be wary of when making the mesh to ensure the process works at the end? I just had some questions about this workflow. lags horrendously on high poly characters and that most people keep a low poly version of the character, pose that then transfer the pose onto the high poly mesh. I found out that trying to use zsphere rigs etc. For more information I recommend visiting the Tutorial Section on Marmoset’s site.Hello, I'm new to Zbrush and one of my modules in college involves making a high-detail character then posing it. From this point, in order to achieve an interesting scene, I tweak the lights and materials. Then you add smaller, weaker lights to fill some areas, reveal details, or soften shadows, and rim lights to frame the silhouettes. You build your lighting setup hierarchically, from the main key light that showcases the most important part of the model, in my case, the face. The main thing with lighting is to use it to lead the viewer to the point you want him to look at. When I finish with my basic material setup, I move to the lighting setup. For extra details I change “Surface” to Detail Normal so I would have a special slot for details, which is a small tileable Normal skin map. For example, for the skin, I need to change the “Diffuse” type to Subsurface Scattering, and “Microsurface” to Roughness. Before I start to set up the materials in Marmoset Toolbag, I try to understand which type of material I have and how to connect all of my maps. No matter what real-time engine you choose to present your project – Unity, Unreal, Sketchfab, or Marmoset – to make it look good you need to set up your materials and lights properly. Marmoset Toolbag – Shading / Lighting / Rendering I like this technique, it’s fast, easy and it works great in combination with multichannel maps from XYZ. ![]() The next step is projecting XYZ Textures. I make two or more passes, each time adding something new to the surface, whatever it is, skin, fabric, or metal. Then I move from one SubTool to another and add more details. At this point I can easily find bugs and fix them before I even start to work. To inspect, I use Substance Painter to check if it baked properly and UV Layouts are good. This is a very important checkpoint, because if I miss something now and dive straight into the details, I can find myself in a situation where I’m spending hours in attempts to find and fix that “something” that I missed. Then, I apply “_high” and “_low” suffixes to them. After that I’m making sure that all of my meshes in ZBrush and Maya have the same names. So now my high-poly SubTools in ZBrush and low-poly meshes in Maya are the same. First thing I do is reproject details from ZBrush to freshly UVed Maya meshes. Now that I have everything with proper UVs, I’m moving forward to add more details. My goal is to make rough blocking as fast as possible, then I can make one or two passes of overall tweaks to pull everything together more tightly.Īs soon as I have my basic shapes and proportions at place I’m ready to move forward. ![]() I often use Dynamesh and for some other parts I use Maya. In this step I work freestyle without any technical constraints.
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