ZBRUSH教程
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sunliang
17年4月1日
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幻想生物制作教程

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高端角色人物制作

包含109節(jié)視頻教程
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用于商業(yè)的高端人物制作系列教程，可以做為宣傳海報級別的人物制作高級教程,使用了全新的制作軟件，包含silo、maya、mari、nuke等，是非常專業(yè)和不可多得的高端角色教程。

我將解釋我想出的想法這幻想生物和完成它的皮毛和頭發(fā)。

In the making of Slashcorch the Slayer I will explain how I come up with the idea for this fantasy creature and finish it up with the touch of fur and hair.

Step 01: Idea and concept sketch

第01步：概念和概念草圖

The first rough thought was captured as a ZBrush quick sketch quite awhile ago. Later it was modified and finalized to the current design. I gathered lots of references based on my original rough sketch, such as werewolves, Krampus, Sasquatch and lots of alien creatures. Using these I tried to blend them to come up with this design. The intention was not to create completely furry creature but rather with a little fur to give soft feel, along with muscles and veins. Part of the job was getting used to Houdini fur.
第一個粗糙的思想在ZBrush中很長一段時間。后來，它被修改，并最終到目前的設計。我收集基于我最初的草圖參考文獻很多，如狼人，Krampus，野人與外星生物很多。使用這些我試圖混合他們想出這個設計。意圖不是創(chuàng)造完全毛茸茸的動物，而是有一點皮毛給柔軟的感覺，以及肌肉和靜脈。

From rough ZBrush sketch to final design

從粗糙的ZBrush草圖到最終設計

Step 02: Modeling

步驟02：建模

With a very rough idea I started the sketching process in ZBrush using Dynamesh128 project from LightBox.
一個非常粗略的想法，我在使用燈箱dynamesh128項目ZBrush開始寫生過程。

DynaMesh128

First I tried to shape a ribcage, from there I mask neck and arm area and invert the mask. Then I used the TransPose Move tool to pull out the head and arm portion for later sculpting. For the leg I used CurveTube brush. As it is already DynaMesh all I had to do Ctrl>Drag to blend the tube with the body. To get the right shape I used Move and Clay Buildup for form building and Dam_Standard for relief and sharper detail.
首先,我試圖塑造一個胸腔,然后我用了轉(zhuǎn)置移動工具退出頭部和手臂部分雕刻。我用腿CurveTube刷。因為它已經(jīng)DynaMesh我要做Ctrl >拖混合管與身體。得到正確的形狀我使用移動和粘土形成建筑形式和Dam_Standard救濟和更清晰的細節(jié)。

Brush uses for shape and form building

用于形狀和形狀建筑的刷子
From Dynamesh128 Sphere I try to reach certain look of a character using TransPose, Move, Clay Buildup, Dam_Standard and Standard brushes with the help of masking. Once I was happy with the basic shape, I added the Inflate brush into the process to change or make the shapes more appealing.
從Dynamesh128球我試圖達到一定的品質(zhì)使用轉(zhuǎn)置,移動,粘土堆積,Dam_Standard和標準筆刷的幫助下屏蔽。一旦我很滿意的基本形狀,我增加了膨脹刷成過程改變或使形狀更有吸引力。

Modeling Process

建模過程
With the final design done I take the mesh into Maya, match it to the real world scale and start retopology. With the help of Maya tools and ZBrush's ZRemesher tool I finish the retopology process. Edge loops around the eye area, mouth and different joints were maintained in a way so that model can deform perfectly while animating.
最終完成我的設計進入到Maya中，匹配到真實世界的規(guī)模和啟動的拓撲。借助Maya的工具和ZBrush的zremesher工具我完成拓撲的過程。

眼睛區(qū)域，嘴巴和不同的關節(jié)邊緣使用邊循環(huán)工具，使模型可以變形完美，同時可以制作動畫。

Retopology process

拓撲的過程
I did all the UV seams in Maya and imported it back to ZBrush to unfold the UV using ZBrush's UV master while enabling Polygroups. However, before that I made the Polygroups in ZBrush based on Maya's UV seam. With the unfold done, I arranged (in Maya) it into four UDIMs with some UV changes.
我做了所有的UV接縫在Maya中，然后回到ZBrush中用unfold 展開UV。

UDIMs

Now this model is ready for skin detailing.
現(xiàn)在這個模型已經(jīng)準備好皮膚細節(jié)。

Skin detailing with brushes

皮膚細節(jié)筆刷
Smooth brushes play an important role for creating texture and details including blending the brush strokes. For example the Smoothpeaks brush can smooth a stroke's relief details keeping the indent detail intact. Also try to vary Z intensity while using it.
光滑筆刷對于創(chuàng)建紋理和細節(jié)，包括混合畫筆筆畫起著重要的作用。例如，smoothpeaks刷可以平滑中風的浮雕細節(jié)保持了完整的縮進。同時嘗試改變Z強度，同時使用它。

Skin detailing with Smooth brushes

光滑筆刷皮膚細節(jié)

The final sculpt

最后的造型

Step 03: Displacement Output

03步:位移輸出

This creature has four UDIMs so I follow a special workflow to output any map from ZBrush. I have to create polygroups based on these UDIMs (UV Tiles). From Polygroups rollout press UV Groups. Now every time we output any map, we have to show only one of these Polygroup at a time.
這種動物有四udims所以我遵循特殊的工作流輸出任何地圖從ZBrush。我要創(chuàng)建基于這些udims polygroups（UV瓷磚）。從polygroups推出新聞UV組�，F(xiàn)在我們每次輸出任何地圖，我們只顯示一個PolyGroup一次。

UDIMs based polyGroups

基于UDIMs polyGroups
At this point I was more concerned about displacement. I output all the displacement maps using following settings.
在這一點上，我更關心位移。我輸出所有的位移貼圖使用以下設置。

Displacement setting

位移設定
With the help of a special workflow for UDIM in ZBrush, I output all the maps. I wanted to check all my Displacement details so I exported all the mesh into Houdini 14. Did a basic lighting to check the Displacement and also created Mantra-PBR.
I Assigned the Houdini's Material Shader Builder to the body and did a special network to use the four UDIMs displacement maps with the shader. You have to double click this shader and get into it to create all nodes.
借助一種特殊工作流在ZBrush UDIM我輸出所有的地圖。我想檢查我所有的位移細節(jié)，所以我輸出到Houdini 14所有網(wǎng)格。做了一個基本的照明檢查Mantra-PBR創(chuàng)建的位移也。我分配 Houdini材料材質(zhì)建造者對身體和做了一個特殊的網(wǎng)絡使用四個UDIMs位移地圖著色器。

Material Shader Builder network

材質(zhì)著色器生成器網(wǎng)絡

UDIMs setup nodes

UDIMs設置節(jié)點

UDIMs setup nodes connected

UDIMs設置節(jié)點連接

UDIMs optionSetUp

As I have maintained the scale of the model ? which is based on real world scale ? I will have less trouble to get the Displacement and detail which I already achieved in ZBrush. Here is a test render with displacement only.
我一直保持著模型的規(guī)模嗎？哪個是基于現(xiàn)實世界的尺度？我將得到的位移和細節(jié)我已經(jīng)達到需要更少的麻煩。這里是一個測試渲染位移。

Step 04: Texturing

步驟04：紋理

Body texturing was done with brushes using various masking feature that ZBrush provides. While texturing I used ZBrush's skinShade4 shader, using Standard brush with color spray setting and Alpha 58 or custom alpha I pick different color for different places and start painting. This way I get the vibrant color effect from the brush.
身體變形是用ZBrush刷子掩蔽，而我使用ZBrush的skinshade4材質(zhì)貼圖，使用標準筆刷和顏色噴設置和α58或自定義α我選擇不同的顏色不同的地方,開始繪畫。這樣我就可以從畫筆獲得充滿活力的色彩效果。

First texturing pass

變形
Bake the PolyPaint into texture and bring back to Photoshop. Made different color variation of the same texture and reveal each other using layer mask in different places.
Polypaint為紋理帶回PS圖象處理軟件。在不同的地方用不同的圖層制作不同的顏色變化，并使用不同的圖層蒙版。

Photoshop editing

PS圖象處理軟件編輯

Final texturing pass

最終變形傳遞

Final Color map

最終的彩色地圖
Specular map was made using mask by cavity feature in ZBrush and combination of displacement map.
高光貼圖是使用面膜在位移圖ZBrush和組合型腔特征。

Final Specular map

最后鏡面映射

Final displacement map

最終位移貼圖

Final render without fur

最終渲染沒有皮毛

tep 05: Shading and lighting

tep 05:陰影和照明

I used seven area lights. All the area lights attenuation is on and sampling quality is increased to 5 for quality render. And one environment light with HDRi was used for light distribution from all angles. This gives a global Illumination effect.
我用七個區(qū)域燈光。所有的燈衰減和取樣質(zhì)量增加到5質(zhì)量呈現(xiàn)。和一個環(huán)境光和HDRi用于從所有角度分布。這給全球照明效果。

Final light positions and settings

最后的光位置和設置
For the skin I created a custom shader in the following way.
為皮膚我創(chuàng)建了一個自定義材質(zhì)以以下方式。

Basic shading network

基本的材質(zhì)網(wǎng)絡

Final shading network

最后一個材質(zhì)網(wǎng)絡
Some close-up renders to check SubSurface Scattering effect
一些特寫鏡頭呈現(xiàn)檢查地下散射效應

Some close-up renders to check SSS

一些特寫渲染檢查SSS

Step 06: Fur

06的皮毛

In Houdini 14 I used a custom setup for creating the fur for this creature. In this setup I can specify the area where I want fur, using paint node and scatter line at that area. And connect it to Curve Groom for further modification. Finally I use it as a guide for the Fur node.
In Houdini 14 中我使用了一個自定義設置來創(chuàng)建這個生物的皮毛。在此設置中，我可以指定區(qū)域，我想毛皮，使用油漆節(jié)點和散射線在該地區(qū)。并將其連接到曲線的新郎進一步修改。最后我用它作為毛皮節(jié)點的指南。

Fur guide setup process

毛皮指南安裝過程

Fur guide setup tree

毛指導安裝樹
To create a fur node go to the skin tab and choose the mesh_OUT as skin mesh, (which are low res mesh compared to rendered mesh) and Curve Groom as guide. I hide the guides I created before and set the fur parameter
創(chuàng)建一個毛皮節(jié)點去皮膚選項卡并選擇mesh_OUT皮膚網(wǎng)格,(低res網(wǎng)相比呈現(xiàn)網(wǎng))和曲線新郎指南。我隱藏指南之前創(chuàng)建并設置毛皮參數(shù)

Fur parameter setup

毛皮參數(shù)設置
To color the fur I used Mantra Surface shader and used the color map as diffuse color.
皮毛顏色我用咒語表面材質(zhì)和使用漫射顏色的彩色地圖。

Final render with fur

Step 07: MultiPass setup or extra image planes

07年步:多通道設置或額外的圖像平面

MultiPass setup is done very simplly in Houdini 14. Select the Mantra node under OUT network view and go to the extra image planes tab. Do the following setting.
多通道設置在 Houdini 14.做得很簡單。做以下設置。