The 4R7 updates brings 64-bit power and box modeling, making the integration of the KeyShot Bridge into the existing pipelines even more powerful for those looking to create high-quality renderings of their final models. The flexibility of the award-winning software has made it the tool of choice for wide range of 3D artists ranging from concept design and illustration to toy manufacturing, product design, jewelry design and motion graphics. It enables users to sculpt, texture and paint in a highly-customizable workspace. ZBrush is one of the most versatile among stand-alone freeform modeling applications. Here is what “KeyShot for ZBrush” will bring ZBrush users. Pixologic has provided a discussion board with details on the announcement. Color adjustments, textures, and glow effects are added to tie the piece together.Today, Pixologic announced ZBrush 4R7 at the first ever ZBrush Summit and with it the news that the 64-bit version will come with “KeyShot for ZBrush” directly integrated inside ZBrush allowing users to quickly visualize their models as they work. The final image is assembled in Photoshop using the render passes. The various render passes used for this image Step 06: Setup in Photoshop Finally, I usually render my area (physical) light passes since they require more sampling. Curvature pass, choose 'Curvature' in any Material Texture slot this pass lets you apply scratches and rust in Photoshop using the Color Range selector or Magic Wand tool. Clown pass: enable 'Clown pass' in the Render settings. Rim light pass: choose the velvet material this pass lets you mask your own rim light in Photoshop. Importing and setting up the model in KeyShotĮxamples of my render passes – these took 6-10 minutes each without Area or Object LightsĪO (ambient occlusion) pass: choose the 'All white' HDRi, pick a white diffuse material, and set Gamma to 1. In the Camera tab, I simply save my camera angles, apply a depth of field and choose a field of view. I try to find a background at this early stage because it helps me to integrate the model in the scene. (If I need more lights, like a rim light, I'll add them in later passes.) I choose a suitable backplate if possible (pictured in the lower right corner). I use a common HDRi and tweak some settings around, rotating the lighting until I find one that makes my volumes easily readable. I import my meshes into KeyShot and test materials on them. Posing and preparing the model for KeyShot Step 04: Setting up in KeyShot Sometimes I decimate the model before exporting it but KeyShot is pretty good with heavy meshes. Then I merge every piece that I know for sure will share a common material (see pictured). Once finished, I assemble all my ZTools together and I pose the result with Transpose Master. Sculpting further details and placing IMMs Step 03: Posing and separating materials You can see that the tibia is only one piece that I blocked roughly, then polishedĬutting the model into pieces and starting the polishing phase I use more SubTools in complex focal areas like the face I tend to work this way when I will be reusing a part all over a model. Once finished, I place them around the character, like the thruster for example. ![]() I work on some smaller parts individually and in an Orthographic view. For example, the head has many SubTools, the arms less, and the legs even less. In areas with less focus, I tend to use fewer SubTools. Still, most of my SubTools are DynaMeshes. In each ZTool, I work with many SubTools, so when I'm working on an area that will be focused on (like the head) it'll be easier to polish. ![]() I sometimes even merge many SubTools together, even if it destroys the subdivs. I reassemble the undecimated ZTools at the end before the posing phase. I temporarily decimate completed meshes while working on other ZTools. ![]() I work with many different ZTools (see colors pictured) for smoother navigation in ZBrush. I don't put much detail or polish at this point, and I use very few brushes.īlocking out the basic forms, without too much detail Step 02: ZTools and SubTool management I start blocking in ZBrush and use anything (ZSphere, sphere, base mesh, etc) and I explore shapes until I find a theme or a visual language that I want to replicate all over the model. It'll be followed by the polishing phase, then posing, then rendering in KeyShot. Blocking in ZBrush is the first stage, since it is when I conceptualize my model. In this making of I will take you through my workflow for creating sci-fi mech concepts. Marco Plouffe gives us an insight into his dynamic mech design, W.A.S.P., made with ZBrush, KeyShot, and Photoshop
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