Page 44 - 3D Artist 110 - 2017 UK
P. 44

Expert advice from industry professionals, taking you from concept to completion
                                                     All tutorial files can be downloaded from: filesilo.co.uk/3dartist





                                Render a high-poly




                                character model



          JOSH RIFE
          The Surgeon, 2017
          Software              with KeyShot
          Maya, ZBrush,
          KeyShot, Photoshop
          Learn how to
          •  Create compelling renders  Learn how to iterate quickly on complex models while having full control
          •  Speed up your      over creating captivating and powerful results in KeyShot
           high-poly worklow
          •  Tell a story using mood
           and colour            n this tutorial, we’ll cover a variety of techniques for   Detail in ZBrush Once a shape is modelled for a
                                 improving render quality in KeyShot, as well as approaches  02  silhouette, it graduates to the detailing phase.
          •  Achieve more believable
           render results      Ito increase modelling speed and eficiency when working   Duplicate the piece in the Maya scene (to preserve the
          •  Light scenes using multiple   with complex characters. Instead of a character tutorial for   pre-smoothed version), smooth as needed and bring in to
           HDRIs in KeyShot
                                real-time output, or something that prescribes conventional   ZBrush. For many pieces, as shown here where the main body
          •  Composite renders
           in Photoshop         baking pipelines, we’ll look at what goes into creating a killer   of the mask connects to the ilters, the process involves pulling
          •  Create and strengthen    single-image presentation, similar to cover art for games or   two smoothed pieces into ZBrush, and DynaMeshing them
           visual focal points  ilm. The skills taught in this tutorial will help you recognise   together into one SubTool before detailing. This enables
          Concept               how to cater your pipeline to your speciic output, stay within   smooth, easily controllable connections between complex
          I chose this beautiful concept   a reasonable project scope and install stop-gaps in your   hard-surface shapes, without compromising any of the
          by Aaron Beck because it   pipeline so that you can iterate quickly – all while staying   intended component quality. After DynaMeshing at a
          immediately stood out as
          strange – full of this odd, alien   nimble enough to have control over the mood and focal    resolution suficient to maintain edge idelity, the detail pass
          allure that felt fresh and   points of the inal presentation.     can commence. This involves using masks and alphas to
          interesting. It was also sure to
          provide ample opportunity to                                      generate detail, create edge intrusions and build more
          learn pipelines and new    Maya for shapes Planning for eficiency in the pipeline   interesting connections between pieces.
          approaches through varied
          software, as well as a chance   01  at the start of a project is always beneicial. A great
          to explore worklows outside   way to speed up any model-heavy project is to divide the   Assemble in ZBrush Once a piece has been detailed in
          of the normal constraints of
          my standard day-to-day as an   modelling into two phases: foundational shapes and details.  03  its own ‘scene’, it graduates once again to become a
          environment artist.   This pipeline ends up being very similar to the popular   SubTool on the larger character, where it is attached to the rest
                                ProBoolean and DynaMesh method.             of the model. At this stage, a lot of educated decisions about
                                  The purpose of the irst phase is to rely on standard high-   where to detail existing pieces can take place. This enables you
                                poly modelling in Maya to quickly obtain the overall shapes and   to see where the silhouette begins to fall apart, which, in turn,
                                edge thicknesses for each piece. At this stage, the goal is to   informs the creation of new pieces or edits to existing SubTools.
                                build out the main shapes, and to capture any modelling that   It’s best to work in the scene with the entire character so that
                                would be faster in Maya than in ZBrush. Basic cut-ins and   deciding what to detail comes from seeing the big picture, as
                                transitions for hard angles are handled here as well, allowing   opposed to hyperfocusing on a single piece. This habit will
                                for consistent and less cumbersome edge control.  always save time, and render results that are more cohesive.
                                01                                          02








                                                                            03




                 YoUR
                 FREE
           DownloaDS
           from ilesilo.co.uk/3dartist
           •  Tutorial screenshots

      44
   39   40   41   42   43   44   45   46   47   48   49