![]() ![]() Using the live boolean feature like this really indicates how much of a game-chafer it really is throughout a lot of Zbrush workflows. ![]() ZBrush’s NanoMesh lets you to inhabit parts of a model with instanced geometry easily. The trick involves using the new live booleans feature in Zbrush 4R8, Nanomesh, and Surface Noise. ZBrush trainer Ryan Kingslien offers some insights into using the new feature, specifically a quick trick that can be used ivy environmental artists. One way that an Environment Artist can use this program to create a concrete column using Booleans, Nanomesh, and Surface Noise The addition of the new live booleans feature in the latest release might be the pinnacle of all that modeling exploration of the past. We have witnessed features such as ShadowBox and others be worked into the application with some degree of success. They seem to keep trying to add the definitive workflow for model creation within a sculpting application. Straight up modeling has been a workflow that Zbrush has been dancing around for a long time now. She pretty much is a breath of fresh air for the tv industry when it comes to shooting dark skin tones, she used some very interesting lighting techniques worth of learning.ZBrush has always excelled at sculpting. Reflected light, instead of direct light, works very good on dark skin, as I learned reading Ava Berkofsky articles (Director of Photography for the Emmy Winning HBO Series “Insecure”). ![]() I used light blockers (not in this shot), the strong light reflected by the jacket was stealing too much attention from his face, which I also brightened up through a reflective panel placed on his right side. I used a grey ball and mirror ball all the way through the project to help me with the lighting process. ZBrush, Substance Painter/Designer and Photoshop is a must (use of additional 3D and 2D programs is a plus). You want a consistent light yes, but you can over expose the shot very easily. Sculpting and texturing artistically appealing and technically sound realistic characters, working closely with the Art Director in order to balance artistic quality and project technical specifications. I wanted to be very cautious with the skin, when it comes to dark tones small changes make big differences and I had to be very gentle while tweaking my lights. It was great and refreshing to sculpt the model with light, to decide exactly where I wanted the shadows on his face and change his expression just by moving one light. Creating rusted metal, stucco, chipped paint, battle damage and more is just a click away with Surface Noise. You can apply noise to your whole model or only to the selected areas. I didn’t touch the model in the 2 shots, it is the identical unchanged mesh, but in Setup 2 it seems like he is looking outside the frame, when in Setup 1 it seems like he is looking straight at the photographer. Surface Noise gives you the ability to create looks that would be impossible or too time consuming to model. It is also beautiful to notice how the angle of the lights affects the perception of where he is looking. I cranked up exposure and levels here to show the difference between the 2 lightings more clearly. I added a top light to bring back some of the skin details.
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