Difference between revisions of "3D Asset Workflow: Sculpting"

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⬑  [[3D Asset Workflow]]</div>
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Next step: [[3D Asset Workflow: Retopology]] →</div>
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← Previous step: [[3D Asset Workflow: Concepting]]</div>
  
* Previous workflow phase [[3D Asset Workflow: Concepting]]
 
* Next workflow phase [[3D Asset Workflow: Retopo and UVs]]
 
* This site is a part of a series of 3D asset creating process related wiki sites [[3D Asset Workflow]]
 
* For modeling you'll probably find a lot of useful general info on the [[Modo]] site
 
  
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<div style="padding-right: 10px; padding-left: 1000px; padding-top: 60px; padding-bottom: 80px;">
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{{#lst:3D Asset Workflow}} <!-- Link list transcluded from main 3D Asset Workflow page -->
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</div>
 +
= Summary =
 +
* Sculpting means creating a highpoly mesh in e.g. ZBrush, which can then be used as a reference model for the lowpoly mesh
 +
** '''The highpoly mesh is never used in the game as is''', but its information will be baked onto the game-friendly lowpoly mesh
 +
* [[3D_Asset_Workflow:_Troubleshooting#Sculpting|Troubleshooting]]
  
 +
== Sculpting Workflow Steps ==
 +
# [[3D_Asset_Workflow:_Sculpting#Using_a_base_mesh:|Prepare a base mesh in Modo]] OR start with a primitive shape in ZBrush
 +
#* You can also recycle models you have done before to speed up the process
 +
# Make sure you have everything in the '''correct scale''' from the very beginning - it helps to have a character model from the game you are working on as a subtool in your scene
 +
#* ''For reference, the characters in the Trineverse games are 2m tall''
 +
# '''Keep the resolution of the mesh as low as possible at first''', until the '''general shape''' is established
 +
#* Show this version to the AD '''before''' adding more subdivisions and details, as it's '''easier to make possibly required changes at this point rather than later'''
 +
# '''Keep the big picture in mind at all times!'''
 +
#* If your model (or set of models) consists of several pieces, make all of them as a '''rough low res version''' first, NOT one piece at a time from start to finish
 +
# '''Keep checking the asset from the distance in which it's probably seen in the game''', to make sure the '''detail level is not too dense''' and '''the silhouette is readable'''
 +
#* If some of the detail work is smaller than one pixel on the screen, it's be unreadable and might flicker
 +
# Once the asset is otherwise finished, it is usually a good idea to add a layer of '''damage and scratches''' etc
 +
#* Leep in mind the possible mirroring and tiling of the UVs
 +
#** Big dents and other details will repeat if you are not careful!
 +
# Trine style assets should be crooked and not exactly symmetrical, but '''keep the sculpt version symmetrical if possible, so that the retopo is easy to do'''
 +
#* It'll be much easier to have a clean symmetrical sculpt to retopo and bake, and modify the final textured lowpoly mesh to be bent, crooked and unsymmetrical
 +
# Once you are happy with the sculpt, use Decimation Master to make the mesh lower resolution while keeping the details
 +
#* You can '''decimate''' to the point just before it starts to show too much (keep the game camera distance in mind here too)
 +
#** You can use this decimated mesh for both '''retopo in Modo''' and '''baking in the Substance Painter'''
 +
# '''Name all your subtools'''
 +
#* They should have a suffix, e.g. _hp or _high, to separate them from their lowpoly counterparts when [[3D Asset Workflow: Baking|baking]]
 +
# '''[[3D_Asset_Workflow:_Sculpting#Exporting_from_Zbrush|FBX Export]]''' the subtools to one FBX, which contains all your highpoly meshes
 +
#* If the model's scale is off, check [[3D_Asset_Workflow:_Troubleshooting#The_model.27s_scale_is_off_when_exporting_from_ZBrush_to_a_different_program|troubleshooting]]
 +
# '''Import to Modo for retopoing'''
  
* Good sites for more ZBrush info:
+
= Sculpting Tips & Tricks =
**See Pixologic.com : <i>[http://pixologic.com/zclassroom/ GETTING STARTED WITH SCULPTRIS PRO.]</i>
+
* ZBrush can feel a bit intimidating for a beginner, but there are tons and tons of free learning material online
**See Youtube.com : <i>[https://www.youtube.com/results?search_query=zbrush+tutorial zbrush tutorial - YouTube.]</i>
+
<div class="toccolours mw-collapsible mw-collapsed" style="background-color: #f3e9f5; border-width:2px; border-radius:10px; margin: 5px;">
***See Michael Pavlovich (Youtube.com) : <i>[https://www.youtube.com/playlist?list=PLkzopwqcFevYqrk_0MKIaUwrWYILzYsp6 Intro to ZBrush Part 1.]</i>
+
Good sites for more ZBrush info
***See Michael Pavlovich (Youtube.com) : <i>[https://www.youtube.com/user/Pavlovich2005/feed Michael Pavlovich - Playlist.]</i>
+
<div class="mw-collapsible-content">
 
+
** [http://pixologic.com/zclassroom/ ZClassroom]
 
+
** [https://www.youtube.com/results?search_query=zbrush+tutorial YouTube]
= Sculpting workflow steps=
+
*** For example:  
* In the sculpting phase you create a high-poly mesh (a sculpt) of the asset. This version is detailed and performance heavy version and will not be put in to the game as is. It'll be used when retopoing (creating a low poly mesh based on the high poly model) and texture baking (transferring the details of the high poly model to a 2D image texture map that can be assigned to the low poly model).
+
*** [https://www.youtube.com/playlist?list=PLkzopwqcFevYqrk_0MKIaUwrWYILzYsp6 Intro to ZBrush]
* We use ZBrush for this phase as it's the industry standard and has the most features.
+
*** [https://www.youtube.com/user/Pavlovich2005/feed Michael Pavlovich zbrush tricks and hardsurface stuff]
 
+
</div>
# Start '''sculpting''' in ZBrush using a primitive shape as a starting point OR prepare a base mesh in Modo and import it to Zbrush. You can also recycle models you have done before, for example you can use an existing human head as a starting point.
+
</div>
#* Make sure you have everything in the '''correct scale''' from the very beginning, have a character model from the game you are working on as a subtool in your scene. ''For example characters in 9P & Trine 3 are about 2m tall''.
+
* Everybody has their own way of working in ZBrush
# Keep the resolution of the mesh as low as possible at first, until the '''general shape''' is established. Then you can add more subdivisions and start adding detail.
+
** You can use any techniques you want and it's fine, as long as the resulting model looks good!
#* It's often a good idea to show the low res general shape mesh to the AD and get '''approval''' before using a lot of time on the details.
 
#* If your model or set of models is consisting of several pieces, first make all of them as a '''rough low res version''', NOT one piece at a time from start to finish. Keep the big picture in mind at all times!
 
# Keep checking the asset from the distance in which it's probably seen in the game, make sure the '''detail level is not too dense'''.
 
#* If an asset has very small detail it will look bad if the mesh on the screen is super small. If some of the detail work is smaller than one pixel, it's be unreadable and might flicker. Make sure the forms are '''clear to read at the game camera distance'''.
 
# Once the asset is finished, it is usually a good idea to add a layer of '''damage and scratches''' etc. but keep in mind the possible mirroring and tiling of the UVs, big dents will repeat if you are not careful.
 
# Trine style assets should be '''crooked and not exactly symmetrical''', but it's often good to keep the sculpt version symmetrical if possible, so that the retopo is easy to do. It'll be much easier to have a clean symmetrical sculpt and once it's retopoed and baked, you can '''modify the final low-poly mesh to be bent, crooked and unsymmetrical'''.
 
# Once you are happy with the sculpt, use decimation master to make the mesh lower resolution while keeping the details. You can '''decimate''' to the point just before it starts to show too much (keep the game camera distance in mind here too).
 
#* You can use this decimated mesh for both '''retopo in Modo''' and '''baking in the Substance Painter''' but if it seems to slow down Modo (even if you are using the "Import reference" for the FBX) you might want to make a lower res version of the sculpt for the retopo purpose. But make sure you use the nice looking decimated version of the sculpt for the baking part.
 
# '''Export''' from Zbrush & '''Import''' to Modo.
 
#* If you use the '''FBX''' exporting you can keep all the meshes on their right places, no need for the explosion mesh as you can hide the meshes on separate layers of FBX while retopoing and baking.
 
#* There might be problems with '''scale''' when exporting from ZBrush and importing to Modo as ZBrush doesn't use any standard scale system but its own units.
 
 
 
=Sculpting tips & guides=
 
* Everybody has their own way of working in Zbrush, you can use any techniques you want and it's fine as long as the resulting model looks good!
 
* Zbrush can feel a bit intimidating for a beginner but there are tons and tons of free learning material online, check a couple of tips in the beginning of this site
 
  
 
== How to Start Sculpting in ZBrush ==
 
== How to Start Sculpting in ZBrush ==
* Starting sculpting in ZBrush for the first time is not the most intuitive experience
+
* This guide image is meant for people '''who aren't familiar with the program''', so this can make the very first steps much easier
* This guide image is meant for people who aren't familiar with the program so this can make the very first steps much easier
 
 
* Here you can also see one way of customizing your ZBrush layout and the brushes this artist uses most often
 
* Here you can also see one way of customizing your ZBrush layout and the brushes this artist uses most often
** Customizing your layout is really important for quick and smooth working so don't be afraid to do it!
+
** Customizing your layout is really important for quick and smooth working, so don't be afraid to do it!
[[File:How to start sculpting in zbrush.jpg|1000px]]
+
<div class="toccolours mw-collapsible mw-collapsed" style="background-color: #f3e9f5; border-width:2px; border-radius:10px; margin: 5px;">
 +
'''How to customize your ZBrush's layout for better workflow'''
 +
<div class="mw-collapsible-content">
 +
* Editing the positions of the different interface buttons etc can be done in the customization mode: Preferences -> Config -> Enable Customize
 +
** Now with holding CTRL+ALT, you can drag and drop different features from the menus to your custom setup on the sides of the viewport, and rearrange their positions too
 +
* When you are done, remember to turn the Enable Customize mode off and Config -> Store Config and Save UI
 +
</div>
 +
</div>
 +
[[File:How to start sculpting in zbrush.jpg|1000px|center]]
  
== Using a base mesh: ==
+
== Using a Base Mesh ==
* You can use a base mesh you make in Modo before starting the sculpting. You can also skip this part and start in Zbrush from a basic primitive shape of your choosing.
+
<div class="toccolours mw-collapsible mw-collapsed" style="background-color: #f3e9f5; border-width:2px; border-radius:10px; margin: 5px;">
* Base meshes can be useful especially in hard surface modeling, but for very organic models it'll probably be better to skip the base mesh phase.
+
'''Guides for using a base mesh'''
* You can also use some of your old sculpts or models as starting points.
+
<div class="mw-collapsible-content">
** If you often make similar models like humanoid characters you might want to start a library of base meshes to make your work faster.
+
* You can use a base mesh you make in Modo before starting the sculpting
 +
** You can also skip this part and start in ZBrush from a basic primitive shape of your choosing
 +
* Base meshes can be useful especially in hard surface modeling
 +
* You can also use some of your old sculpts or models as starting points
 +
** If you often make similar models, like humanoid characters, you might want to start a library of base meshes to make your workflow faster
  
=== Exporting from Modo ===
+
'''Exporting the base mesh from Modo'''
* Once you have modeled the base mesh, export as FBX from Modo.
 
 
* Separate mesh layers exported from Modo convert automatically to subtools when using FBX, and the scale stays consistent when you use the same format
 
* Separate mesh layers exported from Modo convert automatically to subtools when using FBX, and the scale stays consistent when you use the same format
* In Modo go to Game Tools tab and use the following settings:
+
* Once you have modeled the base mesh, export as FBX from Modo
 +
* In Modo, go to Game Tools tab and use the following settings:
 
** '''Export file:''' FBX 2014
 
** '''Export file:''' FBX 2014
 
** '''Export type:''' Export selected
 
** '''Export type:''' Export selected
** '''Check only:''' Save Geometry (Other settings don't matter at this point)
+
** '''Check only:''' Save Geometry (other settings don't matter at this point)
 
** '''Units:''' Millimeters (might depend on what is set as default units in Modo)
 
** '''Units:''' Millimeters (might depend on what is set as default units in Modo)
 
** '''Scale multiplier:''' 1.0
 
** '''Scale multiplier:''' 1.0
* Then select the mesh layers you want to export and Export As
+
* Select the mesh layers you want to export and Export As
* '''These settings make sure that the mesh scale stays the same in both Modo and Zbrush'''
+
* '''These settings make sure that the mesh scale stays the same in both Modo and ZBrush'''
[[File:Base_mesh_export.jpg|800px|alt=Export settings|FBX export settings for Zbrush and Substance]]
+
[[File:Base_mesh_export.jpg|800px|alt=Export settings|FBX export settings for Zbrush and Substance|center]]
 
 
=== Importing to Zbrush ===
 
* Go to Zplugin > FBX ExportImport > Import, then drag the model to the canvas and select edit mode from the top left menu
 
 
 
== Sculpting a Set ==
 
 
 
* Try to always think about the most optimal way of creating the set
 
** '''Recycle whenever you can!'''
 
** You can save texture space by having tile texture for the whole set or just some parts
 
** You can make a set of only few pieces and use that to build various assets
 
*** For example if you make a chair you can just make one chair leg that looks a bit different from different angles and copy & paste that so that you have four legged chair
 
*** You can then uniquely twist each leg to still make them look different even though they are the same leg asset with the same texture
 
* Optimizing & recycling is the key!
 
[[File:Modular set recycling.jpg| 800px]]
 
 
 
=== How Many Variations? ===
 
* Often with environment assets the task is to sculpt a set of assets that can be used in many ways by the level artists
 
* It can be for example a set of trees or a set of modular pieces like for example fences that can be combined together in several ways to create different arrangements out of the same pieces
 
* Usually with organic stuff like trees, plants, rocks etc. a good amount is '''three different variations''' of the same thing
 
** It always depends on the situation of course, of course in some cases more than three might be needed
 
** '''Having too many variations is also bad because more time is used to make them but not much more value is added to the set'''
 
** '''Don't make extra variations just in case they are needed''', make the optimal amount and once it's used in the game we'll know if more variations are needed, only make them if there is a real need.
 
** If there are 10 different variations of the same rock the level artists will probably only pick about three favorites and use just those as they get the job done
 
** '''The amount of the asset variations should be optimized as well as the geometry of the model'''
 
** Level artists can work wonders even with one good rock asset by rotating and scaling it so three is often plenty enough
 
* To create an optimal set of for example rocks discuss with the level artists and ask what their preferences are
 
** It's important to keep this type of general asset quite general looking as they are used a lot around the levels
 
** If you make three variations of a tree/rock/etc. '''make sure that they are different shape/size with each other''' to get the maximal variation out of them
 
** '''Make the different sides of one asset different looking''', that way you have lots of variation even inside the one asset and it can be copied and rotated to make look like different assets even when it's just one asset.
 
 
 
* One asset viewed from four directions = looks like there are four different assets:
 
[[File:Wrecking ball renders.jpg | 900px]]
 
  
* These three variations of the same type of tree are enough to build a forest, notice how they all have different shape but are still quite general:
+
'''Importing the base mesh to Zbrush'''
[[File:Flowertree combined.jpg| 900px]]
+
# Go to ZPlugin > FBX ExportImport > Import
 +
# Drag the model to the canvas
 +
# Select '''Edit Mode''' from the top left menu
 +
</div>
 +
</div>
  
 
== Sculpting Techniques ==
 
== Sculpting Techniques ==
 
=== Zbrush Tutorial: Panel Loops Ornament Technique ===
 
=== Zbrush Tutorial: Panel Loops Ornament Technique ===
 
* Great technique for creating surface models and ornaments
 
* Great technique for creating surface models and ornaments
* These features are used in this video:
+
** Features are used in this video:
** Panel Loops
+
*** Panel Loops
** Masking
+
*** Masking
** Symmetry
 
** Morph target (kind of a layer that can be "erased")
 
 
 
[[File:Zbrush_tutorial_panel_loops_ornament_technique_01.mp4|1000px]]
 
 
 
== The Form ==
 
* Once again these might come in handy: the Fundamentals of Composition very clearly and shortly explained (Check the links under 3. Composition). <small>See NeilBlevins.com : [<i>[http://www.neilblevins.com/cg_education/cg_education.htm Theory And Techniques.]</i>]</small>
 
* With Trine style in mind:
 
** Things to avoid:
 
*** Straight lines
 
*** Sharp shapes/corners (we want to save those for dangerous bits)
 
 
*** Symmetry
 
*** Symmetry
*** Repetition and monotony
+
*** Morph target (kind of a layer that can be "erased")
** Things to aim for:
 
*** Curvy dynamic shapes
 
*** Asymmetry
 
*** Balance between round, curvy shapes and angular shapes
 
  
===Adding variation to organic models===
+
[[File:Zbrush tutorial panel loops ornament technique 01.mp4|1000px|center]]
* Variation is the key thing when aiming for an interesting look for the asset
 
* Organic assets make it possible to really push the variation
 
* Variation should be present in all shapes, both inside and in the silhouette of the object
 
* There should be different shapes and different scale forms in the asset, also sharp vs smooth forms etc
 
* Make sure you have larger emptier areas and more detailed areas in nice balance
 
* The detail level should not be uniform throughout the asset
 
* Here is an example image of "adding variation to a tree trunk":
 
  
 +
== Morph Brush ==
 +
{{#ev:youtube|https://www.youtube.com/watch?v=B_wKwXwjcZs&t=}}
  
[[File:Tree trunk shapes tips.jpg|800px|Adding variation to a tree trunk]]
+
== Sculpting Tip Gallery ==
 +
<gallery widths=400px heights=400px mode="packed">
 +
File:Overpaint_canon_ornaments.jpg|General direction should be simple and all the forms should support that same flow for a clear and readable, flowing design
 +
File:Straight vs crooked.jpg|Shape language: straight v. crooked
 +
File:Trine Flourish Curve Style Guide.jpg|<i>PHOTO:Multiple [[3D_Asset_Workflow:_Sculpting#Sources|Sources]]</i></small>
 +
File:Trine 3D bolts tips 01.jpg|90 degree angled bolt can look very flat when viewed from top directly, while beveled version looks good and three dimensional from all the angles
 +
File:Trine style details sculpt tips.jpg|Details should have depth and not just look like they are drawn on
 +
File:Tree trunk shapes tips.jpg|An example image of adding variation to a tree trunk
 +
File:Tree fow sculpt 3D flow overpaint 2.png|Tree flow example
 +
File:Tree fow sculpt 3D flow overpaint 1.png|Tree flow example
 +
</gallery>
  
=== General Shape Language ===
+
== Sculpting a Set ==
* Trine style asset shapes should never be strictly straight but a little (or in some cases a lot) crooked, twisted and whimsical
 
* There are no "normal" assets, every asset is interesting and has character
 
* Assets should be stylised and their shapes exaggerated
 
  
[[File:Straight vs crooked.jpg |600px]]
+
* Try to always think about the '''most optimal way of creating the set'''
 +
** Don't create unnecessary unique pieces - '''recycle whenever you can!'''
 +
** You can also '''save texture space''' by having [[3D Asset Workflow: Tile Textures and Trimsheets|tile texture or trimsheets]] for the whole set, or just some parts
 +
** You can make a set of only few pieces, and use that to build various assets
 +
*** For example, if you make a chair, you can just make one chair leg
 +
**** After retopoing and UV mapping it, copy & paste the chair leg so that you have four legged chair
 +
* '''Optimizing & recycling is the key!'''
 +
[[File:Modular set recycling.jpg|800px|center]]
  
=== Flourish curve guide ===
+
=== How Many Variations? ===
* Tips for achieving the nice Trine style curves
+
* Often with environmental 3D assets, the task is to '''sculpt a set of assets that can be used in many ways by the level artists'''
 +
** It can be e.g. a set of trees or a set of modular pieces like fences, that can be '''combined together in several ways to create different arrangements out of the same pieces'''
 +
* With organic stuff like trees, plants, rocks etc., a good amount is usually '''three (3) different variations''' of the same thing
 +
** '''Having too many variations is bad, because more time is used to make them, but not much more value is added to the set'''
 +
** '''Don't make extra variations just in case they are needed''', make the optimal amount and once it's used in the game, we'll know if more variations are needed - only make them if there is a real need
 +
** '''The amount of the asset variations should be optimized as well as the geometry of the model'''
 +
** Level artists can work wonders even with one good rock asset by rotating and scaling it
 +
* To create an optimal set, '''discuss with the level artists and ask what their preferences are'''
 +
** '''It's important to keep general assets quite general looking, as they are used a lot around the levels'''
 +
** If you make three variations of a tree/rock/etc. '''make sure that they are different shape/size with each other''' to get the maximal variation out of them
 +
** '''Make the different sides of one asset look different''', that way you have lots of variation even inside the one asset
 +
*** It can be copied and rotated to make look like a different asset
  
[[File:Trine Flourish Curve Style Guide.jpg|1000px]]<br>
+
* One asset viewed from four directions = looks like there are four different assets:
<small><i>Trine Flourish Curve Style Guide</i><br>
+
[[File:Wrecking ball renders.jpg | 900px|center]]
<i>PHOTO:Multiple [[3D_Asset_Workflow:_Sculpting#Sources|Sources]]</i></small>
 
  
=Exporting from Zbrush=
+
* These three variations of the same type of tree are enough to build a forest
 +
** Notice how they all have different shape but are still quite general:
 +
[[File:Flowertree combined.jpg| 900px|center]]
  
* When your sculpt is finished and decimated it needs to be exported from ZBrush so that a low poly mesh can be created in a 3D modeling program
+
= Exporting from Zbrush =
 +
* When your sculpt is finished and decimated, it needs to be exported from ZBrush
 +
** After that, a lowpoly mesh can be created in Modo via retopoing on top of the highpoly mesh
  
 
== Decimate ==
 
== Decimate ==
* Once you are happy with the sculpt, use decimation master to make the mesh lower resolution while keeping the details
+
* Once you are happy with the sculpt:
* Decimate your sculpt using decimation master in the ZPlugins tab
+
# Use Decimation Master to make the mesh lower resolution while keeping the details
* You'll first need to pre-process each piece and then decimate
+
#* Decimate your sculpt using Decimation Master in the ZPlugins tab
* You can decimate to the point just before it starts to show too much (keep the game camera distance in mind here too)
+
# You'll first need to pre-process each piece, and then decimate
 +
# You can decimate to the point just before it starts to show too much (keep the game camera distance in mind here too)
  
 
== Color ID ==
 
== Color ID ==
 
* Apply solid colors to your sculpt using polypaint (Color > FillObject)
 
* Apply solid colors to your sculpt using polypaint (Color > FillObject)
* This will later be used as an ID map in substance painter, so use the same color when coloring parts that have the same material
+
* This will later be used as an ID Map in Substance Painter, so '''use the same color when coloring parts that have the same material'''
* If you plan to have only one subtool/retopo mesh, you can also use polygroups instead of polypaint for ID's for faster results, but the same polypaint can be applied across subtools whereas polygroups cannot
+
* If you plan to have only one subtool/retopo mesh, you can also use polygroups instead of polypaint as IDs for faster results, but the same polypaint can be applied across subtools whereas polygroups cannot
* Clean up your subtools: figure out which parts of your sculpt will be separated when baking, and group them up under the same subtools
+
# Clean up your subtools
* Name the subtools consistently, as this will be important later on
+
#* Figure out which parts of your sculpt will be separated when baking, and group them up under the same subtools
** Each subtool should have a suffix such as _hp or _high etc. - it doesn't matter as long as it's the same for all of them
+
# Name the subtools consistently
** An example of subtool naming:
+
#* Each subtool should have a suffix such as e.g. _hp or _high - it doesn't matter as long as it's the same for all of them
[[File:Subtools.PNG|alt=Subtools|An example of subtool naming]]
+
#** This is to separate the highpoly models from their lowpoly counterparts when paking
* A hipoly sculpt with different materials masked using polypaint/vertex color:
+
* An example of subtool naming:
[[File:Polypaint.PNG|500px|alt=Vertex color masking|A hipoly sculpt with different materials masked using polypaint/vertex color]]
+
[[File:Subtools.PNG|alt=Subtools|An example of subtool naming|center]]
 +
* A highpoly sculpt with different materials masked using polypaint/vertex color:
 +
[[File:Polypaint.PNG|500px|alt=Vertex color masking|A highpoly sculpt with different materials masked using polypaint/vertex color|center]]
  
 
== Exporting ==
 
== Exporting ==
* You can use either FBX or OBJ for exporting mashes out of ZBrush
+
* You can use either FBX or OBJ for exporting meshes out of ZBrush
* FBX is usually the best option as it keeps the separate subtools as separate layers in Modo
+
** FBX is usually the best option as it '''keeps the separate subtools as separate layers in Modo'''
* OBJ can be used if you only have one merged piece and you don't need to bake any parts separately
+
** OBJ can be used if you '''only have one merged piece''', and you '''don't need to bake any parts separately'''
  
 
=== Exporting as FBX ===
 
=== Exporting as FBX ===
* Export your sculpt using Zplugin > FBX ExportImport  
+
<div class="toccolours mw-collapsible mw-collapsed" style="background-color: #f3e9f5; border-width:2px; border-radius:10px; margin: 5px;">
 +
Exporting as FBX
 +
<div class="mw-collapsible-content">
 +
* Export your sculpt using ZPlugin > FBX ExportImport  
 
* FBX should be used since it retains the polypaint/vertex colors and named subtools in one file
 
* FBX should be used since it retains the polypaint/vertex colors and named subtools in one file
 
* Use the following settings:
 
* Use the following settings:
 
** '''Visible'''
 
** '''Visible'''
** '''Smoothness unchecked''' (Zbrush adds 2 subdivisions to the FBX export for some reason. Unchecking smoothness removes this)
 
 
** '''FBX 2014'''
 
** '''FBX 2014'''
 
** '''bin'''
 
** '''bin'''
 
** '''MayaYUp'''
 
** '''MayaYUp'''
* Then the FBX can be imported to modo for retopo ("Import as reference" option recommended)
+
* Then the FBX can be imported to Modo for [[3D Asset Workflow: Retopology|retopo]]
** There might be some scale issues when exporting as FBX, check the guidelines below to fix that if it happens
+
** In Modo's FBX import dialogue, leave '''load mesh smoothness''' unchecked
 +
*** Zbrush adds two subdivisions to the FBX export - unchecking smoothness removes this
 +
** There might be some scale issues when exporting as FBX, check the [[3D_Asset_Workflow:_Troubleshooting#The_model.27s_scale_is_off_when_exporting_from_ZBrush_to_a_different_program|troubleshooting page]] if this happens
 +
</div>
 +
</div>
  
 
=== Exporting as OBJ ===
 
=== Exporting as OBJ ===
 +
<div class="toccolours mw-collapsible mw-collapsed" style="background-color: #f3e9f5; border-width:2px; border-radius:10px; margin: 5px;">
 +
Exporting as OBJ
 +
<div class="mw-collapsible-content">
 
* One subtool can be exported as an OBJ
 
* One subtool can be exported as an OBJ
* It's done from the Tools menu "Import" and by selecting the file format OBJ
+
* It's done from the Tools menu "Import", and by selecting the file format OBJ
* OBJ format doesn't have layers like the FBX format so if there is only one model or the model consists of several separate models that need to be baked separately it's better to use OBJ
+
* '''OBJ format doesn't have layers like the FBX format'''
* OBJ scales should work nicely when exporting from Zbrush and importing to Modo
+
* OBJ scales should work nicely as is when exporting from ZBrush and importing to Modo
* Then the OBJ can be imported to modo for retopo ("Import as static mesh" option recommended)
+
* Then the OBJ can be imported to Modo for [[3D Asset Workflow: Retopology|retopo]] ("Import as static mesh" option recommended)
 +
</div>
 +
</div>
 +
 
 +
== About export scales ==
 +
* [[3D_Asset_Workflow:_Troubleshooting#The_model.27s_scale_is_off_when_exporting_from_ZBrush_to_a_different_program|Troubleshooting]]
 +
* ZBrush uses Mystery Units™ and doesn't recognize the metric system
 +
** '''What ZBrush calls "scale" is actually the size of the ZTool's bounding box in Mystery Units™'''
 +
* In general, we use millimeters for everything, but other units should work as well - '''as long as they are always the same across all applications'''
 +
** 1 unit -> scaled to 1000 units = 1000mm = 1m
 +
** To fix this, once you are ready to export, go to Tool -> Export -> Scale
 +
[[File:Zbrush fbx export scale.png|ZBrush FBX export scale for a program that uses millimeters as a default scale]]
  
 +
= Updating ZBrush =
 +
* There are two kinds of updates for ZBrush:
 +
** Smaller updates that can be done with the ZUpgrader.exe found in the Program files (For example: C:\Program Files\Pixologic\ZBrush 2022)
 +
** Bigger updates where the version number changes (For example from version 2021 to version 2022) and for these the ZBrush needs to be completely re-installed
 +
* When updating ZBrush to a completely new version, you need to make some effort to get the settings from the old version to the new version
  
==About export scales==
+
== The UI and Hotkeys settings ==
 +
* In the old/current version of ZBrush, make sure all your settings are up to date and saved
 +
** Preferences -> Config -> Save UI
 +
** Preferences -> Hotkeys -> Save
  
* Zbrush uses mystery units and it doesn't recognize the metric system
+
* In the new version of ZBrush you can then load the UI and Hotkeys settings you saved from the old version
* What zbrush calls 'scale', is actually the size of the ztool's bounding box in mystery units
+
** Preferences -> Config -> Load Ui -> Load the file you just saved in the previous version -> Store Config (to save as the default in startup)
* This makes a mess when moving stuff between software with different default units
+
** Preferences -> Hotkeys -> Load -> Load the file you just saved in the previous version -> Store (to save as the default in startup)
** For example: Your mesh is 2 zbrush mystery units™ tall. You import it to Modo, which has millimeters as the default units. The fbx importer converts mystery units to millimeters in a 1:1 ratio. Result: Your mesh is now 2mm tall.
+
 
** You can use Modo's import settings to set the scale right, but another app might use a different scale. Scale discrepancies galore!
+
== Plugins, Custom Brushes, Custom Materials, Custom Alphas ==
* '''Therefore the unit scale should remain the same in all applications'''
+
* Still missing from the latest version are the
** This page uses '''millimeters''' for everything, so those should be used. In theory, other units should work as well, as long as they are always the same across all applications.
+
** Plugins
* The export scale should be in the thousands, so that 1 zbrush unit converts to 1 meter
+
** Custom Brushes
** 1 unit -> scaled to 1000 units = 1000mm = 1m
+
** Custom Materials
 +
** Custom Alphas
 +
# Go to the previous version's startup folder (for example C:\Program Files\Pixologic\ZBrush 2021\ZStartup)
 +
# Copy the custom plugins from the startup folder (for example C:\Program Files\Pixologic\ZBrush 2021\ZStartup\ZPlugs64) and paste them to the new version's equivalent folder (for example C:\Program Files\Pixologic\ZBrush 2021\ZStartup\ZPlugs64)
 +
# Do the same for the Alphas, BrushPresets and Materials and any other possible customized things that you might have in the old version
 +
#* For the ZbBush default things it's best to keep the new things and '''not replace them with the older versions''' in case there might be some changes in the new version
 +
#* For example don't replace the ZStartup -> ZPlugs64 new version folder (For example TransposeMasterData_2022) with the older version (For example TransposeMasterData_2021), those have the version year number in the end for a reason.
 +
# If you start getting some weird pop ups about missing files when opening the new version of ZBrush, it might be that you have some old version folders accidentally copied to the new ZbBush folders
  
=== Setting the export scale ===
+
== Other settings ==
* When exporting from Zbrush, you might notice that your model's scale is off when importing to another application
+
* Document:
* This usually occurs when you export an object that's made completely in zbrush without a base mesh
+
** Adjust up the Width and Height -> Resize to cover the full viewport area
* To fix this, once you are ready to export, go to Tool -> Export -> Scale
+
** Bg color: Range 0
* '''The scale should be in the thousands, meaning 4 digits before the decimal point''', so (usually) multiply it by 1000 (a.k.a move the decimal point 3 places to the right)
+
** Save as Startup Doc (The settings will be saved as default)
* If using a base mesh, as shown earlier, the scale should be fine
+
* Material -> Save As Startup Material
* Now it should work properly in Modo/Painter when exported as FBX
+
** Select a material you want to always be the default when opening ZBrush
* If you did use a base mesh made in Modo in the right scale, don't do this! It should be fine!
 
* If you export as obj, don't do this! It should be fine!
 
* You can bypass this problem, and make your hipoly without a base mesh from start to finish in zbrush, by importing a 2x2x2m cube from Modo to Zbrush, and then appending your sculpts to the cube
 
** The cube can be ignored afterwards. The function of the cube is to initialize the zbrush unit space to sync up with Modo.
 
** After importing the cube, you can check the export scale, which should now show up in the thousands as it should
 
[[File:Zbrush fbx export scale.png|Zbrush fbx export scale]]
 
  
 
= Frozenbyte sculpt examples =
 
= Frozenbyte sculpt examples =
 +
<div class="toccolours mw-collapsible mw-collapsed" style="background-color: #f3e9f5; border-width:2px; border-radius:10px; margin: 5px;">
 +
Highpoly model gallery
 +
<div class="mw-collapsible-content">
 
<gallery widths=300px heights=300px mode="nolines">
 
<gallery widths=300px heights=300px mode="nolines">
  
Line 256: Line 300:
  
 
</gallery>
 
</gallery>
 +
</div></div>
  
 
=Sources=
 
=Sources=
<small>[PHOTO: Trine Flourish Curve Style Guide.jpg] - Source list :<br>
+
<small>
*Img. 1 : Pintrest [accessed June 5, 2018] <i>Barcelona Steel Door.</i> Available at: https://www.pinterest.de/pin/293367363199673143/<br>
+
[PHOTO: Trine Flourish Curve Style Guide.jpg] - Source list :<br>
*Img. 2 : STD Privacy Gates [accessed June 5, 2018] <i>STD Privacy Gates - ALLIED GATE companyALLIED GATE company.</i> Available at: http://www.alliedgate.com/irongates/iron-gate-photos/std-privacy-gates/<br>
+
*Img. 1. [Barcelona Steel Door] https://www.pinterest.de/pin/293367363199673143/ (accessed June 5, 2018)<br>
*Img. 3 : Андрій Метельський [accessed June 6, 2018] <i>Андрій Метельський - Різьба по дереву - різних майстрів. | OK.</i> Available at: https://ok.ru/andry.metelsky/album/582642885456/582712663376<br>
+
*Img. 2. [STD Privacy Gates - ALLIED GATE companyALLIED GATE company] http://www.alliedgate.com/irongates/iron-gate-photos/std-privacy-gates/ (accessed June 6, 2018)
 +
*Img. 3. [Андрій Метельський - Різьба по дереву - різних майстрів. | OK] https://ok.ru/andry.metelsky/album/582642885456/582712663376 (accessed June 6, 2018)
 
</small>
 
</small>

Latest revision as of 08:18, 4 September 2023

3D Asset Workflow
Next step: 3D Asset Workflow: Retopology
← Previous step: 3D Asset Workflow: Concepting


Summary

  • Sculpting means creating a highpoly mesh in e.g. ZBrush, which can then be used as a reference model for the lowpoly mesh
    • The highpoly mesh is never used in the game as is, but its information will be baked onto the game-friendly lowpoly mesh
  • Troubleshooting

Sculpting Workflow Steps

  1. Prepare a base mesh in Modo OR start with a primitive shape in ZBrush
    • You can also recycle models you have done before to speed up the process
  2. Make sure you have everything in the correct scale from the very beginning - it helps to have a character model from the game you are working on as a subtool in your scene
    • For reference, the characters in the Trineverse games are 2m tall
  3. Keep the resolution of the mesh as low as possible at first, until the general shape is established
    • Show this version to the AD before adding more subdivisions and details, as it's easier to make possibly required changes at this point rather than later
  4. Keep the big picture in mind at all times!
    • If your model (or set of models) consists of several pieces, make all of them as a rough low res version first, NOT one piece at a time from start to finish
  5. Keep checking the asset from the distance in which it's probably seen in the game, to make sure the detail level is not too dense and the silhouette is readable
    • If some of the detail work is smaller than one pixel on the screen, it's be unreadable and might flicker
  6. Once the asset is otherwise finished, it is usually a good idea to add a layer of damage and scratches etc
    • Leep in mind the possible mirroring and tiling of the UVs
      • Big dents and other details will repeat if you are not careful!
  7. Trine style assets should be crooked and not exactly symmetrical, but keep the sculpt version symmetrical if possible, so that the retopo is easy to do
    • It'll be much easier to have a clean symmetrical sculpt to retopo and bake, and modify the final textured lowpoly mesh to be bent, crooked and unsymmetrical
  8. Once you are happy with the sculpt, use Decimation Master to make the mesh lower resolution while keeping the details
    • You can decimate to the point just before it starts to show too much (keep the game camera distance in mind here too)
      • You can use this decimated mesh for both retopo in Modo and baking in the Substance Painter
  9. Name all your subtools
    • They should have a suffix, e.g. _hp or _high, to separate them from their lowpoly counterparts when baking
  10. FBX Export the subtools to one FBX, which contains all your highpoly meshes
  11. Import to Modo for retopoing

Sculpting Tips & Tricks

  • ZBrush can feel a bit intimidating for a beginner, but there are tons and tons of free learning material online
  • Everybody has their own way of working in ZBrush
    • You can use any techniques you want and it's fine, as long as the resulting model looks good!

How to Start Sculpting in ZBrush

  • This guide image is meant for people who aren't familiar with the program, so this can make the very first steps much easier
  • Here you can also see one way of customizing your ZBrush layout and the brushes this artist uses most often
    • Customizing your layout is really important for quick and smooth working, so don't be afraid to do it!

How to customize your ZBrush's layout for better workflow

  • Editing the positions of the different interface buttons etc can be done in the customization mode: Preferences -> Config -> Enable Customize
    • Now with holding CTRL+ALT, you can drag and drop different features from the menus to your custom setup on the sides of the viewport, and rearrange their positions too
  • When you are done, remember to turn the Enable Customize mode off and Config -> Store Config and Save UI
How to start sculpting in zbrush.jpg

Using a Base Mesh

Guides for using a base mesh

  • You can use a base mesh you make in Modo before starting the sculpting
    • You can also skip this part and start in ZBrush from a basic primitive shape of your choosing
  • Base meshes can be useful especially in hard surface modeling
  • You can also use some of your old sculpts or models as starting points
    • If you often make similar models, like humanoid characters, you might want to start a library of base meshes to make your workflow faster

Exporting the base mesh from Modo

  • Separate mesh layers exported from Modo convert automatically to subtools when using FBX, and the scale stays consistent when you use the same format
  • Once you have modeled the base mesh, export as FBX from Modo
  • In Modo, go to Game Tools tab and use the following settings:
    • Export file: FBX 2014
    • Export type: Export selected
    • Check only: Save Geometry (other settings don't matter at this point)
    • Units: Millimeters (might depend on what is set as default units in Modo)
    • Scale multiplier: 1.0
  • Select the mesh layers you want to export and Export As
  • These settings make sure that the mesh scale stays the same in both Modo and ZBrush
Export settings

Importing the base mesh to Zbrush

  1. Go to ZPlugin > FBX ExportImport > Import
  2. Drag the model to the canvas
  3. Select Edit Mode from the top left menu

Sculpting Techniques

Zbrush Tutorial: Panel Loops Ornament Technique

  • Great technique for creating surface models and ornaments
    • Features are used in this video:
      • Panel Loops
      • Masking
      • Symmetry
      • Morph target (kind of a layer that can be "erased")

Morph Brush

Sculpting Tip Gallery

Sculpting a Set

  • Try to always think about the most optimal way of creating the set
    • Don't create unnecessary unique pieces - recycle whenever you can!
    • You can also save texture space by having tile texture or trimsheets for the whole set, or just some parts
    • You can make a set of only few pieces, and use that to build various assets
      • For example, if you make a chair, you can just make one chair leg
        • After retopoing and UV mapping it, copy & paste the chair leg so that you have four legged chair
  • Optimizing & recycling is the key!
Modular set recycling.jpg

How Many Variations?

  • Often with environmental 3D assets, the task is to sculpt a set of assets that can be used in many ways by the level artists
    • It can be e.g. a set of trees or a set of modular pieces like fences, that can be combined together in several ways to create different arrangements out of the same pieces
  • With organic stuff like trees, plants, rocks etc., a good amount is usually three (3) different variations of the same thing
    • Having too many variations is bad, because more time is used to make them, but not much more value is added to the set
    • Don't make extra variations just in case they are needed, make the optimal amount and once it's used in the game, we'll know if more variations are needed - only make them if there is a real need
    • The amount of the asset variations should be optimized as well as the geometry of the model
    • Level artists can work wonders even with one good rock asset by rotating and scaling it
  • To create an optimal set, discuss with the level artists and ask what their preferences are
    • It's important to keep general assets quite general looking, as they are used a lot around the levels
    • If you make three variations of a tree/rock/etc. make sure that they are different shape/size with each other to get the maximal variation out of them
    • Make the different sides of one asset look different, that way you have lots of variation even inside the one asset
      • It can be copied and rotated to make look like a different asset
  • One asset viewed from four directions = looks like there are four different assets:
Wrecking ball renders.jpg
  • These three variations of the same type of tree are enough to build a forest
    • Notice how they all have different shape but are still quite general:
Flowertree combined.jpg

Exporting from Zbrush

  • When your sculpt is finished and decimated, it needs to be exported from ZBrush
    • After that, a lowpoly mesh can be created in Modo via retopoing on top of the highpoly mesh

Decimate

  • Once you are happy with the sculpt:
  1. Use Decimation Master to make the mesh lower resolution while keeping the details
    • Decimate your sculpt using Decimation Master in the ZPlugins tab
  2. You'll first need to pre-process each piece, and then decimate
  3. You can decimate to the point just before it starts to show too much (keep the game camera distance in mind here too)

Color ID

  • Apply solid colors to your sculpt using polypaint (Color > FillObject)
  • This will later be used as an ID Map in Substance Painter, so use the same color when coloring parts that have the same material
  • If you plan to have only one subtool/retopo mesh, you can also use polygroups instead of polypaint as IDs for faster results, but the same polypaint can be applied across subtools whereas polygroups cannot
  1. Clean up your subtools
    • Figure out which parts of your sculpt will be separated when baking, and group them up under the same subtools
  2. Name the subtools consistently
    • Each subtool should have a suffix such as e.g. _hp or _high - it doesn't matter as long as it's the same for all of them
      • This is to separate the highpoly models from their lowpoly counterparts when paking
  • An example of subtool naming:
Subtools
  • A highpoly sculpt with different materials masked using polypaint/vertex color:
Vertex color masking

Exporting

  • You can use either FBX or OBJ for exporting meshes out of ZBrush
    • FBX is usually the best option as it keeps the separate subtools as separate layers in Modo
    • OBJ can be used if you only have one merged piece, and you don't need to bake any parts separately

Exporting as FBX

Exporting as FBX

  • Export your sculpt using ZPlugin > FBX ExportImport
  • FBX should be used since it retains the polypaint/vertex colors and named subtools in one file
  • Use the following settings:
    • Visible
    • FBX 2014
    • bin
    • MayaYUp
  • Then the FBX can be imported to Modo for retopo
    • In Modo's FBX import dialogue, leave load mesh smoothness unchecked
      • Zbrush adds two subdivisions to the FBX export - unchecking smoothness removes this
    • There might be some scale issues when exporting as FBX, check the troubleshooting page if this happens

Exporting as OBJ

Exporting as OBJ

  • One subtool can be exported as an OBJ
  • It's done from the Tools menu "Import", and by selecting the file format OBJ
  • OBJ format doesn't have layers like the FBX format
  • OBJ scales should work nicely as is when exporting from ZBrush and importing to Modo
  • Then the OBJ can be imported to Modo for retopo ("Import as static mesh" option recommended)

About export scales

  • Troubleshooting
  • ZBrush uses Mystery Units™ and doesn't recognize the metric system
    • What ZBrush calls "scale" is actually the size of the ZTool's bounding box in Mystery Units™
  • In general, we use millimeters for everything, but other units should work as well - as long as they are always the same across all applications
    • 1 unit -> scaled to 1000 units = 1000mm = 1m
    • To fix this, once you are ready to export, go to Tool -> Export -> Scale

ZBrush FBX export scale for a program that uses millimeters as a default scale

Updating ZBrush

  • There are two kinds of updates for ZBrush:
    • Smaller updates that can be done with the ZUpgrader.exe found in the Program files (For example: C:\Program Files\Pixologic\ZBrush 2022)
    • Bigger updates where the version number changes (For example from version 2021 to version 2022) and for these the ZBrush needs to be completely re-installed
  • When updating ZBrush to a completely new version, you need to make some effort to get the settings from the old version to the new version

The UI and Hotkeys settings

  • In the old/current version of ZBrush, make sure all your settings are up to date and saved
    • Preferences -> Config -> Save UI
    • Preferences -> Hotkeys -> Save
  • In the new version of ZBrush you can then load the UI and Hotkeys settings you saved from the old version
    • Preferences -> Config -> Load Ui -> Load the file you just saved in the previous version -> Store Config (to save as the default in startup)
    • Preferences -> Hotkeys -> Load -> Load the file you just saved in the previous version -> Store (to save as the default in startup)

Plugins, Custom Brushes, Custom Materials, Custom Alphas

  • Still missing from the latest version are the
    • Plugins
    • Custom Brushes
    • Custom Materials
    • Custom Alphas
  1. Go to the previous version's startup folder (for example C:\Program Files\Pixologic\ZBrush 2021\ZStartup)
  2. Copy the custom plugins from the startup folder (for example C:\Program Files\Pixologic\ZBrush 2021\ZStartup\ZPlugs64) and paste them to the new version's equivalent folder (for example C:\Program Files\Pixologic\ZBrush 2021\ZStartup\ZPlugs64)
  3. Do the same for the Alphas, BrushPresets and Materials and any other possible customized things that you might have in the old version
    • For the ZbBush default things it's best to keep the new things and not replace them with the older versions in case there might be some changes in the new version
    • For example don't replace the ZStartup -> ZPlugs64 new version folder (For example TransposeMasterData_2022) with the older version (For example TransposeMasterData_2021), those have the version year number in the end for a reason.
  4. If you start getting some weird pop ups about missing files when opening the new version of ZBrush, it might be that you have some old version folders accidentally copied to the new ZbBush folders

Other settings

  • Document:
    • Adjust up the Width and Height -> Resize to cover the full viewport area
    • Bg color: Range 0
    • Save as Startup Doc (The settings will be saved as default)
  • Material -> Save As Startup Material
    • Select a material you want to always be the default when opening ZBrush

Frozenbyte sculpt examples

Highpoly model gallery

Sources

[PHOTO: Trine Flourish Curve Style Guide.jpg] - Source list :