ZBrush Character Creation - Advanced Digital Sculpting 2nd Edition

■ ZMovie 277 Using Move Topological raise the upper lip into a snarl. You will want to adjust other parts of the face as well s ...

278 chapter 8 ■ ZBrush Movies and Photoshop Composites That completes our tutorial on using the timeline to create animation in ...

■ ZBrush to Photoshop 279 If there were any active ZTools when you resized the canvas, they are now dropped to pixols. Clear th ...

280 chapter 8 ■ ZBrush Movies and Photoshop Composites ZBrush projects will store many settings, including the object’s position ...

■ ZBrush to Photoshop 281 The next render will serve as an Ambient Occlusion pass. Ambient Occlusion renders are used to accent ...

282 chapter 8 ■ ZBrush Movies and Photoshop Composites With the model now masked by Cavity, make sure you are on the Flat Color ...

■ Photoshop Compositing 283 Figure 8.31 A selection mask image created with the flat color material and different color selectio ...

284 chapter 8 ■ ZBrush Movies and Photoshop Composites Switch back to basicMaterialColor.psd and paste the image from occ.psd i ...

■ Photoshop Compositing 285 Figure 8.36 The original base layer duplicated and reduced in opacity to help mute the color Figure ...

286 chapter 8 ■ ZBrush Movies and Photoshop Composites Figure 8.39 Place the matte layer at the top of the stack. Painting Eyes ...

■ Photoshop Compositing 287 Figure 8.42 The iris after further adjustments before reflections are added The following technique ...

288 chapter 8 ■ ZBrush Movies and Photoshop Composites Figure 8.43 Lasso a selection in this shape on the eye. Figure 8.44 Brush ...

■ Photoshop Compositing 289 Background At this stage the character head is simply floating in space. We want to give it a neutra ...

290 chapter 8 ■ ZBrush Movies and Photoshop Composites point of the image in sharper focus than the other regions (Figure 8.49). ...

■ Photoshop Compositing 291 Depth of Field We are now at the final stage. As one last touch to help add more realism to the imag ...

292 chapter 8 ■ ZBrush Movies and Photoshop Composites We’ll use this depth grab to calculate depth of field. Choose Filter → B ...

■ Photoshop Compositing 293 Neville Page: Creature Designer Here we see a series of expression studies for a character design by ...

Chapter nine ...

Normal Maps, Displacement Maps, Maya, and Decimation Master After sculpting and painting your character in ZBrush, you may want ...

296 chapter 9 ■ Normal Maps, Displacement Maps, Maya, and Decimation Master corresponding point on the high-res mesh that matche ...