ZBrush設(shè)計(jì)一個(gè)虛擬人物

完成的皮膚細(xì)節(jié)

Step 09: Exporting UVs into Maya

For the UVs, I have the help of ZBrush's UV Master plug-in. Under the UV Master settings, I turn on the polygroups which I created before. This gives me a decent UV. I export the low resolution mesh into Maya, making sure to deselect 'Grp' under the Export menu, as I did previously in step 4. If you don't do this, the model will be exported in chunks. In Maya, I arrange it into four UDIMs (UV tiles) with some UV changes.
對(duì)于UVs，我有ZBrush的UV Master插件的幫助。 在UV Master設(shè)置下，我打開(kāi)之前創(chuàng)建的多組。 這給了我一個(gè)體面的紫外線。 我將低分辨率網(wǎng)格導(dǎo)出到Maya中，確保取消選擇“導(dǎo)出”菜單下的“Grp”，如之前在步驟4中所做的那樣。如果不這樣做，模型將以塊形式導(dǎo)出。 在瑪雅，我把它安排成四個(gè)UDIM（紫外線瓦片）和一些紫外線變化。
After this, I export the model back into ZBrush. As there are no changes made to the mesh, keeping the tool open in ZBrush at its lowest subdivision and simply importing the UV modified mesh into ZBrush will do just fine. 
之后，我將模型導(dǎo)出回ZBrush。 由于沒(méi)有對(duì)網(wǎng)格進(jìn)行任何更改，因此在ZBrush的最低分區(qū)中保持工具打開(kāi)，并將UV修改的網(wǎng)格簡(jiǎn)單導(dǎo)入到ZBrush中將會(huì)很好。
There are a few awesome techniques for creating hard-surface accessories, which wouldn't be possible or efficient without ZBrush. I'll try to explain a few of them. To start with, we need a base, which can be extracted from the body as follows.
創(chuàng)建硬表面配件有一些很棒的技術(shù)，如果沒(méi)有ZBrush，這是不可能或沒(méi)有效率的。 我會(huì)嘗試解釋其中的幾個(gè)。 首先，我們需要一個(gè)可以從身體提取的基座，如下所示。
First we need to duplicate the SubTool and mask the area to extract the mesh from. Use Ctrl+W to assign a polygroup. Now we need to smooth the jagged line of the polygroup border. For this I use the Smooth Groups brush from the Smooth brush collection in the Lightbox. Draw around the jagged polygroup border and hide the other polygroups. Under Tools > Geometry > Modify Topology, press 'Delete hidden', but before applying this remove or freeze all the subdivision levels. Now use ZRemesher with its default setting. Next, choose the 'Half' preset under ZRemesher and press it several times to get the polycount you think is suitable. Adjust it according to your needs. 
首先，我們需要復(fù)制SubTool并掩蓋從中提取網(wǎng)格的區(qū)域。 使用Ctrl + W分配多組。 現(xiàn)在我們需要平滑多邊形邊框的鋸齒狀線條。 為此，我使用“燈光”中的“平滑”畫(huà)筆集合中的“平滑組”畫(huà)面。 圍繞鋸齒狀的多邊形邊框，并隱藏其他多組。 在“工具>幾何”>“修改拓?fù)洹毕�，按“刪除隱藏”，但在應(yīng)用此操作之前，請(qǐng)刪除或凍結(jié)所有細(xì)分級(jí)別。 現(xiàn)在使用ZRemesher及其默認(rèn)設(shè)置。 接下來(lái)，選擇ZRemesher下的“Half”預(yù)置，然后按幾次以獲得您認(rèn)為合適的多邊形。 根據(jù)您的需要進(jìn)行調(diào)整。
From the Stroke menu, under Curve function, select 'Border only' and press Frame Mesh. This will give us a guide curve at the border. Select the Curve Tube brush, click on the existing guide curve, and apply DynaMesh. Smooth the jagged polygroup border and apply DynaMesh as we did above. Unwrap using UV Master, and now we have a clean base to which we can add detail. I select a white color and fillObject. 
從“筆觸”菜單中，在“曲線”功能下，選擇“僅限邊框”，然后按“幀格網(wǎng)格”。 這將給我們一個(gè)在邊界的指導(dǎo)曲線。 選擇曲線管刷，點(diǎn)擊現(xiàn)有指南曲線，并應(yīng)用DynaMesh。 平滑鋸齒狀的多邊形邊框，并按照上述方式應(yīng)用DynaMesh。 使用UV Master打包，現(xiàn)在我們有一個(gè)干凈的基地，我們可以添加細(xì)節(jié)。 我選擇一個(gè)白色的顏色和fillObject。
建模和詳細(xì)的裝甲

Step 11: Detailing the armor

Now we can PolyPaint the mesh using the Surface Noise function, with custom image along with UV enabled. We are going to use Surface Noise just to extract color from a custom image. Set the Strength to 0, Mix Basic Noise to 0, Color Blend to 1, and the color to black. Now apply noise to mesh.
現(xiàn)在我們可以使用表面噪聲功能PolyPaint網(wǎng)格，自定義圖像以及UV啟用。 我們將使用表面噪聲來(lái)提取自定義圖像中的顏色。 將強(qiáng)度設(shè)置為0，將基本噪音混合為0，將顏色混合為1，將顏色設(shè)置為黑色。 現(xiàn)在對(duì)網(wǎng)格應(yīng)用噪音。
I apply a mask based on color intensity and hit Ctrl+W to make a polygroup. I duplicate the SubTool, hide the other polygroups, and delete hidden. I use ZRemesher with its default setting and extrude with ZModeler. Now I've got something with better topology. I use Crease Polygroup, subdivide twice, then Uncrease All. Finally, I subdivide again to get a cleaner edge. With the help of this technique, I create all the armor pieces.
我基于顏色強(qiáng)度應(yīng)用蒙版，并按Ctrl + W進(jìn)行聚合。 我復(fù)制SubTool，隱藏其他polygroups，并刪除隱藏。 我使用ZRemesher的默認(rèn)設(shè)置和拉伸與ZModeler。 現(xiàn)在我有一些更好的拓?fù)浣Y(jié)構(gòu)。 我使用Crease Polygroup，細(xì)分兩次，然后Unlrease All。 最后，我再次細(xì)分，以獲得更清潔的優(yōu)勢(shì)。 在這種技術(shù)的幫助下，我創(chuàng)建了所有的裝甲。
向裝甲添加一些主題細(xì)節(jié)

Step 12: Making a stitch

First we need to create a Curve Insert brush with stitch mesh. Start with a poly converted torus and shape it into letter 'C'. Align it in a way so that it looks like letter 'I', or based on your needs. If it's lying on a surface, then align it that way. From the Brush menu, select 'Create InsertMesh'. From the Stroke menu, choose Curve Mode. Now we have a stitch that can be applied to the character's clothes.
首先，我們需要?jiǎng)?chuàng)建一個(gè)帶針跡網(wǎng)格的曲線插入刷。 從一個(gè)聚轉(zhuǎn)換圓環(huán)開(kāi)始，并將其形成字母'C'。 對(duì)齊它的方式，使它看起來(lái)像字母'我'，或根據(jù)你的需要。 如果它躺在一個(gè)表面上，那么這樣對(duì)齊。 從“畫(huà)筆”菜單中，選擇“創(chuàng)建InsertMesh”。 從“筆畫(huà)”菜單中，選擇“曲線模式”。 現(xiàn)在我們有一個(gè)針腳可以應(yīng)用于角色的衣服。
使用圓環(huán)創(chuàng)建針跡

Step 13: Creating cloth

Now I'll create some fabric. First I do the 'Group by normals' to separate the facing surface by polygroup. I divide it and hide the other groups, then shrink the visibility. I use the Curve function's 'Frame Mesh by Border'. This way I get the guide curve a little inside the surface, which is the perfect area to place the stitches. Later it will be used to create stitches with the Curve Insert brush.
現(xiàn)在我將創(chuàng)建一些面料。 首先，我做“按法線分組”，通過(guò)聚組分離面對(duì)面。 我劃分它并隱藏其他組，然后縮小可見(jiàn)性。 我使用曲線函數(shù)的“邊框框架網(wǎng)格”。 這樣我就可以在表面上看到指導(dǎo)曲線，這是放置針跡的完美區(qū)域。 之后，它將用于使用曲線插入畫(huà)筆創(chuàng)建針跡。
With the Insert brush, click on the guide curve. Under the Brush menu, use the 'Imbed' slider to set the height of the Insert Mesh placement. Use the 'CurveStep' slider to set the distance in between each stitch. Now with more work we can bring out a nice stitch detail. Under Curve Function, you can use Smooth to remove distortion on the guide curve. If any weird result appears after changing the CurveStep value, try pressing Smooth once and then click on the guide curve using the Insert brush. You have to be careful because it also changes the placement of the guide curve little bit.
使用插入畫(huà)筆，單擊指南曲線。 在畫(huà)筆菜單下，使用“Imbed”滑塊設(shè)置插入網(wǎng)格位置的高度。 使用“CurveStep”滑塊設(shè)置每個(gè)針腳之間的距離。 現(xiàn)在有更多的工作，我們可以帶出一個(gè)很好的針跡細(xì)節(jié)。 在“曲線函數(shù)”下，您可以使用“平滑”來(lái)消除引導(dǎo)曲線上的失真。 如果在更改CurveStep值后出現(xiàn)任何奇怪的結(jié)果，請(qǐng)嘗試按Smooth一次，然后使用“插入”畫(huà)筆點(diǎn)擊引導(dǎo)曲線。 你必須小心，因?yàn)樗�也改變了引�?dǎo)曲線的位置。
用繡花細(xì)節(jié)制作布料

Step 14: Final accessories

The belts are created using the CurveStrapSnap brush, and the chain accessories were created with the help of various Insert brushes. The hood and clothes were created using Maya's nCloth, then brought back into ZBrush for detailing. I used the Surface Noise function with a custom alpha image. To UV map all the belts, strips, armors and cloth, I follow the same procedure I used for the body.
皮帶是使用CurveStrapSnap刷子創(chuàng)建的，鏈條附件是通過(guò)各種插入畫(huà)筆的幫助創(chuàng)建的。 引擎蓋和衣服是使用瑪雅的nCloth創(chuàng)建的，然后帶回ZBrush進(jìn)行詳細(xì)說(shuō)明。 我使用表面噪聲功能和自定義的alpha圖像。 紫外線映射所有的皮帶，條，鎧甲和布，我按照與身體相同的步驟。
添加了最終細(xì)節(jié)的模型

Step 15: Displacement output

This character has four UDIMs so we have to follow a special workflow to output any map from ZBrush. We have to create polygroups based on these UDIMs. From the Polygroups rollout, press 'UV Groups'. Now every time we output any map, we have to show only one of these polygroups at a time. At this point I am more concerned about displacement. I output all the displacement maps using following settings.
這個(gè)角色有四udims所以我們必須遵循一種特殊的工作流輸出任何地圖從ZBrush。我們要?jiǎng)?chuàng)建基于這些udims polygroups。從polygroups部署，按“UV組。現(xiàn)在我們每次輸出任何地圖，我們只顯示其中的一個(gè)如果一次。在這一點(diǎn)上我更關(guān)心的位移。我輸出所有的位移貼圖使用以下設(shè)置。
With the help of a special workflow for UDIM in ZBrush, I output all the maps. I want to check if all my displacement details have came along nicely in Houdini, so I export all the meshes into Houdini. I create some basic lighting to check the displacement and also created a Mantra PBR.
在ZBrush的UDIM特殊工作流程的幫助下，我輸出所有的地圖。 我想檢查一下，所有我的位移細(xì)節(jié)是否都在Houdini中很好地出現(xiàn)，所以我將所有的網(wǎng)格導(dǎo)出到Houdini。 我創(chuàng)建了一些基本的照明來(lái)檢查位移，并創(chuàng)建了一個(gè)Mantra PBR。
進(jìn)入Houdini

Step 17: Houdini shaders

I assign Houdini's mantraSurface shader to the body and make a special network to use the four UDIMs' displacement maps with the shader. For this we have to double-click on the mantraSurface to get deep into the shader and find the displacement section.
我將Houdini的mantraSurface著色器分配給身體，并建立一個(gè)特殊的網(wǎng)絡(luò)，使用與著色器的四個(gè)UDIM的位移貼圖。 為此，我們必須雙擊mantraSurface來(lái)深入著色器并找到位移部分。
I create the five nodes shown in the image, and connect them accordingly. Under the default displacement section which comes with mantraSurface, you will find textureDisp already connected to luminanceDisp, RGBDispChannel and texture_value. Disconnect them from textureDisp and connect them with the 'add' node which we created just now. I also change UV Transform's 'Translate x' value based on the UDIM number. I use a value of 0 for the first, 1 for the second and so on.
我創(chuàng)建圖像中顯示的五個(gè)節(jié)點(diǎn)，并相應(yīng)地連接它們。 在mantraSurface附帶的默認(rèn)位移部分下，您將發(fā)現(xiàn)textureDisp已連接到brightnessDisp，RGBDispChannel和texture_value。 斷開(kāi)它們與textureDisp的連接，并將它們與我們剛剛創(chuàng)建的'add'節(jié)點(diǎn)連接起來(lái)。 我還根據(jù)UDIM號(hào)更改UV Transform的“Translate x”值。 我使用第一個(gè)值為0，第二個(gè)值為1，依此類(lèi)推。
設(shè)置位移

As the scale of the model is based on real-world scale, I'll have less trouble getting the displacement and detail which I already achieved in ZBrush. Here you can see the settings for the displacement, and test renders of the model with and without displacement.
由于模型的規(guī)模是基于現(xiàn)實(shí)世界的尺度，所以在ZBrush中我已經(jīng)取得的位移和細(xì)節(jié)將會(huì)減少。 在這里，您可以看到位移的設(shè)置，并測(cè)試具有和不具有位移的模型的渲染。
設(shè)置位移

Step 19: Texture painting

I texture the body using a mix of image projection and hand painting with the various masking features that ZBrush provides. While texturing I use ZBrush's skinShade4 shader. For image projection I use ZBrush's Spotlight function. First we have to import a texture from the Texture menu. Select the texture and press 'Add to spotlight'. The Lightbox might pop out, but turn it off. Now we're in texture placement and editing mode, so place and edit the texture using the circular manipulator. 
我使用混合的圖像投影和手繪與ZBrush提供的各種掩蔽功能進(jìn)行紋理化。 雖然紋理我使用ZBrush的skinShade4著色器。 對(duì)于圖像投影，我使用ZBrush的Spotlight功能。 首先我們必須從紋理菜單導(dǎo)入紋理。 選擇紋理，然后按“添加到聚光燈”。 燈箱可能會(huì)彈出，但將其關(guān)閉。 現(xiàn)在我們?cè)诩y理放置和編輯模式，所以使用圓形操縱器放置和編輯紋理。
Now we need to use two important shortcuts: Z and Shift+Z. Shift+Z will enable and disable Spotlight mode. After turning Spotlight on, the 'Z' key will switch between image-editing and painting mode. For the Standard brush, we must enable 'RGB only' to project color. If ZAdd/ZSub is enabled it will project detail as well. This way I project images to most of the areas of the body.
現(xiàn)在我們需要使用兩個(gè)重要的捷徑：Z和Shift + Z。 Shift + Z將啟用和禁用Spotlight模式。 打開(kāi)Spotlight后，“Z”鍵將在圖像編輯和繪畫(huà)模式之間切換。 對(duì)于標(biāo)準(zhǔn)畫(huà)筆，我們必須啟用“僅RGB”來(lái)投影顏色。 如果啟用了ZAdd / ZSub，它也會(huì)投影細(xì)節(jié)。 這樣我就可以將圖像投射到身體的大部分區(qū)域。
Using the Standard brush with the Color Spray setting and Alpha58 (or a custom alpha), I use the 'C' key to color-pick from existing projected textures and fill the white gaps. This way I get a vibrant color effect from the brush, which is like a real skin texture.
使用標(biāo)準(zhǔn)畫(huà)筆與顏色噴霧設(shè)置和Alpha58（或自定義alpha），我使用'C'鍵從現(xiàn)有的投影紋理進(jìn)行顏色選擇，填補(bǔ)白色空白。 這樣，我可以從刷子中獲得鮮艷的色彩效果，就像一個(gè)真正的皮膚紋理。
開(kāi)始將紋理繪制到模型上

Step 20: Texture detailing

Now with more careful painting, I finish the texturing using various alphas and colors. While painting these areas I choose dark colors to paint the cavity areas compared to relief areas. For this I lower the subdivision and apply 'Mask by cavity', then blur the mask once, then sharpen it again. Then I go to the highest subdivision and start painting.
現(xiàn)在更仔細(xì)的繪畫(huà)，我完成紋理使用各種阿爾法和顏色。 在繪畫(huà)這些區(qū)域時(shí)，我選擇深色來(lái)繪制與救濟(jì)區(qū)相比的腔體區(qū)域。 為此，我降低細(xì)分并應(yīng)用“Mask by cavity”，然后將面具模糊一次，然后再次磨平。 然后我去最高的分區(qū)開(kāi)始繪畫(huà)。
為皮膚添加更逼真的細(xì)節(jié)

Step 21: Painting hard surfaces

For hard-surface texturing I use 'Mask by cavity' the same way, but in addition to that I use two extra brushes. I use the TrimDynamic brush with RGB turned on only, which constrains the painting at the edges only. With this we can get a torn edge effect. I also use the Pen A brush, which creates lines from thin to thick and is good for scratch effects.
對(duì)于硬表面紋理，我以同樣的方式使用“Mask by cavity”，但除此之外，我還使用兩個(gè)額外的筆刷。 我使用TrimDynamic畫(huà)筆，只有RGB打開(kāi)，這限制了邊緣的繪畫(huà)。 有了這個(gè)，我們可以得到一個(gè)撕裂的邊緣效果。 我也使用筆A刷，它創(chuàng)建從薄到厚的線，有益于劃痕效果。

Step 22: Color maps

Later on I'll use these maps as masks for creating layered shaders. Pictured, you can see the color maps for the body. For the specular map, I combine the desaturated color map with the displacement map, then painted and adjusted a few areas in Photoshop.
稍后我將使用這些地圖作為創(chuàng)建分層著色器的掩碼。 如圖所示，您可以看到身體的顏色圖。 對(duì)于鏡面地圖，我將去飽和的顏色圖與位移圖相結(jié)合，然后在Photoshop中繪制并調(diào)整了幾個(gè)區(qū)域。
該模型的地圖到目前為止

Step 23: Area lights

For the lighting setup, I use four area lights. All the area lights' attenuation is on, and the sampling quality is increased for a quality render. One environment light uses an HDR image (marked in the yellow box).
對(duì)于照明設(shè)置，我使用四個(gè)區(qū)域燈。 所有區(qū)域燈的衰減都亮起，并且提取質(zhì)量的采樣質(zhì)量。 一個(gè)環(huán)境燈使用HDR圖像（標(biāo)記在黃色框中）。
模型的簡(jiǎn)單區(qū)域燈設(shè)置

Step 24: Further shader setup

I double-click the mantraSurface shader I created for displacement and open the inside network section. I follow the same workflow for the UDIM that I followed for displacement, but this time I connect the 'add' node to the surface model's 'sss_clr'.
我雙擊我創(chuàng)建的位移和開(kāi)放的內(nèi)部網(wǎng)絡(luò)段的mantrasurface著色器。我跟我的udim位移相同的流程，但這一次我將添加的節(jié)點(diǎn)模型表面的sss_clr”。
更多mantraSurface著色器設(shè)置

Step 25: Further test renders

These are few settings I use for the mantraSurface shader to create skin for the body. Pictured are skin shader tests rendered with the color and displacement maps only, and finally a skin shader rendered with the color, displacement, specular and attenuation color maps.
這些是我使用的mantraSurface著色器為身體創(chuàng)建皮膚的幾個(gè)設(shè)置。 圖為僅使用顏色和位移圖渲染的皮膚著色器測(cè)試，最后使用顏色，位移，鏡面和衰減顏色映射渲染皮膚著色器。
使用新的渲染測(cè)試皮膚著色器

Step 26: Rendering cloth and accessories

See pictured my render settings for the metal and leather surfaces, and some close-ups of the rendered surfaces, including the stitched border detailing and elemental motifs designed at the beginning.
請(qǐng)參見(jiàn)圖示我的金屬和皮革表面的渲染設(shè)置，以及渲染表面的一些特寫(xiě)，包括開(kāi)始設(shè)計(jì)的縫合邊框細(xì)節(jié)和元素圖案。
渲染設(shè)置和結(jié)果

Step 27: Adding facial hair

For the beard I separately output the face as a null to use it as reference to the fur node. Now I created a geometry node, and under it, I reference the 'OUT_beard' using the Object Merge node. In this part I minimize the area more, just to keep it where the beard should be. I paint unnecessary areas and delete based on color. 
對(duì)于胡須，我單獨(dú)輸出的臉作為一個(gè)空使用它作為參照毛皮節(jié)點(diǎn)�，F(xiàn)在我創(chuàng)建了一個(gè)幾何節(jié)點(diǎn)，在它下面，我使用對(duì)象合并節(jié)點(diǎn)引用“OUT_beard”。 在這部分我更多地減少面積，只是為了保持胡須應(yīng)該在哪里。 我畫(huà)不需要的區(qū)域，并根據(jù)顏色刪除。
I create a point node to add the normals so that the curves align with the surface's normal. I create a scatter node to scatter points on the surface. Then I duplicate the lines using 'Copy SOP' on this surface. At the end, I add a Curve Groom node, which will later be used as a guide curve. After adding Curve Groom and grooming the curve, the beard looks more flowing and natural.
我創(chuàng)建一個(gè)點(diǎn)節(jié)點(diǎn)來(lái)添加法線，使曲線與表面的正常對(duì)齊。 我創(chuàng)建一個(gè)散點(diǎn)節(jié)點(diǎn)來(lái)分散表面上的點(diǎn)。 然后我在這個(gè)表面上使用'復(fù)制SOP'復(fù)制行。 最后，我添加一個(gè)曲線新郎節(jié)點(diǎn)，稍后將其用作指導(dǎo)曲線。 添加曲線新郎并梳理曲線后，胡須看起來(lái)更流暢自然。
創(chuàng)建胡子
Let's create a fur node. Under the skin tab I choose the 'OUT_beard' as skin mesh and Curve Groom as a guide. I hide the guides I created before and set the fur parameters as shown in the image. I use the color map for the tip and root color of the fur material, then set the reflection settings as pictured. The results are shown in the test render.
讓我們創(chuàng)建一個(gè)毛皮節(jié)點(diǎn)。皮膚標(biāo)簽下我選擇的out_beard '皮膚網(wǎng)格和曲線新郎為指導(dǎo)。我隱藏了之前創(chuàng)建的向?qū)�，并設(shè)置了如圖所示的參數(shù)。我使用的顏色貼圖的頂端和根顏色的毛皮材料，然后設(shè)置反射設(shè)置為圖。結(jié)果顯示在測(cè)試渲染中。
For the eyebrows and eyelashes, the same technique was used, but for the cloth and armor padding, no guide was needed ? just fur with a different appearance setting. With the combination of fur and cloth displacement, a nice soft cloth effect is achieved.
對(duì)于眉毛和睫毛，使用相同的技術(shù)，但對(duì)于布和裝甲填充，不需要指導(dǎo)？ 只是毛皮與不同的外觀設(shè)置。 隨著毛皮和布料的移動(dòng)，可以獲得很好的柔軟布效果。
使用毛皮節(jié)點(diǎn)添加柔軟的頭發(fā)和面料

For the final image, I didn't do any pass rendering, just simple color corrections and some iris blur for close-ups in post. These renders are straight out of Houdini Mantra.
對(duì)于最終的圖像，我沒(méi)有做任何通過(guò)渲染，只是簡(jiǎn)單的顏色校正和一些虹膜模糊的特寫(xiě)鏡頭在post。 這些渲染是從Houdini Mantra直接出來(lái)的。
完成的Houdini Mantra呈現(xiàn)
完成的Houdini Mantra呈現(xiàn)
完成Houdini Mantra渲染