In parallel, we finish preparing our Maya scene for the final render with a quick turntable, some AOV’s for the compositing, and Denoise AOVs.įinally, we quickly explore the bridge between KeyShot and ZBrush, use ZAppLink to finish texturing with Photoshop as well as Maya Arnold Denoiser to denoise our renders. We explore the “ZBrush to Photoshop CC' tool to render a final image if we don’t want to use Maya/Arnold. We connect our color map in AISurfaceShader and finishing our light rig based on some references. We create a background, a simple light rig and see how to set up the displacement in Arnold. It’s time to gather everything from ZBrush and prepare our 3D scene in Maya.

At the end, we will bake and generate the color and displacement map and export everything for Maya. In this class, we explore the polypaint technique. Painting in 3D with ZBrush can be very quick and useful.

Now that there is a solid base with the modeling and UVs, it’s time to add some details with Photoshop and 3D layers, providing the flexibility we need. To end the class, a quick check on everything in Maya with a checker board and fast render in Arnold. An exploration of the UV Master tool and how to quickly create UVs.

With the model complete, the focus is on creating UV’s to be able to create our texture color and displacement map.

There is also an aim to very quickly get all the proportions correct on the elephant.Ĭontinuation of sculpting our elephant, switching from DynaMesh sculpting mode to SDiv sculpting mode in order to add details. SpotLight will be an important feature to help the process. A focus on methodology in ZBrush, with only the five main brushes we will need to create our cartoony elephant.

Maya to zbrush