Form and Space

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3D Texturing Volume II

3D Texturing – Volume II

Matthew | August 23, 2013

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  • Price: $40.00
  • Length: 10 hours 27 minutes
  • Release Date: August 2013

3D Texturing will give you the essential skills you need to take your modeling to the next level. From film to games to medical visualization to any other CG 3D industry, this training will guide you from simple primitive objects to complex processes between Maya, Zbrush, and Photoshop. Matthew will show you how to create objects for both film and game, and clearly delineate the differences between processes. Matthew will take you through two very challenging processes. First is the high polygon to low polygon retopologizing process needed for game artists, utilizing xNormal and Zbrush for the maps and Maya for the retopo. The second, Matthew lifts the fog on a tough Maya-to-Zbrush-to-Maya process of transferring highly detailed displacement maps from Zbrush to objects in Maya. He will take you through hours of Photoshop skills needed for the texture artist, and show you how to accurately tile textures, height maps, and more from photographic references, and frequently used tools for the texture artist. If you have no experience in Maya, then I highly recommend you download and train with Matthew’s Intro to 3D Modeling in Maya before beginning your 3D Texturing training. If you have no experience in Zbrush or Photoshop, no worries, Matthew will give you the information you need in these videos. It helps tremendously to have previous experience with traditional or computer generated painting, drawing, and sculpting in clay. This training is designed to meet the needs of a 16 week semester, and is a freshman/sophomore level course. There’s 16 hours and 20 minutes of training. If you do everything this training has to offer, then this training should take you approximately 300 hours to complete. It’s my advice you start at the beginning and work you’re way toward the end.

In chapter 5: part 3 you will be able to sculpt an apple in Zbrush to better understand the process of texturing in Zbrush, be able to differentiate where to begin the sculpting process based on your projects needs, import reference using a spotlight, brush sculpt the apple, deform the apple, insert a mesh, manage the point count, be able to decide when to retopologize and have a broad understanding of the software involved, retopologize the apple in Maya, and unwrap the apple in Zbrush.

In chapter 5: part 4 you will be able to paint the color maps and normal maps using Zbrush, create a reference in Zbrush using a spotlight, object, and layers, tweak materials and lights in ZB to match photographic reference, color pick from custom palettes, polypaint the apple using a variety of brushes, paint using projection master, use the 2.5D brushes, develop a process of painting based on traditional techniques, differentiate dry and wet brushes, effectively use airbrushing, change stroke types, how to address details, perturb the surface using noise, masks, and deformers, and make alphas from masking.

In chapter 5: part 5 you will be able to export lowres and hires models from Zbrush for occlusion map generation in xNormal, export color and normal maps from Zbrush, create a bump map from an alpha image, apply the maps in Maya, analyze the real-time results, and modify maps for Maya. Then, you will be able to produce a rotten apple in Zbrush, able to navigate and use the interface of xNormal, produce color, normal, occlusion, and cavity maps using xNormal, adjust scale for xNormal, tweak maps from xNormal to Photoshop for further adjustments, make variations from existing maps, reuse shaders in Maya for new variations, and render it in realtime.

In chapter 6: part 1 and 2 you will be able to create seamless tiling textures from photographic reference, create tilable textures from challenging images with perspective distortion, visible highlights, and shadows, create tiled textures with and without visible tiles, analyze and make meaningful visual decisions to adjust textures removing visible patterning, use a grid line or mirroring method, remove distortions, create one-way, two-way, and repeatable rotating tiled image, and tile images with challenging large objects, like stone.

In chapter 6: part 3 you will be able to differentiate a diffuse map and a height map, create height maps from photographic reference, use noise alphas, then, import height map to Maya, apply height map for displacement, analyze test renders and tweak render settings effectively, differentiate Maya Software displacement and Mental Ray displacement rendering, know where Mental Ray nodes live, and clip displacements.

In chapter 6: part 4 you will be able to access the scale of a texture for use as an alpha map in Zbrush, create alphas in Photoshop for use in ZB, effectively test alphas, experiment with alpha designs, paint objects from alphas, use projection master to paint objects and alphas, use alphas in masks, and create seamless tilable textures and alphas using Zbrush’s canvas. In chapter 7: part 1 you will be able to layout a render scene using all previously created objects, tweak real-time display, create a lighting setup with spotlights and dome with textures, adjust and use final gathering, frame and crop using multiple cameras, model a final object landscape for displacement maps, and know the basic displacement rules for a Maya-ZB-Maya workflow.

In chapter 7: part 2 you will be able to create a displacement map in ZB for use on a mesh in Maya, prepare a mesh for export and displacement painting, apply the rules of displacement, create a test displacement, setup all settings in Maya for highly detailed displacements, effectively use tilable height maps as alphas in Zbrush, polypaint landscape using all previous tools and masks, create final render settings, adjust shadows and lights effectively, and create final images for presentation.

In Chapter 8: Part 1 you will be able to utilize Maya and Zbrush for a fast unwrapping process for complex objects. Also, you will be able to transfer UVs from an object-to-object in Maya, and identify uncommon issues with UV transfer and how to fix the issues.

In Chapter 8: Part 2 you will be able to create texture maps, control layers for color reference, use spotlights, control brushes, use polygroups for masks, use masks for detailing, and observe Matthew’s painting process in Zbrush.


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