The lowpoly will have UVs but no texture yet. The highpoly will have polypaint information in it and no UVs. Save both the highpoly and lowpoly meshes. This workflow is designed to introduce UVs only at the last possible stage, because you don't want them around when you're sculpting your millions-of-polys mesh, they take up resources and slow you down.Īnother alternative way to work is to sculpt, polypaint (all without UVs), then create a lowpoly mesh as I described, and give it UVs.
#Remeshing in zbrush 4 zip#
Seems like a lot but you'll zip through it after only a little bit of practice. Go to the lowest subdivision where your lowpoly mesh is, and export that as a collada file for Secondlife. And, it's here that you can export it as a PNG, to start working on it in Gimp or whatever you like (if desired). In the texture palette you can flip the texture vertically (needed for SL) with a button. The texture pops over to the Texture palette. You will see a texture appear there in the box. While on the highest subdivision, go Texture->Create from Polypaint. Use polypainting features, Spotlight, etc. Subdivide the lowpoly model until you are at approximately 4 million polygons again Use UVMaster to automatically create UVs for the lowpoly model (this is where you decide where the seams will be) Run zRemesher a second time on this, and see if you get an even better result! (often you do) You get something with millions of polys.ĭecimate to about 15-20k points (or whatever is enough to make sure you keep almost all your detail in the model) Sculpt your model using all your favourite Zbrush techniques, Dynamesh etc. That's the way you can get your UV seams to go exactly where you want! Btw, sculpting hair and clothing was one of the things that set the masters and the amateurs apart in ancient Greece classic sculpture So don't give up on it, you can get amazing results the more you practice!įor your final result lowpoly, you can use this step by step ZBrush workflow: These don't need to be precise at all, just a general ballpark "line" painted on will do fine, since the UVMaster process is still fully automatic. The idea there is that you can attract seams to areas which are "darkened" by ambient occlusion, and/or also freehand paint areas that you want to protect from seams or attract your seams to. Watch a Pixologic video or any short tutorial about it and you'll be up and running. In ZBrush, you would do so with the UVMaster plugin. There is definitely a way to move the UV seams to wherever you want. There is next to NOTHING specifically for modeling hair- it's all on the general character.
#Remeshing in zbrush 4 free#
If you have any tips or tricks, please feel free to post them. (The current mesh is currently one face?) I applied a basic hair texture to it, as I'm currently reading up on polygroups and uv unwrapping for faces. Here is an image of the mesh (the 11k version), sized and attached (not rigged) on a dummy avatar. O= I was reading (I don't remember where) that when you do modeling for SSL, don't do anything that adds triangles. Is there a way to trim off verts that I don't want, without creating a hole? O= When I get to the tips of my hair, they turn into flat, panel like shapes, and I can't inflate them. O= I don't know how much a normal SL hair is suppoed to be vertex wise? When I first imported it, it was land impact was 36 (or 11k polys) now, I've uploaded it at land impact 18 (5k polys). I've been using Dynamism and Decimation Master for lessening the amount of active points. I'm running into a few issues, and I was hoping that someone might be able to help me? Here's my problems: I don't have a background in AD modeling, but I do have a bit in clamoring, so forming the mesh isn't generally problematic.
#Remeshing in zbrush 4 how to#
Hello everybody! I'm working on learning how to sculpt mesh hair in Zbrush (4r6) via this forum, youtube, and tutorials that I can find.
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