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![]() No jailbreak is required for this to work. If you are a regular. Music Downloader App - Free downloads and reviews. Download and convert You. Tube videos to AVI, WMV, MOV, MP4, and 3. ![]() ![]() How to texture and light a complex 3. D figure. Conceptualising a female character can be a really complex task, especially if the base is made by directly sculpting in 3. D without having a perfectly defined idea of the final result. I often use ZBrush to make heads, bodies and armour in the sketching phase, modifying the sculpture and the pose as I go along in order to work towards that perfect concept. I particularly like to create different helmets, also using big wigs to give an exotic touch of the sci- fi or fantasy to the character. To add more realism, I try to use as many details as I can in the mesh, and I sometimes work excessively on every detail and the textures. The most important aspect of a scene is, in my eyes, the light as with it I can make it hard or elegant as needed. ![]() I then use Maya to finalise my projects, inserting my models as works in progress to test the lights and shadows, and then modifying the scene accordingly for the best results. For this cover art I decided to create a sweet character, with the peculiar detail of the pipes inserted in the head, giving the impression she was inspecting something to the right. I wanted to use a dominant colour – pink – to underline the impression of a gentle and gracious girl.. ZBrush is a digital sculpting and painting program that has revolutionized the 3D industry with its powerful features and intuitive workflows. Become a ZBrush Insider Don't miss out. Sign up to access exclusive tools, tutorials and giveaways available only to our subscribers. With this documentation you will be able to quickly get started with ZBrush & ZBrushCore, understand basic concepts and explore the user interface. Contact and view available positions at Pixologic - Makers of ZBrush. Find ZBrush Retailers, and stores that offer prodcuct sales, pricing and purchase. 3D World Digital artist Daniele Scerra reveals how to use Maya and Photoshop to give your ZBrush illustration added impact. Images and tutorials representing a cross section of the development cycle of ZBrush.Start with a sphere. Start by sculpting a basic head shape. Using a Dyna. Mesh sphere with low resolution, start by sculpting a basic head shape. Using the Move brush, push inside the eye sockets and extrude shapes to resemble the nose and mouth. Keep the Dyna. Mesh details very low at this stage, as you don't want to add details but just obtain a general shape that follows the shape of the facial muscles. For the mouth, mask the inferior (lower) lip and extract the superior (upper) lip. Detail the nose and lips. Using the Clay brush to start adding details to the nose and lips. The face still doesn't have an interesting or beautiful shape, so it's important is to start adding details to the nose and lips. Using the Clay brush, create more decisive shapes and then add small details around the nose, especially the nostrils, pushing the mesh to the inside. Add some depressions above the lips and move both cheeks and chin with the Move brush following hypothetical skull bones, and then move the cheekbones to create the eye sockets. Adding ears and eyes. Add two spheres as references for the eyeballs, and a cube for the ears. Using the Append subtool add two spheres as references for the eyeballs, and then start to sculpt the eyelids and the general shape around the eyes. Next, add a cube and deform it until it approximates the shape of an ear, then melt the geometries using Dyna. Mesh and define the inside hole for the ear auricle. Next, start to add details using the Pinch brush – this tool will be helpful for defining both the eyes and mouth. The neck and shoulders. Use the Append brush to add a cylinder and a sphere. After defining the face in a more feminine way, raising the cheekbones and adding dimples around the mouth, use the Append brush to add a cylinder and a sphere, which will later be reshaped with the Move brush. Using Dyna. Mesh, merge the first part of the body with the roughly modelled neck, inserting the shape of the clavicles and sternomastoid muscles. Then add volume to the shoulders and breast, leaving a generic geometry shape. Creating a helmet. Now for the fun part.. For me, creating the helmet and pipes is the fun part. Use the Curve Tubes brush to insert the pipes. At this point I'm still sketching, but my goal is to get an understanding of the general look. Add a cube using Append, and then with the Move and Clay brushes massage the shape until it sort of resembles cat ears. Using the Clay and Mallet brushes, add round shapes and then mechanical- looking ones. Finally, add a monitor screen for the pipes to plug into. Arms and hands. Using Symmetry, try to find the best position for the hands before you transform the mesh and start to sculpt. This time I chose to use ZSpheres to work on the arms and hands. Using ZSphere enables me to rapidly see the sketch I have in my mind. I choose to pose the hands near the chest, to cover the body and give a more sensual pose. In my idea, the hands will also play with the pipes, as a model would with her hair. Using Symmetry, try to find the best position for the hands before you transform the mesh and start to sculpt. Retopology. Once you've determined the high- res model, rebuild the mesh with low- polys to create the relative UVOnce you've determined the high- res model, rebuild the mesh with low- polys to create the relative UV. Always try to approach retopology with different angles. For the face I like to use a more traditional and longer method, which is also useful for inserting vertices where I want them. For the helmet I use a faster method: I start to trace the curves with the Topology tool at the points where there should be loops, then I rebuild the mesh with ZRemesher. UV and mapping. Select the front and the back parts of the head and helmet as separate mesh parts. For the UVs I use Maya. As she is an android, I select the front and the back parts of the head and helmet as separate mesh parts. In Maya, use the Planar Mapping Projection (set to Project From) in front of the face and then, and use Cutting Edge down the vertical axis, use Unfold to open the UVs correctly. Next, I export the models to ZBrush where I use a photo reference to paint and project textures over the surface, extracting the maps as 4. K meshes. 0. 9. Photoshop textures. Develop the textures extracted from ZBrush to create more contrast for the helmet. Using Photoshop, it's time to develop the textures extracted from ZBrush to create more contrast for the helmet and generate the SSS, specular and diffuse maps. I also create the textures for the eyes, paying particular attention to them and the face. I want the gaze of the viewer to look directly at the character's face. This part takes time, as it requires parallel lighting work, which may vary the texture map. I'm aiming for a non- photorealistic look. Lighting and shading. Start to set the lights over the base geometry, with a Lambert material. Once you're happy with the model's pose and have created the textures, start to set the lights over the base geometry, with a Lambert material. Using mental ray, set a background IBL with an HDRI image and three area lights – one to the left, one to the right and one at the front. After experimenting and finding the right mood, replace the materials using the Misss Fast Skin Shader for the skin and the Mia Material X Passes for the rest of the models. Render passes. Pre- compositing is useful to test the scene before creating the high- res image. I always try to set a fast scene, to render in a few minutes at an average definition. Maya's Render View rendering is already quite interesting, but I can get more useful passes for the final composition, to create a better effect. In mental ray I choose these passes: Beauty, Depth, Ambient Occlusion, Color, Diffuse, Specular, Reflection, Shadow, Shadow Raw, and Fresnel Object ID. Pre- compositing is useful to test the scene before creating the high- res image. Comp in Photoshop. The background is essential and influences the overall image and character composition. Searching for the optimal composition, I test the various passes in Photoshop, even though the image is still low- res and the passes are not completely rendered. I want a look that resembles an illustration rather than a photo, so I play with the lights until I hit the correct mood. The background is essential and influences the overall image and character composition. Small details, such as the serial number tattoo over the arm, are added in Photoshop. Words: Daniele Scerra. A 3. D artist and graphic designer and illustrator since 1. Daniele Scerra has worked in film and special effects. His work has appeared in magazines, books and trade publications. This article originally appeared in 3. D World issue 1. 80. Pixologic > Categories. Become a ZBrush Insider. Sign up to access exclusive tools, tutorials and giveaways available only to our subscribers. Guitar Pro 7 is a tablature editor software for guitar, bass, and other fretted instruments. 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Download software, free trials, free software for students and educators, and viewers for 3ds Max files. Thinking of producing a cool 3D model or animation? It could be a simple task if you apply the right 3D animation rendering and modeling software and practice the. There is also a handful of 3DS Max Lighting Scripts and Plug-ins available to make lighting more of a drag and drop thing thereby speeding the process of completing a. 3D models and textures for free to download, Poser, Studio Max, Bryce, Lightwave, Maya, find all your modeling or game needs, links are for free 3D model and 3d programs. This is Kanak and I want to explain you here exclusively on tonytextures. MAX by using VRay rendering engine with a bit of Photoshop correction of the RAW rendering afterwards. I would love to call my approach rendering through the eye of a photographer. I think this is the best way for you to learn how to render without knowing a thousand of parameter. I will go through following steps to explain my method: Modeling the scene. Creating the materials for the scene. Select your camera view. ![]() Set up the lighting day or night. Remember: Because of we are using the photographic way we do not need to change the lights default parameters a lot. Instead we can manage it with the camera. Choose the correct camera exposer. This is really important because with right exposer I mean right shutter speed, F- number and ISO (parameters that determine photos in real live) It is important to understand that a physical camera in VRay needs to be set up just like the real worlds DSLR cameras. The post production is the last step – but it is a really important one! Every photographer tries to get the most out of his photos in Photoshop, so do we. Therefore I save my rendering in RAW format to have full control in Photoshop afterwards. Before we start I want to give a small shoutout to our free “open. Archi. VIZpack” we use for a lot of our archi viz tutorials. We put together here 6. And you are even allowed to use it for commercial projects – so no excuse anymore to grab it now: 3. D Model of a Standard Office Room. OK – so let. I also put in some basic 3. D furniture low polygonal models – nothing special. You will find it via Customize> Preferences on the “Gamma” tab. Because we want to to render a RAW image (physically correct) we deactivate with this step the increase of brightness which will normally automatically be created because the screen itself will reduce the brightness again. Background information for geeks: Almost every computer monitor has one thing in common. They all have an intensity to voltage response curve which is roughly a 2. Don’t be afraid, this just means that if you send your computer monitor a message that a certain pixel should have intensity equal to x, it will actually display a pixel which has intensity equal to x ^ 2. Because the range of voltages sent to the monitor is between 0 and 1, this means that the intensity value displayed will be less than what you wanted it to be, but we want the real values because we export the result as RAW and correct it in Photoshop afterwards. OK, if you understood this part you made the hardest part, if not – it does not really matter . It is a complete level of an office building but for this tutorial we only concentrate on one single office room. Open the material editor (shortcut M) and pick an unused material. For the dining table top I created an easy marble material, but you can use also another texture of your choise. Tileable marble texture image as “Diffuse Map”Change the color of the reflection to white. Reflection Glossiness: 0. Subdivs: 2. 56. One is a SS Stell metal material and the other one looks just like simple white plastic. See the settings I made in the screenshot: 7. Glossiness value: 0. You are even allowed to use the texture for your commercial projects! Free Download: High Resolution and Seamlessly Tileable Strip- Parquet Floor Texture. I use the texture also as diffuse map in 3ds MAX and add afterwards some glossiness and reflections: Set reflection color to light white. Activate “Fresnel reflections”Refl. Glossiness value: 0. Subdivs: 1. 01. 1. To do so, select Create> Camera> VRay (from drop down menu) > physical camera. Then choose a nice camera position. To do so create a VRay plane light by selecting Create> Light> VRay> VRay Light. Afterwards modify the parameters like shown in the screenshot: 1. To do so select Create> Light> VRay> VRay. Sun and set the target inside of the window. When you are going to create a sun you need to confirm the upcoming dialogue (. If you want to make your image brighter then you have two possibilities (like you would have with your DSLR- camera as well): You can lower the f- number. You can change the shutter speed for the camera. Four Most Important Parameters of a Physical Vray Camera. Let me explain the four most important parameters of a physical Vray Camera: Shutter speed: Stutter speed can control the brightness of your scene. More light = brighter image. Or the other way around a faster shutter speed give less light pass – the image becomes darker. In real life your image can have blur effects when the shutter speed is too long and your scenery is in motion. But in 3ds MAX it will not have an blur effect because nothing is moving. F- Number: F- number is the parameter of your cameras aperture. A lower f- number mean wider aperture and thus more light = brighnter image. A higher f- number means a narrow aperture and thus less light = darker image. It is important that it affects the depth of field but in VRay if you are not using the depth of field effect then that also doesn’t matter. ISO: ISO is the film speed. Higher ISO = bright image, lower ISO = dark image. In real life a higher ISO can cause a noisy image but not in a VRay physical camera. White balance: It means to identify the right white color for camera. You can make it neutral in VRay. So finally you see that the physical VRay is even more powerfull as a real world DSR camera and does not have some major disadvantages. Render Setup for VRay and Indirect Lightning. After this short detailed description I change some parameters in the Render Setup to achieve a fast, but also realistic result.– Common Settings: Set Output Size to “HDTV (video)”– VRay Settings: Activate: Frame buffer/Enable built- in Frame Buffer. Activate: Global switches/Lights and Global switches/Shadows. Select: Image sampler (Antialiasing)/ Type: Adaptive DMCActivate Image sampler (Antialiasing)/Antialiasing filter: on and select VRay. Triangle. Filter. Select: Color mapping/Type: Exponential and make settings like shown in the screenshot blow– Indirect Illumination: Activate VRay Indirect Illumination. Select Irradiance map as GI engine under Primary bounces. Select Light chache as GI engine under Secondary bounces. Set parameters at Detail enhancement. Set Subdiv to 1. 50. Calculation parameters. Activate Store direct light at Calculation parameters. Activate Pre- filter under Reconstruction parameters and also “Use light cache for glossy rays” with a Retrace threshold of 1. Settings: Set Min samples to 1. Set noise threshold to 0. Set Dynamic memory limit to 7. MBAnd finally activate Low thread priority. See the complete parameter setup shown below: 1. Here we go! 1. 8. I’ll love to handle this at Photoshop. But of course you can also make additional enhancements by changing the shutter speed and f- number at you VRay physical camera directly. Okay here we are in Photoshop. Go to Filter> Camera raw filter: 1. It is self explaining and you will get a feeling for the parameters just by testing these out by yourself. See my parameters I ended up with here: 2. Vray tutorials for 3. Ds Max. The Aversis V- ray tutorials are widely known for their in depth explanations while remaining very easy to follow and to understand. They don't sum up a bunch of settings, but instead explain every step along the way, telling you how and why, in human language. V- ray is one of the best renderers you will find to create extremely photorealistic 3. D images. It is a render plugin originally for 3. D Studio Max, but currently also available for Maya, Rhinoceros 3. D, Google Sketchup, Cinema. D and many more. The Aversis tutorials are all for the 3. D Studio Max version, but since many of the features are similar for each package, you will be able to learn some of it even when using a different host package. Please don't translate or copy these tutorials elsewhere. 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