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14-02-2005, 02:58
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חבר מתאריך: 07.04.04
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שיעור במידול: מלך השדים
השיעור הזה שאני מביא לכם הינו שיעור המיועד למודליסטים הבינוניים ומעלה שבכם.
אלה שכבר יש להם את הידע ברוב שיטות המידול וכלי המידול השונים.
האמן מידל כאן באופן פנטסטי את מלך השדים או השטן או איך שתקראו לזה.
לקוח מהאתר המקצועי http://www.cgtalk.com הוא השתמש בתוכנות שונות אך מאוד מעניין
לקרוא כיצד הוא הגיע לתוצאה הסופית:
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I had a desire to create Lord of Darkness in 3D for a long time, but I didn't feel I had the skill and/or tools to accomplish what was to me a lofty goal. With Zbrush and messiah I felt that I at least had the tools now and so I decided to see what I could accomplish with what I had, which at the time I really didn't know for sure. I did decide to go with a multi-displacement approach. Currently, ZBrush maxes out at 8 million polygons for one model, but to get TV/Film quality detail for close-ups or half-body shot you need at least 2 million just for the head alone. With multi-displacement there is no max limit, you can go easily over the 8 million limit, In my case I hit about 20 million, which to be honest I didn't really take advantage of. But if you need hi amounts of displacement detail this is currently the only way to get it, but there are issues to tackle, which I hope to explain in this making of.
1. Prep Work
I take a artist pad and pencil with me almost everywhere. It is my way to visual workout and plan what my course of action would go. I believe everyone should do prep work, research into what you are trying to create. I first looked online for images of LoD that I could use, but found very little, so I order Legend from amazon and used it as my main source. What I ended with after multiple viewings of the movie was sketches after sketches of LoD and notes to go along with the sketches.
2. Modeling - Modo
I created the base model in Modo 1.0.2 beta. Some of the tools were very useful like the distance falloff "magnet" while using element move tool. The whole body model was made in 4-5 hours. The horns were made from a cylinder primitive and I scale the tip down using falloff and scale. I also used the interactive bend and twist deformer tools to shape the horns. I also used the interactive tube tool to make the stringy material along the shoulder. The cape was another case of using deformers to shape as I modeled the details in.
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I have a character modeling tutorial on Nevercenter's site for those interested in taking a look here is the link http://www.nevercenter.com/index.ph...cter%20Modeling
3. UV - Blender -> Multi-UV Modo
UV unwrapping is usually a whole job onto itself sometimes. Blender was recommended to me for their new LSCM (Least Squares Conformal Map) UV tool. http://www.blender3d.org/cms/UV_Unwrapping.363.0.html
I have to say it was relatively easy to use Blender for this task. You have to go into edit mode and highlight edges that you want to mark. It is like outlining patchwork. However, initially I had very odd result, but I figured out that to get proper unwrapped UVs I had tried to mark the edges to create simply-type projection, flat or cylinderical. LSCM is great for getting distortion-less UVs scaled properly so even the disconnect UV groups matched properly along the proportion of the seams
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Freaking Sweet!
Last edited by tjnyc : 01-17-2005 at 08:21 PM.
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4. Setting up Multi-UV Groups in ZBRUSH
I import the OBJ formatted model into ZBrush. The first thing I did was to activate the frame visibility for the mesh. It didn't at first recoginze the multi-UV layout. I had to go into polygroups and click on UV Groups. Once that was done, the frame displayed by color the different UV groups.
Please be aware that ZBrush doesn't like open models or models with "holes". You will get strange spikes along them if you sculpt on them which are almost impossible to fix, so close any open holes or seams in your model before importing them into Zbrush.
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Next I went into ZPlugin and selected the Multi-Displacement ZScript. The first button is GetMeshInfo which if you press it should bring up a list of separate tiles, which should correspond to the exact number of UV sets you laid out.
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You could also try mask selection with ctrl+shift and click a particular UV group. If all is okay it should also mask properly with the UVs you created.
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[Notes for non-messiah users]
A couple of things to keep in mind, general things that you should do normally before sculpting. Make sure the SUV button in geometry is on, so you get smooth UV. Also, store the original base mesh as a morph as ZBrush tend to smooth out the low-resolution model when you start increaing the division levels. This is if you plan on using the original model as your base mesh in a separate application for rendering and not an exported base model from ZBrush.
5. Sculpting in ZBRUSH - Multi-Displacment - Multi-Object
Here you just sculpt away, blocking the main shapes and details. Increase the subdivision level to you reach a max, usually hitting about 1.5 million or 2. Try to kept below 2.5 million polygons. ZBrush is very unstable around 2.5 million and above. However, if you do need to go past 2.5 million or really don't have a choice, ZBrush instability is manageable. A few tips, save often and in different iterations, I lost one of my work while saving when ZBrush crashed on me, but since I had an older version marked dark_v1, I didn't lose all my work. Another tip, mask out parts that you are not working on, as ZBrush will perform sluggish trying to update the drawing for a 2.5+ million polygon model. ZBrush is an amazing app, but it is still "human". Also, save before jumping to a higher subd-level or lower subd-level, I often had crashes during such actions. Crashes aren't welcome, but luckily most of the crashes were predictable and avoidable.
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Freaking Sweet!
Last edited by tjnyc : 01-11-2005 at 01:32 AM.
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Lord of the posts
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6. Sculpting in ZBRUSH - Multi-Displacment - Multi-Object Continue
To really take advantage of multi-displacement and work with millions more subdivided polygons in Zbrush we have to start separating the UV grouped piece. Now I reached a point where I was satisfied with the amount of detail for the whole model. I also made sure I had the desired detail in the seams between the disconnected UV groups. Bascially, I wasn't going to add anymore detail to the area around and on the seam between separated UV groups. Because once I start breaking off to separate surfaces, the seam had to remain similiar for all the different parts or the extracted displacement would show gross differences in the mesh along the separating UV seams once I render in messiah or any other application that supports multi-UVs and multi-displacement.
The first thing I start out with separating is the head. I turn on frame visibility and examine what I need to separate and where. It isn't enough to just separate a piece by UV groups, you need to also include a "buffer zone" which Dave Cardwell on the ZBCentral forum detailed. The buffer zone should include areas across a UV seam, because for some reason an open seam in a mesh gets "artifacts" noise-type errors in an extracted displacement map. The buffer zone makes sure you push an open seam away from the UV seam, so you can get a clean enough extracted displacement map for the separate multi-UV piece.
Once I got my separate head part masked, I made sure that it was at the highest subdivision level, which was at 6. Remember the number. In the tool menu I clicked MakePolyMesh. Now I exit the current tool, and I clear the screen. I go back to tools and select the new polymesh of the head. I bring it as the active tool. Now I need to reconstruct the subdivision levels. I remember that I had it at 6 so when I hit the reconstruct button, it gives me two levels, 1 and 2, I bring it down to level 1 and I hit reconstruct again, and again until finally I have my lower resolution at 1 and my higher resolution at 6 matching the original subdivision level of the main mesh. Thanks go to TVeyes in ZBCentral forum for this approach. Now why do this? Why not use Delete hidden on a masked object? One Dave Cardwell posted that when you use delete hidden, your model at the highest level gets automatically smooth out, so you will lose your original detail, using the make poly mesh retains all the detail of the original mesh. We reconstruct, because we can only extract displacement out of a tool with multi-subdivision levels at the lowest level and it needs to match the lo-res of the original model.
Quote:
From ScottC. In Zbrush, if you hide the unmasked mesh portions, then use "mask all" again on the visible portion, before using the "delete hidden", it protects the remaining mesh from the smoothing, you you can delete without having your form slightly altered.
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Now if you are worried about having a separated piece of a whole model, don't be all we are doing by separating a piece from the main model is to get the higher level extracted displacement map, the separated mesh is not going to be used. Now that we have our separated part we can increase the subdivision level to add in finer level of detail. The original poly total was around 500,000 polygons, for the head, I was able to increase it to about 6 million at its highest level.
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Freaking Sweet!
Last edited by tjnyc : 01-10-2005 at 06:55 PM.
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Lord of the posts
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7. Extracting Displacement Maps
Now that the sculpting and detail has been done, I want to start extracting all the displacement maps of the separated parts of LoD.
In this example below, I lower the resolution down to the base at level 1. I go into Multi-displacement ZScript in the ZPlugin menu to start extracting the displacement maps. Now you can also opt not to do this and just create a displacement map using the normal method in the Tool menu. However, that is not recommend for 3 reasons;
1. The tool-displacement works for only one UV space, no matter it if is outside or not, it tiles them on top of one another, so if you have buffer zones, they to will be extracted and mixed in with the part that you are really interested in creating a displacement map for.
2. Well you could just mask out the buffer-zone polys and just create a displacement on the visible part that you want anyway. Yes, that is true, but remember what I stated about artifacts on seams. You need to use the buffer-zone to basically "take one for the team", you use them to take the artifacts on their open seam, not affecting the UV seam for the displacement map you are really interested in, so you have to extract with the buffer zones as well, which would cause overlapping from reason 1 above.
3. ZBrush scales down your UV for some odd reason, making it very difficult to correctly align your extract displacement map to the proper UV surface.
Now when you go to creating the multi-displacement maps, you have some options to consider. One size, since you want as much detail as possible, the resolution of your map needs to be at least 4Kx4K for close-ups and half-body shots. You adjust the value of MaxMapSize to 4096 which I used. The next thing to consider is MaxSizeAdjust, it is set to 100, which basically means, ZBrush will look at your UV and decide if the anyone of displacement maps will be at 4096 or lower. Now we don't want ZBrush to decide this just in case we need buffer zone extracted displacement maps to fix any remaining artifact problems. So we lower the MaxSizeAdjust to 0, so all generated maps are at our defined MaxMapSize which is at 4096. There is also the sub-pixel accuracy option, but at least with messiah it seems to have very little advantage, maybe because messiah is sub-poly displacement and not sub-pixel displacement like PRMAN. I could wrong about this, but I didn't see the slights difference between a displacement map with sub-pixel accuracy at its default to one at 4, other than a larger memory size of the displacement map.
Once the values are set, press the Create All button
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Something to keep in mind. There is no option for adaptive with multi-displacement, which means for all you pinch lovers out there, pinch detailed will NOT translate to the displacement map. However, you can replicate pinch like work by using the inflat tool on edges. What you need to do is lower the brush size to something small, and the size will depend on what you are trying to sharpen so use your best judgement. Lower the intensity as well. Use the inflat on a edge or so on to give it a sharper detail. Works also on crackes, say if you want to sharpen wrinkling detail or so on.
Here are two of the displacement maps that were created. You see how clean the map was with the chest displacement. There are some tiny artifacts, but all was good with this map.
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With the head, you can see exactly what the artifacts are. It is along the inside of the mouth as noise. If you were to render it in messiah or some other application, it would manifest itself as wavy spikes along the seam.
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Ultimately, I wasn't able to get rid of all artifacts along seams, even with a buffer-zone, this is something that hopefully will be fixed in the next ZBrush update. For now it is sort of a crap-shot, and some artifacts might need to be manually fixed in Photoshop.
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Freaking Sweet!
Last edited by tjnyc : 01-11-2005 at 06:09 PM.
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Lord of the posts
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8. Messiah:Studio - Multi-Displacement
Somethings to keep in mind. messiah:Studio doesn't actually work with Multi-UVs, but that doesn't mean you can't use multi-displacement for separate UVs in messiah. When I created the polygroups by UV groups in ZBrush, it actually created polygonal groupings of the one model into several separate groups based on the UV. By exporting the whole low-res model from ZBrush via OBJ it kept intact the poly grouping in the file. messiah recognizes poly groups in an OBJ file. So while they are actually separate polygon groups, the model as a whole still maintained its continuity. So there were no faceted breaking along the seam between the poly groups. Other application also can recognize and maintain such continuity as along as you specify it so while importing like Maya for example and XSI I believe, but others do not like C4D. In which case you should opt to use the original base model that you initially imported into ZBrush. However, the model shape isn't accurate to what was used in ZBrush, so your final assembled displacement result will differ. This is why you should create a morph shape for your base mesh in ZBrush prior to sculpting, so you can use it to extract accurately, but that doesn't mean there won't be issues with meshes that were separated. I have not delve much into such a scenario, but a word of warning.
Now after you import your model into messiah it is a good idea to create and name a NULL as your models grouping. Often, the models I bring into messiah are much larger than its originating application so I will have to scale down to something much more manageable. I like grouping using a NULL, so I can just scale the parent NULL for all my model asset and not each and every model I bring in, which could be about a hundred. To scale, just go into Setup and scale the null down. Why in Setup? If you plan on rigging you need it to be proportional to your model assets.
Okay, now to start our assembling of the displacement maps.
In the Render section, under the Surfaces tab, our model in my case LoD has a sub grouping. This sub-grouping is our UV groups. A default materials are assigned to each groupings. We can use the default materials to determine which grouping is what. In this image I changed the color for each separate default group to determine what grouping went with which UV.
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Once I figured out the grouping, I start assembling the displacement maps to their appropiate group. I create a Custom Shading shader and a min/max node. I attach the min/max node output A to the input of bump in the Custom Shader. I raise the value of the bump to 0.1. I also go to the Surfaces tab again and set the Render Geometry to Pre-Generated Polygons. Oh I forgot, you should make sure your model has a MetaNURBS effect on it for subdivision smoothing. Just pick the model and press the TAB key. Anyway, under the previous Render Geometry option there are 2 more options, one is Displacement which you should set to 1 and Sub Level which should be at 3 if you have MetaNURBS on. Now 3 is fine for testing so we will leave it at that for now.
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Go Back to Materials tab and Add a Texture Map node to your Custom Shader shadeflow screen. In the Texture Map node window, you need to open an image map, and we will use one of the displacement maps. Set you Map Type to UV and flip V checked on. Now you will see a list of poly groupings to which to assign the texture to. Since we know what should go with what from our previous step, you can scroll to the right grouping and turn on(Green) the sub-listing under the name that matches.
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Now that we have our displacement map assigned to the proper poly group we can attach the color output to the min/max input of A. Change the min value to -1 and max to 1. Do a quick render test to see if the displacement is assigned correctly. Repeat the same process for all the other displacement maps but you just need to attach to the min/max input A, and leave the min/max as is at -1 to 1. So you are just combining all the displacement maps in the min/max node A with just the one output A to the bump of your shader.
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Last edited by tjnyc : 01-11-2005 at 04:39 PM.
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9. Shader and Material
I attached a Basic Shader node to the colot input of thr Custom Shader. Changes the color to a dark deep red and set Light Function to Extend Color for SSS effect. The xtension color was a pinkish-red, xtension amt was 0.3, depth was 0.04, strength was 0.4, inset was 0.001 and shift original normals was checked on.
One big issue with a multi-UV approach is trying to paint color, spec maps and so on along disconnected UV surfaces. Some 3D painting programs support projection painting, but none offer an effective solution to painting across multi-UV or multi-poly group models, not even ZBrush. They way I was able to paint color and specular maps were to rely on the displacement maps as guides but also to use them as part of the color and spec maps. I even went back into ZBrush and add in extra bump or scattering detail just for use in color and specular maps. Those maps however were in grayscale, but it worked fine as I blended by changing the blending option to multiply to the color input of the shader. Now that worked in this case since the skin of LoD was mostly Red and didn't take on any attribute of real skin, in future projects however I will have to be more diligent and do alot of back and forth work to make sure my non-displacement maps for each UV matches up to one another. I am hoping ZBrush with the next update will support Multi-UV projection painting since it has excellent painting capability.
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I also created another Basic Shader just for the specularity and reflection. I set the color to black and Specular was at .08, glossiness was 0.7 and reflection was at 0.025. I also attached a fresnel-gradient node to tint reflection of black to red. Now I separated the spec and reflection to another node was for a multi-pass setup. I could just deactive the node to get just the color+SSS pass or turn off the color+SSS node for just the spec and reflection pass.
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Freaking Sweet!
Last edited by tjnyc : 01-11-2005 at 04:40 PM.
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10. Rigging and Posing
I am not going to go over too much about the rigging aspect, because there are better people for that than me. I learned most if not all of my rigging from http://www.joecosman.com/messiahtuts/
But I will explain what I had setup for this scene.
Let me explain some of what is going on with the rig. For those not familiar with messiah, the yellow bones are regular bones, similiar to other programs. The blue bones are muscle bones which you can set to stretch and squash along different related axis. The bones and other deformation effects apply smart influence to an apply mesh. This smart influence makes it possible to easily rig and examine the effect the bones will have on your mesh.
I used muscle bones for two reasons, one to mimic squashing and stretching type deformation affects on the mesh, like the peck and bicep region and also to use muscle bones for corrective deformation. Basically no squashing and stretching but smooth out rough/sharp deformation that would occur during twist and rotating.
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Here you can see the two approaches to using muscle bones as I stated above. The muscle bone for the bicep/tricep is to mimic the bulging/sliming of that region. The muscle bone along the forearm is for corrective deformation or smoothing deformation. I parent the muscle bone to the wrist controller bone which has no influence on the mesh. As I rotate the wrist controller bone the muscle bone twist accordingly resulting in a smooth twisting deformation for the forearm.
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Here is another example of the above, but along the neck, trap and shoulder area. Some of the bones are for mimicing the natural deformation of muscle, like the trap along the neck sliming and bulging depending on the rotating/twist of the neck. I also added corrective muscle bones for the scapula and middle of the neck to smooth out the deformation during such rotating/twist deformation.
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Lastly, is the facial rig, which unfortunately I didn't finish. I laid out muscle bones to follow along muscle flow around the mouth, and since LoD mouth expression by Tim Curry were so animated it required quite abit of muscle bones to enable a greater range of facial expressions. Couple this with morphs to accentuate characteristic features, we have an pretty good solution for creating several kinds of animated facial expressions.
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Freaking Sweet!
Last edited by tjnyc : 01-11-2005 at 04:42 PM.
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11. Rendering
I rendered this scene in multi-pass. messiah:studio currently doesn't support multi-pass, I had to just manually render my pass separately. Planning for multi-pass you have to take advantage of Render Groups, so you can globally affect all the models or parts of a scene to renderer specularity for example or a certain color and so on. I had for example separated the specular and reflection element on another node which I could turn off and on without having to change the specular and reflection properties manually. I useda similar approach to materials used for occulsion rendering.
Some things to know when rendering with displacement in messiah. If you are testing a displacement sub-level of 3 or 4 is fine, or if the shot is a far-away shot or full-body at most 800x600 rendering resolution then that is fine for a final rendering, but use your judgement. If you need to render at a higher resolution 1240x1040(or whatever) and at half-body shot then it would be advisable to increase the sub-level to at least 6, in my case it was at 8. For a close-up shot at a higher resolution the sub-level should at LEAST be at 10. Now this is because at lower sub-level you will see banding and shadow artifacts while rendering displacement, increasing the sub-level subdivides your mesh to a point were such artifactes are less noticeable or are just gone. From a smaller resolution and a far away or full body shot, such problems will be hardly noticeable, but at a higher resolution and closer shot they will be very noticeable. However, increasing the sub-level too much could crash you rendering as it will need too much memory to process.
Color+SSS passes
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Spec and reflection passes
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Ambient pass and Occulsion pass
I rendered the occulsion using the standard environment shader on. The light source was set to No Bounce Light, Monte Carlo, sample at 12 depth at 1. There are no secondary bounces with No Bounce Light so it is a faster GI solution, and since all I need was the shading property of GI it worked prefectly to give me my occulsion pass. I have some other experiements with this approach and you can read a little more about it following this link http://www.cgtalk.com/showthread.php?t=199389
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Some finally comments. I learned alot during this project. I am about 80% happy with the process, stuff I am not so thrilled with is the amount of work to get multi-displacements out of ZBrush. I believe this will be in the best interest for most ZBrush-users if the process was made more streamlined and effective than it currently is. But I am hopefull that ZBrush will have better multi-displacement support in the future.
I also learned that I need to plan a little better how the UVs are laid out for multi-UVs. Some of the LoD UV worked out great some were not so, but I didn't have any showstoppers.
I also have new ideas for creating interesting displacement affects using a multi-UV approach something I plan on implementing on my next project.
Well that is it. I hope this will help people. I am sure there will be questions, as it is alot of information to take. Particularly the Zbrush stuff, the only way to really understand that part one has to apply what is explained. If there is any questions feel free.
Cheers,
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