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1. #Blizzard 3d coat workflow how to#
2. #Blizzard 3d coat workflow download#
3. #Blizzard 3d coat workflow windows#

#Blizzard 3d coat workflow how to#

If you have no ideas about how to compose BPR passes in Photoshop, I advise you to take a glance at Rafael Grassetti videos.

Once I have rendered all the BPR passes needed, I put them together in Photoshop and started the compositing. Setting up the lighting and render BPR passes Step 8: Photoshop compositing

The tutorial "BPR Rendering Workflow in ZBrush 4 R2" by Daniel Bystedt is instructive and helped me a lot setting up BPR passes. Two lights, a main light on the right side and the second light on the bottom-left side of the image. The lighting in this scene is very simple. Texturing and shading Step 7: Lighting & BPR passes You can also refine the effect with BPR transparency settings. Don't forget to activate transparency in Render > Render properties > Transparent. To get transparency with a SubTool, select it and go to Display Properties / BPR Settings, then activate BPR Transparent Shading and set the BPR Visibility as you want.

#Blizzard 3d coat workflow download#

You can find the GreenGlass Matcap on the Pixologic's download center. I created the textures directly in ZBrush with Polypaint for this scene, a Basic material for the House and the Rock, Skinshade for the clouds and the foam, ReflectivPlastic for the fishes and GreenGlass (Matcap) for the water. I re-scaled and moved some elements until I was satisfied with the composition. ZAppLink is useful to store a view and you can easily move round your model while you are sculpting, then get back your view by clicking the corresponding slot (Cust1, Cust2). Once that's done, you get a fish with a clean curve.Īfter setting up the document resolution it is time to define the composition. Once you have the model ready, go to Deformation and use Bend by paying attention on the selected axis. First time using CurveQuadFill brush for the fins and it is very efficient. I started from Dynamesh Sphere and used SpotLight to sculpt the main shape of the fish. With these different Polygroups, I selected the inner part of the created foam and I isolated it as one mesh by deleting the hidden groups.

I drew the foam with MaskPen and in Polygroups I used Group Masked with Polish set to 1.

I left the partially submerged rocks visible as a landmark then I duplicated the water mesh, deleted the base and started working on the cap. In ZBrush, each element is organized in a different SubTool from top to bottom (cloud, house, rocks, and water) keeping a logical hierarchy with the visual reading of the illustration. I was not familiar with Blizzard's graphic 3D styles, so I did some research and found awesome works by Michael Vicente, like "Orb" on heroes of the storm, which was my reference during the sculpting process. Each piece is individual and I used GoZ plugin as a bridge between 3ds Max and ZBrush to export all the elements.

#Blizzard 3d coat workflow windows#

I blocked out the principal shapes in 3ds Max with standard primitives, then I added more polygons on some parts like the arches, windows and rocks for more control before going to ZBrush. I wanted to create an entire scene including the backface giving me the possibility to make a turntable and exploit it later. This personal project was interesting on several points like dynamic of the composition, the presence of various elements to sculpt, and the opportunity to learn more about BPR rendering workflow in ZBrush. Hi, I will take you through the processes I used to create this illustration based on the concept art by the talented Charlène Le Scanf.