Export the plane out and then import both the model and plane inside of Wrap3. Applying the albedo texture to the plane here will help with this.ĥ.
Finally, global scale and translate the plane, so it relatively matches with the model’s features. The plane should encompass the entire UV-tile.Ĥ.
Ensure to turn normalisation off and check the UV editor as you do this. Somewhere between 100 and 200 should suffice.ģ. The amount of subdivisions is up to you, the denser the plane is, the longer it will take to wrap. I imported the closed-eyes model into Maya and created a plane in the attribute editor, the dimensions of the plane were reduced by 1/100th of their size. First, check the dimensions of the multi-channel map in this case, it’s 9824×6190.Ģ.The process of wrapping the multi-channel texture on our closed-eye model is as follows:
The skin texture seems to contain a lot of colour variations and wrinkles, so I thought it would be great for capturing Harris’ 60+-year-old face. The Texturing XYZ multi-channel map that I decided to use for this project was “ Male 40s multi-channel Face #70”. From experience with using Texturing XYZ maps, it’s desirable to texture with a detailed base to ensure your projection sits in correlation to the sculpted features. Then I exported the facial expressions out of ZBrush at subdivision level 3 for texturing. I exported these out of Character Creator using the settings below and then imported these blendshapes into my ZBrush scene on separate layers.īefore exporting, I polygrouped by UVs and separated the head, eye and mouth cavities from the body since I’m only concentrating on texturing the head. These will be useful for texturing to make sure that I get a clear projection on the eyes and the inner lips. In Character Creator, I added a closed-eye blendshape and a surprised blendshape using the Edit Facial option. We’ll get all of that information in after the texturing process is complete.Ī note: If you wish to go back into ZBrush to make changes, you can! Make the edits to your sculpt, press the All button again and make sure to select ‘ Adjust Bone to Fit Morph‘. The import is simply just the base mesh, so there is no secondary information showing through just yet. Make sure when you return to Character Creator to check, ‘ Adjust Bone to Fit Morph’, ‘ Automatically Generate and Re-Align Tear Line’ and ‘ Automatically Generate and Re-Align Eye Occlusion’, as well as the pose you originally exported out. The model was then imported back to CC using the All button above the Subtools. The same goes for the tear ducts, eyes and teeth.ĥ.
Next, I selected the eyelash subtool and modified the positioning of the cards to better sit on the newly shaped eyelids. Subdividing up to level 5 (subdividing this high is optional), this model will be used for projection later once I’ve textured the skin, so there is still work to do, but my main goal at this point was just to get a sense of the actor.Ĥ. I implemented some secondary information from a previous project in order to quickly establish some secondary detail due to time-constraints and reworked them later after adding the displacement. Here I began to sculpt the likeness: using this time to establish good proportions and anatomy while paying close attention to my references at all times. In this case, I selected the eyelash and tear ducts, which ZBrush will import as separate subtools ‒ something that I found was more comfortable to work with through my experimentation.ģ. Immediately, you’ll be presented with a window, as shown below. To bring this into ZBrush, first, I selected the base in the Scenes tab, along with the eyes and teeth, and then pressed the GoZ button on the top taskbar. Mainly, I estimated the eye, nose and mouth dimensions here as this will all be appropriately sculpted once imported into ZBrush.Ģ. First thing I did was open the CC3+ male base into the scene and roughly matched Ed Harris’ proportions using the facial morph sliders.