Subtitles of the Movie

In this movie, I'm going to show you the advantages and disadvantages of using a 3D program outside of ZBrush to build your base mesh because in the last few movies we've been showing you how to Extrude, manipulate that Extrude, but let's say I was building a sword and sitting here trying to extrude out a piece going in, masking it off, unmasking it, moving it, moving it with the Transpose Tool, like I've been showing you. That is not a good workflow. This is only for non organic pieces I would recommend. I would say, you know, third party application, and I'm going to be showing you this. It's important to know. Okay, so I got Maya for example, and you just have to watch, because you know, you might not have Maya, but this is like my in 3D Studio Max, have this feature, so I could choose a single phase and hit extrude, go in here extrude that down very quickly extrude that back up. Very quickly going in here, scaling that back up, extruding, moving, see? I can do that very quickly, compared to what I did in ZBrush. So, that's where you have to make a decision. As an artist you might have to worry about, like learning another program just for that unorganic modeling because, let's say armor pieces. I would actually, for armor, model the pieces within ZBrush, but sometimes I'll bring it into Maya to actually do all the extruding part of it to save me some time. As an artist, I want to be able to just sculpt. I just want to produce good pieces. I don't want to be a scientist at all. That's why I learned another program outside of ZBrush, and they marry so quickly. One plays upon the other so well. That's the beauty of ZBrush. It goes behind 3D Studio Max, it goes to Maya, it goes to Photoshop, it goes to GIMP, it goes anything that you can think about kind of flows between polygon programs. You've got to just know what to do in each one. Another thing I want to cover here is you know, weird extrudes and then I'll get rid of this box forever and always within our movies here, because I'm pretty sure you're sick of the box by now. But that's all right. You've gotta learn this stuff. Holding Control and Shift, let's highlight this one piece, and let's Edge Loop it, and quickly go in, oh, Control Z, sorry. Crisp. Then Edge Loop. There we go. And then let's go into this piece by holding Control and Shift, and let's go to the Deformation Palette and size it down. Holding Control and Shift there I have now that nice flow around it. Okay. Now, I want to grab maybe this string, and so I can see what's going on, I'm going to go to Display Properties and double that. I want only an even number of polygons here. So, Control Shift, let go of Shift, and I have 8. I like extruding even numbers by the way. It's just easier that way. It'll divide in half later on. Okay, so, in here, let's Edge Loop with the Crisp, Edge Loop that, and hide it, go into here, and hide this part. Go in here, and size this down. Okay. Can you see the quick advantages? If you know it and it comes natural to you in how to do it, you can actually get along with doing some weird stuff. What I just did there is, if you could see, there's also divide right next to it. If you hit divide at any one time that the rest is hidden, you'll produce a piece with some wacky looking geometry. Triangles. Okay? And it gives me the advantage of kind of showing you why triangles are bad. Control Z. Control Z. Okay. If I divide this piece up; divide, divide, see how smooth it gets, and how nice that is? You can build some really nice armor this way. Control Z, Control Z. Let's take for example I hide everything, divide this piece, producing the triangles and divide, divide, divide. It looks good, but actually at a lower ratio you can see in here I have some wacky looking stuff; points that are spurring out. Everything's possible within ZBrush. I'm just kind of showing you the different methods. And that's all I wanted to do in this movie, so on with the show.