![zbrush 4r8 macro zbrush 4r8 macro](https://online-courses.club/wp-content/uploads/2018/10/ZBrush-4R8-New-Features.jpg)
It keeps running though, for fast iterations with no program startup time. The ZBrush program itself pops up while it works, and is then automatically backgrounded to bring you back to Grasshopper. There is no complicated installation of anything since it's all done in Python. But with $800 ZBrush 4R8, the latest version, that I can create English language ZScripts for, I suddenly have, often in the blink of an eye, or at worst a few seconds, right back into Rhino Grasshopper, a perfectly joined, airtight and smoothed mesh blending of upwards of thousands of input mesh pieces that overlap in ways Rhino will never Boolean union. IntraLattice was a step in a good direction but it can't merge fattened lines that merely cross each other with no breaks or that physically overlap on purpose to have many curve on in to a hub. on Grasshopper) that tended to bog down or blow up. I needed a replacement for slow and especially non-robust marching cubes (Cocoon/Monolith/Dodo/Aether etc. However, it has the world's most powerful quad remeshing and now mesh Booleans too. ZBrush has a very high initial learning curve because of its non-standard interface.
![zbrush 4r8 macro zbrush 4r8 macro](https://netrinoimages.s3.eu-west-2.amazonaws.com/2018/01/22/490692/191743/rabbitrat_3d_model_c4d_max_obj_fbx_ma_lwo_3ds_3dm_stl_2031557_o.png)
It takes some work to create a ZScript macro for custom routines, but you can record those in ZBrush and then merely need to edit them into my script, inline, as bulk multiple-lines you just paste in, no problem as long as you strip the ZBrush button definition at the beginning. I also re-used some rocks and dirt textures from a previous project to speed things up.Work in progress, but I wrote a little Python script that can command the astoundingly powerful mesh modeler ZBrush to operate on meshes from within Grasshopper. I have been working on it a few evenings every now and then, so maybe a week or two if I had worked 8 hours a day. The whole development of this scene did not take that long actually. There are still no effects in the scene but I will add some pollen, maybe some bugs and some ambient effects in general. There is quite some work left until it is finished, more terrain work and a few more assets that will help blend it all together. For this case it was, a big tree, some ground vegetation, clovers, ferns and in between some mid level vegetation like redwood sprouts and rowan trees that will give a nice shape and color contrast to the pine trees.
![zbrush 4r8 macro zbrush 4r8 macro](https://i.pinimg.com/originals/60/dc/db/60dcdb1aeee4e77446c4c775a7f39a8a.jpg)
Well for me at least, the key to such environments is to break down the main assets that will build up the scene. Simon Barle Work in Progress Redwood Forest Scene
![zbrush 4r8 macro zbrush 4r8 macro](https://www.zbrushcentral.com/uploads/default/original/4X/f/e/b/feb3435ad23a6a44924c484e553221fd309c59a8.jpeg)
It’s important not to over-scope the material count since there is a cap of how many texture samples you can have inside the material, there is probably a work around for this, but I find that you usually don’t need that many anyway.Īll you need is a good mixmap with different masks in each channel to blend the textures in interesting ways, that way you can achieve more with less. Right now there are only the initial dirt and mulch materials in there, I will add materials like pebbles, moss, another dirt/ path material. I’m going to have a few different terrain materials which I will just paint in-engine. The land is all hand sculpted, pretty rough and simple really. I also boosted the shadow resolution in the Engine Scalability file and upped the number of cascades so the shadows can draw further and have more detail up close, this drains performance however but for just showcasing, its fine. I do however try to make my maps as correct as possible to begin with but it’s always nice to be able to change things on the fly. I work a lot with material instances that have the basics tweakable, so I can change color, translucency, spec and roughness controls and if needed, a switch to flip the normals. I am currently in the process of sculpting the bottom of the trunks for more details and shape. The trunks have a sculpted tiling bark texture which is mixed with some photo-details as well. The foliage textures are then mapped onto planes with some shape to them, then placed on a few larger branches which then gets copied all over the tree until I have achieved the desired shape and silhouette. The foliage textures are highpoly modeled in Maya and using photo-details on the highpoly that then bakes down to a final texture. I created all the assets myself using Maya, Zbrush, Photoshop, Ndo and Xnormal.