Great, fluent and explanatory narration. Although my english was not very good, I understood and applied very well. I am grateful to you, thank you very much.
This series is awesome. I've been following along re touching up an old project. Just gotta figure out the Mari part since im on substance. Should be fun!
honestly this is a great tutorial series.. but you skip over alot of the why's and what's. I have some holes in my learning. do you have any idea where I can get started? beginner face tutorials? I need a terminology breakdown. thanks
Great videos man, loving them. Only problem is when one is not a student and Wrap is not couple of bucks worth... But hey, not your fault. Thanks for your great videos!
bro ii bought 2 course, 2 face map and i struggled with res, then i watched your video you set UV MAP to 8k and ...bro that was the problem, 2 tutorial didn't talk about that..... thanks :)
Hello, I cant understand why you created blue and green channels? Thanks for the tutorial, I love it. Can I do the same process replacing Mari with Substance Painter?
The color in projection just determines the percent you want to project and not the color you want to project. White or 1 is 100% of the image I want to project. If I projected with grey only a transparent image would be projected
30:06 where does "mask data" come from, I don't see it myself, plus your head is matte and mine is shiny. I don't know how you changed it. Still, I don't see anything if I add a new layer on the displecement channel, I only see it when I do the same on the Diffuse Color channel. Does anyone have a solution? very annoying
So, let me first make clear: This is a quality video, and probably one of the very best tutorials on this subject. I would add that the narration is top notch as well, adding the "what" and the "why" of your process in equal degree. Great job, and I subscribed enthusiastically. Now, with that out of the way, perhaps you can help me understand why every workflow for producing assets like this seems almost comically complex and unnecessarily convoluted? I can't think of any other production workflow that involves this level of deep experience in like seven different software platforms, that requires bouncing back and forth between two or three at a time, and each stage still completely reliant on such a narrow subset of specific settings in each software to even import the assets to BEGIN working on them. Add to that the ridiculous repetition of certain processes, the mix of destructive and non-destructive editing, and the baffling contortions that you have to do just to get the mesh into and out of each stage. Honestly, it is like these programs are hostile to helping produce these types of assets at all, since they all treat the output from any other platform as some sort of confusing foreign file type that you have to help them interpret and understand in a certain context or they will just blow everything up and you'll have to comb through the forty different variables you set on import to diagnose why whatever software you are working with in that stage has suddenly transformed your tangent space normals into a particle physics instance for a hot fart while clapping its hands and yelling "I'm HELPING!! I'm HELPING!!!" even though you've still got eleven more pieces of software to run your sculpt through and you know that if you don't set the hot fart instance to a lambert shader with a 0.46 scale, the eighth program is going to render your subsurface as chrome and start playing a .wav file of a sad trombone. WHY? And its not just your workflow, I have watched detailed tutorials from Hossein Diba and Kubisi, etc. and all of you maniacs have to jump through these same flaming hoops to just do this work I don't understand why it has to be so convoluted. And for someone like me, looking to onboard these skills to some degree, I have to spend thousands of dollars on software that is fighting me the whole time while also amping up the probability that a single missed setting or shader setting will punch me in the throat at some point downrange and diagnosing the problem requires unraveling a process in a specific order that isn't even necessarily the reverse order of the process that brought you to that stage. Can you tell I'm frustrated? I'm frustrated. This is just incredibly daunting and I was already prepared to spend 5 years onboarding this skill. But it is so stupidly vulnerable to a single missed setting, or an integer out of a certain range, it makes me wonder if I should even continue. The process of creating this type of work is so fractured that it is almost a monty python skit... like, the people who work on the Large Hadron Collider only have to learn three programs to run a particle accelerator, and one of those programs is Excel circa 1998! It's the 2020's, these software platforms should consider doing more than one thing (and only if you remember to set your red channel on step eight to 0.214, then exporting your file without the alpha of the green height map placed on a diffusion node, set to a 16-bit png that you need to import as a tiff named "Roger Covington" or Zbrush will assign your browser history as your normal map and email it to your ex's parents with a salacious subject line involving shaven ferrets and the pope). Just my two cents. Rant over. Anyways... great work and thanks for this whole series!
Wow man, this made me laugh. I have felt and still feel your pain and frustration learning this stuff. In all honesty I think the workflows have become more complex alongside the complexity and detail you're trying to achieve, but the software has become much easier to use over the years. When I first started out about 12 years ago, there was like one tutorial on youtube on this stuff and the rest you had to figure out for yourself. The only thing I can say that might be of some comfort is that it gets easier. Every parameter change I make follows a set of rules, it seems quite random and daunting when you're not sure what a lot of them are doing but over time you learn the rules and the parameter changes start to make sense. I would also say that its not necessary to learn all of these programs to find a job, I work in 2 of these programs everyday and my job is focused on one part of this process. I enjoy learning 3D, so over time I've developed my skills in a few different departments, and this is the result. Hope you find things easier going forward and thanks for your kind words.
@@Adamocg Whoa. It's not every day one of your art heroes responds to your nonsensical rant on his generous youtube tutorial, much less with such grace and positivity. I am literally speaking with someone from ILM right now, guy's. IMFREAKINGOUT!!! Okay, don't screw this up. Oh god, I'm screwing this up right. Freaking. Now. Somebody peed my pants! Berightback... AHEM. Heh. I don't know what THAT guy was doing, but I'm a totally different dude. Promise. I just wanted to say thank you, sincerely, for sharing your talent, your skills, your missteps, and your growth in developing in this discipline. The imagery you have put in front of us all has entertained, inspired, and engaged millions, but beyond that you have decided to share with those of us who want to ride those ample coattails so much more. More than a peek behind the curtain, you are giving us your time and energy in detailing a bleeding edge professional level process of the sort that brought such badassery as a pack of raptors running with a motorcycle to the screen, that gave us huge complex robots delivering performances in both epic battles and emotive goodbyes, and that reimagined iconic characters for new audiences while upping the stakes for realism and emotive ability. Also blue Will Smith. I cannot tell you how much I admire your work and am inspired by your example. But more than that, I can't thank you enough for sharing all of it with us. Thank you. You don't know it now, but I cannot help but think you are ensuring someone's success as we speak, and I don't know if there is a more worthy achievement than that. I mean, yes... Olympic Gold yadda yadda yadda... that's... okay, I guess. Pffft... this is way better. Plus, it has got to be what, like 50% fewer broken bones doing VFX vs. Olympic Sports? And that's not even counting those of us sitting here in our helmets! Thank you for the inspiration and encouragement. You're kicking more than your fair share of ass, and that's awesome.
Very Nice Tutorial !! I have One Question about this process. After 38:46 when I try to project my XYZ Displacement Map, It paints White color with displacement details. I Want to project my map as displacement color as your Video. Please Help me!
I don't have utility raw as well, using some standart "raw" instead. Hope this works. And about displacement try switch to Shaders (betweet Channels and Objects) and set Current Channel for example, you will be able to see the Displacement at least
Hey man, awesome tutorial. Quick question, do you of any reasons for why may Zbrush may be giving me error messages when trying to import the displacement maps from Mari? I've got copy channels on them, I've tried exporting them with linear, srGB, and raw color spaces. I've tried converting to EXRs. I've also tried reducing the size of the files to 2k first in Photoshop and then within the Mari channel before exporting it, thinking the sizes were too big, but no, nothing works. Error message every time when I try to import them into Zbrush. I am able to import Diffuse maps so I'm confused about what's causing this. Any help would be appreciated, thanks.
Hey man I think I had the same problem, Mari sets displacement to 32bit by default, which is correct but zbrush can’t work with 32bit files. In Mari right click on your disp channel and convert to 16bit
I just got some maps from XYZ and this helps me a lot. Thx for the tutorial! also i would like to ask what computer rig are you using for Mari as my Mari wasn't cooperating nicely on my PC compared with yours in the video. Thx!
Currently following this, however, when it comes to being in the Visual Editor, the right window still displays the plane the image is one, whereas in the video it isn't there. The plane makes it very hard to add points to the mesh. :-\
Beginner here, really hoping someone can answer my questions. What if I like the skin texture but not the lips, am I stuck using that one displacement map for the lips? or can I use a different displacement map for the face and another different one for the lips? Also, why does everyone use Mari and not substance painter? I never used Mari before but am going to have to purchase Mari to achieve those realistic results or could it be done in substance painter. Lastly, what about texturing the whole body? I only see the faces being done in several videos, how would I apply the same/similar textures of the face to match the body?
Hi there, you could replace the lip displacement in your texturing software. I'm pretty sure you could use substance for the same process. Mari, is used more in the vfx industry so I guess thats the reason why theres more videos on it. Painting the body is almost the same process but you wouldn't need do the whole Wrap process, I would just project textures in Mari.
@@Adamocg Really appreciate the response! I know this might be too much to ask but do you think you could do a substance painter tutorial using XYZ textures? I haven't seen any of those soo far and would help a ton! if not, I understand, thank you again!
mh.. so this pipeline is a pipline to all the Finalstages for Cinematic/Film AND Real Time Game Character or Adam? I mean, you rendered it realistic, so you took a higher subdivision level of the head. But when i make the same Obi, BUT for a realtime game character, the only thing i had to do is, to take Level 1 or 2 Subdivison of the head from zbrush AND i have to make Haircards and place them. Do i understand right? I ask you that, because i want to become a patreon and i want to make Game Characters.
Yeah thats correct. The only difference between AAA games character and VFX character pipelines is the optimization to save, storage/ memory/ framerate. This means using hair cards, lower poly count, lower texture sizes, ect.
only blue and green channel from displacement of txyz? i don't follow this process with mari, i used xnormal for bake the displacement to use in zbrush so i don't understand why not use red channel. can you explain? i'm new with texturing xyz
The red channel in xyz textures is for large scale disp for some secondary forms. I tend to sculpt these secondary forms myself so adding the red channel tends to distort my model too much so I only use green (mid frequency details) and blue (high frequency details)
Hi Tiziano, I dont think zbrush can import 32bit unfortunately. In mari, you would select you disp channel, right click and covert channel to 16 bit then export a .tiff using the color space utility- Raw
@@Adamocg Hi Adam, i found a method! you can export your 32bit displacement from Mari in grayscale so whit just one channel, aaand and that works! 32bit with 3 channel nope
@@Adamocg I CAN TELL ITS OBI ONE IN JUST THE GREY SCALE SCULPT. SO CLEAN.. VERY RARE TO BE ABLE TO TELL WHO IT IS IN JUST A GREY SCULPT.. YOU HAVE SOME PATIENT SKILLS.. I USED TO LIVE IN kenny and Wavertree... sorry about the caps my caplock is busted.. great model...
Clear, to the point, and extremely informative. Great job, dude!
Great, fluent and explanatory narration. Although my english was not very good, I understood and applied very well. I am grateful to you, thank you very much.
Best video I've seen on this subject. Thanks for making it.
Thanks for sharing all those details. Can't believe this tutorial is free. Thank you so much!
peter jackson level of showing the process. such an invaluable tool for budding artists/hobbyists
Once again, great content.
Can't wait to see the Maya/Xgen part
This series is awesome. I've been following along re touching up an old project. Just gotta figure out the Mari part since im on substance. Should be fun!
Thanks Adam!
the soultry sounds of Adam O lol good stuff bro keep at it
Thanks mate!
Love watching these vids, so fun and informative. ty
Great series. I hope you keep making this kind of content, definitely subscribing!
You could also flatten the geometry to UV space. Feel like the transfer could be even better.
I'm following. Thanks
honestly this is a great tutorial series.. but you skip over alot of the why's and what's. I have some holes in my learning. do you have any idea where I can get started? beginner face tutorials? I need a terminology breakdown. thanks
fantastic tutorial . tnx !
It's very, very good.
@10:28 please explain how to create the image on the plane to be use as skin texture. Thanks and awesome likeness tut!
Uhull ! Great as always!
Great videos man, loving them. Only problem is when one is not a student and Wrap is not couple of bucks worth... But hey, not your fault. Thanks for your great videos!
pure gold
bro ii bought 2 course, 2 face map and i struggled with res, then i watched your video you set UV MAP to 8k and ...bro that was the problem, 2 tutorial didn't talk about that..... thanks :)
Hello, I cant understand why you created blue and green channels? Thanks for the tutorial, I love it. Can I do the same process replacing Mari with Substance Painter?
Thank you 💙
Hi. I don't understand what morph1 layer is doing.What does this layer store?
thats awesome, But I am new i have one question, why didnt you use the built in model of XYZ texture, why did you created your own plane ?
hi adam in 39.30 projection painting in white color , not in displacement color...why ???
The color in projection just determines the percent you want to project and not the color you want to project. White or 1 is 100% of the image I want to project. If I projected with grey only a transparent image would be projected
hello, where did the disp map and utility map come out?
30:06 where does "mask data" come from, I don't see it myself, plus your head is matte and mine is shiny. I don't know how you changed it. Still, I don't see anything if I add a new layer on the displecement channel, I only see it when I do the same on the Diffuse Color channel. Does anyone have a solution? very annoying
So, let me first make clear: This is a quality video, and probably one of the very best tutorials on this subject. I would add that the narration is top notch as well, adding the "what" and the "why" of your process in equal degree. Great job, and I subscribed enthusiastically.
Now, with that out of the way, perhaps you can help me understand why every workflow for producing assets like this seems almost comically complex and unnecessarily convoluted? I can't think of any other production workflow that involves this level of deep experience in like seven different software platforms, that requires bouncing back and forth between two or three at a time, and each stage still completely reliant on such a narrow subset of specific settings in each software to even import the assets to BEGIN working on them. Add to that the ridiculous repetition of certain processes, the mix of destructive and non-destructive editing, and the baffling contortions that you have to do just to get the mesh into and out of each stage. Honestly, it is like these programs are hostile to helping produce these types of assets at all, since they all treat the output from any other platform as some sort of confusing foreign file type that you have to help them interpret and understand in a certain context or they will just blow everything up and you'll have to comb through the forty different variables you set on import to diagnose why whatever software you are working with in that stage has suddenly transformed your tangent space normals into a particle physics instance for a hot fart while clapping its hands and yelling "I'm HELPING!! I'm HELPING!!!" even though you've still got eleven more pieces of software to run your sculpt through and you know that if you don't set the hot fart instance to a lambert shader with a 0.46 scale, the eighth program is going to render your subsurface as chrome and start playing a .wav file of a sad trombone. WHY? And its not just your workflow, I have watched detailed tutorials from Hossein Diba and Kubisi, etc. and all of you maniacs have to jump through these same flaming hoops to just do this work I don't understand why it has to be so convoluted. And for someone like me, looking to onboard these skills to some degree, I have to spend thousands of dollars on software that is fighting me the whole time while also amping up the probability that a single missed setting or shader setting will punch me in the throat at some point downrange and diagnosing the problem requires unraveling a process in a specific order that isn't even necessarily the reverse order of the process that brought you to that stage.
Can you tell I'm frustrated? I'm frustrated. This is just incredibly daunting and I was already prepared to spend 5 years onboarding this skill. But it is so stupidly vulnerable to a single missed setting, or an integer out of a certain range, it makes me wonder if I should even continue. The process of creating this type of work is so fractured that it is almost a monty python skit... like, the people who work on the Large Hadron Collider only have to learn three programs to run a particle accelerator, and one of those programs is Excel circa 1998! It's the 2020's, these software platforms should consider doing more than one thing (and only if you remember to set your red channel on step eight to 0.214, then exporting your file without the alpha of the green height map placed on a diffusion node, set to a 16-bit png that you need to import as a tiff named "Roger Covington" or Zbrush will assign your browser history as your normal map and email it to your ex's parents with a salacious subject line involving shaven ferrets and the pope). Just my two cents. Rant over.
Anyways... great work and thanks for this whole series!
Wow man, this made me laugh. I have felt and still feel your pain and frustration learning this stuff. In all honesty I think the workflows have become more complex alongside the complexity and detail you're trying to achieve, but the software has become much easier to use over the years. When I first started out about 12 years ago, there was like one tutorial on youtube on this stuff and the rest you had to figure out for yourself. The only thing I can say that might be of some comfort is that it gets easier. Every parameter change I make follows a set of rules, it seems quite random and daunting when you're not sure what a lot of them are doing but over time you learn the rules and the parameter changes start to make sense. I would also say that its not necessary to learn all of these programs to find a job, I work in 2 of these programs everyday and my job is focused on one part of this process. I enjoy learning 3D, so over time I've developed my skills in a few different departments, and this is the result. Hope you find things easier going forward and thanks for your kind words.
@@Adamocg Whoa. It's not every day one of your art heroes responds to your nonsensical rant on his generous youtube tutorial, much less with such grace and positivity. I am literally speaking with someone from ILM right now, guy's. IMFREAKINGOUT!!! Okay, don't screw this up. Oh god, I'm screwing this up right. Freaking. Now. Somebody peed my pants! Berightback...
AHEM. Heh. I don't know what THAT guy was doing, but I'm a totally different dude. Promise. I just wanted to say thank you, sincerely, for sharing your talent, your skills, your missteps, and your growth in developing in this discipline. The imagery you have put in front of us all has entertained, inspired, and engaged millions, but beyond that you have decided to share with those of us who want to ride those ample coattails so much more. More than a peek behind the curtain, you are giving us your time and energy in detailing a bleeding edge professional level process of the sort that brought such badassery as a pack of raptors running with a motorcycle to the screen, that gave us huge complex robots delivering performances in both epic battles and emotive goodbyes, and that reimagined iconic characters for new audiences while upping the stakes for realism and emotive ability. Also blue Will Smith. I cannot tell you how much I admire your work and am inspired by your example. But more than that, I can't thank you enough for sharing all of it with us. Thank you. You don't know it now, but I cannot help but think you are ensuring someone's success as we speak, and I don't know if there is a more worthy achievement than that. I mean, yes... Olympic Gold yadda yadda yadda... that's... okay, I guess. Pffft... this is way better. Plus, it has got to be what, like 50% fewer broken bones doing VFX vs. Olympic Sports? And that's not even counting those of us sitting here in our helmets!
Thank you for the inspiration and encouragement. You're kicking more than your fair share of ass, and that's awesome.
😂😂 dude, ur comment's like a movie
@@SuperMyckie it’s a romantic comedy. Slow & Furious 9: The Ranting.
great pleas add the next video
thank you
Very Nice Tutorial !! I have One Question about this process. After 38:46 when I try to project my XYZ Displacement Map, It paints White color with displacement details. I Want to project my map as displacement color as your Video. Please Help me!
did you solve this problem? I also paint white
you must select "
scalar data"
Hello. I don't have a Utility/Raw color space. And my displacement map is not displayed on the model. Maybe someone had a similar problem?
I don't have utility raw as well, using some standart "raw" instead. Hope this works. And about displacement try switch to Shaders (betweet Channels and Objects) and set Current Channel for example, you will be able to see the Displacement at least
Whats the point of the utility map?
Hey man, awesome tutorial. Quick question, do you of any reasons for why may Zbrush may be giving me error messages when trying to import the displacement maps from Mari? I've got copy channels on them, I've tried exporting them with linear, srGB, and raw color spaces. I've tried converting to EXRs. I've also tried reducing the size of the files to 2k first in Photoshop and then within the Mari channel before exporting it, thinking the sizes were too big, but no, nothing works. Error message every time when I try to import them into Zbrush. I am able to import Diffuse maps so I'm confused about what's causing this. Any help would be appreciated, thanks.
Hey man I think I had the same problem, Mari sets displacement to 32bit by default, which is correct but zbrush can’t work with 32bit files. In Mari right click on your disp channel and convert to 16bit
@@Adamocg Yea that worked, thanks so much. I could have sworn I tried it but I guess not lol. Looking forward to the rest of this, keep it up!
why i cant input the image to the wrap4d
Can u do it with sphere
I just got some maps from XYZ and this helps me a lot. Thx for the tutorial! also i would like to ask what computer rig are you using for Mari as my Mari wasn't cooperating nicely on my PC compared with yours in the video. Thx!
Yeah mari is quite CPU and GPU intensive. I was using a msi GE72 6QF laptop. Its struggled in places but got the job done
Currently following this, however, when it comes to being in the Visual Editor, the right window still displays the plane the image is one, whereas in the video it isn't there. The plane makes it very hard to add points to the mesh. :-\
Beginner here, really hoping someone can answer my questions. What if I like the skin texture but not the lips, am I stuck using that one displacement map for the lips? or can I use a different displacement map for the face and another different one for the lips?
Also, why does everyone use Mari and not substance painter? I never used Mari before but am going to have to purchase Mari to achieve those realistic results or could it be done in substance painter. Lastly, what about texturing the whole body? I only see the faces being done in several videos, how would I apply the same/similar textures of the face to match the body?
Hi there, you could replace the lip displacement in your texturing software. I'm pretty sure you could use substance for the same process. Mari, is used more in the vfx industry so I guess thats the reason why theres more videos on it. Painting the body is almost the same process but you wouldn't need do the whole Wrap process, I would just project textures in Mari.
@@Adamocg Really appreciate the response! I know this might be too much to ask but do you think you could do a substance painter tutorial using XYZ textures? I haven't seen any of those soo far and would help a ton! if not, I understand, thank you again!
@@megamanx9346 I might do in the future. I'm only just learning substance now so it might take a while to get up to speed
@@Adamocg All good, thank you!
太棒了，请问这是最新的流程吗，我看您用的是旧版本的软件，因为我想学习节省时间的流程，感谢您的付出
Is there another way to use xyz textures without wrap3d software?
You can also just paint the textures on to your model in Mari but it can be a bit tricky and a bit messy unfortunately
How you downloaded the 16bit. In Wrap? Or all 8 bit?
They're just 8 bit unfortunately
mh.. so this pipeline is a pipline to all the Finalstages for Cinematic/Film AND Real Time Game Character or Adam? I mean, you rendered it realistic, so you took a higher subdivision level of the head. But when i make the same Obi, BUT for a realtime game character, the only thing i had to do is, to take Level 1 or 2 Subdivison of the head from zbrush AND i have to make Haircards and place them. Do i understand right? I ask you that, because i want to become a patreon and i want to make Game Characters.
Yeah thats correct. The only difference between AAA games character and VFX character pipelines is the optimization to save, storage/ memory/ framerate. This means using hair cards, lower poly count, lower texture sizes, ect.
only blue and green channel from displacement of txyz? i don't follow this process with mari, i used xnormal for bake the displacement to use in zbrush so i don't understand why not use red channel. can you explain? i'm new with texturing xyz
The red channel in xyz textures is for large scale disp for some secondary forms. I tend to sculpt these secondary forms myself so adding the red channel tends to distort my model too much so I only use green (mid frequency details) and blue (high frequency details)
@@Adamocg thanks for the response, i appreciate :)
there is a mehod to introduce in zbrush a 32bit map?
Hi Tiziano, I dont think zbrush can import 32bit unfortunately. In mari, you would select you disp channel, right click and covert channel to 16 bit then export a .tiff using the color space utility- Raw
@@Adamocg Hi Adam, i found a method! you can export your 32bit displacement from Mari in grayscale so whit just one channel, aaand and that works! 32bit with 3 channel nope
@@tizianopalumbo nice, thanks man!
I think I extracted the 32-bit map from the video, how can I bring it to the zbrush?
Hey ssong, i made a mistake here. Either export as greyscale from Mari, or right click on your channel and convert to 16bit instead
@@Adamocg Is it okay if I make it into a 16-bit map from the beginning?
@@ssongpica6686 yep thats the way I would do it. I made a mistake in the video
@@Adamocg Thank you very, very much. Your questions have been answered.
my mari is a tad different. Guess the version changed the phrasings
Hello There!
ITS WEIRD THE TUTORIAL IS FULL BUT HAS NO AUDIO
SUBBED COZ YOUR FROM MERSEYSIDE HAHA. Runcorn.. bebington... ? :) Liverpool ???? use the great uv tool that is ???? No lovley uv set kidder...
Thanks Tony, Maghull although my accent has faded
@@Adamocg I CAN TELL ITS OBI ONE IN JUST THE GREY SCALE SCULPT. SO CLEAN.. VERY RARE TO BE ABLE TO TELL WHO IT IS IN JUST A GREY SCULPT.. YOU HAVE SOME PATIENT SKILLS.. I USED TO LIVE IN kenny and Wavertree... sorry about the caps my caplock is busted.. great model...