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Zbrush High-Poly to Cinematic Animation Workflow Question
Heyo! I know how to go from a high-poly down to a low for real time assets, but I am wondering how it works for cinematics? Do you still bake down to a lower poly mesh for animation/rigging? Not using normal maps but instead displacement/height maps? I've watched a few vfx breakdowns where they show the actual mesh, and… -
Re: Zbrush High-Poly to Cinematic Animation Workflow Question
It would depend on what application you are doing your cinematics in. More and more higher frequency game models are being used for some pretty spectacular realtime engine renders. Unreal has now 'sequence' for this purpose. If you plan on making a cinematic in standard 3d software I would recommend using a higher poly… -
Re: Zbrush High-Poly to Cinematic Animation Workflow Question
Bump as Im also trying to figure this out. I've been using ugly low poly proxy meshes, no normal map or displacement.. I can only assume a lot of VFX breakdowns for movies are still just choosing to show us higher poly renders. Looking at animator portfolios for film they often just have these really basic proxy models to… -
Re: Zbrush High-Poly to Cinematic Animation Workflow Question
Basically, it's the density of the topology. A good example is Drake from Uncharted 4 . Game res mesh 30k tris. Cinematic res mesh 90k tris. Also, because the vfx/cinematic rig is more complex and allows for a much broader range of motion, the topology has to support that. Slapping on subdivision isn't going to do it as… -
Re: Zbrush High-Poly to Cinematic Animation Workflow Question
Open subdiv?
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