Hello ! I am a video game student @ILOI & I am very thankful, your speech is very motivating .
Except the dude clearly doesn't know much of anything about the 3D game pipeline. Yeah, if you're very skilled, a high poly sculpt could, certainly. But then there's retopology, UV mapping, texture baking, rigging, animating, other means of optimization once imported into the engine. Granted it wouldn't take anywhere near the production time of a AAA character (Which the High-poly sculpt took maybe 10-15 hours altogether, but the finished character took ~94 hours). And granted pokemon models aren't nearly as complex as that, but I think at least a 1-3 hours from start to finish to be a fair average expectancy of artists who know the work flow well enough. I just hate how people are so critical of artists when they clearly don't understand what goes into it.
Have you figured out the new tricks of ZBrush 2018? What is your favorite new feature? You would probably mention Sculptris Pro, right? But the thing is that the latest update brings other cool stuff you could have missed. Pablo Munoz has recently shared a post on the tool’s latest version. The artist discussed Sculptris and other aspects.
Here is a little piece to get you interested:
Remember how you felt when you discovered Dynamesh? Well, this is the next best thing! With this new feature, you have ‘localised’ tessellation… It’s like having the Dynamesh feature only at the tip of your brush (not exactly but this is a good way to understand it). This feature gives you absolute freedom to sculpt. When you enable this feature you get more polygons where you need them and the amount of added polygons is determined by the brush size.
So in other words, the smaller the brush, the more polygons that will be added letting you sculpt very fine details without compromising the polycount of the entire mesh (what Dynamesh does):
Similarly, the larger the brush size, the fewer polygons that will be created (Decimation). So you can quite literally, remove details really fast by increasing the brush size and smoothing the area:
Sculptris Pro might sound familiar and that is because it takes the best features of the standalone Sculptris software and seamlessly integrates them into ZBrush. The integration into ZBrush 2018 also means that the functionality is also a bit more advanced, as in it allows you to have more control over the behavior of the brushes and the settings of the SubDivisions. So we’ll probably have to talk about those settings first…
Now, before I throw you into the deep end of the pool, let’s have a bit of a play with this new functionality and two brushes that I think are very relevant and incredibly powerful when Sculptris Pro is enabled:
The SnakeHook brush also becomes more relevant than ever! I used to think about the snake hook brush as an extension of the Move Elastic that had heaps of uses when combined with Dynamesh. Now, with Sculptris Pro, this is my favourite tool to extend the mesh and quickly create new parts without having to re-Dynamesh. Also, if you create characters, I’m sure you can relate to the frustration of working on things like fingers with Dynamesh, because they could get ‘mushed’ together when you run the Dynamesh process (depending on resolution and space between the fingers). Well… Sculptris Pro has your back:
Ok, no let’s talk about the settings of Sculptris Pro. I’m going to spare you from technicalities and share with you the way I understand these settings, so bear with me… (open the Sculptris Pro subpalette from the Stroke Palette).
You can find the full breakdown here.