HOW Do I move be­tween DAZ stu­dio and Zbrush?

Chris Turner, UK

3D World - - ARTIST Q&A - Ja­son Knight replies

When I first started us­ing Zbrush, I was of­ten con­fused by the in­ter­face. Much of that con­fu­sion con­tin­ues to this day. The Zbrush in­ter­face is very dif­fer­ent to other 3D-mod­el­ling pro­grams, and can be very in­tim­i­dat­ing for new users. I of­ten find my­self scratch­ing my head and search­ing the web for train­ing or tu­to­ri­als on how to ac­com­plish tasks in Zbrush. To save some headaches for you, here is some of what I’ve learned from my re­search. My im­age, ti­tled Me­ta­mor­pho­sis of

Nyssa, is about the never-end­ing de­sire to change who we are, when all the beauty we need is al­ready in­side us. This is an­other im­age that is in­spired by Lois van Baarle, and is deeply in­flu­enced by the work of Car­los Ortega El­izalde.

Although the fi­nal com­po­si­tion was laid out in DAZ Stu­dio to take ad­van­tage of the GPU ac­cel­er­ated real-time ren­der­ing with photo-re­al­is­tic results, I fre­quently do most of my mod­el­ling in other pro­grams. In this case, I used Cinema 4D for much of the ini­tial mod­el­ling, Marvelous­de­signer for the dress, and Zbrush ex­ten­sively to re­fine the de­tails.

I usu­ally try to fi­nalise all of my mod­el­ling and sculpt­ing prior to lay­ing out the fi­nal com­po­si­tion in DAZ Stu­dio. How­ever, in this case, af­ter the first few test ren­ders I re­alised that I needed to make some ma­jor ad­just­ments to her hair. At this point I had a few op­tions, I could con­tinue work­ing on the full model in Zbrush and im­port it again when I felt I was done… but what hap­pens if I still do not like the results? I re­peat the process, and re­peat the process again, as many times as it takes for me to be happy with the model. I have used this method count­less times.

I want to briefly cover an­other op­tion, the one I used for this im­age. I have my hair bro­ken up into sev­eral sec­tions, which are all im­ported into DAZ Stu­dio as sep­a­rate ob­jects. I do this to al­low more in­de­pen­dent con­trol of the dif­fer­ent hair parts. I select the of­fend­ing hair part and move back and forth be­tween DAZ Stu­dio and Zbrush, mak­ing sub­tle changes un­til I am happy with the results. Each time I do this it will cre­ate a new morph which can be ad­justed up or down to my lik­ing in DAZ Stu­dio. This method gives very pre­cise con­trol over the ob­ject mod­i­fi­ca­tions.

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