Hi Rastaman
Super Sache, die du da gemacht hast. Hilft mir sehr den Workflow zwischen Zbrush und Cinema zu verstehen.
Du schreibst, dass du nicht weist, ob das so auch mit ZBrush 3.x und Cinema 4D 10.x so funktioniert.
Da jetzt einige Wochen rum sind, kannst du diese Frage sicherlich beantworten.
Ist der Workflow noch der gleiche?
Ein klares Jain.
Aber im Ernst, prinzipiell geht’s noch genauso.
Einiges kann man sich sparen, wenn man XNormal zum Erzeugen der Normalmaps verwendet, Anderes geht noch gar nicht in ZB3.x weil die entsprechenden Plugins noch nicht aktualisiert vorliegen.
Ich werde den Text ggf. überarbeiten, wenn ZB 3.x seine Kinderkrankheiten los geworden ist.
So bringt das jetzt nichts, da sich noch viel ändern wird.
I just threw my german text into Altavistas Babelfish:
For a proper structure, you can look at the german version.
From ZBrush to Cinema 4D
Concerning the detailed procedure of the individual steps see the appropriate Tutorials and my guidances to it this is a summary of all steps of the individual guidances, in order to come from the raw model to the finished Rendering. In particular the Turorial: ’ LightWave ton of Zbrush # 153F21.pdf ’ is the best for procedure in principle straight in ZBrush. C4D_ZB_Displacement_Maps.pdf is just as important First see articles in Creative Live one 6/2004, S.70 FF. The problem lies now in it that with ZBrush2 can be modelled extremely in detail, a model exported in this detail degree in the Rendersoftware due to the high Polygonzahl to be however never worked on could. The solution is appropriate first in the production for a DISPLACEMENT map in ZBrush2, thus a gray tone image file (tif or Photoshop format), which represents the heights or depths of the surface of the fundamentally detailed model in the grey tones and thus a model with smaller Polygonzahl can be exported, to which then into the Rendersoftware the DISPLACEMENT map one assigns and so the model transforms with the Rendern again to the high-detailed model (Anm: In contrast to the Bumpmap (u.Normalmap) by means of DISPLACEMENT Mapping the model is computed deformed by the Renderer actually material.) To the different types of DISPLACEMENT see C4D_ZB_Displacement_Maps.pdf, chapter 4. The all-finest details such as skin pores etc. are not however in practice with DISPLACEMENT maps realizable, because no in this way produced detail can be smaller than the polygon, with which the whole must be converted also in ZBrush (see below). But one uses then nevertheless better the Bump Mapping, whereby the Bump map in ZBrush is produced and in C4D as well as (likewise in ZBrush produced) the Color map (color texture) in a C4D-Material is integrated used. Further the use is recommended to a normal map (see below), whereby this can be produced either in ZBrush or only later in C4D. With the production in ZBrush one saves the high-dissolved model. In principle one proceeds as follows: I) Either a new model is provided in ZBrush by means of ZSpheres or imported as obj from Cinema 4D or Modo etc. in ZBrush (Tools - import)., a pressing of the ’ EDIT’ Buttons do not forget. Importantly: In particular if the basis model were provided in Cinema4D, the following is to be considered: The roofridge thing tons of note is that you MUST use the Riptide plugin ton import and export your models within Cinema 4D. The key issue you’ll more encounter with going bake and fourth between ZBrush and Cinema 4D is the POINT order OF your model. The second thing tons of note is that within ZBrush you must export your model with GRP (Group) turned off. Otherwise, Riptide wants interpreter each polygroup as A separate object and old the POINT order OF your model. Ton of GET around this you CAN make sure your original exported model from Cinema 4D is A single object. This is fine if you’re only using one object, but if you acres using multiple objects, then make sure tons connect them with the selection tags before exporting as groups from cinema. This wants allow you tons simply CoPy the selection tags from your original cinema ton the new imported model from Zbrush. Since the POINT order is maintained the selection tags wants CROSSES more over seamlessly and you’ll able tons again export your model with its polygroups. Please note it is useful tons keep at original version OF your model you have A clean model you CAN go bake tons in such a way if your POINT order GET rearranged. II)Die work in ZBRUSH: 1)Sculpting & DISPLACEMENT a) In low detail stage by means of the ’ Move’ function of the Grundshape one provides. b) Afterwards the model into higher detail stages (max.5) dividen… Note: Already becomes before the Dividen the GUV Tiles action (s.u.) implemented and thus the UV coordinates provides, then the option ’ SUV ’ must be activated (= Smooth UV switch, under which Divide Button) before the Dividen, so that the UV’s is smoothed with the Dividen. c) Subsequently, in the highest Subdivision stage a Morph target memory. The Morphtarget is the ’ safety net and must absolutely only after the Dividen be set and during itself the model in the highest Subdivision stage finds, since it works only with this as well as lower detail stages, but not with higher detail levels produced later. (from ’ LightWave ton of Zbrush # 153F21.pdf ’ ZBrush is A multi-resolution editing tool. You CAN increase and decrease the NUMBERS OF of polygons in your object RK any time, making broad CHANGE RK low subdivision level and detailed CHANGE RK more higher subdivision levels. Thesis CHANGE ripple UP and down the various subdivision levels, so simple CHANGES larva RK subdivision level 1 (the when model has fewer POINTS) wants cause of broader CHANGES ton the model RK subdivision level 5, 6 or 7. And detailed CHANGE RK level 5, 6 or 7 (the model has more POINTS when) wants cause only minor CHANGES RK subdivision level 1. The morph target is your ZBrush safety net. It offers several benefits. It allows you ton “erase” specific deformation by using the Morph Edit Brush found into the Transform menu. It allows you tons of updates your object’s UV map RK any POINT without losing any work you’ve done. And it CAN used tons return your model tons its original shape when generating DISPLACEMENT and normally maps. Note: You CAN net curtain your morph target before subdividing your object, but the Morph Edit Brush wants only work RK Subdivision level equal tons or more lower than the one RK which the morph target which stored. For this reason, it’s best ton net curtain the morph target after reaching your highest Subdivision level (typically 5 and 7 between). Alert: While you don’t have ton net curtain A morph target, it’s highly advisable that you DO in such a way. Storing the morph target is your safety net ton ensure that you have the widest rank OF option when for working with your model. Make sure you net curtain A morph target before continuing. d) The object modelieren and by means of Draw function the most important larger details such as muscles, Muskelsepten etc.-provide (= Sculpting).Diese then afterwards as DISPLACEMENT map are stored: Basic principle Sculpting (model): First with detail stage 1 with the ’ Move’ function by shifting the corner points roughly determine the outlines and forms lay on, then either in high detail stage (usually 4 to 5, suitably fine to attach sharply defined details) or with low Deatilstufe (2 or 3, suitably around basis outlines e.g. setting for muscles, which run then with higher detail stages softly with the environment) changing ’ loam ’ and afterwards by means of pressed SHIFT key (Smooth function) again smooth, thus practically as with the Modelierung with genuine loam proceed. Anm: Smoothing functioned in very high resolution only very slowly, therefore better in detail stage 3 work and then in 4 or 5 Feintuning operate. Thus when working with the Draw function (’ digital loam ’ with the model up and/or clear away) before a color texture already laid on is not destroyed, these before working with Draw in Texture would list against ’ Txture off ’ to exchange, after the treatment of the Models the texture again select. (presupposes applied GUV- and/or AUV coordinates at the model). Note: The pure Skulpturieren of the model needs however still no UV coordinates. With activated Button ’ Zadd ’ produces, with active ’ Zsub ’ against it RECESSES for each brush line COLLECTIONS (= adds (= added) z-values here in addition) (subtracts z-values). Zcut cuts holes and/or tunnels into geometry. Thus the Button is combined: MRGB: the brush line lays material (= structure of the adjusted alpha) and color on at the same time. RGB: the brush line lays on only color (without structure). M: the brush line only material (= structure of the adjusted alpha) on (deletes however gleichzietig lying under it colors and structures). e) After finishing the detailed model in ZBrush2 assign to each polygon of the model by means of ’ GUV Tiles ’ a certain range on the later texture (advantage: later changes in the model do not have influence on the texture/disadvantage: The texture cannot be worked over again simply in Photoshop or the like), in addition: - bring model on the lowest Divide stage (1 or 2) (Tool Geometry Lower Res) - coordinates by means of ’ Tool - Texture - GUV Tiles ’ assign. use (ever better GUV Tiles, since this Mapping method holds the polygone together where it is necessary and so also with models with contained triangle dreieck-Polygonen well works. - second highest-detail-gradates after it again in change (notes: it functions only with a detail stage under the highest stage! The highest detail stage supplies no and/or no useful Dispmap). f) DISPLACEMENT map To details and information to the different types of DISPLACEMENT see C4D_ZB_Displacement_Maps.pdf, chapter 4. Anm: In principle one can give oneself the DISPLACEMENT map production, if with a normal map in C4D works later then is this step obsolet., one is practical, one wants normal Mapping somehow with DISPLACEMENT to combine. a) Conventional way: In Tool - DISPLACEMENT: - in the DPRes field 4096 adjust (- then a 4096x4096 produces large DISPLACEMENT map) - switch adaptive ones fashion and Smooth UV activate. then the DISPLACEMENT map via ’ Tool - DISPLACEMENT - to Create DispMap ’ provide (the map now into the pallet of the alphas one puts down). * Important info. von Pixolator: Note 1: The DISPLACEMENT map May need tons flipped vertically (in Cinema 4D, s.u.) for correct UV mapping (i.e.: in addition either still in ZBrush the DISPLACEMENT map before the export in the alpha pallet and in the menu option ’ alpha ’ then the Button ’ Flip V(ertically) ’ select press, if necessary likewise the Button ’ max ’ (optionally))). important: For the later use in other Renderern (Cinema4D) the map must be geflippt around the y axis (180° turned). In addition, that can later in Cinem4D happened (see below). - in the alpha pallet the straight produced map select and via ’ Export’ Button store (e.g. as tiff, in 16 or 32 bits (standard)) b) Use of the ADE Plugin To details see C4D_ZB_Displacement_Maps.pdf, chapter 5. By means of ADE Plugin clearly better DISPLACEMENT maps can be obtained as with the conventional method. The ADE plugin The alpha DISPLACEMENT Exporter plugin is actually split into two parts: the Main part OF it is found into the alpha pallet, while multi DISPLACEMENT 2 is into the Zplugin pallet as shown above. MD2 is to alternate way ton create DISPLACEMENT map and CAN replace the calculation option found into the Tool DISPLACEMENT menu. In addition ton allowing ZBrush ton simultaneously create maps for A model with multiple UV region, it is thus the part OF the ADE that supports exporting 32-bit DISPLACEMENT map. More information about the use OF MD2 is included into the documentation that comes with the DISPLACEMENT Exporter down load. (note: To If you find the controls can’t described above, you probably need tons of down load the ADE from www.zbrush.com and install it according ton the Instructions that come with it.) Ton use the multi DISPLACEMENT 2 plugin, roofridge click its export option button. This open the DISPLACEMENT Exporter panel where you CAN specify the settings for exporting your DISPLACEMENT map (s) as by the Instructions into the following sections. After setting your export option, use the Create universe button ton create and export your DISPLACEMENTS. If you wish ton use ZBrush 2’s native calculation methods, simply create A DISPLACEMENT map like normally and then use DISPLACEMENT Exporter ton choose your settings and export the map ton of C4D. 5.1. Presets The ADE more exporter looks much more imposing than it really is. It has many settings ton control aspects OF exported DISPLACEMENT map, but you’ll need only one or two possible combination, and thesis of acres given tons you more later in this document. The field below refreshment LED Quick code allows you tons of enter A supplied combi nation OF letters, digit, and hyphens, tons adjust all settings OF the ADE RK once, so whenever incoming goods need tons specify A setting ton use, we’ll just give you the quick code, and you CAN more enter it, much like you’d more enter the VCR code from A TV guide ton of records A particular program. Note that you don’t have tons of enter A quick code every time you use the ADE, just the roofridge time you choose the settings appropriate for C4D. Thesis wants remembered. 5.2. Creating your own preset 5.2.1. Activating The buttons RK the top OF the ADE screen with names like R16, Normal8, and Undefined, acres all presets; each net curtain A particular configuration setting for the ADE, and each CAN changed. Ton specify your own settings, roofridge click on the preset you wish ton modify, and then turn the status field on on This is shown above for the R16 preset. Then, click on the quickcode field itself into the ADE panel. This bring to UP A dialogue for duck ring of quickcodes. The text that comes after the read dash is the name OF the preset; CHANGES this read part ton of CHANGES the name, without actually changing any settings. 5.3. Recommended Quick code Here of acres some recommended Quick code for using Cinema 4D with ZBrush. The roofridge two acres the ones incoming goods recommend the most, they more offer the best detail ton of file size ratio. The best quality you’re going ton of GET is A 32 bits setting, but with A of larger file size. 16 bits Red/Green: DE-HCGK-DACAAA-4D_Red/Green 32 bits Greyscale: DE-JCGK-EACADA-4D_D32 16 bits Greyscale: DE-FCGK-EACADA-4D_D16 32 bits RGB: DE-LCGK-EAEAEA-4D_32 16 bits RGB: DE-HCGK-EAEAEA-4D_R16 2)Bump-Mapping After providing the main details now the all-finest details follow, like skin pores etc… However is the normally recommended procedure over the check boxes deformation and Normalized in Projection master (thus again as DISPLACEMENT) this time a conceivablly bad way, since the details smear again after the Pick UP, since the model can be never so highly partitioned, as it would be actually necessary, because no in this way produced detail can be smaller than the polygon, with which the whole must be converted. In addition note in addition of Aurick: Deformation quality is dependent upon the poly COUNTS OF the model than the model’s UV mapping or texture. Into fact, you don’t even have tons have UV’d A model yet in order ton able tons paint mesh DISPLACEMENTS onto it. The thing that wants affect the quality OF your geometry deformation projections is the poly COUNTS OF the model. When your model is dropped ton the canvas, it’s into the form OF pixols than polygons. A single model polygon might have dozens, hundreds, or even thousands OF pixols depending on your zoom shot level when you drop it. BUT you can’t paint A detail that is more smaller than the of polygons that it wants projected onto But it goes nevertheless, over the use of the Bump Viewer material. This trick is described in the Tutorials to ZBrush with Lightwave: ’ How ton of Live ones happy with LightWave3D 8,5 and Zbrush 2.pdf ’ and ’ LightWave ton of Zbrush # 153F21.pdf '. as well as in chapter 6 of Tutorial ’ normally Mapping with ZBrush2 and ZMapper ‘. It participates important that the action AUV- bzw.GUV Tiles described above was first already implemented. My goal is ton have the Main shape defined with A DISPLACEMENT map, then I want ADD Bump Viewer material, and continue ton of ADDS the fine details in A bump map. In this way, if I want ton of ADDS geonmetry, I CAN apply the bump map in A DISPLACEMENT channel easily, but if I work with bump map I CAN work with light mesh and high fine details. Fine detail (look for as wrinkles, pores, etc…) acres best hand LED by A bump map. ZBrush allows you tons paint A bump map directly on your object and lake the results as they’ll appear in LightWave (which is so cool!). 1) Click on the SysPalette button tons of open the system pallet. 2) Choose the medium grey whose talk, Green and Blue VALUES of acres all 128. Then click OK ONE. Now click the Texture menu RK the top OF the interfaces ton drop down its option. (You CAN click the orange widget ton dock this ton the left side OF the interfaces if you’d like.) 3)Click into the Width and Height fields and more enter 2048 (and/or 4096) for each. Then click new ones (or simply use power OF two Button) This wants create A of new texture with A resolution OF 2048x2048 (and/or 4096x4096) (importantly: The size of the Bumpmap should possess because of the later processing into a normal map by means of ZMapper to double of the size of the later normal map.) and wants fill it with the medium grey color incoming goods selected more earlier. This uniform grey tone (RGB of everything on 128) is quasi the zero level. All more brightly as that will raised, all more darkly than that becomes a recess in the Bump map. - now in texture pallet only the Pixol ton of pixels (Plugin) - Button press, so that the Model is brought on scaling the optimally fitting the texture size. (with it the past complicated steps are to this topic (s.u.) finally obsolet, because now the texture details drawn by means of projection masters are transferred also to a large extent krisp with the Pick UP in the model.) 4) then now the material BumpViewMaterial.zmt becomes from the file \ZMaterials in the channelchannel channel load-loading that model appears now brighter and glossy with Model capable for editing. Click on the material icon (or go ton the material menu RK the top OF the interfaces) and click the load button. Navigate ton your ZBrush install directory. (Typically this wants into the C:\Program Files\Pixologic\ZBrush2 folder on the C). LOCATE the ZMaterials folder and load the BumpViewMaterial.zmt file. Once the Bump View material is active, you’ll notice that your object is both brighter and has more specular highlights. 5) Use Projection master ton paint your bump map. Projection master lets you paint intricate details onto your model using A variety OF of brushes and alpha MASK. Click the Projection master button RK the more upper left corner OF the interfaces. This wants open the Projection master option window. You CAN paint Colors, material or deformation with Projection master. Since we’re only painting A bump map, incoming goods just want the Colors (or into this case, shades OF grey) option checked. Make sure this is the case. Then click the drop Now button. Click the SysPalette button and choose pure black. Then make sure that only the RGB button RK the top OF the interfaces is highlighted. If Zadd or Zsub is selected, make sure ton turn them off. This wants ensure that we’re only painting pure colors onto our object. Draw A few strokes more over your object and notice how it appears tons of CUT into the surface. You’re now painting A bump map directly on the surface OF your object in real-time! NO geometry is actually being modified. This is all being done with the bump map. Projection master default ton using A tool called the single Layer Brush with A softly round alpha and A dotted Stroke. Try out the different brushes, alpha and of strokes ton of GET A feel for how they affect your object. Using A black color wants CUT brush strokes into your object. Switching ton of A white color wants cause the brush strokes rise UP from the surface. You CAN vary the intensity OF your brush strokes by changing the RGB Intensity more slider. Alternatively can be proceeded also with the Bump map similar to the Color map after Kris Kostas. To the steps 1) to 5) as Tool Plane3D, as alpha the blurred circle and as texture then e.g. another alpha (Graustufen) jpg loaded, with which structures are then produced instead of colors. To the error correction or to the Abwedeln of the produced structures: If you want ton restore the surface (for example, ton of cover UP any mistakes), simply SWITCHES bake tons of A medium grey, set the RGB Intensity ton of 100 and paint more over the surface.(wirkt quasi like an eraser, intensity of the delete effect can over tray pressure and RGB Slider be varied). Then click on the Pickup Now button tons return tons of ZBrush’s standard object edit mode. Save your bump map. When you’re happy with the work you’ve done in ZBrush, you need tons save out the various maps for use in LightWave. We’ll begin by saving out our bump map. Open the Texture menu RK the top OF the interfaces (or from the side if you docked it more earlier). Make sure the bump map is currently selected. Then press the Flip V button tons flip the texture vertically. I know this seems like A strand thing tons of DO. But ZBrush’s UV of coordinates of acres the inverse OF LightWave’s. If you don’t flip the texture, it won’t like UP properly with the UV once you’re bakes in LightWave. Alert: Forgetting ton flip your texture before exporting is A very common SOURCE OF of problem. To If you find that your textures don’t “look right” when you apply them ton your model in LightWave, the roofridge thing tons of checks is that they’ve been flipped. Click the export button into the Texture menu and save the bump map as A standard Photoshop PSD file. The trick is based thus on the use a Bump map in place of DISPLACEMENT, since the Bump map shows the details up-painted in projection master better and more exactly than their conversion to Polygon DISPLACEMENT this ever in practice could (s.o.). It is important for it in addition, (as with following providing the color texture map) that innnerhalb the Pixols up-painted by Projection master appears if possible 1:1 in pixels after the Pick UP on the Bump map. For the scaling problem coherent with it and its solution see the Tutorial ’ Precision Texturing - to part 2 ’ from Arurick. Note: If the normal map with the ZMapper Plugin is provided (see below), can the Bump map directly into the normal map is taken into consideration, so that a separate use is void in CD4. The Bump map must be however approx. twice as largely like the later normal map (see below), thus at the best 4096x4096. Excerpt from the ZMapper manual: 2.2.1. Creating Bump map in ZBrush You’ve NO doubt thought, “Aha, I CAN use ZBrush ton create great bump maps as wave, ton use into the above process.(s.u., guidance for manufacturing normal maps with ZMapper)” You’re right, OF course. There is A plethora OF ways ton gene-guessed/advised the requisite grayscale bump map from within ZBrush. You CAN paint directly ton the 2.5D canvas and then grave at alpha off OF there. Using Projection master with the BumpViewerMaterial, you CAN paint A grayscale texture onto your model, and then create at alpha from that. Some OF thesis of techniques of acres discussed in section 6. The experienced ZBrush user wants NO doubt come UP with many more. There of acres some POINTS here you should aware OF, pertaining ton the relative resolution OF the various map that come into play. Lake section 4,3 for details. 3)Color-Texturing Completely importantly: if the Bump map were provided before, then before activation of Projection masters absolutely the Bump Viewer material change back against e.g. the standard material and in the Syspalette on a middle grey as color to change. Here there are different possibilities, see in addition various e.g. the Tutorial of Ken Brilliant, Kris Kostas or different etc… Provided at the end a Color Texturmap is not forgotten anyhow similar to the Bump Map.(Flip v!!) Completely importantly also the Tutorial ’ Precision Texturing is - part 2 ’ from Arurick, if the textures are up-painted purely in Projection master. Here there is the problem of the scaling differences between 3D-Modell and indication surface, which can lead after the Pick UP to blurred outlines of the painted texture in the model. Since the correction of this fundamental problem of ZBrush is very pedantic, one uses an external indication program better by means of ZApplink Plugin for it such as Photoshop or PSP. Alternatively also Maxons Bodypaint can be used. With the new Plugin ’ Pixol ton of pixels ’ is however now also in ZBrush2 to a large extent solved the problem and it can directly with Projection master in ZBrush2 be painted. For the procedure by means of ZApplink Projection master with activated Color Checkbox is started before. To transferring to z.B.Photoshop provided painting only in the indication program (Photoshop o.ae.) memory the Menuepunkt/Button presses. ZApplink transfers then the texture automatically into ZBrush. The advantage over painting purely in Projection master is in the fact that ZApplink transfers the model (when 2D-Flaeche) in the correct scaling size into the indication program, so that the up-painted texture appears later sharply shown in the model, it thus no more Unschaerfeprobleme as before gives. In addition, disadvantage opposite Maxons Bodypaint is that both in Projection master is always painted and with the procedure over ZApplink on a two-dimensional projezierte surface of the 3D-Models, whereby one cannot turn the model when painting any longer. That then often makes at the sides of problems, a clean transition of the texture around the model erzeuigen. With Bodypaint the model is moveable against it during painting freely, which a clear advantage is. However however naturally also there again some features of ZBrush or Photoshop are missing and in addition must be stored for detailed painting first times a high-detailed version of the model as obj, painted then in Bodypaint and reimportiert after ZBrush. CAVE: Here then naturally again the lower Subdivision levels are missing, how the reasonable use from Bodypaint is thus NOT possible to the Texturieren for the methods described here (high-detailed models with low Polygonzahlen manufacture)! If necessary the Low poly model used for the Rendern can be painted later still in Bodypaint or one uses the Raybrush in Bodypaint, in order in the model already gerederte to paint with appropriate quality losses (details in addition see C4D_ZB_Displacement_Maps.pdf). BodyPaint is in each case straight worth an attempt with skin textures quite. In addition in C4D under windows - layout - BP 3D Paint is adjusted, afterwards under Werkzeuige - the Paint assistant gestartet.(siehe Manual_BP2.PDF). Then right down in the Material_Manager on the channel small box with the F click (farbkanal). Now on the top right a texture jpg (e.g. striking texture) can be loaded and be painted with it in the model, similarly as direct with Kris Kostas’ technology, only this time with the brush in the dialogue. Is provided in the managermanager manager on the right of down the small symbol with the pin (direct over the materials) with a red cross, then one paints only in the channel activated in each case (e.g. the farbkanal). If one clicks however on the small box and it changes to the green Haeckchen, then now the MultiBrush is active, i.e. one paints now in all channels, which one selected before in the Paint assistant for treatment. E.g.-similarly etc. can be produced to the BumpMap method in ZBrush also in the relief channel of selected farbhelligkeit recesses or collections. It depends thus on the individual case, which is in the long run optimally used, but the use of Photoshop or the like via ZApplink from ZBrush results in the qualitatively best results, if sharp-drawn textures (z.B.Logos, Tatoos etc.) are necessary. With Texturen.wie e.g. that skin color, whose details are produced then rather by the Bump map, is however always worthwhile itself an attempt with Bodypaint, since the Workflow is much better here and can the model when painting freely be turned. But as already said, with which new Plugin ’ Pixol ton of pixels ’ is the problem however now also in ZBrush2 to a large extent solved and it can directly with Projection master in ZBrush2 is painted. - to it in texture pallet after providing the texture now directly still the Pixol ton of pixels (Plugin) - Button press, so that the Model is brought on scaling the optimally fitting the texture size. (with it the past complicated steps are to this topic (s.o.) finally obsolet, because now the texture details drawn by means of projection masters are transferred also to a large extent krisp with the Pick UP in the model.) 4)Normal map (always best with ZMapper provide!!) Completely importantly: if the Bump map were provided before, then before activation of Projection masters absolutely the Bump Viewer material change back against e.g. the standard material and in the Syspalette on a middle grey as color to change. This step can take place also only later in Cinema 4D (- cheeks of DISPLACEMENTS into a normal map), is however much better and faster already already here in ZBrush by means of ZMapper Plugin possible. a) Conventional way: (Obsolet, much too slowly) In the following to it the excerpt in addition from ’ LightWave ton of Zbrush # 153F21.pdf ‘: Create A normally map Normally maps of acres like bump maps on steroids. They don’t actually old the shape OF your object (as the DISPLACEMENT map of does), but they give the appearance OF doing in such a way. This of makes them wave suited for situation that require highly detailed objects but lacquer the time or more horsepower required tons more render multi-million polygon objects. Normally map CAN used on their own or in conjunction with DISPLACEMENTS and traditional bump maps. I find that by using to them into conjunction with the OTHER map, I CAN GET outstanding results while cutting down on the render time by frame. Click on the normal map submenu just below the DISPLACEMENT submenu into the Tools pallet. Set the NMRes (normal map resolution) ton of 2048 (bzw.4096) and turn on adaptive one and SmoothUV. The read button into the normal map menu is the Tangent button. If you’re using LightWave 9, make sure this button is selected. If you’re using LightWave 8,5 or more earlier, make sure this is emergency selected. For Cinema 4D 9,6 ’ tangent ’ may (s.u.) are selected. Quickstart 030 - Set your normally map size ton of 2048, turn on adaptive one fashion and Smooth UVs. Then turn on Tangent mode for LightWave 9 (or leave it unselected for LightWave 8,5). LightWave 8,5 (and more earlier) users wants thus need ton make A slight CHANGE ton the normally map export of preferences in order ton of GET their map ton work properly. Open the Preferences menu RK the top OF the screen and click on the import export option. Activate the “NormalMapFlipX” and “NormalMapFlipZ” buttons. If thesis option acres emergency set, your normally map wants emergency work properly. Keep in mind that thesis settings only apply tons of LightWave 8,5 and more earlier. Users OF LightWave 9 should leave thesis settings unchecked. Alert: One OF the most common error people have with using normally maps in LightWave 8,5 is emergency having the NormalMapFlipX and NormalMapFlipZ preferences set. Quickstart 031 - LightWave 8,5 users wants need ton set the NormalMapFlipX and NormalMapFlipZ buttons into the import export Preferences. LightWave 9 users should emergency set thesis option). Once your option acres set, click on the Create normal map button into the Tool menu ton gene-guesses/advises your normally map. When finished, it wants become the active Texture and you’ll lake it applied tons your object. Note: If you lake that the normally map is the current texture but you don’t lake it applied tons your object, you May quietly viewing your object with the Bump Viewer material. Ton lake the normally map on your object, SWITCH ton another material look for as the basic material or the nearly Shader material. Note: Normally maps generated with the Tangent option checked appear predominantly blue while those wants without it checked (thesis of acres Object space normally maps) wants look like A mixture yellow, orange and blue. The normally map wants need tons flipped just as which done with the Bump map and DISPLACEMENT map ton of DO this, open the Texture menu RK the top OF the interfaces (or from the side if you docked it more earlier). The normally map should the active texture. Press the Flip V button tons flip it vertically. Then press the export button and save your map into the Photoshop format. Note: If you’re using LightWave 9, you CAN net curtain your normally map of preferences and speed UP the creation process by using the ADE/MD2 plug in. For more information about using MD2, lake section 4.7.3. Quickstart 032 - Click the Create normal map button, open the Texture menu and press Flip V ton flip the texture vertically. Then export the map in PhotoShop format). b) the ADE Plugin (Obsolet, ZMapper is much better!) Anm: The ADE Plugin (s.o) is thus capable OF exporting Tangent normal map, so here acres two codes for doing that with ADE, but for more durably normally map generation check out the new ZMapper plugin available for free from www.ZBrush.com. 32 bits Tangent normally map: DE-LCEK-FAIAJA-4D_Normal32 16 bits Tangent normally map: DE-HCEK-FAIAJA-4D_Normal16 c) Highest performance however that is with distance ZMapper Plugin Importantly: ZMapper supplies good results only if the High level model deviates in the Outline not too much from the Subdivision-Level1. Otherwise baking is in C4D the better choice. Use (short form): ZMapper Load A multi-resolution mesh and go tons subdivision level 1. Draw the model on the screen and of enter Edit mode. Load A bump map into the alpha pallet (if desired) and set its stength using Tool DISPLACEMENT Intensity. (A brightly texture wants thus need tons applied ton the model bump effect ton the in order for visible.) Click the ZMapper button. Click on the normal & Cavity map tab into the ZMapper interface. Modify any settings, if necessary. Click the Create normally map button. ZMapper wants calculate the normally map and more render it on the low resolution model. If satisfied with the results, exit ZMapper. The newly created normally map wants selected into the Texture pallet, ready ton exported. (Flip y do not forget!) For more advanced usage, sure ton READ the pdf documentation: 1. Install or load ZMapper. 2. Create the low resolution Polymesh3D model you want ton start with, and make sure it conforms as closely as possible high resolution the into shape tons mesh that wants expressing all OF the details. Importantly: ZMapper supplies good results only if the High level model deviates in the Outline not too much from the Subdivision-Level1. Otherwise baking is in C4D the better choice. 3. Using the ZBrush tools you acres already familiar with, iteratively subdivide the model and sculpt finer and finer detail, until you have the desired finally result. 4. Choose A texture size for the normally map (best same size as the Bump map)). Create and SELECT A texture that wants hold the normally map. It must square, and its side dimension must powers OF two. (256, 512, 1024, and so on.) Ton capture all OF the detail, the normally map AREA used (i.e. that portion of emergency left brightly by the UV mapping) should have about as many pixel as the high resolution model has polygons. ZMapper wants use whatever UV mapping you choose for the model. 5. ADD A bump map if desired (as active alpha into the alpha pallet load), for high frequency detail. 6. Set the model ton its lowest subdivision setting (level 1). The selected level is the model level for which the normally map wants generated. 6. Start the ZMapper plugin and use it ton create A normally map for the low resolution model… SELECT Tangent space N.Map or Object space N.Map ton choose between generating A tangent or object space normally map. Open the normal & Cavity map tab, and press Create normally map. The map wants incorporate both the of differential in geometry between the low and highresolution models, and the details OF the bump map. 7. Once the normally map is complete, exit ZMapper. The finished texture map wants into the texture pallet. 8. Flip y do not forget!, export then. Normally maps from Bump map Another way ton produce A normally map is ton start with A bump map, and convert it tons of A normally map. This has the advantage that the resulting normally map NO more longer has the intensity adjustment ' problem that CAN encountered with bump map, when transfer ring them between different programs. Even more better, bump map CAN used along with the techniques described above. The process is straightforward. 1. Choose A polymesh 3D model for which you wish tons gene-guesses/advises normally map to A. 2. The bump map wants A grayscale texture map that has A UV mapping ton the model. GET it into the alpha pallet (Texture - Make alpha Button) and SELECT it as the current alpha map. The bump map dimension should between one tons two times the dimension OF the finally normally map. (so if your normally map is 1024x1024, choose A bump map from 1024x1024 ton of 2048x2048.) Less than this, and there's emergency A plumb bob OF POINT in using A bump map. More than this, and you risk putting A plumb bob OF work into the details OF the bump map that wants then filtered out ’ because the normally map resolution is emergency high enough ton support them. If you have enough MEMORY, incoming goods recommend using A more larger bump map than the normally map, and just keep in mind when editing that very fine details into the bump map want emergency come through. The of higher resolution wants quietly probably improve quality on the of larger details. Note: After my attempts the Bump map should be just as large as the normal map. 3. Create A texture that wants hold the generated normally map. The restrictions outlined into the previous section as regards tons normally map dimension apply. (Square, power OF two.) 4. Set Toolisplacementisplacement Intensity ton about 0.05. After A highly rigorous evaluation, this figure which chosen because it seems tons work pretty wave most OF the time. Feel free ton experiment. This is the setting that tells ZMapper the chosen alpha map is tons considered A bump map, and with what intensity tons apply it. 5. Go into ZMapper and, as into the previous section, choose the type OF normally map ton gene-guessed/advised and then create it. When it has been created, exit ZMapper and your normally map want into the texture pallet and ready for use. Normally maps from Both Bump map and Subdivision Models It’s easy enough ton combine the above two ways OF generating normally maps. Just make sure you’ve followed the steps in section 2,2 (normally maps from Bump map) so that you have to appropriate bump map alpha selected, and that you’ve followed the steps in section 2,1 so that you have A subdivision model set ton its lowest level. Then go and create the map as usual. Both the geometry and the bump map wants incorporated. 5)Cavity-Map The cavity map is provided likewise with ZMapper (s.o.) The procedure is similar thereby to the normal map, i.e. the Bump map should be as alpha loaded, the Tools DISPLACEMENT Intensity value to 0.05 adjusted, then new texture produces (e.g. 2048x2048) and ZMapper to start, which adjust Cavity Intensity and select Create Cavity map. Into C4d the Cavity map is then loaded into the diffusion channel To information in addition see C4D_ZB_Displacement_Maps.pdf:und in the ZMapper manual: Cavity Shading (from ZMapper manual) Strictly speaking, cavity shading (A form OF simulating ambient occlusion) has emergency-hung tons of DO in concept with normally mapping, but it turns out tons easy ton incorporate A cavity shading effect into the normally map process, RK NO end use cost. ZMapper has the ability ton produce and integrate cavity shading. The process is emergency difficult, but there acres A NUMBER OF settings that affect the finally result, thus than go into it here, I’ll more refer you tons of section. 4.4.4. (in the ZMapper manual) 8.2.4. Cavity map Cavity map of acres A different sort OF beast in that they CAN really ADD ton the effect OF fine details like wrinkles and small cracks when used in conjunction with OTHER of type OF map, but aren’t really suitable for use on their own. Essentially they serve A similar PUR-FLOAT as ambient occlusion, but on A much more smaller scale. They create of darker AREAS into small crevices and depression in your displaced mesh ton enhance the cavity effect. The ZMapper documentation of discusses how tons gene-guesses/advises cavity maps. 8.2.5. Applying Cavity map Once you have your Cavity map you need tons apply it tons your model in Cinema 4D, and NO there isn’t A mobile phone dandy Cavity channel, two out OF three ain’t bath. The idea behind the cavity map is tons darken the AREAS that would receive less light. There of acres A various ways tons of DO this, look for as using the of layer shader tons multiply this more over your color map and search, but the easiest way is tons simply load it into your diffusion channel. This thus means that you CAN use the map ton affect reflections, specularity, and luminance, as wave as color. As mentioned before, cavity maps don’t create A great affect on their own: Instead you wants want ton use this ton of ADDS ton the effect OF your bumps, normally maps, or DISPLACEMENTS, it CAN really punch out the detail while adding NO material render time hit. 6)Modell export The model becomes over Tools - export as obj exports. Importantly: For the obj. export from ZBrush Tools - export - must be switched off GRP (Group), since otherwise the Riptide Plugin (in C4D) interprets each Polygroup as own object. The Model should be exported in exactly the same detail level, in which the UV coordinates were provided by means of GUV Tiles. It functions however usually also in another level perfectly. - now the model into a lower Divide stage (e.g. 1.2 or 3) bring and export (obj Format) Note: There are following the in principle possibilities: I) One works in C4D with the normal map. Here the model on Divide-Level1 becomes, at the most Level2 exportiert.(minimale Polygonzahl with the object for minimaleste Renderzeit) II) one works in C4D with the DISPLACEMENT map: Here a model mitmittlererPolygonzahl(z.B.Divide stage 3), there the calculation of the DISPLACEMENTS with the Rendern with activated SubPolygon DISPLACEMENT (SPD) still another sufficient number of Polygonflaechen needs, in order to produce detailed results. III) target against it the normal map by cheeks in C4D to be only produced (not recommended), must be exported for the procedure described below (cheeks of DISPLACEMENTS in normal maps in C4D) now first an object with as high a Divide stage as possible (3 or 4) and one with smaller (1 or 2) than obj, since the high-detailed for baking the normal map is used in C4D. Alternatively the normal map can be provided in addition, directly in ZBrush, then one needs only the Low poly Modell.(empfohlen!!) III)Cinema 4D (see also C4D_ZB_Displacement_Maps.pdf) Now the model in Cinema 4D import. Wichtig 
a the native obj Import of Cinema 4D is often insufficient (e.g. with Modo generated obj is not good processed), always to the obj Import (how also export) the Riptide Plugin in C4D uses (Plugins - PluginCafe & C4Dtreff - other - Riptide)(alle pre-setting in Riptide are OK ONE, only scaling on 100 change.) Riptide imports the obj Model then cleanly and coherently. If DISPLACEMENT is used, then now first a material for the DISPLACEMENT map to produce and as the first material to the object assign (further s.u.) Painting (color texture from ZBrush2 or paint again with Bodypaint3D (s.o.) assign the model together with the Bump map (from ZBrush for the purifying details, comes into the relief channel) with a new material only thereafter. Notice: In Cinema4D a separate material must be provided in each case only with the DISPLACEMENT map and another separately with the color texture map + Bump map. The DISPLACEMENT material must stand in the order in the object manager BEFORE the Farb/Bump material (thus the object first to be assigned), there with the Rendern first the DISPLACEMENT to be computed must and only the color texture with the Bumpmapping is more daruber then put!!! The simultaneous use of DISPLACEMENT map and Farbtextur/Bump map in a material does not fold (it is no color texture in the gerenderten model to then see). Importantly: The procedure by means of a normal map is to be practically always preferred to the Dispalcement for speed reasons, BUT the normal map (like also the Bump map) do not change in contrast to the genuine DISPLACEMENT the silhouette of an object with the Rendern (z.B.ev.wichtig with shade). They faken structure only, while the genuine DISPLACEMENT deforms the object correctly with the Rendern. Note: One knows also normal Mapping (Bump map already into the normal map integrates via ZMapper) AND DISPLACEMENT in the same material COMBINING, then the structure becomes very best with the Rendern! Particularly for Stills (not-animated pictures) that is the qualitatively best procedure, whereby for animations is renderzeit with using a Detail-level-1-Modelles also still acceptable. If the normal map were already provided in ZBrush and is used, the steps A are void) and B) completely and one can go immediately to C). If for a reason the normal map is only provided however nevertheless in C4D (e.g. if the Shape of the model in the High level too much of the Shape Low level differs), then however only step A), afterwards step B)!!! Importantly: ZMapper supplies good results only if the High level model deviates in the Outline not too much from the Subdivision-Level1. Otherwise baking is in C4D the better choice here. A) Sub Polygon DISPLACEMENT (SPD): (usually one obsolet, one works there i.d.R. with normal map) (Anm: DISPLACEMENT maps are gray tone pictures, whose brightness values of Renderer are converted with the calculation of the picture into genuine 3D-Verformungen of the object. SPD is a procedure, with that by the Renderer further partitionings to a Polygonflaeche to be virtually taken into consideration and the DISPLACEMENT map so already with middle Polygonzahl of very detailed results brings) SPD brings very good details, but necessarily at least a mittelgradig partitioned object (ZBrush stage 3) and needs relatively long Renderzeiten, is not suitable thus not for animated objects. (Obsolet: An HyperNurbs object to zuerzeugen and imported model possible are no longer necessarily, along Subpolygon DISPLACEMENT (SPD) in-throw, see below, the use of Hypernurbs cages for Lowpoly objects (for smoothing) redundantly and make many faster Renderzeiten!!) a) Provide a new material for the DISPLACEMENT map now. All channels except ’ DISPLACEMENT ’ switch off (material becomes scharz).(Anm: in addition, the farbkanal can remain switched on) In the DISPLACEMENT channel the DISPLACEMENT map will clean-load. - strength 100 % - maximum height: try out, partly go 5 cm (standard), but usually are better values around the 0.025 to 0.03 cm. - type: Intesitaet (centered) (standard) - into texture channel the DISPLACEMENT map load. - interpolation: MIP (standard) - all check boxes with ’ Sub sub-Polygon DISPLACEMENT ’ activate, partitioning level 4 to 5. As nearly still the better, there more finely adjustable alternative: All channels except ’ DISPLACEMENT ’ switch off (material becomes schwarz).(Anm: in addition, the farbkanal can remain switched on) - strength 100 % - maximum height: try out, usually are better very small values around the 0.005 cm. - type: Intesitaet (centered) (standard) - in texture channel now ’ filters ’ select and only in the following ’ Shader Eigenschaften’ window the DISPLACEMENT map load. Now by means of the kontrast-Reglers (most important automatic controller, higher values = strong DISPLACEMENT) as well as the gamma automatic controller (smaller gamma = more granular DISPLACEMENT), brightness and SW brightness automatic controller the strength and structure of the Displacments feintunen. - interpolation: none - all check boxes with ’ Sub sub-Polygon DISPLACEMENT ’ activate partitioning level 4 to 5 except ’ on resulting geometry project ‘. b) Now produce a second new material as Color/Bump combination material. - activate farbkanal, are clean-loaded here the Color Texturmap. -, here we activate relief channel the Bumpmap clean-loaded. Now the DISPLACEMENT material to the model with the higher Polygonzahl than first material assign and click in the object tree diagram (on the top right) on the assigned DISPLACEMENT DISPLACEMENT symbolcDisplacement symbol. Now right down with ’ day characteristics ‘: - projection: UVW Mapping - side both - offset X: 0% - offset Y: 100 % (most important point: Image around y axis flippen!!!) (not necessarily, if map is geflippt already in ZBrush) - length X: 100 % - tiles X: 1 - length Y: - 100 % (not necessarily, if map is geflippt already in ZBrush) - tiles Y: -1 (not necessarily, if map is geflippt already in ZBrush) Check boxes set (everything optionally, functions also, if not set): - tiles - smooth - UVW for relief use (not necessarily necessarily??) Importantly: - texture additive to add must be deactivated, otherwise no DISPLACEMENT effect! B) Cheeks of DISPLACEMENTS into a normal map: (usually Obsolet, since much better and faster with ZMapper Plugin in ZBrush providable, except, if the Shape of the model differs too much in the High level from the Shape Low level. In this case only the procedure described here supplies good results). (Anm: With the normal Mapping a RGB picture is used to align over the normal ones of an object and can heights and depths and even complex angles in such a way accurately define and as an exact illustration of the details supply however the normal map (as also the Bump map) do not change in contrast to the genuine DISPLACEMENT the silhouette of an object with the Rendern (z.B.ev.wichtig with shade).: Advantage is a substantially faster Rendering with very good details and the option of a possible extremely low Polygonzahl of the object.) Baking fixes the DISPLACEMENT effect by means of a unique Renderings (even baking) into a normal map, which is then used in the material and which Efffekt of the DISPLACEMENT takes over, but one computes substantially faster. In addition must take place however the computation at the object with the higher Polygonzahl, so that the DISPLACEMENT is converted as highly detailed as possible at the Polygonobjekt. Alternatively the normal map can be provided in addition, in ZBrush, then this part of B is void. - to providing the normal map selects the Polygon object (with the middle and/or higher Polygonzahl), how this a material with DISPLACEMENT map (see A)) to be already assigned must!! (attention, which is crucially!!!).Ggf. also the BumpMap into the relief channel loads. - from menu ’ Rendern ’ – ’ selects, in the object manager appears a new day (bake texture) beside that bakes ’ texture ’ object names. - the day select and down with the tab Day characteristics - click… the Button behind the file name (white text field), in order to select a path for the normal map. - select as file format TIFF or Photoshop PSD (is suitable in particular PSD for baking several channels as Layer into a picture (= normal map)). - depth of shade of 8 bits per channel is sufficient, but is better 16 bzw.32 bits. - with choice of the automatic size C4D adapts the mass to the map to the object size, however a manual choice of 512x512, 1024x1024 or 2048x2048 is better. - Supersampling on 1 (activate anti- Aliasing) - edge of pixel on 2 (additional pixels produce around each polygon and avoid so visible edges). Now ’ options ’ specify the tab click here now, which material channels are to be baked: - only the check box ’ normal one ’ activate, thereupon the associated submenu opens. - with method ’ object ’ is suitable i.d.R., ’ tangent ’ used, if the map is to be distorted to be tiled or the object, ’ World ’ is meaningful only with static objects, which do not move thus. - the Buttons ’ FlipX ’ etc. is only used, if the map in andweren applications is to be used, which would like to have turned the axles differently. In C4D the Button everything remains deactivated. - optimal Mapping remains standing on ’ out ’ (with ’ cube ’ or ’ angle ’ it produces automatically a sentence of itself for not overlapping UV coordinates for the model, whereby these already in e.g.-rest the model caused and this function thus any longer one does not need.) - now Button ’ cheeks ’ press, the normal map now made of the DISPLACEMENT map (’ gebacken’=gerendert) and in the path indicated above are stored. C) Final provide combination material (normal map & Color map & Bump map): A new material provide. - channel ’ normal ’ activate (DISPLACEMENT against it now one deactivates). In the channel normal: - normal map picture load - if the normal map in ZBrush by means of ZMapper Plugin (Tangent space N.Map) was already provided (recommended), then method to tangent to adjust. If against it in Cinema4D one provided, then method on ’ object ’ (Tangente’wird used, if the map were provided by means of ZMapper Plugin or to be tiled or the object distorted is, ’ World’ist only with static objects meaningfully, which do not move thus) - the farbkanal activate and a ensprechende color map load (here can be used maps from ZBrush or Bodypaint as TIFF or Photoshop files with Layern and be switched on and off the Layer at will, see for this the gnome Videotutorial of CD 4,9,5 updates). - activate the relief channel and clean-load the Bumpmap for the representation of the purifying detail notes: If the normal map with the ZMapper Plugin were provided (s.o.), then is the Bump map possibly already directly into the normal map taken into consideration, so that a separate use is void here in CD4. - if necessary also the diffusion channel activate and the Cavity map clean-load. Now the Rendern goes with equivalent result substantially faster and supplies equal good results themselves with LowPoly objects (ZBrush stage 2) and is suitable thereby perfectly for high-quality animations with shortest Renderzeit… In addition one has only only one material, in which normal map, Color map and Bumpmap (+ if necessary Cavity map) are together accommodated. Note: One knows also normal Mapping (Bump map already into the normal map integrates via ZMapper) AND DISPLACEMENT in the same material COMBINING, then the structure becomes very best with the Rendern! Particularly for Stills (not-animated pictures) that is the qualitatively best procedure, whereby for animations is renderzeit with using a Detail-level-1-Modelles also still acceptable.
uber bump for a unreadable post 
Yes, but I have no time to fix the translation errors.
But better than nothing for those who don’t understand german.