Why does ZBrush need other programs for topology?

[gorselmuhendis]

Hello, in programs such as Autodesk Maya, we can provide more specific and stable details with very low polygons. Let’s say we design two identical models in ZBrush and Autodesk Maya. This character can be given more specific and stable details with lower polygon in Autodesk Maya. When we make the same model in ZBrush with the same polygon number as in Autodesk Maya, the details disappear. In other words, Maya can only give ovality or smoothness on a large polygon surface with light. However, in the ZBrush program, a polygon surface does not create smoothness without breaking the polygon. For this reason, the number of polygons is always high in drawings made with ZBrush. I couldn’t resolve this situation. If this is the case, why is the ZBrush program necessary? I watched many Youtube videos. In order for a model made in ZBrush to have a smoother and simpler polygon structure, polygons are arranged by transferring them to programs such as Autodesk Maya. Then why does ZBrush exist?

Note: I don’t know exactly if this approach of mine is right or wrong. It is a question that occupies my mind.

[Spyndel]

Hi @gorselmuhendis

I believe you’re referring to a procedural smoothing shader or effect? ZBrush doesn’t do this–it would be impractical for performance reasons when multiplied by the number of polygons ZBrush regularly works with. ZBrush only ever shows you the actual surface of the mesh and this would look identical in your external program if you disabled the smoothing effect. Since ZBrush can comfortably work with polycounts that most other programs would struggle with and since these types of effects tend to muddy fine surface detail, smoothing in ZBrush is accomplished by subdividing the mesh. To get good sculpting results you’re typically going to be working at polycounts that would make any such feature redundant.

If you’re referring to the softening of hard edges when subdividing a mesh with subdivision smoothing active, this is a result of the Catmull-Clark subdivision smoothing algorithm common to many 3D programs. You can disable this in the Geometry palette by switching off the SMT button. Now when a mesh is subdivided it will not smooth itself and retain a faceted appearance.

Most programs have some sort of mechanism for controlling whether edges soften or not during the subdivision process. In ZBrush this is Edge Creasing.

@gorselmuhendis

why is the ZBrush program necessary?

Well, it is a specialist sculpting program allowing digital sculptors to easily sculpt fine detail by hand with a brush based approach more similar to traditional media than pushing/pulling points with a mouse, on meshes with tens of millions of polygons and more with HD Geo. Any tool in a toolbox only feels necessary when it’s being used in the situation it was designed for.

[gorselmuhendis]

Thank you.

You:
“I believe you’re referring to a procedural smoothing shader or effect? ​​ZBrush doesn’t do this…”

“…smoothing in ZBrush is accomplished by subdividing the mesh. To get good sculpting results you’re typically going to be working at polycounts that would make any such feature redundant.”

If a light is not used to soften, it means too much polygon will be used to soften it. Is it possible to design a character for games in ZBrush without the need for another program? Actually, my goal is to design characters suitable for games. But here I need more polygons to apply smoothing. Is it okay to design characters for games in ZBrush? I have used Autodesk Maya before. Here, polygon surfaces could be softened with light. Now I’m going to use extra polygons in ZBrush to provide these transitions. Even if there is at least the ideal number of polygons here, the number of polygons in the same character designed in other 3D programs will be higher in order to make the border transitions of the character more oval and soften it. How will I achieve this balance? I want to model all 3d character designs or 3d objects used in games, movies and animations only in ZBrush. So I want to solve it in one program. Is only ZBrsuh enough for this?

I’m asking too many questions. I just want to draw a suitable path for myself. Because I hear it from the people around me. For them, ZBrush is a little intimidating. Maybe everything is done in ZBrsuh, but it is a matter of curiosity for which platform the result will be suitable. Or there may be hesitations about how to make it applicable to the platform it will use.

[Spyndel]

@gorselmuhendis

Is it possible to design a character for games in ZBrush without the need for another program?

A game production pipeline is typically made up of specialist tools for every aspect of the process. ZBrush is not, for instance, an animation or rigging program and could not serve this function. Animation in particular requires much more deliberate and optimized topology than other potential output goals like 3D print or static render. It is the most topology-sensitive output. The need to retopologize a mesh for this particular goal, in ZBrush or otherwise, is inevitable. Less so for other output goals.

The type of topology that performs the best for sculpting purposes is not the same topology as that which performs the best for animation purposes. ZBrush is typically used for design and high res detail sculpting. That detail is captured from the high res mesh in the form of displacement or normal maps that can be applied to the optimized geometry in the external program or engine.

While modern game engines and hardware can handle ever increasing polycounts, one is generally not working in ZBrush with the idea that that geometry will be ported directly into the game–at least not for animated characters. So the model’s polycount in ZBrush is relevant only to the artistic or sculpting effects you’re trying to achieve.

---

---

I think the answer you may be looking for is that in return for working on different versions of the mesh at different stages, it opens up many artistic possibilities not otherwise easily achieved, and allows artists to work on fine artistic detail in a way they may find faster and more intuitive than traditional modeling methods.

Starting a design or sculpting process without a fixed topology in place gives you far more freedom to rapidly develop and experiment with form and detail. It allows you to re-surface the mesh at will to accommodate new effects or improve sculpting results in a specific area. This is much more difficult when you are locked to a fixed topology as polygons will be stretched out of place by the sculpting process. Think of it as using ZBrush’s form-shaping and sculpting tools to quickly experiment and build a scaffolding over which the permanent stable topology will be constructed.

[gorselmuhendis]

@Spyndel . I understood thank you. Finally, I came across a video on the Pixologic ZBrush youtube page. Last question. In ZBrush, there is the “Dynamic” option in the “Dynamic Subdiv” window. He continues modeling with the “Dynamic” option selected in the video. When the “Dynamic” option is not active, the model is in lower resolution. The “Dynamic” option is like an option in Autodesk Maya that displays the final high state of the low polygons. (Maya: Hotkey 3 or A). I know the “Dynamic” option is just a preview. What will be the final state when we continue the design and finalize the character with the “Dynamic” option active? In other words, when we render, which image is taken into account when exporting, will we get low resolution or high resolution with the “Dynamic” option selected?

Shane Olson - Sculpting Stylized Characters - Episode 39

[Spyndel]

@gorselmuhendis

What will be the final state when we continue the design and finalize the character with the “Dynamic” option active? In other words, when we render, which image is taken into account when exporting, will we get low resolution or high resolution with the “Dynamic” option selected?

Dynamic Subdivision is primarily intended as a low poly modeling aid. It will allow you to non-destructively preview low resolution meshes as if they had been subdivided to a specified level. This allows you to preview the effects of subdivision smoothing, spot problems with the mesh that wouldn’t be apparent otherwise, and to check the effects of applied creasing to make sure that the desired sharp edges will stay sharp when subdividing.

When you are satisfied with the results the Dynamic Subdivision settings can be applied to the mesh creating actual subdivision levels. You can export the mesh at any level of resolution at the desired subdivision level.