Displacements rendering in C4D?

[AdamT]

Some people have reported that the banding goes away if you convert the bitmap to 8 bit .tif. It’s of course counterintuitive as you’d expect the opposite, but it seems Cinema’s displacement channel isn’t too happy with 16 bit maps.

[system]

Thanx a lot, pnoland and the others who have been trying to help,

following your advice and processing the displacement map in Photoshop plus flipping it vertically in C4D really did the trick - amazing effect.

Kind regards

Janho

[system]

Thanx a lot, pnoland and the others who have been trying to help,

following your advice and processing the displacement map in Photoshop plus flipping it vertically in C4D really did the trick - amazing effect.

Kind regards

Janho

[rubyscooby]

I am also having problem with my displacement maps and seems in cinema 9. Changing to 8 bit and seemed to help quite a bit.
ruby

[rubyscooby]

I was just told by Pixologix that the opposite is in fact true. I will get more banding by having a 8 bit compared to a 16 bit? has anyone had any really good results with C4D 9 and Z-brush? I was getting great renders in renderman and mental ray but now we might be rendering with Cinema.

[rubyscooby]

I found that the fix seams button actually worked and got rid of the seams in my C4D model.

[rubyscooby]

Hi Here is a pix showing the differances between my zbrush and C4D renders. Anyone got any ideas on how to fix it. Noitice the toes have lost detail. I have the subdiv set at 7.

[rubyscooby]

Thanks to Pixolator last night my problem has been solved.

I divided one more level higher (I was told to subdivide as high as your machine would allow)

I increased the displacement map size from 1024 to 4096 which also allowed me to create diplacement maps using adaptive. I had never gotten any good maps from adaptive before. It used to take me 1 and a half hours to create a map. I got a great one in 5 min this way.

The rendering in cinema 4d 9 also went quite quick as I did not need to subdivide quite as high only to 6 instead of 7.

[Rastaman]

Hi everybody.

I know the language here is only english, but unfortunately I don’t have the time yet to translate my solution from german to english.:rolleyes:

So, if it is OK to post something in german (maybe I can translate it later or someone else is so kind to do it ), here is my solution to transfer displacement maps and models from ZBrush2 to Cinema 4D 9.5:

Von ZBrush nach Cinema 4D

1. ZBrush 2

Nach Fertigstellen des detaillierten Modells in ZBrush2:

Jedem Polygon des Modells mittels 'AUV-Tiles’ einen bestimmten Bereich auf der späteren Textur zuweisen (Vorteil: spätere Veränderungen am Modell haben keinen Einfluss auf die Textur / Nachteil: Die Textur kann nicht einfach in Photoshop o.ä. nachbearbeitet werden), dazu:

• Modell auf die niedrigste Divide-Stufe (1 oder 2) bringen (Tool-Geometry-Lower Res)

• Koordinaten mitels ‘Tool - Texture - AUVTiles’ zuweisen.

• Danach wieder in die höchste Detailstufe wechseln (Anm.: manchmal funktioniert das auch nur mit einer Detailstufe unter der höchsten Stufe) und die Displacement-Map via ‘Tool - Displacement - Create DispMap’ erstellen (Die Map wird nun in die Palette der Alphas abgelegt).

* siehe unten Pixolator-Infos Note 1, diesen Schritt eventuell nun ausführen

• In der Alpha-Palette die gerade erzeugte Map auswählen und via ‘Export’-Button abspeichern (z.B. als .tiff)

• Nun das Modell in eine niedrigere Divide-Stufe (z.B. 2 oder 3) bringen und exportieren (.obj-Format)

Achtung:

Es gibt prinzipiell 2 Möglichkeiten:

I) Man arbeitet nur mit einem Modell mit mittlerer Polygonzahl (z.B.Divide-Stufe 3), da das Berechnen der Displacements beim Rendern selbst mit aktiviertem SubPolygon-Displacement (SPD) noch eine genügende Anzahl von Polygonflächen benötigt, um detaillierte Ergebnisse zu erzeugen.

II) Soll es dagegen eine minimale Polygonzahl beim Objekt für minimaleste Renderzeit sein, muss für das unten beschriebene Verfahren (Backen von Displacements in Normal-Maps in C4D) nun zuerst ein Objekt mit möglichst hoher Divide-Stufe (3 oder 4) und eines mit geringer (1 oder 2) als .obj exportiert werden.

* Wichtige Info von Pixolator:

Note 1: The displacement-map may need to be flipped vertically (in Cinema 4D, s.u.) for correct UV mapping

(D.h.: Dazu entweder noch in ZBrush die Displacement-Map vor dem Export in der Alpha-Palette selektieren und im Menüpunkt ‘Alpha’ dann den Button ‘Flip V(ertically)’ drücken , ggf. ebenso den Button ‘Max’ /b)).
Note 2: The displacement-gain in ZBrush was set to 0.834; you may need to factor this value to achieve similar displacement amount in the external renderer.

2. Cinema 4D

Nun das Modell in Cinema 4D importieren.

Die Bemalung (Farbtextur aus ZBrush2 oder neu bemalen mit Bodypaint3D) mit einem Farbmaterial zuweisen.

Beachte: erst Schritt A), danach Schritt B) !!!

A) Sub-Polygon-Displacement (SPD):

(Anm: Displacement-Maps sind Graustufen-Bilder, deren Helligkeitswerte von Renderer beim Berechnen des Bildes in echte 3D-Verformungen des Objektes umgerechnet werden. SPD ist ein Verfahren, bei dem

einer Polygonfläche vom Renderer weitere Unterteilungen virtuell eingerechnet werden und die Displacement-Map so schon bei mittlerer Polygonzahl sehr detaillierte Ergebnisse bringt)

SPD bringt sehr gute Details , aber benötigt zumindest ein mittelgradig unterteiltes Objekt (ZBrush-Stufe 3) und benötigt relativ lange Renderzeiten, eignet sich somit nicht für animierte Objekte.

(Obsolet: Ein HyperNurbs-Objekt zuerzeugen und importiertes Modell hineinwerfen ist nicht mehr notwendig, denn.

mit Subpolygon Displacement (SPD) ,s.u.,wird die Verwendung von Hypernurbs-Käfigen für Lowpoly-Objekte (zur Glättung) überflüssig und ermöglicht viel schnellere Renderzeiten !!)

Für die Displacement-Map nun ein neues Material erstellen.

Alle Kanäle ausser ‘Displacement’ abschalten (Material wird scharz).

Im Displacement-Kanal die Displacement-Map reinladen.

• Stärke 100 %

• Maximale Höhe : ausprobieren, teilweise geht 5 cm (Standard), aber meist sind Werte um die 0,025 bis 0,03 cm besser.

• Typ: Intesität (Zentriert) (Standard)

• In Textur-Kanal die Displacement-Map laden.

• Interpolation: MIP (Standard)

• Alle Checkboxen bei ‘Sub-Polygon Displacement’ aktivieren, Unterteilungslevel 4 bis 5.

Als fast noch bessere, da feiner einstellbare Alternative:

Alle Kanäle ausser ‘Displacement’ abschalten (Material wird schwarz).

• Stärke 100 %

• Maximale Höhe : ausprobieren, meist sind sehr kleine Werte um die 0,005 cm besser.

• Typ: Intesität (Zentriert) (Standard)

• In Textur-Kanal nun ‘Filter’ wählen und erst im nachfolgenden ‘Shader-Eigenschaften’-Fenster die Displacement-Map laden. Nun mittels des Kontrast-Reglers die Stärke des

Displacments feintunen.

• Interpolation: keine

• Alle Checkboxen bei ‘Sub-Polygon Displacement’ aktivieren ausser ‘Auf resultierende Geometrie projizieren’, Unterteilungslevel 4 bis 5.

Nun das Displacement-Material dem Modell mit der höheren Polygonzahl zuweisen und im Objekt-Baumdiagramm (rechts oben) auf das zugewiesene Displacement-Material-Symbol klicken.

Nun rechts unten bei ‘Tag-Eigenschaften’:

• Projektion: UVW-Mapping

• Seite. beide

• Offset X: 0%

• Offset Y: 100 % (wichtigster Punkt: Image um y-Achse flippen !!!) (Nicht nötig, wenn Map bereits in ZBrush geflippt ist)

• Länge X: 100 %

• Kacheln X: 1

• Länge Y: - 100 % (Nicht nötig, wenn Map bereits in ZBrush geflippt ist)

• Kacheln Y: -1 (Nicht nötig, wenn Map bereits in ZBrush geflippt ist)

Checkboxen setzen:

• Textur additiv zumischen

• Kacheln

• Nahtlos

• UVW für Relief benutzen (nicht unbedingt erforderlich ??)

B) Backen von Displacements in eine Normalen-Map:

(Anm: Beim Normalen-Mapping wird ein RGB-Bild benutzt, um die Normalen eines Objektes auszurichten und kann so Höhen und Tiefen und selbst komplexe Winkel exakt definieren und

so eine genaue Abbildung der Details liefern.

Vorteil ist ein erheblich schnelleres Rendering bei sehr guten Details und die Option einer möglichen extrem niedrigen Polygonzahl des Objektes.)

Das Backen fixiert den Displacement-Effekt mittels eines einmaligen Renderings (eben dem Backen) in eine Normalen-Map, welche dann im Material verwendet wird und den Efffekt des Displacements übernimmt, aber wesentlich schneller berechnet wird. Dazu muss aber die Berechnung an dem Objekt mit der höheren Polygonzahl erfolgen, damit das Displacement möglichst detailreich am Polygonobjekt umgesetzt wird.

• Zum Erstellen der Normalen-Map das Polygon-Objekt (das mit der mittleren bzw. höheren Polygonzahl) selektieren, wobei diesem ein Material mit Displacement-Map ( siehe A) ) bereits zugewiesen sein muss !! (Achtung, das ist entscheidend !!!).

• Aus Menü ‘Rendern’ --> '‘Textur backen’ wählen, im Objektmanager erscheint ein neuer Tag (Textur backen) neben dem Objektnamen.

• den Tag selektieren und unten bei dem Tab

Tag-Eigenschaften

- den … -Button hinter dem Dateinamen (weisses Textfeld) anklicken, um einen Pfad für die Normalen-Map zu wählen.

• Als Dateiformat .TIFF oder Photoshop- .PSD (insbesondere eignet sich .PSD für das Backen mehrerer Kanäle als Layer in ein Bild (=Normalen-Map)) wählen.

• Farbtiefe von 8 bit pro Kanal reicht aus.

• Bei Wahl der automatischen Grösse passt C4D die Masse der Map an die Objektgrösse an, jedoch ist eine manuelle Wahl von 512x512, 1024x1024 oder 2048x2048 besser.

• Supersampling auf 1 (aktiviert Anti-Aliasing)

• Pixelrand auf 2 (erzeugt zusätzliche Pixel um jedes Polygon und vermeidet so sichtbare Ränder).

Nun den Tab ‘Optionen’ anklicken.hier nun festlegen, welche Materialkanäle gebacken werden sollen:

• Nur die Checkbox ‘Normale’ aktivieren, daraufhin öffnet sich das zugehörige Untermenü.

• Bei Methode ist ‘Objekt’ i.d.R. passend, ‘Tangente’ wird verwendet, wenn die Map gekachelt oder das Objekt deformiert werden soll, ‘World’ ist nur bei statischen Objekten sinnvoll, die sich also nicht bewegen.

• Die Buttons ‘FlipX’ usw. werden nur verwendet, falls die Map in andweren Anwendungen verwendet werden soll, welche die Achsen anders gedreht haben möchten. In C4D bleiben die Button alle deaktiviert.

• Optimales Mapping bleibt auf ‘Aus’ stehen (bei ‘Würfel’ oder ‘Winkel’ erzeugt es automatisch einen Satz von sich nicht überlappenden UV-Koordinaten für das Modell, wobei diese ja schon in ZBruh dem Modell zugefügt

wurden und diese Funktion also nicht mehr benötigt wird.)

• Nun Button ‘Backen’ drücken, die Normalen-Map wird nun aus der Displacement-Map hergestellt (‘gebacken’=gerendert) und im oben angegebenen Pfad abgespeichert.

Nun das dem Oblekt bereits zugewiesene Material (mit der Displacement-Map) per Doppelklick in seinen Materialeditor öffnen oder es vom Objekt entfernen und dafür ein neues Material erstellen.

• Kanal ‘Normal’ aktivieren (Displacement dagegen wird nun deaktiviert).

Im Kanal Normal:

• Normal-Map-Bild laden

• Methode auf ‘Objekt’ (Tangente’wird verwendet, wenn die Map gekachelt oder das Objekt deformiert werden soll, 'World’ist nur bei statischen Objekten sinnvoll, die sich also nicht bewegen)

• Ggf. noch den Farbkanal aktivieren und eine ensprechende Farbmap laden (hier können Maps aus ZBrush oder Bodypaint als .TIFF oder Photoshop-Dateien mit Layern verwendet werden und die Layer beliebig an- und abgeschaltet werden,

siehe hierzu das Gnom-Videotutorial von CD 4 9.5 Update).

Nun geht das Rendern bei gleichem Ergebnis erheblich schneller und liefert gleich gute Ergebnisse selbst bei LowPoly-Objekten (ZBrush-Stufe 2) und eignet sich damit perfekt für hochqualitative Animationen bei kürzester Renderzeit..

[daytona]

That looks very interesting. Any German/ English speakers on around with time on their hands?

[aurick]

We’re putting the finishing touches on a ZPipeline Guide for C4D (like we already have for Max, Maya and XSI). It should be ready soon.

[Rastaman]

@ Daytona: Thanks for your interest.
My solution works well on my system. Unfortunately I already haven’t had the time to translate the text.
But maybe it will be obsolete with the new pipeline, except the use of the baking feature in C4D which provides a detailed rendered model with only a few polygons. Best thing fpr animation, for example in Messiah.

@ Aurick: That would be a great thing. I’m looking forward.

[Rastaman]

Well, because the official Tutorial ‘C4D_ZB_Displacement_Maps.pdf’ didn’t produce the results I wanted, I made for my personal use a new conclusion of several Tutorials featered mainly in this forum which worked good for me under ZBrush2.

Maybe someone can find this usefull.
As before, it’s written mainly in German because it was only made for my personal use. Note: All the english parts are roughly taken out of the different original Tutorials (so they are originally from the different authors, mostly without referring to them because this was primarily not intended to be an own official Tutorial so please don’t punish me for copyright-things :eek: ). So, this is not all my own experience, but a conclusion of several Tutorials from this forum and other sources and my own hard experiments.
The copyright of the parts taken from the several Tutorials (all the parts in english) lies only by the authors. If some of them are not confident with the way I post it here, please tell me and I will immediately erase this post.
But I decided to post it here because it took me some weeks to find a way to the results that worked best for me.

Von ZBrush nach Cinema 4D

Bezüglich des detaillierten Vorgehens der einzelnen Schritte siehe die entsprechenden Tutorials und meine Anleitungen dazu.Dies ist eine Zusammenfassung aller Schritte der einzelnen Anleitungen, um vom Rohmodell zum fertigen Rendering zu kommen. Insbesondere das Turorial: 'LightWave to Zbrush #153F21.pdf’ ist das Beste zum prinzipiellen Vorgehen gerade in ZBrush. Ebenso wichtig ist C4D_ZB_Displacement_Maps.pdf

Zunächst siehe Artikel in Creative Live 6/2004, S.70 ff.

Das Problem liegt nun darin, dass mit ZBrush2 extrem detailliert modelliert werden kann, ein in diesem Detailgrad exportiertes Modell aber nie in der Rendersoftware aufgrund der hohen Polygonzahl bearbeitet werden könnte.

Die Lösung liegt zunächst in der Erzeugung einer Displacement-Map in ZBrush2, also einer Graustufen-Bilddatei (.tif oder Photoshop-Format), welche in den Grauwerten die Höhen oder Tiefen der Oberfläche des grundlegend detaillierten Modells darstellt und somit ein Modell mit geringerer Polygonzahl exportiert werden kann, welchem dann in der Rendersoftware die Displacement-Map zugewiesen wird und so das Modell beim Rendern wieder zum hochdetaillierten Modell verwandelt (Anm: Im Gegensatz zur Bumpmap (u.Normalmap) wird mittels Displacement-Mapping das Modell vom Renderer tatsächlich real verformt berechnet.)

Zu den verschiedenen Typen von Displacement siehe C4D_ZB_Displacement_Maps.pdf, Kapitel 4.

Die allerfeinsten Details wie Hautporen etc. sind aber in der Praxis mit Displacement-Maps nicht realisierbar, denn kein auf diese Weise erzeugtes Detail kann kleiner als das Polygon sein, mit dem das Ganze auch in ZBrush umgesetzt werden muss (s.u.).

Dafür verwendet man dann doch besser das Bump-Mapping, wobei die Bump-Map in ZBrush erzeugt wird und in C4D zusammen mit der (ebenfalls in ZBrush erzeugten) Color-Map /b in einem C4D-Material integriert verwendet wird.

Weiterhin empfiehlt sich die Verwendung einer Normalen-Map /b, wobei diese entweder schon in ZBrush oder erst später in C4D erzeugt werden kann. Bei der Erzeugung in ZBrush spart man sich das höheraufgelöste Modell.

Grundsätzlich wird folgendermassen vorgegangen:

I) Entweder wird ein neues Modell in ZBrush mittels ZSpheres erstellt oder als .obj aus Cinema 4D oder Modo etc. in ZBrush importiert (Tools -> Import)., das Drücken des ‘EDIT’-Buttons nicht vergessen.

Wichtig:

Insbesondere wenn das Basismodell in Cinema4D erstellt wurde, ist folgendes zu beachten:

The first thing to note is that you MUST use the Riptide plugin to import and export your models within Cinema 4D. The key issue you’ll encounter with going back and fourth between ZBrush and Cinema 4D is the point order of your model.

The second thing to note is that within ZBrush you must export your model with GRP (Group) turned off. Otherwise, Riptide will interpret each polygroup as a separate object and alter the point order of your model.

To 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 are using multiple objects, then make sure to connect them with the selection tags before exporting as groups from cinema. This will allow you to simply copy the selection tags from your original cinema to the new imported model from Zbrush. Since the point order is maintained the selection tags will cross over seamlessly and you’ll be able to again export your model with its polygroups.

Please note it is useful to keep an original version of your model so you have a clean model you can go back to if your point order gets rearranged.

II)Die Arbeit in ZBRUSH:

1)Sculpting & Displacement

a) In niedriger Detailstufe wird mittels der ‘Move’-Funktion der Grundshape erstellt.

b) Danach das Modell in höhere Detailstufen /b dividen…

Anm.: Wird bereits vor dem Dividen die GUV-Tiles-Aktion (s.u.) ausgeführt und damit die UV-Koordinaten erstellt, so muss vor dem Dividen die Option ‘SUV’ (= Smooth UV-Schalter, unter dem Divide-Button) aktiviert werden, damit die UV’s beim Dividen geglättet werden.

c) Anschliessend in der höchsten Subdivision-Stufe ein Morph Targetspeichern.

Das Morphtarget ist das 'Sicherheits-Netz und muss unbedingt erst nach dem Dividen gesetzt werden und während sich das Modell in der höchsten Subdivision-Stufe befindet, da es nur mit dieser sowie niedrigeren Detail-Stufen arbeitet, aber nicht mit später erzeugten höheren Detail-Levels.

(aus 'LightWave to Zbrush #153F21.pdf’ :)

ZBrush is a multi-resolution editing tool. You can increase and decrease the number of polygons in your object at any time, making broad changes at low subdivision levels and detailed changes at higher subdivision levels. These changes ripple up and down the various subdivision levels, so simple changes made at subdivision level 1 (when the model has fewer points) will cause broader changes to the model at subdivision levels 5, 6 or 7. And detailed changes at levels 5, 6 or 7 (when the model has more points) will cause only minor changes at subdivision level 1.

The morph target is your ZBrush safety net. It offers several benefits. It allows you to “erase” specific deformations by using the Morph Edit Brush found in the Transform menu. It allows you to update your object’s UV map at any point without losing any work you’ve done. And it can be used to return your model to its original shape when generating displacement and normal maps.

Note: You can store your morph target before subdividing your object, but the Morph Edit Brush will only work at Subdivision Levels equal to or lower than the one at which the morph target was stored. For this reason, it’s best to store the morph target after reaching your highest Subdivision Level (typically between 5 and 7).

Alert: While you don’t have to store a morph target, it’s highly advisable that you do so. Storing the morph target is your safety net to ensure that you have the widest range of options when for working with your model. Make sure you store a morph target before continuing.

d) Das Objekt modelieren und mittels Draw-Funktion die wichtigsten grösseren Details wie Muskeln, Muskelsepten etc.erstellen (= Sculpting).Diese werden dann anschliessend als Displacement Map gespeichert:

Grundprinzip Sculpting (Modellieren):

Zuerst bei Detailstufe 1 mit der ‘Move’-Funktion durch Verschieben der Eckpunkte grob die Konturen und Formen bestimmen, dann entweder in hoher Detailstufe (meist 4 bis 5 , geeignet um feine, scharf abgegrenzte Details anzubringen) oder bei niedriger Deatilstufe (2 oder 3, geeignet um Basiskonturen wie z.B. Muskeln zu setzen, die dann bei höheren Detailstufen weich mit der Umgebung verlaufen) wechselnd ‘Lehm’ auftragen und anschliessend mittels gedrückter Shift-Taste (Smooth-Funktion) wieder glätten, also praktisch wie bei der Modelierung mit echtem Lehm vorgehen.

Anm: Das Glätten funktioniert in sehr hoher Auflösung nur sehr langsam, deshalb besser in Detailstufe 3 arbeiten und dann in 4 oder 5 Feintuning betreiben.

Damit beim Arbeiten mit der Draw-Funktion (‘digitalen Lehm’ beim Modell auf- bzw. abtragen) eine vorher schon aufgetragene Farbtextur nicht zerstört wird, diese vor dem Arbeiten mit Draw in der Texture-liste gegen ‘Txture off’ austauschen, nach der Bearbeitung des Models die Textur wieder wählen. (Setzt aufgebrachte GUV- bzw AUV-Koordinaten am Modell voraus).

Anm.: Das reine Skulpturieren des Modells benötigt jedoch noch keine UV-Koordinaten.

Bei aktiviertem Button ‘Zadd’ erzeugt jeder Pinselstrich ERHEBUNGEN ( = fügt (= addiert) Z-Werte an dieser Stelle hinzu), bei aktivem ‘Zsub’ dagegen VERTIEFUNGEN (subtrahiert Z-Werte). Zcut schneidet Löcher bzw. Tunnel in die Geometrie.

Damit kombiniert sind die Button:

MRGB: der Pinselstrich trägt Material (= Struktur des eingestellten Alphas) und Farbe gleichzeitig auf.

RGB: der Pinselstrich trägt nur Farbe (ohne Struktur) auf.

M: der Pinselstrich nur Material (= Struktur des eingestellten Alphas) auf (löscht aber gleichzietig darunterliegende Farben und Strukturen).

e) Nach Fertigstellen des detaillierten Modells in ZBrush2 jedem Polygon des Modells mittels ‘GUV-Tiles’ einen bestimmten Bereich auf der späteren Textur zuweisen (Vorteil: spätere Veränderungen am Modell haben keinen Einfluss auf die Textur / Nachteil: Die Textur kann nicht einfach in Photoshop o.ä. nachbearbeitet werden), dazu:

• Modell auf die niedrigste Divide-Stufe (1 oder 2) bringen (Tool-Geometry-Lower Res)

• Koordinaten mittels ‘Tool - Texture - GUV-Tiles’ zuweisen. (Immer besser GUV-Tiles verwenden,da diese Mapping-Methode die Polygone zusammenhält wo es nötig ist und so auch bei Modellen mit enthaltenen Dreieck-Polygonen gut funktioniert.

• Danach wieder in die zweithöchsteDetailstufe wechseln (Anm.: Es funktioniert nur mit einer Detailstufe unter der höchsten Stufe ! Die höchste Detailstufe liefert keine bzw. keine brauchbare Dispmap).

f) Displacement-Map

Details und Infos zu den verschiedenen Typen von Displacement siehe C4D_ZB_Displacement_Maps.pdf, Kapitel 4.

Anm: Prinzipiell kann man sich die Displacement-Map-Erstellung schenken, wenn später mit einer Normalen-Map in C4D gearbeitet wird. dann ist dieser Schritt praktisch obsolet., es sei denn, man will Normalen-Mapping irgendwie mit Displacement kombinieren.

a) Herkömmlicher Weg:

In Tool -> Displacement:

• Im DPRes-Feld 4096 einstellen (-> erzeugt dann eine 4096x4096 grosse Displacement-Map)

• Schalter Adaptive Mode und Smooth UV aktivieren.

dann die Displacement-Map via ‘Tool - Displacement - Create DispMap’ erstellen (Die Map wird nun in die Palette der Alphas abgelegt).

* Wichtige Info von Pixolator:

Note 1: The displacement-map may need to be flipped vertically (in Cinema 4D, s.u.) for correct UV mapping

(D.h.: Dazu entweder noch in ZBrush die Displacement-Map vor dem Export in der Alpha-Palette selektieren und im Menüpunkt ‘Alpha’ dann den Button ‘Flip V(ertically)’ drücken , ggf. ebenso den Button ‘Max’ /b)).
Wichtig: Für die spätere Verwendung in anderen Renderern (Cinema4D) muss die Map um die Y-Achse geflippt werden (180° gedreht). Das kann aber auch später in Cinem4D geschehen (s.u.).

• In der Alpha-Palette die gerade erzeugte Map auswählen und via ‘Export’-Button abspeichern (z.B. als .tiff, in 16 oder 32 bit (Standard) )

b) Verwendung des ADE-Plugin

Details siehe C4D_ZB_Displacement_Maps.pdf, Kapitel 5.

Mittels ADE-Plugin lassen sich deutlich bessere Displacement-Maps erzielen als mit der herkömmlichen Methode.

The ADE plugin

The Alpha Displacement Exporter plugin is actually split into two parts: the main part of it is found in the Alpha palette, while Multi Displacement 2 is in the Zplugin palette as shown above. MD2 is an alternate way to create displacement maps and can replace the calculation options found in the Tool>Displacement menu. In addition to allowing ZBrush to simultaneously create maps for a model with multiple UV regions, it is also the part of the ADE that supports exporting 32-bit displacement maps. More information about the use of MD2 is included in the documentation that comes with the Displacement Exporter download. (Note: If you can’t find the controls described above, you probably need to download the ADE from www.zbrush.com and install it according to the instructions that come with it.)

To use the Multi Displacement 2 plugin, first click its Export Options button. This opens the Displacement Exporter panel where you can specify the settings for exporting your displacement map(s) as per the instructions in the following sections. After setting your Export Options, use the Create All button to create and export your displacements.

If you wish to use ZBrush 2’s native calculation methods, simply create a displacement map like normal and then use Displacement Exporter to choose your settings and export the map to C4D.

5.1. Presets

The ADE exporter looks much more imposing than it really is. It has many settings to control aspects of exported displacement maps, but you’ll need only one or two possible combinations, and these are given to you later in this document. The field below labeled Quick Code allows you to enter a supplied combination of letters, digits, and hyphens, to adjust all settings of the ADE at once, so whenever we need to specify a setting to use, we’ll just give you the quick code, and you can enter it, much like you’d enter the VCR code from a TV guide to record a particular program.

Note that you don’t have to enter a quick code every time you use the ADE, just the first time you choose the settings appropriate for C4D. These will be remembered.

5.2. Creating your own preset

5.2.1. Activating

The buttons at the top of the ADE screen with names like R16, Normal8, and Undefined, are all presets; each stores a particular configuration setting for the ADE, and each can be changed.

To specify your own settings, first click on the preset you wish to modify, and then turn the Status field on On. This is shown above for the R16 preset. Then, click on the quickcode field itself in the ADE panel. This brings up a dialogue for entering quickcodes. The text that comes after the last dash is the name of the preset; change this last part to change the name, without actually changing any settings.

5.3. Recommended Quick Codes

Here are some recommended Quick codes for using Cinema 4D with ZBrush. The first two are the ones we recommend the most, they offer the best detail to file size ratio. The best quality you’re going to get is a 32 bit setting, but with a larger file size.

16 bit Red/Green: DE-HCGK-DACAAA-4D_Red/Green

32 bit Greyscale: DE-JCGK-EACADA-4D_D32

16 bit Greyscale: DE-FCGK-EACADA-4D_D16

32 bit RGB: DE-LCGK-EAEAEA-4D_32

16 bit RGB: DE-HCGK-EAEAEA-4D_R16

2)Bump-Mapping

Nach Erstellen der Hauptdetails folgen nun die allerfeinsten Details, wie Hautporen etc.

Dafür ist aber das normal empfohlene Vorgehen über die Checkboxen Deformation und Normalized in Projection Master (also wieder als Displacement) diesmal ein denkbar schlechter Weg, da die Details wieder nach dem Pick-up verwischen, da das Modell ja nie so hoch unterteilt werden kann, wie es eigentlich nötig wäre, denn kein auf diese Weise erzeugtes Detail kann kleiner als das Polygon sein, mit dem das Ganze umgesetzt werden muss.

Dazu Anmerkung dazu von Aurick:

Deformation quality is dependent upon the poly count of the model rather than the model’s UV mapping or texture. In fact, you don’t even have to have UV’d a model yet in order to be able to paint mesh displacements onto it. The thing that will affect the quality of your geometry deformation projections is the poly count of the model. When your model is dropped to the canvas, it’s in the form of pixols rather than polygons. A single model polygon might have dozens, hundreds, or even thousands of pixols depending on your zoom level when you drop it. BUT you can’t paint a detail that is smaller than the polygons that it will be projected onto

Aber es geht trotzdem, und zwar über die Verwendung des Bump-Viewer-Materials. Dieser Trick wird in den Tutorials zu ZBrush mit Lightwave beschrieben: ‘How to Live happy with LightWave3D 8.5 and Zbrush 2.pdf’ und ‘LightWave to Zbrush #153F21.pdf’. sowie in Kapitel 6 von Tutorial ‘Normal Mapping with ZBrush2 and ZMapper’.

Wichtig ist dabei, dass zuerst bereits die oben beschriebene Aktion AUV- bzw.GUV-Tiles ausgeführt wurde.

My goal is to have the main shape defined with a displacement map, then I will add Bump Viewer Material, and continue to add the fine details in a bump map. In this way, if I want to add geonmetry, I can apply the bump map in a Displacement channel easily, but if I work with bump maps I can work with light mesh and high fine details.

Fine detail (such as wrinkles, pores, etc.) are best handled by a bump map. ZBrush allows you to paint a bump map directly on your object and see the results as they’ll appear in LightWave (which is so cool!).

1. Click on the SysPalette button to open the System Palette.

2. Choose the medium grey whose Red, Green and Blue values are all 128. Then click OK.

Now click the Texture menu at the top of the interface to drop down its options. (You can click the orange widget to dock this to the left side of the interface if you’d like.)

3)Click in the Width and Height fields and enter 2048 (bzw 4096) for each. Then click New. (oder einfach einen Power of two-Button verwenden)

This will create a new texture with a resolution of 2048x2048 (bzw. 4096x4096) (Wichtig: Die Grösse der Bumpmap sollte wegen der späteren Verarbeitung in eine Normalen-Map mittels ZMapper das ein bis zweifache der Grösse der späteren Normalen-Map besitzen.) and will fill it with the medium grey color we selected earlier.

Dieser uniforme Grauwert (RGB alles auf 128) ist quasi die Nullebene. Alles heller als das wird erhaben, alles dunkler als das wird eine Vertiefung in der Bump-Map.

• Nun in Textur-Palette erst den Pixol to Pixel /b - Button drücken, damit das Model auf die optimal zur Texturgrösse passenden Skalierung gebracht wird.

(Damit sind die bisherigen komplizierten Schritte zu diesem Thema (s.u.) endlich obsolet, denn nun werden die mittels Projektion-Master gezeichneten Texturdetails auch weitgehend krisp beim Pick-up auf das Modell übertragen.)

4. Dann wird bei editierbaren Model nun das Material BumpViewMaterial.zmt aus dem Ordner \ZMaterials im Material-Kanal geladen.Das Modell erscheint nun heller und glossy.

Click on the material icon (or go to the Material menu at the top of the interface) and click the Load button. Navigate to your ZBrush install directory. (Typically this will be in 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 to paint your bump map.

Projection Master lets you paint intricate details onto your model using a variety of brushes and alpha masks. Click the Projection Master button at the upper left corner of the interface. This will open the Projection Master options window. You can paint Colors, Materials or Deformations with Projection Master. Since we’re only painting a bump map, we just want the Colors (or in 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 at the top of the interface is highlighted. If Zadd or Zsub is selected, make sure to turn them off. This will ensure that we’re only painting pure colors onto our object. Draw a few strokes over your object and notice how it appears to 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 defaults to using a tool called the Single Layer Brush with a soft round Alpha and a dotted Stroke. Try out the different brushes, alphas and strokes to get a feel for how they affect your object. Using a black color will cut brush strokes into your object. Switching to a white color will cause the brush strokes rise up from the surface. You can vary the intensity of your brush strokes by changing the RGB Intensity slider.

Alternativ kann auch bei der Bump-Map analog zur Color-Map nach Kris Kostas vorgegangen werden. Nach den Schritten 1) bis 5) wird als Tool Plane3D, als Alpha der verschwommene Kreis und als Textur dann z.B. ein anderes Alpha-(Graustufen)-jpg geladen, mit dem dann Strukturen statt Farben erzeugt werden.

Zur Fehlerkorrektur oder zum Abwedeln der erzeugten Strukturen:

If you want to restore the surface (for example, to cover up any mistakes), simply switch back to a medium grey, set the RGB Intensity to 100 and paint over the surface.(wirkt quasi wie ein Radiergummi, Intensität des Löscheffektes kann über Tablettdruck und RGB-Slider variiert werden) .

Then click on the Pickup Now button to return to ZBrush’s standard object edit mode.

Save your bump map.

When you’re happy with the work you’ve done in ZBrush, you need to save out the various maps for use in LightWave. We’ll begin by saving out our bump map. Open the Texture menu at the top of the interface (or from the side if you docked it earlier). Make sure the bump map is currently selected. Then press the Flip V button to flip the texture vertically. I know this seems like a strange thing to do. But ZBrush’s UV coordinates are the inverse of LightWave’s. If you don’t flip the texture, it won’t like up properly with the UV once you’re back in LightWave.

Alert: Forgetting to flip your texture before exporting is a very common source of problems. If you find that your textures don’t “look right” when you apply them to your model in LightWave, the first thing to check is that they’ve been flipped. Click the Export button in the Texture menu and save the bump map as a standard Photoshop PSD file.

Der Trick basiert also auf der Verwendung einer Bump-Map anstelle von Displacement, da die Bump-Map die in Projektion Master aufgemalten Details besser und genauer wiedergibt als deren Umsetzung in Polygon-Displacement dies je in der Praxis könnte (s.o.).

Wichtig ist dafür aber auch (wie beim nachfolgenden Erstellen der Farbtextur-Map), dass die innnerhalb von Projection-Master aufgemalten Pixols möglichst 1:1 in Pixeln nach dem Pick-up auf der Bump-Map erscheinen.

Zum damit zusammenhängenden Skalierungsproblem und dessen Lösung siehe das Tutorial ‘Precision Texturing - Part 2’ von Arurick.

Anm.: Wenn die Normal-Map mit dem ZMapper-Plugin erstellt wird (s.u.), kann die Bump-Map direkt in die Normal-Map eingerechnet werden, so dass eine separate Verwendung in CD4 entfällt. Die Bump-Map muss aber ca. doppelt so gross sein wie die spätere Normal-Map (s.u.), also am besten 4096x4096.

Auszug aus dem ZMapper-Manual:

2.2.1. Creating Bump Maps In ZBrush

You’ve no doubt thought, “Aha, I can use ZBrush to create great bump maps as well, to use in the above process.(s.u., Anleitung zum Herstellen von Normal-Maps mit ZMapper)” You’re right, of course. There is a plethora of ways to generate the requisite grayscale bump map from within ZBrush.

You can paint directly to the 2.5D canvas and then grab an alpha off of there. Using Projection Master with the BumpViewerMaterial, you can paint a grayscale texture onto your model, and then create an alpha from that. Some of these techniques are discussed in section 6. The experienced ZBrush user will no doubt come up with many more.

There are some points here you should be aware of, pertaining to the relative resolutions of the various map that come into play. See section 4.3 for details.

3)Color-Texturing

Ganz wichtig:

wenn zuvor die Bump-Map erstellt wurde, dann vor Aktivierung von Projection Master unbedingt das Bump-Viewer-Material zurückwechseln gegen z.B. das Standard-Material und in der Syspalette auf ein mittleres Grau als Farbe wechseln.

Hier gibt es verschiedene Möglichkeiten, siehe dazu z.B. das Tutorial von Ken Brilliant, Kris Kostas oder diverser Anderer etc.

Erstellt wird am Ende jedenfalls eine Color-Texturmap analog der Bump-Map.(Flip-V nicht vergessen !!)

Ganz wichtig ist auch das Tutorial ‘Precision Texturing - Part 2’ von Arurick, sofern die Texturen rein in Projection Master aufgemalt werden. Hier gibt es das Problem der Skalierungsunterschiede zwischen 3D-Modell und Zeichenfläche, welche nach dem Pick-Up zu verschwommenen Konturen der gemalten Textur auf dem Modell führen kann. Da die Korrektur dieses grundsätzlichen Problems von ZBrush sehr umständlich ist, verwendet man besser mittels ZApplink-Plugin dazu ein externes Zeichenprogramm wie Photoshop oder PSP. Alternativ kann auch Maxons Bodypaint verwendet werden.

Mit dem neuen Plugin ‘Pixol to Pixel’ ist das Problem aber nun auch in ZBrush2 weitgehend gelöst und es kann direkt mit Projection Master in ZBrush2 gemalt werden…

Für das Vorgehen mittels ZApplink wird zuvor Projection Master mit aktivierter Color-Checkbox gestartet. Zum Übernehmen der in z.B.Photoshop erstellten Bemalung lediglich im Zeichenprogramm (Photoshop o.ä.) den Speichern Menüpunkt/Button drücken. ZApplink überträgt dann die Textur automatisch in ZBrush. Der Vorteil gegenüber dem Bemalen rein in Projection Master liegt darin, dass ZApplink das Modell (als 2D-Fläche) in der richtigen Skaliergrösse ins Zeichenprogramm überträgt, so dass die aufgemalte Textur später scharf abgebildet auf dem Modell erscheint, es also keine Unschärfeprobleme mehr wie bisher gibt.

Nachteil gegenüber Maxons Bodypaint ist aber auch, dass sowohl in Projection Master als auch beim Vorgehen über ZApplink immer auf eine 2-dimensionale projezierte Fläche des 3D-Models gemalt wird, wobei man beim Malen das Modell ja nicht mehr drehen kann. Das macht dann oft an den Seitenflächen Probleme, einen sauberen Übergang der Textur um das Modell herum zu erzeuigen.

Bei Bodypaint lässt sich das Modell dagegen während des Bemalens frei drehen, was ein deutlicher Vorteil ist.

Allerdings fehlen aber natürlich auch dort wieder einige Features von ZBrush oder Photoshop und ausserdem muss zum detaillierten Bemalen erstmal eine hochdetaillierte Version des Modells als .obj gespeichert, dann in Bodypaint bemalt und nach ZBrush reimportiert werden. CAVE: Hierbei fehlen dann natürlich wiederum die niedrigeren Subdivision-Levels, wodurch die vernünftige Verwendung von Bodypaint zum Texturieren für die hier beschriebenen Methoden (hochdetaillierte Modelle mit niedrigen Polygonzahlen herstellen) also NICHT möglich ist ! Allenfalls lässt sich mit entsprechenden Qualitätseinbussen das zum Rendern verwendete Low-poly-Modell später noch in Bodypaint bemalen oder man verwendet den Raybrush in Bodypaint, um auf das bereits gerederte Modell zu malen (näheres dazu siehe C4D_ZB_Displacement_Maps.pdf).

BodyPaint ist in jedem Fall gerade bei Hauttexturen durchaus einen Versuch wert.

Dazu wird in C4D unter Fenster -> Layout -> BP 3D Paint eingestellt, anschliessend unter Werkzeuige -> der Paint Assistent gestartet.(siehe Manual_BP2.PDF). Dann rechts unten im Material_Manager auf das Kanal-Kästchen mit dem F klicken (Farbkanal). Nun kann rechts oben im Dialog eine Textur .jpg (z.B.Hauttextur) geladen und damit auf dem Modell gemalt werden, ähnlich wie bei Kris Kostas’-Technik,nur diesmal direkt mit dem Pinsel. Ist im Material-Manager rechts unten das kleine Symbol mit dem Stift (direkt über den Materialien) mit einem roten Kreuz versehen, so malt man nur im jeweils aktivierten Kanal (z.B. dem Farbkanal). Klickt man aber auf das Kästchen und es ändert sich zum grünen Häckchen, so ist nun der MultiBrush aktiv, d.h. man malt nun in allen Kanälen, die man vorher im Paint Assistenten zur Bearbeitung ausgewählt hat. Dabei kann z.B.analog zur BumpMap-Methode in ZBrush mit im Reliefkanal gewählter Farbhelligkeit Vertiefungen oder Erhebungen erzeugt werden usw.

Es hängt also vom Einzelfall ab, was letztlich optimal eingesetzt wird, aber die Verwendung von Photoshop o.ä. via ZApplink aus ZBrush heraus ergibt die qualitativ besten Ergebnisse., wenn scharfgezeichnete Texturen (z.B.Logos, Tatoos etc) nötig sind. Bei Texturen.wie z.B.der Hautfarbe, deren Details ja dann eher durch die Bump-Map erzeugt werden, lohnt sich aber immer ein Versuch mit Bodypaint, da hier der Workflow viel besser ist und das Modell beim Bemalen frei gedreht werden kann.

Aber wie bereits gesagt, mit dem neuen Plugin ‘Pixol to Pixel’ ist das Problem aber nun auch in ZBrush2 weitgehend gelöst und es kann direkt mit Projection Master in ZBrush2 gemalt werden…

• Dazu in Textur-Palette nach Erstellen der Textur nun direkt noch den Pixol to Pixel /b - Button drücken, damit das Model auf die optimal zur Texturgrösse passenden Skalierung gebracht wird.

(Damit sind die bisherigen komplizierten Schritte zu diesem Thema (s.o.) endlich obsolet, denn nun werden die mittels Projektion-Master gezeichneten Texturdetails auch weitgehend krisp beim Pick-up auf das Modell übertragen.)

4)Normal Map (immer am besten mit ZMapper erstellen !!)

Ganz wichtig:

wenn zuvor die Bump-Map erstellt wurde, dann vor Aktivierung von Projection Master unbedingt das Bump-Viewer-Material zurückwechseln gegen z.B. das Standard-Material und in der Syspalette auf ein mittleres Grau als Farbe wechseln.

Dieser Schritt kann auch erst später in Cinema 4D erfolgen (-> Backen von Displacements in eine Normalen-Map), ist aber viel besser und schneller bereits schon hier in ZBrush mittels ZMapper-Plugin möglich.

a) Herkömmlicher Weg: (Obsolet, viel zu langsam)

Nachfolgend dazu der Auszug dazu aus 'LightWave to Zbrush #153F21.pdf’ :

Create a Normal Map

Normal maps are like bump maps on steroids. They don’t actually alter the shape of your object (as the displacement map does), but they give the appearance of doing so. This makes them well-suited for situations that require highly detailed objects but lack the time or horsepower required to render multi-million polygon objects.

Normal maps can be used on their own or in conjunction with displacements and traditional bump maps. I find that by using them in conjunction with the other maps, I can get outstanding results while cutting down on the render time per frame.

Click on the NormalMap submenu just below the Displacement submenu in the Tools palette.

Set the NMRes (Normal Map Resolution) to 2048 (bzw.4096) and turn on Adaptive and SmoothUV.

The last button in the NormalMap 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 earlier, make sure this is not selected. Für Cinema 4D 9.6 darf ‘Tangente’ (s.u.) gewählt werden…

Quickstart 030 - Set your Normal Map size to 2048, turn on Adaptive mode and Smooth UVs. Then turn on Tangent mode for LightWave 9 (or leave it unselected for LightWave 8.5).

LightWave 8.5 (and earlier) users will also need to make a slight change to the Normal Map Export preferences in order to get their maps to work properly. Open the Preferences menu at the top of the screen and click on the ImportExport options. Activate the “NormalMapFlipX” and “NormalMapFlipZ” buttons. If these options are not set, your normal map will not work properly. Keep in mind that these settings only apply to LightWave 8.5 and earlier. Users of LightWave 9 should leave these settings unchecked.

Alert: One of the most common errors people have with using normal maps in LightWave 8.5 is not having the NormalMapFlipX and NormalMapFlipZ preferences set.

Quickstart 031 - LightWave 8.5 users will need to set the NormalMapFlipX and NormalMapFlipZ buttons in the ImportExport Preferences. LightWave 9 users should not set these options.).

Once your options are set, click on the Create NormalMap button in the Tool menu to generate your normal map. When finished, it will become the active Texture and you’ll see it applied to your object.

Note: If you see that the normal map is the current texture but you don’t see it applied to your object, you may still be viewing your object with the Bump Viewer Material. To see the normal map on your object, switch to another Material such as the Basic Material or the Fast Shader Material.

Note: Normal Maps generated with the Tangent option checked will appear predominantly blue while those without it checked (these are Object Space normal maps) will look like a mixture yellow, orange and blue.

The Normal Map will need to be flipped just as was done with the Bump Map and Displacement Map. To do this, open the Texture menu at the top of the interface (or from the side if you docked it earlier). The Normal Map should be the active texture. Press the Flip V button to flip it vertically. Then press the Export button and save your map in the Photoshop format.

Note: If you’re using LightWave 9, you can store your normal map preferences and speed up the creation process by using the ADE/MD2 plug-in. For more information

about using MD2, see Section 4.7.3.

Quickstart 032 - Click the Create NormalMap button, open the Texture menu and press Flip V to flip the texture vertically. Then export the map in PhotoShop format.).

b) das ADE-Plugin (Obsolet, ZMapper ist viel besser !)

Anm:

The ADE-Plugin (s.o) is also capable of exporting Tangent Normal maps, so here are two codes for doing that with ADE, but for more robust normal map generation check out the new ZMapper plugin available for free from www.ZBrush.com.

32 bit Tangent Normal Map: DE-LCEK-FAIAJA-4D_Normal32

16 bit Tangent Normal Map: DE-HCEK-FAIAJA-4D_Normal16

c) Am leistungsstärksten ist aber mit Abstand das

ZMapper-Plugin

Wichtig: ZMapper liefert nur dann gute Ergebnisse, wenn das High-Level-Modell in der Outline nicht allzu sehr vom Subdivision-Level1 abweicht. Sonst ist das Backen in C4D die bessere Wahl.

Benutzung (Kurzform): ZMapper

Load a multi-resolution mesh and go to subdivision level 1.

Draw the model on the screen and enter Edit mode.

Load a bump map into the Alpha palette (if desired) and set its stength using Tool>Displacement>Intensity. (A blank texture will also need to be applied to the model in order for the bump effect to be visible.)

Click the ZMapper button.

Click on the Normal & Cavity Map tab in the ZMapper interface.

Modify any settings, if necessary.

Click the Create Normal Map button.

ZMapper will calculate the normal map and render it on the low resolution model. If satisfied with the results, exit ZMapper. The newly-created normal map will be selected in the Texture palette, ready to be exported. (Flip-Y nicht vergessen !)

For more advanced usage, be sure to read the PDF documentation:

1. Install or load ZMapper.

2. Create the low-resolution Polymesh3D model you want to start with, and make sure it conforms as closely as possible in shape to the high-resolution mesh that will be expressing all of the details.

Wichtig: ZMapper liefert nur dann gute Ergebnisse, wenn das High-Level-Modell in der Outline nicht allzu sehr vom Subdivision-Level1 abweicht. Sonst ist das Backen in C4D die bessere Wahl.

3. Using the ZBrush tools you are already familiar with, iteratively subdivide the model and sculpt finer and finer detail, until you have the desired final result.

4. Choose a texture size for the normal map (am besten gleiche Grösse wie die Bump-Map)).

Create and select a texture that will hold the normal map. It must be square, and its side dimensions must be powers of two. (256, 512, 1024, and so on.)

To capture all of the detail, the normal map area used (i.e. that portion not left blank by the UV mapping) should have about as many pixels as the high-resolution model has polygons.

ZMapper will use whatever UV mapping you choose for the model.

5. Add a bump map if desired (als aktives Alpha in die Alpha-Palette laden) , for high-frequency detail.

6. Set the model to its lowest subdivision setting (Level 1). The selected level is the model level for which the normal map will be generated.

7. Start the ZMapper plugin and use it to create a normal map for the low-resolution model…

Select Tangent Space N.Map or Object Space N.Map to choose between generating a tangent or object space normal map. Open the Normal & Cavity Map tab, and press Create Normal Map.

The map will incorporate both the differentials in geometry between the low- and highresolution

models, and the details of the bump map.

7. Once the normal map is complete, exit ZMapper. The finished texture map will be in the texture palette.

8. Flip-Y nicht vergessen !, dann exportieren.

Normal Maps from Bump Maps

Another way to produce a normal map is to start with a bump map, and convert it to a normal map. This has the advantage that the resulting normal map no longer has the ‘intensity adjustment’ problems that can be encountered with bump maps, when transferring them between different programs. Even better, bump maps can be used along with the techniques described above.

The process is straightforward.

1. Choose a polymesh 3D model for which you wish to generate a normal map.

2. The bump map will be a grayscale texture map that has a UV mapping to the model. Get it into the Alpha palette (Texture -> Make Alpha-Button) and select it as the current alpha map. The bump map dimensions should be between one to two times the dimensions of the final normal map. (So if your normal map is 1024x1024, choose a bump map from 1024x1024 to 2048x2048.) Less than this, and there’s not a lot of point in using a bump map. More than this, and you risk putting a lot of work into the details of the bump map that will then be ‘filtered out’ because the normal map resolution is not high enough to support them. If you have enough memory, we recommend using a larger bump map than the normal map, and just keep in mind when editing that very fine details in the bump map will not come through.

The higher resolution will still probably improve quality on the larger details.

Anm.: Nach meinen Versuchen sollte die Bump-map genauso gross sein wie die Normalen-Map.

3. Create a texture that will hold the generated normal map. The restrictions outlined in the previous section as regards to normal map dimensions apply. (Square, power of two.)

4. Set Tool:Displacement:Displacement Intensity to about 0.05. After a highly rigorous evaluation, this figure was chosen because it seems to work pretty well most of the time.

Feel free to experiment. This is the setting that tells ZMapper the chosen alpha map is to be considered a bump map, and with what intensity to apply it.

5. Go into ZMapper and, as in the previous section, choose the type of normal map to generate and then create it. When it has been created, exit ZMapper and your normal map will be in the texture palette and ready for use.

Normal Maps from Both Bump Maps and Subdivision Models

It’s easy enough to combine the above two ways of generating normal maps. Just make sure you’ve followed the steps in section 2.2 (Normal Maps from Bump Maps) so that you have an appropriate bump map alpha selected, and that you’ve followed the steps in section 2.1 so that you have a subdivision model set to its lowest level. Then go and create the map as usual. Both the geometry and the bump map will be incorporated.

5)Cavity-Map

Erstellt wird die cavity-Map ebenfalls mit ZMapper /u

Das Vorgehen ist dabei analog zur Normal-Map, d.h. die Bump-Map sollte als Alpha geladen sein, der Tools->Displacement-Intensity-Wert auf 0.05 eingestellt , dann neue Textur erzeugen (z.B. 2048x2048) und ZMapper starten, die Cavity-Intensity einstellen und Create-Cavity-Map wählen.

In C4d wird die Cavity-Map dann in den Diffusionskanal geladen

Infos dazu siehe C4D_ZB_Displacement_Maps.pdf:und im ZMapper-Manual:

Cavity Shading (aus ZMapper-Manual)

Strictly speaking, cavity shading (a form of simulating ambient occlusion) has nothing to do in concept with normal mapping, but it turns out to be easy to incorporate a cavity shading effect into the normal map process, at no further end-use cost. ZMapper has the ability to produce and integrate cavity shading. The process is not difficult, but there are a number of settings that affect the final result, so rather than go into it here, I’ll refer you to section. 4.4.4. (im ZMapper-Manual)

8.2.4. Cavity Maps

Cavity maps are a different sort of beast in that they can really add to the effect

of fine details like wrinkles and small cracks when used in conjunction with other types of maps, but aren’t really suitable for use on their own. Essentially they serve a similar purpose as ambient occlusion, but on a much smaller scale. They create darker areas in small crevices and depressions in your displaced mesh to enhance the cavity effect. The ZMapper documentation discusses how to generate cavity maps.

8.2.5. Applying Cavity Maps

Once you have your Cavity Map you need to apply it to your model in Cinema

4D, and no there isn’t a handy dandy Cavity channel, two out of three ain’t bad. The idea behind the cavity map is to darken the areas that would receive less light. There are a various ways to do this, such as using the layer shader to multiply this over your color map and such, but the easiest way is to simply load it into your diffusion channel. This also means that you can use the map to affect reflections, specularity, and luminance, as well as color.

As mentioned before, cavity maps don’t create a great affect on their own:

Instead you will want to use this to add to the effect of your bumps, normal maps, or displacements, it can really punch out the detail while adding no real render time hit.

6)Modell exportieren

Das Modell wird über Tools -> Export als .obj exportiert.

Wichtig:

Für den obj.-Export aus ZBrush muss Tools -> Export -> GRP (Group) ausgeschaltet sein, da sonst das Riptide-Plugin (in C4D) jede Polygroup als eigenes Objekt interpretiert.

Das Model sollte in genau dem gleichen Detail-Level exportiert werden, in dem die UV-Koordinaten mittels GUV-Tiles erstellt wurden.

Es funktioniert aber meist auch in einem anderen Level einwandfrei.

• Nun das Modell in eine niedrigere Divide-Stufe (z.B. 1,2 oder 3) bringen und exportieren (.obj-Format)

Achtung:

Es gibt prinzipiell folgende Möglichkeiten:

I) Man arbeitet in C4D mit der Normalen-Map.

Hier wird das Modell auf Divide-Level1, höchstens Level2 exportiert.(minimale Polygonzahl beim Objekt für minimaleste Renderzeit)

II) Man arbeitet in C4D mit der Displacement-Map:

Hier ein Modell mitmittlererPolygonzahl(z.B.Divide-Stufe 3), da das Berechnen der Displacements beim Rendern selbst mit aktiviertem SubPolygon-Displacement (SPD) noch eine genügende Anzahl von Polygonflächen benötigt, um detaillierte Ergebnisse zu erzeugen.

III) Soll dagegen die Normalen-Map erst durch Backen in C4D erzeugt werden (NICHT empfohlen), muss für das unten beschriebene Verfahren (Backen von Displacements in Normal-Maps in C4D) nun zuerst ein Objekt mit möglichst hoher Divide-Stufe (3 oder 4) und eines mit geringer (1 oder 2) als .obj exportiert werden, da das höher-detaillierte für das Backen der Normalen-Map in C4D verwendet wird. Alternativ kann die Normalen-Map aber auch direkt in ZBrush erstellt werden, dann braucht man nur das Low-poly-Modell.(empfohlen !!)

III)Cinema 4D

(siehe auch C4D_ZB_Displacement_Maps.pdf)

Nun das Modell in Cinema 4D importieren.

Wichtig:Da der native .obj-Import von Cinema 4D oft unzulänglich ist (z.B. werden mit Modo generierte .obj nicht gut verarbeitet), immer zum .obj-Import (wie auch Export) das Riptide-Plugin in C4D verwenden (Plugins -> PluginCafe & C4Dtreff -> Sonstiges -> Riptide)(alle Voreinstellungen in Riptide sind OK, nur Skalierung auf 100 ändern.) Riptide importiert das .obj-Modell dann sauber und zusammenhängend.

Falls Displacement verwendet wird, dann nun zuerst ein Material für die Displacement-Map erzeugen und als erstes Material dem Objekt zuweisen (weiteres s.u.)

Die Bemalung (Farbtextur aus ZBrush2 oder neu bemalen mit Bodypaint3D (s.o.) zusammen mit der Bump-Map (aus ZBrush für die Feinst-Details, kommt in den Relief-Kanal) mit einem neuen Material erst danach dem Modell zuweisen.

Merke: In Cinema4D muss jeweils ein separates Material nur mit der Displacement-Map und eine anderes separat mit der Farbtextur-Map + Bump-Map erstellt werden. Das Displacement-Material muss in der Reihenfolge im Objektmanager VOR dem Farb/Bump-material stehen (Also dem Objekt zuerst zugewiesen sein), da beim Rendern zuerst das Displacement berechnet werden muss und erst daruber dann die Farbtextur mit dem Bumpmapping gelegt wird !!! Die gleichzeitige Verwendung von Displacement-Map und Farbtextur/Bump-Map in einem Material klappt nicht (es ist dann keine Farbtextur auf dem gerenderten Modell zu sehen).

Wichtig: Das Vorgehen mittels einer Normalen-Map ist dem Dispalcement aus Geschwindigkeitsgründen praktisch immer vorzuziehen, ABER die Normalen-Map (wie auch die Bump-Map) ändern im Gegensatz zum echten Displacement NICHT die Silhouette eines Objektes beim Rendern (z.B.ev.wichtig bei Schatten). Sie faken Struktur nur, während das echte Displacement das Objekt beim Rendern richtig verformt.

Anm.: Man kann auch Normalen-Mapping (Bump-Map schon in die Normalen-Map integriert via ZMapper) UND Displacement im gleichen Material KOMBINIEREN, dann wird die Struktur beim Rendern am allerbesten ! Vor allem für Stills (nichtanimierte Bilder) ist das das qualitativ beste Vorgehen, wobei die renderzeit beim Verwenden eines Detail-level-1-Modelles auch noch akzeptabel für Animationen ist…

Wenn die Normalen-Map schon in ZBrush erstellt wurde und zum Einsatz kommt, entfallen die Schritte A) und B) völlig und man kann sofort zu C) gehen. Falls aus einem Grund aber doch die Normalen-Map erst in C4D erstellt wird (z.B.wenn sich der Shape des Modells im High-Level zu sehr vom Shape des Low-Level unterscheidet), dann aber erst Schritt A), danach Schritt B) !!!

Wichtig: ZMapper liefert nur dann gute Ergebnisse, wenn das High-Level-Modell in der Outline nicht allzu sehr vom Subdivision-Level1 abweicht. Sonst ist das Backen hier in C4D die bessere Wahl.

A) Sub-Polygon-Displacement (SPD): (Meist obsolet, da i.d.R. mit Normalen-Map gearbeitet wird)

(Anm: Displacement-Maps sind Graustufen-Bilder, deren Helligkeitswerte von Renderer beim Berechnen des Bildes in echte 3D-Verformungen des Objektes umgerechnet werden. SPD ist ein Verfahren, bei dem

einer Polygonfläche vom Renderer weitere Unterteilungen virtuell eingerechnet werden und die Displacement-Map so schon bei mittlerer Polygonzahl sehr detaillierte Ergebnisse bringt)

SPD bringt sehr gute Details , aber benötigt zumindest ein mittelgradig unterteiltes Objekt (ZBrush-Stufe 3) und benötigt relativ lange Renderzeiten, eignet sich somit nicht für animierte Objekte.

(Obsolet: Ein HyperNurbs-Objekt zuerzeugen und importiertes Modell hineinwerfen ist nicht mehr notwendig, denn.mit Subpolygon Displacement (SPD) ,s.u.,wird die Verwendung von Hypernurbs-Käfigen für Lowpoly-Objekte (zur Glättung) überflüssig und ermöglicht viel schnellere Renderzeiten !!)

a) Für die Displacement-Map nun ein neues Material erstellen.

Alle Kanäle ausser ‘Displacement’ abschalten (Material wird scharz).(Anm: der Farbkanal kann aber auch eingeschaltet bleiben)

Im Displacement-Kanal wird die Displacement-Map reinladen.

• Stärke 100 %

• Maximale Höhe : ausprobieren, teilweise geht 5 cm (Standard), aber meist sind Werte um die 0,025 bis 0,03 cm besser.

• Typ: Intesität (Zentriert) (Standard)

• In Textur-Kanal die Displacement-Map laden.

• Interpolation: MIP (Standard)

• Alle Checkboxen bei ‘Sub-Polygon Displacement’ aktivieren, Unterteilungslevel 4 bis 5.

Als fast noch bessere, da feiner einstellbare Alternative:

Alle Kanäle ausser ‘Displacement’ abschalten (Material wird schwarz).(Anm: der Farbkanal kann aber auch eingeschaltet bleiben)

• Stärke 100 %

• Maximale Höhe : ausprobieren, meist sind sehr kleine Werte um die 0,005 cm besser.

• Typ: Intesität (Zentriert) (Standard)

• In Textur-Kanal nun ‘Filter’ wählen und erst im nachfolgenden ‘Shader-Eigenschaften’-Fenster die Displacement-Map laden. Nun mittels des Kontrast-Reglers (wichtigster Regler, höhere Werte = starkes Displacement) sowie des Gamma-Reglers (kleineres Gamma = körnigeres Displacement), Helligkeits- und SW-Helligkeit-Reglers die Stärke und Struktur des Displacments feintunen.

• Interpolation: keine

• Alle Checkboxen bei ‘Sub-Polygon Displacement’ aktivieren ausser ‘Auf resultierende Geometrie projizieren’, Unterteilungslevel 4 bis 5.

b) Jetzt ein zweites neues Material als Color/Bump-Kombi-Material erzeugen.

• Farbkanal aktivieren, hier wird die Color-Texturmap reingeladen.

• Reliefkanal aktivieren, hier wir die Bumpmap reingeladen.

Nun das Displacement-Material dem Modell mit der höheren Polygonzahl als erstes Material zuweisen und im Objekt-Baumdiagramm (rechts oben) auf das zugewiesene Displacement-Material-Symbol klicken.

Nun rechts unten bei ‘Tag-Eigenschaften’:

• Projektion: UVW-Mapping

• Seite. beide

• Offset X: 0%

• Offset Y: 100 % (wichtigster Punkt: Image um y-Achse flippen !!!) (Nicht nötig, wenn Map bereits in ZBrush geflippt ist)

• Länge X: 100 %

• Kacheln X: 1

• Länge Y: - 100 % (Nicht nötig, wenn Map bereits in ZBrush geflippt ist)

• Kacheln Y: -1 (Nicht nötig, wenn Map bereits in ZBrush geflippt ist)

Checkboxen setzen (alle optional, funktioniert auch, wenn nicht gesetzt):

• Kacheln

• Nahtlos

• UVW für Relief benutzen (nicht unbedingt erforderlich ??)

Wichtig: - Textur additiv zumischen muss deaktiviert werden, sonst kein Displacement-Effekt !

B) Backen von Displacements in eine Normalen-Map:

(meist Obsolet, da viel besser und schneller mit ZMapper-Plugin in ZBrush erstellbar, ausser, wenn sich der Shape des Modells im High-Level zu sehr vom Shape des Low-Level unterscheidet. In diesem Fall liefert nur das hier beschriebene Verfahren gute Ergebnisse).

(Anm: Beim Normalen-Mapping wird ein RGB-Bild benutzt, um die Normalen eines Objektes auszurichten und kann so Höhen und Tiefen und selbst komplexe Winkel exakt definieren und

so eine genaue Abbildung der Details liefern.Aber die Normalen-Map (wie auch die Bump-Map) ändern im Gegensatz zum echten Displacement NICHT die Silhouette eines Objektes beim Rendern (z.B.ev.wichtig bei Schatten).:

Vorteil ist ein erheblich schnelleres Rendering bei sehr guten Details und die Option einer möglichen extrem niedrigen Polygonzahl des Objektes.)

Das Backen fixiert den Displacement-Effekt mittels eines einmaligen Renderings (eben dem Backen) in eine Normalen-Map, welche dann im Material verwendet wird und den Efffekt des Displacements übernimmt, aber wesentlich schneller berechnet wird. Dazu muss aber die Berechnung an dem Objekt mit der höheren Polygonzahl erfolgen, damit das Displacement möglichst detailreich am Polygonobjekt umgesetzt wird.

Alternativ kann die Normalen-Map aber auch schon in ZBrush erstellt werden, dann entfällt der dieser Teil B.

• Zum Erstellen der Normalen-Map das Polygon-Objekt (das mit der mittleren bzw. höheren Polygonzahl) selektieren, wobei diesem ein Material mit Displacement-Map ( siehe A) ) bereits zugewiesen sein muss !! (Achtung, das ist entscheidend !!!).Ggf. auch die BumpMap in den Reliefkanal laden.

• Aus Menü ‘Rendern’ --> '‘Textur backen’ wählen, im Objektmanager erscheint ein neuer Tag (Textur backen) neben dem Objektnamen.

• den Tag selektieren und unten bei dem Tab

Tag-Eigenschaften

- den … -Button hinter dem Dateinamen (weisses Textfeld) anklicken, um einen Pfad für die Normalen-Map zu wählen.

• Als Dateiformat .TIFF oder Photoshop- .PSD (insbesondere eignet sich .PSD für das Backen mehrerer Kanäle als Layer in ein Bild (=Normalen-Map)) wählen.

• Farbtiefe von 8 bit pro Kanal reicht aus, aber 16 bzw.32 Bit ist besser.

• Bei Wahl der automatischen Grösse passt C4D die Masse der Map an die Objektgrösse an, jedoch ist eine manuelle Wahl von 512x512, 1024x1024 oder 2048x2048 besser.

• Supersampling auf 1 (aktiviert Anti-Aliasing)

• Pixelrand auf 2 (erzeugt zusätzliche Pixel um jedes Polygon und vermeidet so sichtbare Ränder).

Nun den Tab ‘Optionen’ anklicken.hier nun festlegen, welche Materialkanäle gebacken werden sollen:

• Nur die Checkbox ‘Normale’ aktivieren, daraufhin öffnet sich das zugehörige Untermenü.

• Bei Methode ist ‘Objekt’ i.d.R. passend, ‘Tangente’ wird verwendet, wenn die Map gekachelt oder das Objekt deformiert werden soll, ‘World’ ist nur bei statischen Objekten sinnvoll, die sich also nicht bewegen.

• Die Buttons ‘FlipX’ usw. werden nur verwendet, falls die Map in andweren Anwendungen verwendet werden soll, welche die Achsen anders gedreht haben möchten. In C4D bleiben die Button alle deaktiviert.

• Optimales Mapping bleibt auf ‘Aus’ stehen (bei ‘Würfel’ oder ‘Winkel’ erzeugt es automatisch einen Satz von sich nicht überlappenden UV-Koordinaten für das Modell, wobei diese ja schon in ZBruh dem Modell zugefügt

wurden und diese Funktion also nicht mehr benötigt wird.)

• Nun Button ‘Backen’ drücken, die Normalen-Map wird nun aus der Displacement-Map hergestellt (‘gebacken’=gerendert) und im oben angegebenen Pfad abgespeichert.

C) Finales Kombi-Material erstellen (Normalen-Map & Color-Map & Bump-Map):

Ein neues Material erstellen.

• Kanal ‘Normal’ aktivieren (Displacement dagegen wird nun deaktiviert).

Im Kanal Normal:

• Normal-Map-Bild laden

• Wenn die NormalenMap schon in ZBrush mittels ZMapper-Plugin (Tangent Space N.Map) erstellt wurde (empfohlen), dann Methode auf Tangente einstellen. Wenn dagegen in Cinema4D erstellt wurde, dann Methode auf ‘Objekt’ (Tangente’wird verwendet, wenn die Map mittels ZMapper-Plugin erstellt wurde oder gekachelt oder das Objekt deformiert werden soll, 'World’ist nur bei statischen Objekten sinnvoll, die sich also nicht bewegen)

• Den Farbkanal aktivieren und eine ensprechende Farbmap laden (hier können Maps aus ZBrush oder Bodypaint als .TIFF oder Photoshop-Dateien mit Layern verwendet werden und die Layer beliebig an- und abgeschaltet werden,

siehe hierzu das Gnom-Videotutorial von CD 4 9.5 Update).

• Den Reliefkanal aktivieren und die Bumpmap reinladen für die Darstellung der Feinstdetails.Anm.: Wenn die Normal-Map mit dem ZMapper-Plugin erstellt wurde (s.o.), so ist die Bump-Map u.U. bereits direkt in die Normal-Map eingerechnet worden, so dass eine separate Verwendung hier in CD4 entfällt.

• ggf. auch den Diffusionskanal aktivieren und die Cavity-Map reinladen.

Nun geht das Rendern bei gleichem Ergebnis erheblich schneller und liefert gleich gute Ergebnisse selbst bei LowPoly-Objekten (ZBrush-Stufe 2) und eignet sich damit perfekt für hochqualitative Animationen bei kürzester Renderzeit.. Ausserdem hat man nur noch ein einziges Material, in dem Normalen-Map, Color-Map und Bumpmap (+ ggf. Cavity-Map) zusammen untergebracht sind.

Anm.: Man kann auch Normalen-Mapping (Bump-Map schon in die Normalen-Map integriert via ZMapper) UND Displacement im gleichen Material KOMBINIEREN, dann wird die Struktur beim Rendern am allerbesten ! Vor allem für Stills (nichtanimierte Bilder) ist das das qualitativ beste Vorgehen, wobei die renderzeit beim Verwenden eines Detail-level-1-Modelles auch noch akzeptabel für Animationen ist…

[marcotronic]

Wow!!! Danke, Rastaman, für die erhebliche Mühe! Das wird sofort gebookmarkt!

Gruß,
Marco

[Rastaman]

Keine Ursache.
Ich weiss allerdings noch nicht, ob alles so auch unter ZB3 und C4D-10 funktioniert, sollte aber wohl der Fall sein.

Gruss,
Ralf

[Jakyll]

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?

[Rastaman]

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.

[Rastaman]

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.

[Disco_Stu]

uber bump for a unreadable post

[Rastaman]

Yes, but I have no time to fix the translation errors.

But better than nothing for those who don’t understand german.