019 Benefits of Concepting in 3D Video Lecture | Zbrush: Create Realistic Modelling - Professional Skills

so we've made some pretty massive
changes of this object so what we can do
if you want to is you can go ahead and
do like a file save as and say this is
like a CH polish practice as well as you
can go over here and hit clone and then
a clone off the subtool so now you've
got two versions of it and I can
actually drag the slider back and like
you know what I'm gonna start here so
then I'm gonna go back to this starting
point and then we're going to kind of
use this as my starting point but I can
also switch it back to this one I always
have it available to me now this the
clone you made doesn't have any history
so you kind of lost the ability to drag
back and forth but at least you have
this kind of save point you can go ed
and do file save as or you just go back
to you here and you can just start to
start from this point so you can make
pretty big sweeping changes that's gonna
say hey you ended almost 300 times it
okay and then you can go back in here
and you can kind of play around you can
kind of save different variants that
you're working on just kind of using
that and of course we talked about the
benefits of using ZBrush versus a
traditional 3d sculpting
there's also benefits to using 3d versus
2d so again you can very quickly concept
and by the time we get done with this
course hopefully you'll be a very very
fast 3d concept artists because the
whole point is just getting your ideas
out there quickly and efficiently and
one of the cool things about that and
when we get really really deep you know
I'm probably have a lot of videos on
this but when we get really really
really fast and start incorporating
substance designer and octane render and
key shot and stuff you can very quickly
get your ideas out and make them look
really good and we can start learning a
little bit of production practices in
order to make you actually more valuable
to a production team and actually we can
learn how to do production as well
there's nothing secret or hidden about
that it's just a little bit of a
different mindset but just and really
just learning more in different tools
there's really nothing particularly
elite about being a production artist so
just you got to learn some specific
things and then once you've done that
your your production artist EA but you
can make pretty massive changes like
this here just using the basic brushes
we talked about and because you're in 3d
you have automatic perspective so you
don't have to worry about and you know
we're going to get into environment
stuff you have automatic vanishing
points of perspective as well as
automatic shadows when you get into
rendering changing your Mac caps around
you get automatic different types of Mac
cap rendering and you can get way down
deep into rendering as well so all of
these things that take a long time and
traditional like oh I got a you know
find my core shadow and blend and then a
crosshatch and then oh I got to go grab
my my white and do highlights and stuff
there's nothing wrong with doing that
and I would say absolutely do that all
the time but in 3d it's free so if you
can very quickly get your idea out in 3d
and you have other tools available to
you such as symmetry radial symmetry as
well as X symmetry which is you know all
we're using here so just with X symmetry
applied you can very quickly go in here
and I'll have a demo video where we can
we're gonna just very quickly block out
head meshes and stuff like that so I'm
not gonna get too deep into the
explaining or demonstrating that because
I'm going to later but you can very
quickly work in the round as well you
know so when you're in to deal and
you're usually working for that one
camera view when you're in three Lind
you want to make sure you're working the
entire object which means for example
this face you know human heads generally
have draft it starts at this point up
here and then it kind of scoops around
back if you look at a skull you know
you'll have this draft you look at your
lips from beneath you'll they'll be
around a cylinder like this you want to
make sure that all of this stuff is in
place when you go to the side view your
eye is gonna start deep in here and then
it's gonna kind of round out up the
front and then back here it's gonna kind
of be this far back from your nose you
don't want to get caught up in making a
face like this so here's my face and
I've got my brow and I've got my nose
here and then I've got my mouth all
right sweet handlebar moustache and then
I've got my chin here it's like okay
digging my cheek bones build those up
it's like okay has a sweet head and then
you go to the side and it's like man
it's not it's a terrible looking relief
it's because when you're working in 3d
you constantly want to be switching your
view making sure that you know the nose
actually does stick out here and then
you do have draft your face and that
your mouth is on a cylinder here and
you've got enough room for your chin and
your cheekbones you know kind of go back
and then your jaw
starts somewhere in here and like
said we're getting the day sculpting in
just a second but just want to make sure
you realize the importance and the value
of being able to quickly get your ideas
out in 3d versus 2d and then in digital
3d versus traditional 3d and I again I'm
not advocating dumping one or any of
those I'll do all of them please
but there are absolutely reasons why you
would sculpt digitally in 3d and these
are just a few of those and not only do
you not want to ditch working in 2d or
working in traditional 3d it'll actually
make you stronger and doing those so as
you work in up you do a lot of 3d work
and then you go back and you draw you'll
actually be able to understand the forms
how'd you draw a little bit better and
what's going on behind the shapes and
you're not just using a bunch of 2d
tricks to kind of get things done you'll
actually have a better understanding of
how objects work in 3d because you're in
here in 3d and that'll translate very
well once you get into back into 2d and
doing that kind of stuff