Unreal Nanite Environment With ZBrush - Stage 03 Sculpting Phase

In this lesson, we’ll take the refined block-out meshes from our previous session and bring them into ZBrush to sculpt high-quality models. After detailing, we’ll decimate the meshes and import them into Unreal Engine as Nanite assets for optimal performance. Inside ZBrush, we’ll explore a variety of brushes for sculpting stone, along with my custom interface to streamline the workflow. We’ll also discuss the importance of reference in the artistic process and how to integrate it effectively. Next, we’ll dive into an advanced vertex mask technique in both ZBrush and Unreal to create a shader that highlights edges and adds natural shadowing to recessed areas, enhancing the realism of our models. In Unreal Engine, we’ll increase the complexity of our Sequencer shots and learn how to seamlessly switch between gameplay and cinematic sequences. We’ll then cover rendering high-quality movie shots using the Movie Render Queue. Finally, we’ll take our rendered frames into After Effects to compile them into a polished, animated movie. To See Part 2 (   • Unreal Nanite Environment With ZBrush - St...  ) 00:00:00 Introduction 00:01:35 Exporting From Maya To Zbrush 00:05:19 Import Models From Maya Into ZBrush 00:07:30 Zbrush Dynamesh 00:14:47 Nick Z ZBrush Interface 00:21:22 Using Reference When Sculpting 00:24:37 Lazy Mouse Options 00:34:01 Orb Brush Set 01:13:36 Rendering Shots In Zbrush 01:23:19 Exporting To Unreal 01:31:51 Importing From Zbrush Into Unreal (Nanite) 01:49:11 Vertex Mask Workflow 02:06:24 Adding Complexity To Our Sequencer Shots 02:37:53 Movie Render Queue Set Up 02:50:02 Rendering To A Movie Format In After Effects 02:55:14 Render Directly In After Effects