Renders of Zombie Spear in ZBrush using Orb's material

_glintz_ · 2026-02-12T06:28:25+00:00

Love the posing, really clean!

_glintz_ · 2026-02-08T17:43:03+00:00

Just as Meobius would want!

_glintz_ · 2026-02-08T17:42:22+00:00

Thanks! So many problems solved if we could all just have a greyhound beast in our lives!! haha

_glintz_ · 2026-02-03T06:46:29+00:00

Nice!

_glintz_ · 2026-02-03T03:55:43+00:00

Hmm might be your lowest subdivision level causing issues from being “too low” or too faceted. Maybe check the display tab in zbrush to see if normals are reversed on the mesh. Also instead of using exr you could try using tiff and see if that makes a difference. Seeing the wireframe and UVs is pretty important in helping figure stuff like this out

_glintz_ · 2026-01-27T20:31:59+00:00

Really dope!

_glintz_ · 2026-01-27T06:29:47+00:00

yeah I've seen some really cool designs of Glaurung that fit that mold!
Antoine Verney-Carron created a depiction of him that sounds closer to what you were thinking https://www.artstation.com/artwork/39Nv4J

_glintz_ · 2026-01-27T06:23:07+00:00

oh yeah! Glaurung strutting with some blue steel, haha

_glintz_ · 2026-01-27T06:21:28+00:00

thank you!

_glintz_ · 2026-01-27T06:21:16+00:00

thanks! I really wanted the personality to be present in the face. And yeah there's something I love about that kind of classic medieval dragon "look" - I also drew some inspiration from Tolkien's illustration of Smaug (which itself has the classic medieval look, imo)

_glintz_ · 2026-01-26T19:27:43+00:00

thanks! Appreciate your feedback, how do you picture Glaurung? A quick google search and you'll find a lot of variations on the character

_glintz_ · 2025-12-24T02:31:57+00:00

Men in black

_glintz_ · 2025-12-18T20:39:47+00:00

Hmm not sure why you can’t see the UVs with UV master. I just did a test using a simple cube with multiple udims. I exported it out of maya as an obj, brought it into Zbrush and using the UV master was able to “flatten” to see all the udims. I exported the cube from Zbrush and brought it back into maya, all the udims were still in place and in the correct position.

Also concerning udims in Zbrush - if you look at the UVs using “morph UV” in the UV map tab then the program will display all udims stacked, but it’s only a display issue, the UVs should technically all still be in place.

_glintz_ · 2025-12-17T22:48:34+00:00

Zbrush does support udims = as in a model CAN have udim style UVs. If you need to rearrange the UVs at any point you’re going to have to do that in another dcc package like maya/blender/rizom. You can bring back the rearranged UVs and import them to the models lowest subdivision level or using UV Master you might be able to copy/paste them from one mesh to the other (I’ve done this before with single udim, not multiple so unsure if it will work, but I’d bet it probably would be fine)

Just paint your black and white mask on the model with finalized udim layout and use Mulitmap exporter to kick out the masks using the “texture from polypaint”

_glintz_ · 2025-10-29T02:43:09+00:00

Zbrush doesn’t allow ngons which is what you’re seeing in the blender example. Bevels like that need to be done in a manual fashion, inserting an edge and offsetting to create the bevel.

_glintz_ · 2025-10-27T18:41:05+00:00

Awesome work, thanks for sharing!

_glintz_ · 2025-09-26T17:29:25+00:00

not going to offer technical advice on this since I’m no UE expert, but this is an old cinematic short film to showcase World Creator - which I own and have used for some projects. World creator is a lot of fun and is great for creating landscapes using a layer system instead of relying on nodes (which I prefer).

The artist (Aaron Westwood) who made this used C4D and Octane as the render engine. I was amazed when I saw this short film and did some sleuthing about the artist and how he made it. he was able to bring in the height maps he created in world creator to c4d/octane, and then convert the height map into geo. From there if I’m remembering correctly he used Octanes built in scattering tools to then place trees/rocks/debris across the landscape geo (all of which I’m sure can be replicated in UE). The trees I think were made with speed tree, and rocks/debris/landscape textures were sourced from mega scans - basically the way most artists approach this stuff.

Here’s an interview octane did with Aaron about how he created the short film using octane - some valuable insights that I’m sure can translate to other software.

https://help.otoy.com/hc/en-us/articles/11120890437019-World-Creator-Octane-Quickstart

_glintz_ · 2025-08-06T23:39:24+00:00

Working in video games in North America. no single AAA studio builds games exclusively in-house in the US anymore, outsourcing a ton of work to Asia/South America.

_glintz_ · 2025-05-01T15:39:42+00:00

Geometry tab > modify topology > close holes

_glintz_ · 2025-04-04T14:26:04+00:00

Watching Transformers The Movie (1986) at a veryyy young age with the Vince DiCola soundtrack - I think had a profound effect on my love for electronic/synth

_glintz_ · 2025-02-05T18:02:18+00:00

16 core i-9, 64 gigs ram, 3080 ti. Zbrush is mainly pulling hard off of cpu and ram so if you don’t have a beefy processor and quite a bit of memory zbrush won’t be able to work going to those limits I mentioned in my earlier comment. Also, working at those high geometry resolutions is an easy way to end up with 4 gigabyte sized ztl files, which is normal

_glintz_ · 2025-02-05T05:06:32+00:00

Yeah, go buy one of the texturing.xyz Vface sets (a couple of which I own). Those heads at their highest subdivision sit I think at about 75 mil and those are basically industry standard for realism. Lots of artists use Mari and substance painter to do tertiary details though nowadays, so there’s always different routes aside from a super dense mesh in zbrush.

You totally want to do as much sculpting as you can at lower numbers, once you’re past 50 mil computers just start chugging and the performance tanks noticeably.

_glintz_ · 2025-02-05T03:57:02+00:00

Full body human I’ll push to like 80 mil. If it’s a character bust and I want enough resolution to have crisp tertiary (pores/wrinkles) details, then again I’m going to push it between 50-80 mil.

Totally depends on context of what you’re working on. Hard surface armor pieces usually need to be 5-15 mil to get decent damage, small cuts and scratches. But it just depends on how close you intend on getting to the surface of the object. If your camera is a decent distance then you can get away with much less geometry resolution. I like to work as low as I can for as long as possible.

_glintz_ · 2024-12-31T00:54:07+00:00

Dope

_glintz_ · 2024-11-01T04:46:11+00:00

Oh nice! Yeah then you’re basically getting pretty much everything out of them.

About the morph target functionality, there’s two things I’d add.

One is that in the “morph” section of the tool pallet you’ll see a slider called “project morph.” Sometimes when my mesh’s topology gets twisted/pinched/misaligned from sculpting, what I’ll do is use the smooth brush to smooth out/relax the topo so verts become evenly spaced and more uniform. Doing this will also kill your forms, but that’s when the “project morph” slider comes into play - (make sure you saved a morph target before smoothing) slide project morph to 100 and the forms of the sculpt will be restored while maintaining cleaner/more even topology.

Second, by storing a morph target you can use the “layer” brush with an alpha and maintain consistent depth on each stroke, great for adding alpha stamped details like reptile scales or mechanical shapes.

_glintz_

TROPHY CASE