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Introduction
Hi, my name is Jack Malone, I am a 37 years old 3D Character Artist living in Brazil and working on cinematic and gaming projects for foreign and local companies. Jack is a nickname given by my friends in 2004. It started as a prank and I decided to use it since then. In fact, it's strange when someone calls me by my real name.
介绍
嗨，我的名字是Jack Malone，我是一名37岁的3D角色艺术家，住在巴西，为外国和本地公司从事电影和游戏项目。杰克是我的朋友在2004年给的昵称。它开始是一个恶作剧，从那时起我决定使用它。事实上，当有人用我的真名叫我时，这很奇怪。
My CGI story has started in 1993 watching Jurassic Park. That movie blew my mind. At that time I couldn't realize that dinosaurs were CGI, which is funny but true. Since then, I became obsessed to understand what was this "CGI".
我的CGI故事始于1993年观看侏罗纪公园。那部电影让我大吃一惊。当时我没有意识到恐龙是CGI，这很有趣，但确实如此。从那时起，我开始痴迷于理解这个“CGI”是什么。
I got a degree in Graphic Design in 2008 and a post-degree in Marketing in 2010. During the university's first semester I got the opportunity to get in touch with a 2D animation process and finally could do my first 3D workshop. So, I added my interest in traditional animation to the world of computer graphics. After that, I took a ton of workshops and courses to understand which area of CGI I would like to work on until I got my first job.
我于2008年获得平面设计学位，并于2010年获得市场营销学位。在大学的第一学期，我有机会接触到2D动画过程，终于可以做我的第一个3D研讨会。因此，我将对传统动画的兴趣添加到计算机图形学世界中。在那之后，我参加了大量的研讨会和课程，以了解我想从事CGI的哪个领域，直到我得到第一份工作。
Currently, I work at Magic Media, an international media and entertainment group, home to a variety of professionals and industry-leading experts across all avenues from interactive entertainment, software, application, and game development to cybersecurity, VFX, art, and animation. Magic Media has an array of high-profile clients including Bethesda, Blowfish Studios, and Devoted Studios amongst many others.
目前，我在国际媒体和娱乐集团Magic Media工作，该集团拥有各种专业人士和行业领先的专家，涵盖从互动娱乐，软件，应用程序和游戏开发到网络安全，VFX，艺术和动画等各个途径。Magic Media拥有一系列知名客户，包括Bethesda，Blowfish Studios和Dedicated Studios等。
While working, I am in constant contact with the Art Director and the Lead Character Artist. We collaborate on the style, scope, and polish of the overall work. Alongside that, we research reference material, which would be matched for the aesthetics and genre of the projects. I also work with the post-production and visual effects teams for seamless integration with the footage and production schedules, maintaining production documents, and assisting in problem-solving. As a group, we would be contributing to best practices and seeking out new software, technologies, and resources that will aid in an efficient and effective workflow.
在工作期间，我一直与艺术总监和主角艺术家保持联系。我们在整体工作的风格，范围和抛光方面进行合作。除此之外，我们还研究参考资料，这些参考资料将与项目的美学和流派相匹配。我还与后期制作和视觉效果团队合作，与素材和制作计划无缝集成，维护制作文档并协助解决问题。作为一个团队，我们将为最佳实践做出贡献，并寻找新的软件，技术和资源，以帮助高效和有效的工作流程。
Creating Ohrgok
This character was a challenge to me. I wanted to create a huge character, anatomically speaking, like a block with horns. Of course, LOTR and Blizzard lore guided me to figure out how to do that. Balrog, Diablo, Orcs, were the characters I know would guide this work. So, after a ton of references, I started an overall blockout, not only for the anatomy but for the assets also, which I had to understand the design only by modeling it. This stage is important because you need to hold back yourself and not overdo the modeling. You can’t put too much information on the model, the eyes need to rest.
创建 Ohrgok
这个角色对我来说是一个挑战。我想创造一个巨大的角色，从解剖学上讲，就像一个有角的块。当然，LOTR和暴雪的传说引导我弄清楚了如何做到这一点。Balrog，Diablo，Orcs，是我所知道的指导这项工作的角色。因此，在大量参考之后，我开始了一个整体的块，不仅对于解剖学，而且对于资产，我只能通过建模来理解设计。这个阶段很重要，因为你需要克制自己，不要过度建模。你不能在模型上放太多信息，眼睛需要休息。
https://cdn.80.lv/api/upload/content/88/611ca905e11f2.gif
Modeling
I used only ZBrush to create the entire character in the modeling phase. References were crucial on the blocking and refining stage, they guided me to get a good silhouette and proportions. For the body my aim was a retired professional bodybuilder called Kai Greene, he is huge, anatomically speaking.
建 模
在建模阶段，我只使用ZBrush来创建整个角色。参考在阻挡和改进阶段至关重要，它们引导我获得良好的轮廓和比例。对于身体，我的目标是一个退休的专业健美运动员，叫Kai Greene，从解剖学上讲，他是巨大的。
On the horns, scales, and spikes I used tons of animal references, like reptiles, gnus, deers, elks, and so on.
在角，鳞片和尖刺上，我使用了大量的动物参考，如爬行动物，gnus，鹿，麋鹿等。
And never forget to revisit the greatest artists, their work is a necessary guide. You can use them and follow their results as a target for your work. On the other hand, it's important to have solid and good resources, like brushes, alphas, and texture libraries. Everything with a good resolution will help you to push up your character's quality overall.
永远不要忘记重温最伟大的艺术家，他们的作品是必要的指导。您可以使用它们并跟踪其结果作为工作的目标。另一方面，拥有可靠且良好的资源（如画笔、Alpha 和纹理库）非常重要。具有良好分辨率的所有内容都将帮助您提高角色的整体质量。
Retopology and Unwrapping
In all my projects I don't retopology anything anymore, because I have created some time ago a good human basemesh that helps me all the time, with a good edge flow and UV space that are precious for you to get the quality you want to achieve.
重新拓扑和展开
在我所有的项目中，我不再重新拓扑任何东西，因为我前段时间创造了一个很好的人体基础网格，它一直帮助我，具有良好的边缘流动和UV空间，这对你来说是宝贵的，以获得你想要达到的质量。
For Ohrgok I have used 7 UDIMs. But when I did the retopology I used a mix between Maya and ZBrush and I have finished the UVs on Maya.
对于Ohrgok，我使用了7个UDIM。但是当我进行重拓扑时，我使用了Maya和ZBrush之间的混合，并且我已经在Maya上完成了UV。
Texturing
For the texturing stage, I have started the Base Color in ZBrush, only a quick painting that I improved on Substance Painter, creating all the bakes that help you in the process. Like the Ambient Occlusion that you can use to shade the dark areas. As for the eyes, I have sculpted the iris and used human eyes as references, I tested some different designs, like reptile and goat, but the human design fitted better.
纹理
对于纹理阶段，我已经在ZBrush中开始了基色，这只是我在Substance Painter上改进的快速绘画，创建了所有在此过程中为您提供帮助的烘焙。就像环境光遮蔽一样，您可以使用它来遮蔽黑暗区域。至于眼睛，我雕刻了虹膜，并以人眼为参考，我测试了一些不同的设计，如爬行动物和山羊，但人体设计更适合。
Rendering
I always use Arnold for rendering, this is the best and fastest option, in my opinion, it is easy to set it up. You can only create some lights, cameras, and apply the material.
After you figure out the render and light setup, don't forget to increase the render size, try to render in 4k or higher, because you never know if your work will be chosen by a magazine or a website to be shared.
I have used only Photoshop for post-production, I combined all the render passes like Beauty, Direct Highlight, Ambient Occlusion, ZDepth, and IDs.
渲染
我总是使用Arnold进行渲染，这是最好和最快的选择，在我看来，设置起来很容易。您只能创建一些光源、摄像机并应用材质。
在弄清楚渲染和灯光设置后，不要忘记增加渲染大小，尝试以4k或更高的渲染，因为你永远不知道你的作品是否会被杂志或网站选择共享。
我只使用Photoshop进行后期制作，我合并了所有渲染通道，如美颜，直接高光，环境光遮蔽，ZDepth和ID。
Ziva
Ziva is an amazing tool, I am delighted to use it in my recent studies. It can be used to achieve natural muscle excitation without any additional assistance from an animator or any inorganic shot sculpting, it is very powerful.
To implement it into your pipeline you need to pass through the character modelling stage and really understand how the body works. For that, you need to create bones and muscles to apply all the Ziva's presets and see the "life" happening when you start the simulation.
齐瓦
Ziva是一个了不起的工具，我很高兴在最近的研究中使用它。它可以用来实现自然的肌肉激发，而无需动画师或任何无机镜头雕刻的任何额外帮助，它非常强大。
要将其实现到您的管道中，您需要通过角色建模阶段并真正了解身体的工作原理。为此，您需要创建骨骼和肌肉来应用Ziva的所有预设，并在开始模拟时看到“生活”发生。
I decided to study Ziva to improve my character skills and increase life-like on my CG creations. I would like to see my models deforming properly, seeing the biceps relaxing and squeezing without blendshapes for example.
我决定学习Ziva，以提高我的角色技能，并增加我的CG创作的逼真。我希望看到我的模型正确变形，例如，看到二头肌放松和挤压而没有混合形状。
So, first I have created all the bones and muscles to fit in the Ohrgok's body.
所以，首先，我创造了所有的骨骼和肌肉，以适应Ohrgok的身体。
After that, I imported the bone's Alembic animation with 50 frames of Ohrgok on A-Pose to get a good starting simulation and don't have an abrupt movement.
For each stage, you need to export an Alembic animation separately and move on to the next level, so it will be: Bones animation, Muscles animation, Fascia animation, and finally Skin animation
之后，我在A-Pose上导入了带有50帧Ohrgok的骨骼Alembic动画，以获得良好的启动模拟，并且没有突然的移动。
对于每个阶段，您需要单独导出Alembic动画并进入下一个级别，因此它将是：骨骼动画，肌肉动画，筋膜动画，最后是皮肤动画
Conclusion
The main challenges were to fix the models (bones and muscles) to work properly in Ziva. The software has some specific mesh setups that you can't fight against, like more than 5 vertices per face, holes, etc. Everything needs to be corrected and double-checked before you start to work on Ziva, for that it has some tools for checking possible issues. It is pretty easy, some clicks, and you know if the mesh is correct or not.
结论
主要的挑战是修复模型（骨骼和肌肉）以在Ziva中正常工作。该软件具有一些您无法对抗的特定网格设置，例如每个面，孔等超过5个顶点。在开始在Ziva上工作之前，需要纠正和仔细检查所有内容，因为它具有一些用于检查可能问题的工具。这很容易，点击一下，你知道网格是否正确。
I also spent some time thinking about how I could drive the UVs after the skin simulation, and I have solved that using a blendshape. So I could have a perfect mesh with UVs and a beautiful skin deformation.
我还花了一些时间思考如何在皮肤模拟后驱动UV，我已经使用混合形状解决了这个问题。所以我可以用UV和美丽的皮肤变形有一个完美的网格。
I have spent almost 3 weeks on this simulation, working in my spare time. And the most time-consuming part was the tissue setups. For you to get a result closer to the reality you need to use real parameters and scales, this is very important, trust me, you will not want a tissue reacting like a jelly.
I recommend two Ziva workshops, one in Portuguese called Brave CG School, and the second one in English – the CG Circuit workshop.
我花了将近3周的时间在这个模拟上，在业余时间工作。最耗时的部分是组织设置。为了让你得到一个更接近现实的结果，你需要使用真实的参数和尺度，这是非常重要的，相信我，你不会希望一个组织像果冻一样反应。
我推荐两个Ziva研讨会，一个是葡萄牙语称为Brave CG学校，另一个是英语 - CG电路研讨会。
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