All of this would then get written out to displacement maps and applied to the models.Īrtists would share tools back and forth. We could easily create anything from large scale, chunky features to subtle surface details. RYAN CALLOWAY: Yes! Using different tools and techniques in ZBrush we were able to sculpt sharp, realistic rock features. Was ZBrush used for environmental assets? If so, what role did it play? Which version of ZBrush was used for Rango? In that sense we're all dedicated ZBrush artists but our pipeline requires a lot of proprietary, artistic and technical skills as well. GEOFF CAMPBELL: It was important that all our modelers take advantage of the best tools out there for working quickly and efficiently when sculpting rapid prototypes and maquettes. About thirty main characters went through the maquette phase.ĭoes ILM have any dedicated ZBrush artists on staff? How important is it to you for an artist to have ZBrush skill? GEOFF CAMPBELL: We had about fifteen modelers and a dozen texture artists working on characters and each modeler doing their own ZBrush maquettes. How many artists worked on the characters? How many of them used ZBrush? I'd clean up the gap with scales on the bridge and then re-project this work back to the separate SubTools. Zany scales, who would have thought! With the design of Rango's scales established, the next area to solve was how to apply them seamlessly across different ZTool files: arms to torso, torso to neck, etc. Ultimately, Crash provided the art for these patterns, which fit the character so well. As I learned there are as many varieties of scales and patterns as you can imagine. Once the model was approved I then had to figure out what type of scales to put on him. And this is before any ZBrush work was done. Bringing the looks together into one character that our team, Gore Verbinski and Crash would agree on was quite the task to model. Each piece of art he had done of Rango had its own individual bit of awesome craziness to it. I think the real challenge of the sculpt was capturing the wackiness of Crash McCreery's 2D illustrations in a three dimensional model. The extremeness of his asymmetry really added to his wonderfully weird look and quirky personality. His head and crooked neck would be completely sculpted on no symmetrical sculpting here. For one, his symmetry ended at his clavicle. It's ironic that by fitting in three days of previously unscheduled work, we actually trimmed weeks off our schedule but those three days of ZBrushing meant the client knew what they were getting up front and the modeler could then concentrate on fleshing out the finished character.įRANK GRAVATT: As a sculpture, Rango was a little bit different from other sculpts I'd done before. Using ZBrush to quickly sculpt and texture maquettes for a basic client buy off on model proportions was the missing ingredient. Our first round of characters was taking a fair amount of time so we were looking for a way to get things on track. GEOFF CAMPBELL: We knew we were going to use ZBrush early on for much of the displacement but as I mentioned earlier, the maquette phase that we didn't plan for made the greatest impact in keeping us on schedule. At what point did you decide to use ZBrush in the production and why?
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