Here's Winchell, one of our donut cops. The chocolate frosting was displaced in look dev. Concept by Cory Loftis.
Mac, one of the marines from Hero's Duty. Mac was the first marine sculpted, when the designs were more pushed. Eventually I had to update him to fit in more with the other Hero's Duty characters. Old Mac is a very direct translation of a drawing, while New Mac is more informed by the evolved style of the Hero's Duty world. Armor modeled by Tony Jung.
The Hologram soldier from Hero's Duty. This guy went through tons of different revisions until we found just the right kind of appeal for him. One of my favorite designs in the film. Still can't believe nobody thought my idea for a spin-off sitcom was a good idea...
It's always an interesting challenge translating a drawing to 3d, but particularly at Disney I've felt an importance to keeping true to the use of linework that is such a basic component of the Disney animation 'feel'. We are trying to keep the spirit of a 2d drawing in 3d space. Using the ZBrush tools has helped enormously with this sculptural side of modeling, it gives the freedom to explore shapes and proportions quickly. Coming from a traditional sculpture background this software feels like a familiar way to explore form.
When modeling a character we work closely with the character designers in an interactive way. We have 'Working sessions' where by, after an initial pass at the model ourselves, a character designer will make suggestions on the model while exploring options. With ZBrush these notes can be addressed immediately, for example, scaling a head up or down or changing the placement of a plane change in a certain area of the face. Working this way helps the evolution of a character a great deal, and I've personally noticed the benefits of elevating a character this way.
I think what's most important to me about ZBrush is that it helps me find the arrangement and balance of forms fast and efficiently on a production schedule. I also find that the materials in ZBrush can help 'sell' the character, even a quick pass at this can help with presenting the work.
This is the head sculpt of 'Markowski' that helped get buy off of some of the facial shape language. There are some obvious plane changes that were added with some of the various pinch tools.
This is an earlier version of Turbo, slightly more deranged and less Human. ZBrush gave me the ability to explore various stylized wrinkles and folds, and to land where the art direction required.
Two of the Nicelanders. These were variants of the same model, both shared the same body and head with different clothing. The hair for the Nicelanders is geometry with textures. We were given the task of sculpting it to get the simple forms and silhouettes. We used vinyl toys as reference for the stylized flow of the hair.
Hello all, my name is Stefano Dubay, and I am a character sculptor here at Disney. Like many other Zbrush users, I used to use the program to create detail-heavy characters. Upon my arrival at Disney I was somewhat surprised to see how crucial ZBrush is in this pipeline. The first lesson I learned here was that simplicity DOES NOT mean translate as easy to sculpt. In animation every minute angle of a 2D curve defines different plane changes that compose the form in 3D. The exactness of your execution is what gives the correct feeling and mood to the character- in one word it's appeal. ZBrush comes in as a necessary tool to sculpt these forms. This is because of the flexible control of the surface given by the sculpt approach to modeling. The various tools already in ZBrush make it possible to change the model very quickly and exactly. I usually start by finding where the curves break, in design these places are called hits. The various hits build up a rhythm in the silhouette that has to look good from every angle.
After that I figure out what exists between these curves, might it be plane changes or the way a highlight travels along a surface (and that depends on how the plane curves between two specific plane or contour changes. This and much more is involved in the development of an animation character, and it has to happen fast, and it has to be quickly editable too since we have interactive modeling sessions with the character designer on a daily basis. My experience here at Disney taught me a lot and also made me better at making the cute, creepy, and detailed critters that I make in my spare time, but that's another story Again remember that simple doesn't mean easy. In simple designs streamlined shapes have to coexist in perfectly balance without the help of a load of details that help hide possible shape inconsistencies. As an analogy think of an animation character as a high end sport car
There there is no need or rivets, gun-ports, turrets, needless air grills and such. All those superfluous details are irrelevant when the design is made out of just a few aerodynamic curves. Those curves, though are crucial to make something with an intrinsic beauty as an object of design.
These were two of the space marines present in Hero's Duty world. The design I usually receive can be very rough and will need to be interpreted correctly in order to capture the character. The ability to interpret depends a lot on the experience of the sculptor working with a designer. Being able to address quickly and effectively the notes he or she gives, as well as foreseeing the aspects a specific designer might or might not like, is very important. These aspects consist mostly in plane changes, and rhythm of forms. ZBrush really helps in making all of them. This is the younger marine, codenamed Marco, is wearing the armor modeled by my very talented colleague Tony Jung.
One of the main reasons why I love using ZBrush is the speed you can get when you really need it under the pressure of crunch time. These are characters I made for Litwack's Arcade. The design can be really rough to begin with, ZBrush allows, in some instances, when production requires, to quickly sketch, interactively review, edit and eventually get approved a character quickly and efficiently. Then I quickly color it, render it for showing it to the Directors. I remember the kid here being in the making for just a few days before me going on Christmas vacation. I had been asked from production to make a quick render before leaving, it was the same day of my flight so I had maybe 2 hours to do it all, and he got approved! Early Christmas present! That does not mean that we can take and forget polymodeling because of ZBrush, I still have to generate a clean and animation ready mesh (and the requirements for animation can be extreme since some of these characters squash and stretch a lot).
Thanks for watching!
Coming into Disney Animation, I was thrilled to find out that not only were we allowed to use ZBrush, but it was encouraged on our characters. It's a useful way to have productive working sessions, present models, clean up and simplify our meshes for production.
ZBrush is a powerful way to handle our face shapes. With our facial systems, it's important to control the direction the vertices travel and how the forms build up when blending one shape into another. Without subdividing, move and smooth brushes quickly get us where we want to be. Our riggers bake out blendshapes and we clean them up nice and pretty. Sure, we could do it all in Maya, but it just doesn't have the same delicate touch that helps us preserve the simple and elegant forms we've defined in a model's neutral state. Having working sessions with our riggers and character animators in ZBrush is painless and we can give them exactly what they want technically and artistically with a lot less back and forth. Keeping those characters appealing and "on-model" by Disney standards from start to finish is our priority.
Here are a few examples of those face shapes on Vanelope!
Sour Bill was an interesting challenge. We had to try a lot of scaling of the eyes, experiment with the level of detail we wanted in the number of wrinkles on his forehead and under-eye bags. Move brush, transpose tool, and projection (onto a perfect sphere) were my best friends for this simple little guy.
Here's an early version of Satan. His teeth used to be outside his mouth until it was decided he needed lips for his speaking parts. This was definitely my favorite character to sculpt on since it allowed me to explore outside of my usual cute comfort zone.
Amazing collection of models!
Thanks a lot for sharing these Zack & co.
Great work from the entire team! Thanks for sharing!
Akin Bilgic | Modeler & Generalist
CGGallery.com - Portfolio Website
Awesome work and thread Zack, thanks for posting.
Awesome work! Loved the film and love the progression on these characters.
this thread is exploding with awesomeness. great work and so inspiring!