Zbrush 4r3 phone activation

Just follow the steps to install the new components. The auto updater will automatically place all files in their proper locations.

When installation is finished the updater will close and you can launch ZBrush to enjoy the new features or changes. You will also find the update as a new program in the root of your ZBrush folder. You can keep it for future use or simply delete it.

We recommend that you keep the most recent update and delete any older ones. Note: Each new update will include all items since the most recent ZBrush version release. This means that if youve just installed ZBrush you will not need to download multiple updates a single download will be all thats necessary to bring your installation up to date.

When checking for an update, ZBrush will notify you whether or not a new update is available. You will then have the choice of continuing to use ZBrush or quitting ZBrush to run the auto update as described in the section above.

This map type provides the best of both worlds and helps your other softwares rendering engine recreate all the fine details originally found in your sculpture. When creating a displacement maps, ZBrush compares your models currently selected subdivision level with the details of its highest level.

It then calculates a map that represents the differences between the two levels, capturing the details of the high-level sculpt. Displacement maps are generated as a grayscale image that uses the black-to-white intensity variations to push the rendered surface in or pull it out, effectively changing the silhouette of the model.

It is important to note that this deformation is always along the points surface normal perpendicular to the models surface. Normal maps do not move rendered points. Instead, these maps alter the surface ZBrush 4R3 whats new guide normal, using RGB color values to tell the rendering engine how to change the way light reacts to the surface.

They create the illusion of fully 3D detail within the silhouette of the model but cannot actually deform the surfaces shape. Normal maps render extremely quickly and work best with high resolution details. Displacement maps take longer to render, but are the only way to reproduce details that change the shape of the model. Many artists find it useful to create a normal map for the highest resolution details and a separate displacement map for medium resolution details.

This combination combines the shape changes of a displacement map with the speed of a normal map. But there are a number of scenarios where traditional maps cant accurately reproduce the ZBrush models surface. One of the best examples is a simple mushroom: If your base mesh is a 4 sided polygon and your finished sculpt is a nice mushroom, a displacement map will only accurately reproduce the mushrooms cap. The stem would look like an extrusion from the caps outer edges. In short, displacement maps are useless for any type of surface change that is not perpendicular to the base meshs polygons.

Vector displacement incorporates elements of a normal map by using RGB colors to add a directional value to each of the maps pixels. Like other difference maps, it compares the models current subdivision level with its highest level, but because of the vector value it can move the rendered surface to perfectly match the high resolution sculpt. Above is the sculpted mushroom, rendered with a vector displacement maps and a traditional displacement map. ZBrush 4R3 whats new guide Not all rendering engines support vector displacement maps.

If your rendering engine is one that does, we recommend using them as they will produce the most accurate results. As with displacement maps, you can create bit maps which need an additional factor value to render your sculpt accurately , or bit maps which effectively have the factor value baked in.

Of course, if your rendering engine supports bit maps it is best to work with that format. Diagnostic File For the perFect eXport settings Bear in mind that vector displacement maps are not yet standardized within the industry.

Each rendering engine approaches them in a different way, and can execute the various render steps in a different order.

As a result, a map that works perfectly in one rendering engine will likely produce an inaccurate render in other engines. You will need to experiment to find the correct combination of color order and direction for your pipeline. These diagnostic files are comprised of an OBJ file, a diffuse map and the generated vector displacement map.

The Diagnostic file, rendered in modo from Luxology. Notice the 1st square with the perfect sphere, even if some UVs seams are visible. All you need to do is load all the OBJ file into your favorite 3D package and create a material in which you import the vector displacement map and the diffuse map. Now render the 3D model to see a grid with floating 3D shapes in front of a numerated checker. One of the shapes should be a perfect sphere while the others are degenerated models or non-spherical shapes.

Note: You only need to worry about how perfectly spherical each shape is. Your result may have UV seams visible or some polygon artifacts, but that doesnt matter for the diagnostic test. Beneath each shape is a number. Note the number found beneath the perfect sphere shape. For example, if you are creating a World map for use in Maya you would see the sphere to be over the number 7 and that is what you would set ZBrushs FlipAndSwitch slider to. Once your Importexport sliders have been set for your target application and saved, all of your vector displacement maps will export correctly for that particular renderer.

Here are the settings for a few external applications: Maya 7 FlipandSwitch for a World map. Depending on your settings and target application, these seams may be more or less visible.

Unfortunately, this problem cant be avoided. As powerful as vector displacement maps are, they do mix the negative aspects of displacement maps and normal maps. The best practice is to carefully place your UV seams on areas which will be hidden or at least less visible in the final render. The main advantage of bit maps is that you dont need to enter a depth factor to producing an accurately displaced render.

This means less effort for an even more accurate result. Due to their increased accuracy and reduced effort, most rendering engines now support the bit mode.

If it is at all possible for you to do so, we recommend using this mode. ZBrush then creates a map of these differences, using the objects UVs. Before generating your vector displacement maps, follow these steps: 1. Make sure that your model has more than one level of subdivision and UVs. Go to the lowest level of subdivision.

ZBrush 4R3 whats new guide 3. For bit maps: Upon export, ZBrush will display the maps depth factor in the progress bar near the top left of the interface. Please write this number down for use in your shader settings in the rendering application. If you are creating a bit map, this value will always be 1. Either way, you can now set up your materials. Note: GoZ doesnt support vector displacement maps at this time. This means that you must manually add the map to your existing shader and adjust its corresponding options.

These settings are quite important, however, and may dramatically improve the compatibility with your target rendering solution. The vd Tangent option sets how the vector displacement map is computed whether its based on the normal of the polygons or based on the world axis. With it turned on, ZBrush will create a Tangent map. Turned off will produce a World map. Because animated objects are in motion relative to the world coordinate system, Tangent mode must be used any time your model will be animated.

World mode is suitable The vd 32Bit mode defines the depth of the computed map and of course, its accuracy. With the vd 32Bit button activated, ZBrush will generate a Bit map. With this button deactivated ZBrush will generate a bit map. In this latter case it is important to note the alpha depth factor value which will be displayed at the top of the interface once the map has been created.

The benefit of bit maps is that you dont need to set a depth value in your render engine to produce accurate results. Please refer to the bit and bit Vector Maps section above. This option should be enabled if your rendering engine uses smoothed UVs. The vd SNormals option smooths the low resolution models surface normals and results in a smoother map. It will open a system window asking you for your file name and the location where you wish to save it. This operation will generate a set of diagnostic files, useful to determine the correct Preferences settings for your vector displacement maps when rendered in your particular target application.

These files will be created based upon the other settings in the Vector Displacement Map sub-palette. They define whether the axis vectors are flipped or not. Please refer to the Diagnostic File section above. First, some history: Surface Noise was first introduced in ZBrush 3.

Enhancements in subsequent releases provided many new ways to generate the surface noise as well as the ability to convert this noise into actual geometry. Because this noise is procedural, you can apply advanced modifications to both topology and PolyPaint without altering your current model. This adds a full set of powerful noise generators to the existing Noise Maker functions from ZBrush 4R2.

The key difference to the noise created by NoiseMaker is that it is being generated in 3D instead of 2D. Most of these generators have common and specific settings, which produce almost instantaneous visual results. The workflow for using Surface Noise is the same as from ZBrush 4R2 except that you can now replace the default noise with one that is generated by the NoisePlug settings. This is done using the Mask capabilities of ZBrush by first painting a Mask area where you wish to alter the scale of the noise.

After opening the Noise Maker interface, modify the two new settings: Magnify by Mask slider: Changes the scale of the current noise within the Mask area. Strength by Mask slider: Changes the intensity of the current noise within the Mask area. By default, the result of these modifications wont be visible until you change the Strength by Mask setting.

Revert this value before validating if you dont wish to change the Strength value. This new capability is helpful when you wish to hide visible changes on your surface when using the mesh UVs or simply to add some variation across your model surface.

Now click the NoisePlug-In button, which will open a new floating window. The NoiseMaker Plugin is composed of three main elements: The list of Noise Generators, located on the left of the interface. The Noise Generator settings in the center of the interface. The common settings for each Noise Generator, at the bottom of the window.

The basic workflow is to select your desired Noise Generator from the list, then modify the settings. The noise will be updated in real-time in the NoiseMaker preview window. If needed, changing the common controls settings will globally affect the Noise applied to your model. Note: Its recommended to turn up the Strength settings all the way to 0. This will help you see the real-time interaction with the various noises.

After closing the Plugin window you can then adjust the Strength to finalize the noise effect. When done, close the NoiseMaker Plugin. You can now also use the various settings in the NoiseMaker preview window to further adjust and refine the applied noise. If you need to modify the Noise such as by switching to a different Generator or altering the common settings you will need to get back to the NoisePlug-in by disabling it and then enabling it again.

This last operation wont change the current settings; it will simply reopen the plug-in interface so that you can modify those settings. Each Noise that is generated has common Offset, Angle and Scale settings along the X, Y, and Z axis which affect how the noise will be applied to the model. Alter these settings to change the scale, orientation and position of the noise relative to the models surface.

Please remember that the selected projection method defined in the ZBrushs NoiseMaker preview window as 3D or UVs can cause the same Noise type to produce very different results. The Interactive Update button enabled by default makes your changes visible in real-time in the preview window.

If a noise Generator requires too much computing time you can disable this option to speed up your workflow. Be aware that all generators have common settings like Offset, Angle and Scale. The Brick generator creates bricks by defining the size of a single brick Width, Height and Depth settings , combined with the distance between each brick Mortar Thickness setting. The Camouflage generator creates a random pattern similar to military camouflage.

It does this by using a Frequency setting to change the random aspect, modulated by a Threshold slider which changes the transition between the areas. At Threshold 0, it displays the Surface setting color and at 1, the ZBrush front color.

The color settings are based on a grey scale adjustment. The colors can be swapped or modulated by changing the base and the Layer 1 and 2 sliders. The Checkboard generator creates a regular checker pattern.

Each square can be subdivided into smaller squares by modifying the Depth slider. Enabling the Colors Randomize setting lets you apply a random color on each square by using the ZBrush front color combined with the active color of the Surface settings.

This can be further refined by changing the Variability slider. ZBrush 4R3 whats new guide The Cheetah generator simulates the cheetah fur pattern with irregular spots.

The shapes of these spots can be altered through the Spot slider. The Corrugated generator creates constant rings around the model with different styles available, from smoothed borders to one-sided sharp borders. The Dents generator simulates a corrosion-like effect on the surface, perfect for old metal surfaces.

The Erosion generator produces a result which is close to the Dents generator except that it focuses on edges rather than surfaces. The FBM generator applies a global noise over the model.

The Detail value affects the density of the effect. The Granite generator simulates the real-world granite material. The effect is modulated by the number of Octaves to create the amount of detail while the Frequency setting defines detail density. The Grid generator creates a grid on the top of the model where the Randomize button affects the intensity of the colors applied to the tiles.

HexTile creates hexagonal tiles. The Randomize, Minimum and Maximum settings can affect the color of both the mortar and the tiles. The Houndstooth provides a set of different patterns like Chevron, Onyx or Sherlock. To change the orientation of these patterns, use the Angle sliders located in the Common Controls. Similar to the Houndstooth generator, Nested Shapes applies large scale patterns like Square, Tube, Cube or Sphere to your model, modulated by the Thickness slider.

The Perlin Noise generator produces one of the most used and famous noise effects for your model. It can be used to create a large array of results. Increasing the Octave settings will produce high detail noise for your geometrys deformations. The Plaid generator simulates the pattern of fabrics, composed mainly of a set of vertical and horizontal lines.

Their Frequency can be modified, as can their colors. The Psychedelic generator creates a random pattern similar to the metallic elements found in some large floor plates. The Scales generator creates patterns based on scales and offers you a great control over its color aspect.

The Simplex generator creates a very basic noise with very few irregularities. It is modulated by the Detail setting. Similar to the Scales generator, Snake Skin simulates the scales found on serpents.

It offers great control over the scales colors. To make the scales look natural, apply some Scale Variability and especially some Amplitude. The Speckled Stone generator simulates small flakes within polished rock.

It will produce a low level noise which is perfect when you want an effect that is only slightly visible.

The Spiral generator applies stripes over your model in a spiral pattern. The Spiral Rate setting controls the amount of bend in these stripes. The Stripes generator applies straight lines over your model. The effect can be modulated by different styles like a Perlin Noise, Triangle Shapes and more. This noise is perfect as a sculpting basis for wall details and more. The Voronoi generator recreates a pattern similar to microscopic organic cells.

The style can be drastically changed through the Type and Method settings. The Voronoi Tiles generator simulates irregular patterns based on the Voronoi algorithm to produce effects like cracked and pitted pavement. ZBrush 4R3 whats new guide ful for fabrics, plastic items or specific materials like carbon fibers. The specific effect is achieved by changing the Pattern style. It includes several color settings which give control for fine tuning for your patterns, whether they will be used for texture or mesh modification.

The Wood generator recreates the grain of sliced wood. It can be modulated mainly by the Amplitude slider which creates irregular rings. The ZigZag generator creates an oblique set of rectangles for a zig-zag pattern.

The Randomize color mode adds extra rectangles between the main zig-zag patterns. The standard ZBrush 3D navigation and right-click navigation options have been added to the default Noise Maker interface. Also, simple buttons have been added in the corners to help with 3D navigation if you are not used to ZBrushs standard 3D navigation.

When loading an Alpha as a Noise Maker pattern in the editor, a thumbnail preview is now displayed in the bottom left of the interface window. Introduced in ZBrush 4R2b, FiberMesh changed the way you create fibers, hairs, grass and other growing models. If your computer does not have internet access, a deactivation Request File will be created similar to offline activation.

Save this file to your computer and take it to any machine that does have internet access. That web page will ask for your deactivation file and complete the deactivation for you. Use this option if your computer has suffered a hardware failure or other issue that prevents you from accessing the Pixologic Deactivation Manager. There, you can select your preferred language by clicking the Language dropdown.

My Licenses will list all serial numbers associated with your Pixologic ID. Currently active copies of ZBrush will be shown in green.

You will also be asked for a reason for this deactivation 2. Installation instructions require Acrobat reader. On behalf of the entire Pixologic Team, we would like to thank you for being valued members of our community.

It is the enthusiasm and support of our users that drives us to constantly push the limits of computer art and even redefine what digital modeling is. We are excited to be able to provide ZBrush 4R6 to you as a free upgrade. Be sure to post your creations at ZBrushCentral! Send Sending Message Close Message was sent. Tweet Close.