Pixologic ZBrush Blog

Using ZBrush in Dinosaur Revolution \\

Zbrush was used extensively throughout this project and as Lead Texture Artist I thought I would breakdown some of the contributions I made using ZBrush on Dinosaur Revolution.  As lead texture artist I was brought in to help create a pipeline that would take the dinosaurs modeled in ZBrush by David Krentz and his modeling team through texturing and shading, and send them off for animation and rendering, insuring quality and functionality.  We looked at other texturing programs, but quickly settled on ZBrush’s Polypainting function to texture our dinosaurs.

DINOSAUR REVOLUTION - Lead Texturing Artist - Showreel \\


Creative Differences

Discovery Channel

For Dinosaur Revolution I was tasked with leading a team of texture painters in creating close to 200 photo-real dinosaurs in a short time. My tasks included working with the Creative Director and the VFX Supervisor to ensure the quality of the the characters up to the final render process.

Lead Texture Artist, Digital Sculpting


This Showreel hightlights many of the creatures I textured for Dinosaur revolution. (Additional creature texturing by Bryant Hardwick, Aaron Hammon, and Angie Rodrigues)




HD Geometry \\

Although I was not one of the modelers that created the dinosaurs for the show, I did get the opportunity to detail and texture close-up heads using ZBrush’s HD Geometry feature.  The stories in Dinosaur Revolution were extremely character based, so for some important shots the director David Krentz wanted to have ultra close shots of the main character’s faces.  The details added on the heads of Torvosaurus and Allosaurus were all done by hand, each scale painstakingly added to match the original model.


  Standard Geometry vs HD Geometry \\


  Allosaurus HD Geometry Renders \\


Feathers \\

Towards the end of Dinosaur Revolution we had the challenge of making high quality feathers to go with some of our feathered dinosaurs.  Just by luck, and by doing a lot of research, our render expert texture artist, Bryant Hardwick, came across and article on the making of the feathers in the movie “The Black Swan”.  Bryant re-engineered their feather making process and applied it to our dinosaurs, and did so brilliantly. 

For the Gigantoraptor, the creative director wanted the feathers to have an iridescent look to them.  Using Bryant’s feather setup, I went s step further and created highly reflective color map that would be used to mimic the iridescent look.  The iridescent effect I created was such so that when the feathers were facing away, they would be a dark black, but when you viewed them straight on the would reflect their true colors.
  Gigantoraptor \\

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  Velociraptor \\



Polypaint \\

Polypaint gave us the ability to use the sculpts themselves to aid in the creation of the textures with functions such as cavity masking, spray brushes, and alphas.  Having Zbrush available for the texturing process made creating all the secondary texture maps much easier.  We were able to use Zbrush to create highly accurate cavity maps based off the displacements which could be used in the creation of dirt maps, reflection maps, and even in the final diffuse.  With Polypaint creating specialty maps, such as gloss maps were a breeze .

  Tyrannosaurus Rex \\

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  Guonlongs - Skinny and Fatty \\


Credit where credit is due \\
David Krentz – Director, Lead Storyboard Artist, Lead Modeler
Ricardo Delgado – Storyboard Artist, Concept Artist
Douglas Martin – VFX Supervisor
Angie Rodrigues – Concept Artist, Modeler, Texture Artist
Bryant Hardwick – Texture Artist,  Lighting & Rendering
Aaron Hamman – Texture Artist, Modeler
Vlad Konstantinov - Modeler





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