A Quarter-Century of Digital Clay

The ZBrush Summit 2025 Virtual Edition runs from 7 to 9 November 2025, celebrating 25 years of ZBrush. Hosted by Maxon, the event streams globally via ZBrush Live, Twitch and YouTube. It marks a dual milestone: a decade of the live Sculpt-Off competition and a quarter-century of the digital sculpting software that reshaped 3D character creation across film, games and design.

The online format, introduced during the pandemic years, remains. No travel, no queues — only three days of streamed presentations, artist showcases and production-level tips.

Friday: Legends Return to the Arena

The Summit opens with the Past Competitors LIVE ZBrush Sculpt-Off. Over fifty artists from the competition’s first decade, including Maarten Verhoeven, Zhelong Xu, Ashley Adams and Christian Carranza, have been invited back for a three-hour speed-sculpt challenge.

That’s followed by the Public LIVE Sculpt-Off, an open competition judged on creativity and execution under time pressure. Both contests reinforce what has become the Summit’s defining spectacle: sculptors creating original work live, in front of a global audience.

Saturday: Practice, Process and Production

Day Two runs from 9:00 to 18:00 PST, starting with Robson Barros from Loot Studios discussing Creating 3D Printable Miniatures That Tell Stories. His live ZBrush demo focuses on scale readability, pose design and physical durability for tabletop models.

Ryan Kingslien, who helped define early ZBrush anatomy training, revisits Beyond Reference, a session on form interpretation and sculptural anatomy. Daniel Hahn (Daytoner) then offers a production-focused look at hard-surface workflows used in toy and concept model creation.

Marko Lazov follows with live creature design improvisation under Turning Chaos Into Creatures. Przemyslaw Malachowski demonstrates Designing Tattoos in 3D, showing how sculpting tools can map artwork precisely to body anatomy.

The evening concludes with WeFX detailing ZBrush use on Wednesday Season 2 for Netflix. Team members Brandon Golding, Carlos Jacinto, Cesar Dacol Jr, Mauro Matheus and Sam Javanrouh break down their creature and prop work before the traditional “Good-Byes” close the stream.

Sunday: Studios, Toys and Technical Futures

The final day begins with Jordi Cerdà Gaya presenting 15 Years Using ZBrush and Crafting 3D Models by Natural Intelligence, a reflection on freelance product modelling and digital craftsmanship.

A highlight session follows from ID Software (Denzil O’Neill, Jason Martin and Solomon Gaitan) showing how ZBrush contributed to asset creation for Doom The Dark Ages.

Matt Hilton from Hasbro takes the stage for Making Joe, revealing the sculpt-to-production process for the G.I. Joe Classified Series. Mitchel Wu then reframes digital sculpting from a photographer’s perspective in The Second Life of a Subtool, tracing the journey from ZBrush mesh to practical miniature sets.

Later segments include Patrick 4D’s short presentation, followed by the Maxon Development Team previewing upcoming features and a 2026 roadmap. Details of these “exciting features” were not yet disclosed at press time.

The Summit concludes with the LIVE Sculpt-Off Winners Announcement, crowning champions from both the public and invitational events before a final farewell.

Looking Back – and Ahead

First released in 1999, ZBrush has become a cornerstone of digital production pipelines and earned a 2014 Scientific and Engineering Award from the Academy of Motion Picture Arts and Sciences for its multi-resolution sculpting system. The 25th anniversary Summit blends that heritage with a forward look. For production artists, the sessions promise practical insights across sculpting, concept art, collectibles, and VFX asset creation.

Maxon – ZBrush Summit 2025 Virtual Edition

The post Sculpt-Offs, Anniversaries & Anatomy: ZBrush Summit 2025 celebrates 25 years first appeared on DIGITAL PRODUCTION and was written by Bela Beier.

Creature and rigging artists who juggle multiple anatomical references may welcome Anastomia, a comparative anatomy software created by Truong CG Artist in collaboration with Mushō-genshin. Its goal is to let users view, isolate, and pose anatomical structures across species in linked viewports.

From the official product page, Anastomia supports split screens with synchronized viewports, enabling the user to pan, zoom, or rotate multiple species views at once. Users can select individual or multiple anatomy parts, bones or muscles, and hide, isolate, or highlight them, with equivalent elements selected across all viewports. Anatomy is organised into layers: skeleton and muscle, each with adjustable transparency. The tool offers three shader/texture modes (colour-coded, realistic, landmarks), a cel-shading (2D line) visual option, and configurable lighting (colour, intensity, position). As of now, the supported species are human, horse, wolf, and dog, and display modes include realistic, simplified, and big-shapes (though not all modes are available for every species).

In version 2025.2, the developers added pose capability. Users can now manipulate joints and bones to pose models; a pose library is provided (initially functional for the “Dog Big Shapes” model), along with a mirror pose function and keyboard shortcuts (A & D) to shift pose states. The “Mannequin Traditional” model was also introduced as a simpler, block-style reference option.

In terms of access and pricing, Anastomia is offered in early access under a coupon system: entering the code “free” lets users download and use it without charge. Minimum system requirements include a discrete GPU (the tool does not run on integrated graphics), at least 200 MiB of RAM and 300 MiB of video memory. Supported platforms are Windows, Linux, and macOS, though for macOS users, testers need to manually approve execution due to the lack of code signing yet. The developer warns antivirus or execution warnings may occur until the software is signed or distributed via trusted platforms.

The pricing tiers outlined on the official page are:

• Scholar (non-commercial / personal): USD 5+ / month
• Educator (for teaching and academic use): USD 20+ / month
• Practitioner (commercial / professional): USD 50+ / month
• Enterprise / institutional: USD 100+ / month
• And if you enter the code “Free” during checkout, you get a free version.

The developer also notes that the project took eight years to develop.

Because the application is early access, its anatomical database is currently limited and the pose library is only partially functional. For production environments, teams should test the tool internally and cross-validate anatomical data against trusted atlases or scan data. While its side-by-side linked anatomy capability addresses a gap in existing reference software, its practical adoption will hinge on the expansion of species coverage, accuracy, and stability under production conditions. As always, new tools should be tested thoroughly before they are used in client deliverables or pipeline assets.

The post Anastomia: Comparative Anatomy for Creature Artists first appeared on DIGITAL PRODUCTION and was written by Bela Beier.

When Red One dropped last this year, audiences got get a holiday cocktail of Jumanji-style action (The director was the same – Jake Kasdan), Christmas mythology, and CG hellhounds. Behind the visual spectacle: RISE FX, tasked with bringing a gooey portal system, guard monsters, and an actual magic chicken to life. We caught up with VFX Supervisor Michael Wortmann at FMX2025, to talk creature design, feather grooming in Houdini, and what happens when Krampus goes full-screen. From Atlanta to EmberGen simulations—here’s how RISE tackled 280 shots for Amazon MGM’s festive actioner.

DP: What was RISE FX‘s scope on Red One, and when did you get involved in the project?

Michael Wortmann: RISE came aboard the production during the shoot in Atlanta, Georgia in March 2023. We were tasked with some sequences for the new, secret Amazon christmas movie alongside Sony Imageworks and Rodeo FX. We had already worked with VFX Producer Cari Thomas on Shazam but we never worked with Jerome Cheng, the overall VFX Supervisor of the show. We ended up delivering 280 vfx shots for Red One over the course of twelve months requiring a mix of CG creatures, digital set extensions and a lot of hardcore 2D augmentations.

DP: Red One walks a fine line between Christmas fairy tale and action film. How did that tone influence the visual style and your VFX approach?

Michael Wortmann: We knew that production vfx supervisor Jerome Cheng and director Jake Kasdan had already worked together on Jumanji: Welcome to the jungle so it was clear that they would expect topnotch photoreal vfx work and a colorful phantastical design at the same time. But overall this movie would be a comedy so everything needed to help that and action would not be considered the most important thing.

 
DP: So, how duo you get that “fairyle” style in a story like this? 

Michael Wortmann: For example: the Krampus castle was conceived as a matte painting for the shot when Cal and Jack enter the realm of Krampus. When the second wide shot was added later, we did another matte painting because we never built the whole asset. Iterating the matte painting was straightforward and didn’t require so many rounds, in contrast to the design of the portals. Portals are not a new idea, so we needed to come up with something that would be funny and cool looking at the same time. 

The key requirement was to create something that happens fast because if something is overly complex or too long-lasting it is a) NOT funny and b) hard to read and understand by the audience. We started with the membrane simulation and made it feel gooey, later we refined it by adding ice crystal structures and depth blur. The last step was to foreshadow a bit of what is behind the portal. Our compositor Cintia Coll went through all the steps and then distributed the setup to other artists.

DP: How do you plan and prepare when a sequence might end up being full-CG—even if that’s not the original plan?
Michael Wortmann: Creating a full set or shot in CG is very expensive and time-consuming. As soon as directors or producers know that something is fully digital, they suddenly feel different about it. So we always try to shoot anything and keep it in there, so we might just end up with a 99% digital shot – just out of pure psychology. 

The big difference is when something is planned as digital from scratch it’s a long but more controlled process because it will be designed and relevant data will be acquired. However, if a shot turns from footage to full digital, it’s more likely to not have all the reference we would need. If we are lucky, we can reference a lot from the shot that cannot be used but still might help us get it right. All this factors into the bidding, planning and execution of a given shot. However, I have to admit that this can happen, but it is very rare that a shot is going overboard, and we need to rescue it.

DP: What were the most iteration-heavy sequences in Red One, and how did you manage creative feedback?
Michael Wortmann: The most iterations on Red One happened in character animation, especially the hellhounds and the chicken were a big challenge. When you do character animation the pressure is up because the director will ask for a certain performance and that means your shot is suddenly focussed on in a very different way as if you are doing a wire removal. So both, internal and external review iterations are really high in comparison to other vfx shots because it really needs to be perfect because one shot of bad character animation and the illusion is ruined.

DP: Can you walk us through the guard monsters? What went into designing and animating them?
Michael Wortmann: We received a ZBrush sculpt from the production with a design that was relatively close to the final design. So the first thing was to retopologize the model to make it suitable for rigging. 

Our modeller Marius Pörsel took care of that and also refined muscles, facial details and the porcupine spikes that are growing from the neck like a lion’s mane. After that texture artist Timo Scheu started to build shaders and paint textures based on the hires displacement maps generated from the ZBrush model. 

The tricky bit was to combine subsurface shading for the skin with rhinoceros-like armoured skin parts. As we knew that the hellhounds would only be visible in night scenes we developed shaders for the eyes that would give us nice reflections and even catlike yellow reflections also called Tapetum Lucidum. 

Rigging was rather traditional, we tested Houdini’s skin simulation tools but eventually found that we would not see much at night and the camera distance to the hellhounds. So our rigger Thorsten Schulz took care of this and adjusted the rig based on feedback from our animation supervisor Thorsten Kesse.

DP: We’ve heard tales of “The Chicken”. You must explain.
Michael Wortmann: The chicken in Red One is one of the funniest characters. In the story, the chicken is a bewitched agent of the E.L.F. agency and can be turned from a rubber chicken key ring to an actual live chicken by Callum’s actualizer.

Because of the interaction with the CG hellhounds, it was clear we needed a digital chicken. The director Jake Kasdan even owns chickens himself and sent us video footage of his favourite chicken, which is called Ellen.

We used Ellen as reference but, as Ellen is of brown colour, we had to make her white eventually because the brown colour was cancelled out by the blue night colours. Our FX artist Luca Schippmann used Houdini’s new set of feather tools to groom Ellen. This required a lot of development time as the tools were new. Ultimately, we could simulate all feathers and render Ellen with feathers made from curves, which allowed for the closeup shots we needed.

DP: What was the most unexpected challenge during the show—something you couldn’t have planned for?
Michael Wortmann: I think the biggest challenge was Krampus. When we were confronted with the Krampus sequence and briefed on the work, everybody was a bit concerned if we could pull this off. The approach was to rotoscope the Krampus character including fur and hair from the plates, scale him up and digitally recreate the areas that were missing in the plates now. 

We decided that we could do this, and after we completed the first couple of shots we became more confident. The shots turned out beautiful because we had nearly no chroma keying going on and everything looked great from the beginning as in the provided plates. There were a lot of test screenings, but for the biggest part this didn’t affect our part of the work.

DP: What kind of tools or workflows did you use to prepare for test screenings?
Michael Wortmann: For the first test screening, we worked completely on Quicktime proxies. We made sure to set everything up in a way that we could refine match moves and roto we created for this. However, this doesn’t always work – so we had to redo some work later on the high-res plates.

DP: Any clever uses of real-time tools or GPU-based solutions—like EmberGen?
Michael Wortmann: We used GPUs for simulating the storm clouds in Embergen. It seemed like a good test case as we never used it before in production, and because our clouds needed a lot of detail but not a very complicated behaviour or interaction we gave it a shot.

When we had our voxel cache VDB files we found it was nearly impossible to render in Karma, our standard renderer in Houdini, so we tested rendering on GPUs as well using Karma GPU. This gave us the power we needed, but there were still some limitations at that time when it comes to AOVs, deep output and image resolution constraints of which I believe most are fixed by now.

DP: What’s your approach to making sure “annoying shots” don’t end up in the final cut?
Michael Wortmann: This is not really an option. If we face a shot or briefing that seems not doable, we start a discussion about it and offer options to satisfy our client’s needs. “No” is not really an option…

DP: How do you adapt when today’s final delivery deadline is also… for Netflix?
Michael Wortmann: This has hardly changed, we still deliver ACES Linear EXRs that contain enough range for HDR grades. It’s more likely to work in 4k now than some years ago, but this is not really a problem.

DP: What good resources or tools were essential in your workflow—and which would you recommend to others?
Michael Wortmann: We have a lot of custom tools for our pipeline which starts with our own database Risebase and continues through all departments with customizations for Nuke, Houdini and OpenRV. These help us get through these big shows and are tailored for our needs more than any software we could buy.

DP: Can you tell us what’s next for you or RISE FX—if it’s not under NDA?
Michael Wortmann: I recently wrapped work on Michael Ende’s Momo, a really cool project that I supervised completely including the shoot, coming to theatres later this year.

The post Rise FX saves christmas? first appeared on DIGITAL PRODUCTION and was written by Bela Beier.

DP: Hello Aladino! First of all, my condolences – it must have been no fun working on such a nightmarish creature.
Aladino Debert: Are you kidding? It was absolutely fantastic! Humour aside, working on Sparas was an absolute blast, and I personally fought tooth and nail, pun firmly intended, for the opportunity to be involved in those sequences. Even before we knew if we would secure the project, we took the initiative to create a series of motion and performance tests, which we hoped would serve as a guide for the production team, showcasing the character‘s capabilities and contributing to the overall storytelling. Sparas was a rich and multifaceted character, brimming with complexity and personality. We were incredibly thrilled about the creative possibilities it presented.

The production team had already started the design process and provided us with a couple of concept frames. However, we had to develop everything else from scratch, including his full anatomy, the way he killed with his forearm blades, which we added, and how he shredded his victims. There was no guidance on his movement or facial expressions, including the impressive flaps that revealed his skeletal face.

We used the initial style frames as a starting point and I collaborated with one of our designers, Chris Nichols, to generate concepts and ideas to present to the clients. Chris produced detailed turntables and renderings, and since he is skilled in both 2D and 3D, we ended up with sculpted models that we could use in our other departments. All told, Sparas, or really “the Sparas” since that’s his species, ended up in about 20-25 shots across a couple of sequences.

DP: Before we get into the monster: Could you describe your normal software pipeline that you used for Carnival Row?
Aladino Debert: Our studio follows a well-established industry pipeline, which aligns with the current practices and the need for flexibility in hiring freelance talent while minimizing training time. We utilize industry-standard software packages such as ZBrush, Modo, and Mari for modelling and texturing. For shot production, we rely on Maya and Houdini for rigging, animation, effect simulation, and lighting, and Nuke for compositing. Additionally, as a long established studio, we have developed a range of custom tools that we regularly employ to enhance our workflow.

DP: With your experience in full CG work like the game trailer for Ghosts of Tsushima, did you approach this as a character or more as a “full environment”?
Aladino Debert: Interesting question. I’ve been in the industry for a long time, and every project I supervise or direct is influenced by my past experiences and, in turn, shapes my approach to future work. I personally am quite agnostic when it comes to tackling each shot, analysing the requirements at hand, and trying to make informed decisions on the most suitable tools and approaches.

And also being flexible when we find roadblocks, so adaptability is key when faced with obstacles along the way. I always say that we are in the business of creating pretty pictures, and the path we take to achieve that can vary. Whether it‘s working on full CGI shots or combining live elements with CGI, my focus is always on delivering the best possible final result.

Now, when it comes to Sparas, characters like him present an additional challenge. Because while they are not real, we strive to imbue them with as much realism as possible, from their appearance and behaviour to seamlessly integrating them into live footage.

DP: How big was the team of “Sparas” wranglers?
Aladino Debert: Due to the specific requirements of Sparas and the limited scope of the work at the time, we had a relatively small team of around 10 artists spanning various departments, including animation, rigging, and tech support. However, had we been able to continue working on the second half of the season, our team would have expanded to accommodate the additional workload. Unfortunately, due to Covid-
related delays, we were unable to continue as planned.

DP: To be honest, I can‘t even begin to imagine the rig inside that thing – tri-point shoulders, secondary and tertiary wings, moving teeth in very un­usual places, shockingly wet skin, and a walking anatomy somewhere between a bat and a gorilla: What did the rig look like in software?
Aladino Debert: Right from the beginning, we knew Sparas would be a unique and technically challenging digital character for us. That‘s precisely what made it so appealing to us, and why I pursued the op­portunity with such enthusiasm. To answer your question, yeah, the rig was very complex considering the wide range of movements Sparas had to perform, including walking, flying, and engaging in various forms of killing, all while maintaining a sense of realism and coherence in the geometry.

To address these requirements, we developed three separate rigs. The animation rig allowed for the character‘s primary movements, while the CFX rig was responsible for handling dynamic elements such as hair and membranes. Additionally, we had a rig specifically dedicated to simulating the musculature of Sparas.

Given the heavy nature of the final geometry, we also created a low-polygon version of the character within the ani­mation rig. This allowed us to work more efficiently while still preserving the necessary level of detail. Furthermore, for the intricate “Feed me!” segments in Sparas’ midsection, we initially developed an independent rig to ensure its complexity and functionality. Once we successfully tested it on a separate platform, we integrated it into the complete animation rig for seamless integration.

DP: When you got the plates for the first fight in the prison yard: How much “after work” was necessary to adapt it to your preparations?
Aladino Debert: After receiving an initial temporary edit, we began assessing the requirements for achieving the shots. Luckily, the final lock was achieved relatively quickly. However, given the extensive use of stunts, wire work, landing mats, and wire harnesses in those shots, we were fully aware that a significant amount of clean-up work lay ahead. Additionally, we needed to expand the set in all directions. To accomplish this, we utilized a Lidar scan of the set and created a comprehensive digital model of the inner courtyard of the prison, which was employed in nearly every shot of that sequence.

DP: With its transparent skin: How much of the modelling was left to the simulation team?
Aladino Debert: Great question. The principal crew members on this process were Modelling Lead Tristan Connors, Rigging Lead David Lantos and CFX Lead Kim Nielsen, and during the early stages of working on the model we intentionally kept certain aspects vague, as we were uncertain about what could be achieved with the muscle rig. This allowed us the flexibility to revisit and refine those areas later in the process. For example, when it came to Sparas‘ muscular and prominent shoulders, we initially built some definition into the model. However, once the muscle rig was being developed, we handed over that task to the dedicated department, allowing them the freedom to improvise. Through simulation tests and iterations, they ultimately arrived at the final look and feel for Sparas‘ shoulders.

DP: Speaking of simulation and modelling: The muscles underneath the alarmingly damp skin: Could you walk us through your setup for the skeleton and the layers it was made of?
Aladino Debert: The rigging was, as I mentioned before, a set of rigs rather than a single one. The animation rig was relatively straightforward, consisting of low and high poly versions of the geometry, providing precise control for performance purposes. Once the animation was approved, the geometry was passed on to the CFX and muscle simulation departments, both using Houdini but working separately due to their specific requirements.

The CFX team focused on adding Sparas‘ hair and “peach fuzz” throughout his body, plus making sure the membrane of his wings, when folded or flying, behaved realistically. On the other hand, the muscle team took the approved animation and ran it through their muscle rig. This rig, resembling a living anatomy book, incorporated every muscle of Sparas‘ body, allowing for realistic interactions between them. However, it wasn‘t a fool-proof system, and there were instances where animation had to be involved again to address issues that arose with the muscle system. It involved a back and forth process until the desired look and functionality were achieved.

DP: Did you make different versions of the Sparas? A “fast flying one” and an “old one” (which is shown in episode 6, if I remember correctly) and the hero model? Or was it just one?
Aladino Debert: Unfortunately, as I mentioned earlier, our involvement in the later episodes of the show was impacted by the pandemic-related delays. As a result, we only had the opportunity to create one version of Sparas and were not involved in subsequent iterations or appearances of the character.

DP: And with the “secondary wings” in the face: How much work was it for the animators to time that?
Aladino Debert: The design process and animation for Sparas‘ face flaps was a complex and iterative one. Initially, the flaps were intended to remain open at all times, but due to Sparas’ role as a changeling who often appears as a human, we decided early on to find a way to close the flaps around his skull. So we used a scan of his face as a basis for the model and when closed, Sparas bore a remarkable resemblance to the actor portraying his human form.

This closure was crucial in enhancing his believability as a human character. Animating a skull to display expressions is challenging, as anyone who’s ever tried to animate one can attest, and the face flaps provided an additional tool to convey emotions effectively. Additionally, it added to the overall personality of the character‘s portrayal.

Creating a performance that both frightened and captivated the audience required numerous iterations and fine-tuning. It was a delicate balance to strike, but we kept at it until we achieved a result that was both terrifying and fascinating. We were thrilled with the outcome and the impact it had on the overall storytelling.

DP: If you had to do it all over again, what would you do differently?
Aladino Debert: Well, every show has its own set of lessons to teach, and I believe in embracing those lessons rather than dwelling on the past. I understand that the process of bringing a show to life is complex and ever-evolving, and not every decision I make will yield the desired outcome. So it‘s important to acknowledge the fluid nature of the creative process and not be too hard on oneself when things don‘t go as planned.
However, I do wish that we had the opportunity to continue working on the remaining episodes of the season. Unfortunately, scheduling conflicts caused by the impact of Covid prevented us from doing so. It‘s disappointing when external circumstances interfere with the creative journey, but it‘s a reality we have to navigate and adapt to.

DP: And what happens with the files now that there won‘t be a Season 3 of Carnival Row?
Aladino Debert: They get archived under the “Tricky Projects” folder [laughing].

DP: What are your upcoming projects where you could use some of the experience from Carnival Row?
Aladino Debert: Like I mentioned before, every show hopefully teaches you lessons you can use on the next adventure. And interestingly, due to those Covid-related delays, I have worked on two shows since finishing Carnival Row. First came work on the first season of “Ms. Marvel” and I have recently completed “Citadel” for Amazon and the Russo Brothers.

The post All the teeth! first appeared on DIGITAL PRODUCTION and was written by Bela Beier.

In nuce: The BBC (British Broadcast Corporation) has released a ten-minute Behind the Scenes video for the third season of the series His Dark Materials; the video focuses on the creature effects of the series season and is entitled “Populating the Worlds”.

In toto: The series is based on the three-part series of novels ( The Golden Compass, The Magic Knife, The Amber Telescope) by British author Philip Pullmann; the books deal with the dangers of dogmatic religiosity in an exciting fictional way. In the video, actors Ruth Wilson, Amir Wilson and James McAvoy talk about what it’s like to work with puppeteers on a film set. Visual effects supervisor Russell Dodgson (Framestore) also has his say; Dodgson talks about the ever-growing challenges for his team – from season to season of His Dark Materials. Executive Producer and Production Designer Joel Collins ( The Hitchhiker’s Guide to the Galaxy, Black Mirror, London Has Fallen) asks how it was possible to transfer the complete bestiary from Philip Pullmann’s original book into the series adaptation. Creature FX supervisor Brian Fisher also provides insights into the puppetry of the animal ensemble.

Click to continue: “So much animal stuff!” was also featured in our retro article by Mirja Fürst on 27.07.2022 . An in-depth expert discussion with Cinesite supervisor Andy Morley about the first part of the Harry Potter film Fantastic Beasts.

Bringing the creatures of Series 3 to life – Behind the Scenes | His Dark Materials – BBC

The post His Dark Materials | Featurette first appeared on DIGITAL PRODUCTION and was written by Patrick Poti.