From the result of my sculpting I extracted from ZBrush a 32-bit float EXR vector displacement texture.
MAYA 2019 ARNOLD RGB RAMP GENERATOR
The rest of the details, large skin folds, parts of the head and pores were brought in by hand, and the Surface Noise generator was used for the beak and claws. To save time, I bought a scan of an ostrich leg skin from texturing.xyz and extracted the necessary parts into alpha textures. I want to note that I do not do high-detailed sculpting on body parts that are hidden under the feathers. Next, I returned the model with the working topology and UVs to ZBrush and re-projected the necessary parts and brought the necessary details with my hands. I always use UDIM and their number depends on the complexity of the model itself. Further, when the volume and proportions suit me, I do retopology in TopoGun and then UV mapping. I decide a T-pose will make it easy for me to fold the wing and at the same time I should have control of the primary feathers with the open wing. At this stage, I sculpt to a rough volume of external muscles, i.e. Usually, I start in ZBrush with a sphere in Dynamesh mode, or in Maya I create a blocking object from primitives, limiting the volume and then continue in ZBrush. This stage is almost typical for all my projects except for projects where there are very few anatomy references and you need to experiment at the grooming stage.
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