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AbnRanger last won the day on July 14

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  1. I get errors with Paint Meshes, too. Tried to render a character with good UV's and textures, in the Paint room, and only some secondary objects rendered. I had partial renders on another low-poly Paint mesh in another scene, with a simple logo (3-4 parts and only one rendered). Must hate rendering multiple meshes and multiple UV maps.
  2. You could just upload a copy of your "MyDocs/3D Coat 4.7" folder to that Google Drive and download > overwrite the one on your laptop or desktop, as needed.
  3. There are a few different tools or techniques you could use. Carlos mentioned one way, but if you already have the collar formed and just want to sculpt the lines, I would enable Symmetry and use the Spline Stroke Draw mode from the E-Panel, to create splines on one side. If you did as Carlos mentioned, modeled the collar from a tube, you could employ multiple radial instances of one spline (like 30-40?) to create those indented creases (I would try using the PINCH brush with a depth value of 30 or so, because the depth actually indents while the brush pinches). Once you have all the details, you could then use the MOVE or POSE tool to help shape the collar. Don't forget, you can always use the FREEZE brush to mask areas of the shirt that you do not want to be deformed. So you could use the stencils with the FREEZE Brush, to paint the lines > turn off stencil > use another brush like EXPAND or GUM to sculpt the raised portions.
  4. Is there any way the Blender Applink could finally import texture maps into Blender, perhaps using the new Principle Shader? It was my understanding that Cycles materials setup made it difficult to do so, before. In the 3ds Max Applink, I can pre-select a render, such as Mental Ray/iRay and when sending the model from 3D Coat to Max, all the material nodes would be all setup to render in that render engine. Wish this could work in a similar fashion, inside Blender.
  5. I wasn't implying a lack of understanding what smoothing groups are, just comparing it to how normal maps are a visual trick, making a low poly object LOOK like it has more polygons/detail than it actually does. From what Andrew explained to me, Voxels has no inherent smoothing at all...because it has no normal vectors. So low-poly imported objects will need to be subdivided quite a bit when importing. Surface mode is a bit different. You won't have any smoothing groups, but it does smooth the appearance a fair amount. So, my guess is you imported it as a voxel mode object. If you imported it as a Surface mode object it would look fairly smooth. You can see a comparison here, with the same imported mesh, stored in one of my MODELS pallet folders. Voxel mode is the one that is faceted.
  6. Auto-Smoothing in major 3D apps merely make the model APPEAR smoother than it actually is. It's a VIEWPORT trick of sorts (similar to how normal maps work compared to real displacement) to make the model seem smooth, even when it's in a low polygon state. Voxels/Surface mode does not take smoothing into account. You have to smooth with real polygons. That typically will happen when you subdivide the mesh on Import, in Tool Options panel. To keep any sharp edges or areas of detail, you will want to prep the model a bit before importing, so that subdividing won't affect those areas much, if any. This is what you do in a major 3D App anyway, before subdividing the model much. Yes there are some tricks that allow the user to harden edges and such, but it still requires some degree of prep work.
  7. All the more reason to adjust their prices and make Modo more of a full-featured app so it can compete. If it was just the FREE aspect of it, Blender would have been more of an industry standard by now. Blender is really coming into it's own, in terms of features and development pace.
  8. Yeah. I think with Cycles + AMD's ProRender (Blender now has 2 integrated GPU render engines, when most don't even have one), all the HardOps, DecalMachine and BoxCutter modelling chops, and now the EVEE viewport tech, Blender is shaking things up, for sure. One thing that helps them out, and Houdini, too...is that they aren't bound by the whims and greed of Corporate shareholders. One app I think both Houdini and Blender is hurting most, is Modo. It's becoming increasingly difficult to justify charging $1800 or $600/yr on a specialty modeling app.
  9. It doesn't have the full range of features, and is a WIP. However, Andrew made it available as it can be used somewhat effectively in it's current state.
  10. For those who enjoy a good conspiracy theory....one of SideFX's execs has followed 3D Coat's Facebook page, recently. One can only wonder what that entails. One of their webinars mentions using 3D Coat and Houdini, together.
  11. Seeing that the issue is somewhat "INPUT" related, and you said you already update your graphic card driver, I would suggest installing the latest Wacom drivers. I had a similar situation not long ago and it turned out to be the wacom tablet drivers. At least one other person has had the same kind of issue and to their surprise, updating their tablet driver did the trick.
  12. If memory serves me correctly, Mudbox locks the Subdivision level on a given sculpt layer, once you begin to sculpt on it. To add more subdivision at a later point, you add another sculpt layer and increase the SubD level your desired amount. I think this is how both Sculpt layers and SubD levels might work in 3D Coat. By default, 3D Coat would lock the SubD/Resolution level (and vertex order) once you begin to sculpt on a new sculpt layer. All Dynamic Tessellation and Boolean tools would be grayed out (inaccessible) while a Surface mode object has a Sculpt layer assigned. So, for example, if one wanted to sculpt very fine wrinkles in the face/neck region, and wanted dynamic tessellation applied in the process, they would need to apply the dynamic tessellation before adding a Sculpt layer. This way they ensure they will have a more optimized distribution of polygons in the process, even though Sculpt layers will lock the mesh order per layer. All one can really do with Sculpt layers is deform vertices. Once a layer for wrinkles is done, let's say they want a separate one for skin bumps and pores. If needed they could add some more resolution/subdivision to the new layer, but as soon as they start to sculpt, no more resolution can be applied to that layer. Adding masking to Sculpt layers would effectively adjust the deformation value of a given group of vertices and location in 3D space. I'm sure Andrew has some ideas of his own, but I think that is how it would work. You have SubD levels and Sculpt layer + layer masking functionality in one combined effort.
  13. Sculpt layers in ZBrush and Mudbox are basically LAYERS PER OBJECT. The VoxTree panel is more of a hierarchy panel. As Tony mentioned, we actually have Sculpt Layers in 3D Coat, but it's done via IMAGE-BASED Sculpting in the Paint Room. The problem is, it forces users to split their sculpting work into different stages of the pipeline, and that isn't very convenient or practical. You typically don't want to wait until the texture painting stage to do high frequency level sculpting. Andrew could basically lock the mesh/vertex order of each VoxTree layer, when a sculpt layer is added, so that dynamic tessellation doesn't mess the vertex order up. In this sense, Sculpt Layers would merely be a Sculpt History container, and adding a Masking feature would allow that history to be manipulated in a localized fashion. Just like the Magnify and Reduction brush, in the Paint workspace.
  14. Carrots is the developer working on Render integration of Renderman, and I think one major consideration is whether the render can handle millions of polygons on Voxel/Surface mode sculpt. He looked at Cycles and said it was too sluggish with dense meshes.
  15. Sculpt layers is something I've been lobbying for, for over 4yrs now. Something else always seems to take it's place in line. There are requests on both Mantis and Trello, for it, with lots of user support. But it keeps getting passed over for some reason.