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AbnRanger

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Everything posted by AbnRanger

  1. These are all some videos that show a few of the features mentioned, plus Smart Retopo
  2. I am not sure how much of a hassle it is to download and use the 14 day Maxon One (have to do this to try ZBrush) trial, but you could test the sculpting brush feel and performance in both apps...in a side by side comparison, using like brushes on the same exact mesh. What I would suggest is starting with the Human bust model in 3DCoat, do a 30 minute sculpt of the same (target) character/person. Like a game character or celebrity, etc. Then try to do a high detail pass for about 15 minutes in each app. This should give you an idea just how close, if not better in some situations, 3DCoat is to ZBrush (who set the bar pretty high for any competitor). Export a copy of the original bust mesh, from 3DCoat, and use that in ZB. In my own tests, I found that yes, ZB is very smooth and has a very nice feel to it...but when I ran the same tests in 3DCoat, with Clay brushes comparable to what are standard in ZB, it was pretty freaking close...almost to the point that you could barely tell a difference. I think the new brush engine in 3DCoat (mainly in Surface mode) was developed to give users more customization abilities than even ZB has, especially with the way you can stack modifiers. Where 3DCoat really stands apart from other apps, is: 1) Voxels...ZB still does not have anything like it. Using a hotkey to remesh the object is not the same as working with Voxels, and with the new Clay Engine in Voxel mode, it is very close to the same type of feel and performance as the Clay Brushes in ZB....especially the WET CLAY brush. It's very nice to work with. The FILL brush in 3DCoat is superior to that in either Surface mode or in ZBrush. 2) You can PBR texture paint and sculpt (especially when using Smart Materials), simultaneously, in 3DCoat. So, for example, if you have a Smart Material for a Cobblestone texture, you can paint + sculpt an object with it, using a single click (the FILL tool in the Paint tools) or brushstroke. Nothing like it in ZB 3) Sculpt Layers...they are much more flexible and powerful in 3DCoat, because it is integrated with the Paint tools/layers and doesn't break or have the limitations ZB has. For example, if you are painting/sculpting the same cobblestone bridge or path and suddenly decide you need more texture resolution in a certain area, in 3DCoat, it is not a problem to apply more dynamic resolution in the areas of need...even after you have done a lot of texture work. It does not have the severe limitations ZB has, and there are no separate tools for Layers and Morphs. It's all integrated together in 3DCoat. If you want to dial back some layer depth, you can just scrub the DEPTH slider for that layer. If you want to apply a Boolean to an object after having done a lot of sculpting and texture painting work, that too, is not a problem in 3DCoat. The sculpt layer information will only be erased where the boolean intersection is, and not the entire object. All the sculpt layer information will be intact everywhere else. These things are not possible in ZB. 4) High End texture painting and high end sculpting, retopo and UV editing tools in a single app. Nobody else offers this, and there are Paint features/modes that are not found in other apps. Vertex Paint, VerTextures/Factures and now Voxel Paint (totally new to not only 3DCoat, but the entire industry) allow artists to achieve high level texture painting without Retopo baking meshes or UV's...and a new Simplified exporter to UE5, Blender and other major apps. This gives the user the opportunity to decimate the high poly mesh + Auto UV it, and have 3DCoat bake the details and textures to this lower poly mesh...all as an option.
  3. Are you in Orthographic view when the Viewport seems unresponsive? Andrew basically enabled the application to make use of a 3D lock (in orthographic mode), without a user needing a 3dconnexion device to do so. It is not a problem on my 3dconnexion device, so it will probably take some troubleshooting on Andrew's (support@pilgway.com) part.
  4. Understood. Yes, that is weird behavior. Can you try one more thing, before contacting support@pilgway.com? In the sculpt workspace, if you go to the GEOMETRY menu, toward the bottom, there is an option to enable INCREMENTAL RENDER. Turn that off and test to see if that helps. That can sometimes cause minor viewport glitches. Having it on is supposed to help performance, but with a GTX 1080, I doubt it is noticeable, and therefore I turn it off. If that doesn't help, contact support so Andrew can try to assist you. There is a way to go back to the older (4.9) 3dconnexion API, in the PREFERENCE panel (3D Mouse tab). Have you tried that, yet?
  5. I am all for this, too, but I wanted to point something out regarding your original post. 3DCoat's UI was completely redesigned from the ground up during the V3 Beta period, and because it was then more of a 3D Texture Painting application, users requested that Andrew make it follow the Photoshop convention, so everyone would be more familiar with it from the start. So, a completely restructured UI may not be feasible for Andrew. I think he wants to stick to the Photoshop style layout, but within that basic structure, there could be a lot of improvements. One that I recently suggested was to make the Activity Bar (upper right corner of the UI) match Photoshop's panel icons (inside the right column, where the user can quickly expand or collapse them), so new users (already familiar with the way it works in PS) would know how it works in 3DCoat. He agreed that would be a good idea, but said he was currently too busy on other major projects to get to it, right away. An Outliner panel (to possibly replace the different mesh/object panels in various rooms) would be a welcome addition, for sure.
  6. Yes, I think a consolidation of the Tweak Room and Retopo/Modeling room would help eliminate much of this confusion and need for switching workspaces. Paint Objects would then be directly editable in the Retopo/Modeling room and soft selection tools in the Tweak Room would be carried over to the those rooms. The UV tools in the Retopo room would be unnecessary and would then be removed, so that the UV room was for all UV work.
  7. Can you send Support a quick email (support@pilgway.com) about this situation, in case Andrew doesn't see your posts in this thread. He monitors this thread a lot, but if he gets busy on something, he may not have the opportunity. I will try to send him a message about it, too.
  8. There is a LOT of detail inside the object, so it's much harder for an auto-retopo algorithm than you think. So, what I would try to do is create a "dumbed down," much lower resolution duplicate of your voxel (Sculpt Tree) layer > Auto Retopo that > hide the duplicate voxel layer after you get the Auto Retopo results you want > bake the sculpt details from the original, high poly version.
  9. This is strange and hard to pin down, because I am using a SpaceMouse Enterprise and have not been having any problems like this. What is a bit weird is that your FPS (in the lower left part of the UI) is neither low nor high (in the video you shared). On a simple object like a sphere, a GTX 1080 should be running well above 100 fps....assuming Vertical Sync is turned off in the PREFERENCES panel (under the VIEWPORT) tab. Can you try something and see if this will help? Go to your MY DOCUMENTS/3DCOAT directory and rename it (temporarily), then restart the app. This will cause 3DCoat to create a new directory to replace it. If this is because of some corrupted .xml file, then this step will reveal that.
  10. There is no script for switching between CPU or GPU. Tools are written (hard coded) either with one or the other.
  11. Pilgway is as fair as a company could be. If you only got 7 months of a 1yr license, then please notify the Sales/Licensing office at Sales@Pilgway.com. They will get it resolved and you will never be short-changed by them.
  12. That actually works pretty well. 3ds Max has some tools that kind of act as if there was a mesh beneath it, constraining the movement of edges and verts.
  13. So, unhiding the Voxel object beneath was not an option, then? If you need precise movement of a vertex in 3D space, you could always just select the vertex > RMB (or hit a Hotkey for) > choose the TRANSFORM tool. Again, the ADD/SPLIT tool was designed to work with a Voxel object/Hi Poly Surface mesh beneath it. It was not designed to be used as a freeform modeling tool. There are other tools in the tool panel for that. Even in Zmodeler, if an artist tries to use tools outside their designed purpose, they will run into issues as well. So don't let this one instance color your opinion about the Retopo/Modeling tools. It's a really powerful toolset, and like in any app, one has to know what tool is best to use in a given situation.
  14. Dave, try moving your cursor to the upper right corner of the viewport, click on the Camera icon, and choose (bottom section of the list menu) ROTATE AROUND CURRENT PICK POINT. That should be a default behavior for Perspective view, as a user will normally want to rotate around the point where they are working. However, when you go into Orthographic view (NUM 5 is the toggle for Perspective-Ortho), you would probably want to use ROTATE AROUND WORLD or BOUNDING BOX. This way, when you use hotkeys to switch to front, side and top/bottom views, the model always stays centered in the viewport. If this does not help, you should be able to click the little House icon in the center of the Navigation bar (just to the left of the Camera icon), which resets the camera to the default position. If that still doesn't help, please try to: 1) Update your graphic card drivers, if you haven't already done so in the past few weeks or so. Sometimes this may help because driver issues can cause display related glitches. I vaguely remember having this kind of issue at one point in the past, but I don't remember exactly what I did to get a resolution. 2) Temporarily rename the My Documents/3DCoat folder and then restart the application. Changing the name will make 3DCoat regenerate a brand new 3DCoat directory in your MY DOCUMENTS folder. It is possible that some .xml file got corrupted. This can happen sometimes from crashes or sudden system shutdowns/restarts with a scene open. 3) If none of these help, please try to screen record this problem and send a link (or attach in the email) to support@pilgway.com...so they can better diagnose the problem and help you get a quicker resolution.
  15. Okay, that explains a bit. In the Retopo room, the tools were mainly designed to snap to an underlying mesh/voxel object. Trying to use ADD/SPLIT to snap in 3D space can be kind of hit or miss, as nothing beneath it is constraining the vertex. Try unhiding the voxel/surface object beneath and make sure Auto Snap is enabled, or the MOVE tool, which has automatic snapping enabled in it.
  16. This is a question better directed to the Sales/Licensing staff (Sales@pilgway.com) as they are the only persons who can rectify the issue, and they will get it straightened out.
  17. Is there a model (Voxel/Surface object) underneath it, and if so, is the visibility of object toggled off (in the Sculpt Tree panel) perhaps?
  18. You do actually have a drop list menu to cycle between the different maps/channels. It's in the upper right corner (just to the left of the UV Maps list menu) of the TEXTURE EDITOR. So, Henry was correct, that the easiest way is to use hotkeys, but if that isn't sufficient, your preferred method is also available.
  19. This Series is using Blender as the host app, but the workflow inside 3DCoat is roughly the same when importing external assets.
  20. Can you possibly screen record the process where it seems to fail? Perhaps we can spot what the issue is, by seeing it happen.
  21. Is the problem having to do with snapping problems? Maybe some step caused all of these and it would be good to turn off AUTO SNAP at the top of the UI to keep this from happening. Snapping can go haywire when the vertices are right up against the edge of a mesh or opening of a mesh. That is why it is good to know how to avoid these kinds of issues.
  22. Please try to send/forward your email to Sales@Pilgway.com, so it goes directly to the Sales/Licensing staff. Support@Pilgway.com goes to the developers, for bug reports or feature requests. They get so many of those, that it's sometimes possible for them to forget to redirect a licensing email to the sales staff.
  23. Keep in mind, you can control how thick the Vox Layer and how much (if any) you want to offset the layer from the Surface. Is it Step 3, from your original post, that you cannot seem to achieve in 3DCoat? If so, let's try what I think is the easiest and quickest way to get a nice hair cap...after you have gone through the Vox Layer (basically the equivalent of the Extract tool in ZBrush) step. 1) Import the replacement bust model (Step 4 from your original post), and create 2 duplicates (there is a DUPLICATE icon at the bottom of the SculptTree panel). One duplicate will be Merged with the new hair cap. The other will be used as a Subtractive Boolean object. 2) Make sure both the Hair Cap layer and the Duplicates are in Voxel Mode (if the current layer has an S on the Left side of the Layer, that indicates it is in Surface/Geometry mode. You can click on the S icon to switch to Voxel mode. You will then see a V icon, indicating the layer is in Voxel mode) 3) RMB click the Hair Cap layer in the Sculpt Tree panel > at the bottom of the RMB list menu, choose MERGE WITH (one of the Head duplicates). This will fuse/merge both objects together. However, since Voxels are Volumetric, we need to account for any internal gaps/bubbles/voids this leaves...such as the space between the hair cap and the top of the head. 4) RMB the layer with the merged objects > choose FILL VOIDS. This makes the model completely solid all the way through. No voids are left inside the volume. This is precisely what we want in this situation. 5) Now we want to use the other duplicate as a cutting object for a subtractive boolean operation. You could use the same RMB method to do this, but a quicker way is to move your cursor to the right side of the Head duplicate (cutting object) layer in the Sculpt Tree...when you see a MOVE icon appear, LMB click and drag while holding the CTRL key. Drag this onto the Hair Cap-Head Merged layer. This will leave you with a hair cap that is perfectly smooth and conforms exactly to the Step 4 head model. I hope this helps.
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