Tony Nemo

A really superb job of modeling with one small caveat: he looks like a European. Indian22.bmp

Hi Chris, I'm a nooby and have not taken up voxel sculpting yet but I am interested in your work flow. I gather that 1. you create the object with sculpting. 2. you retopo to get a mesh. 3. merge the mesh back into the scene? 4. create texture. 5. export texture Does that look correct? Gorgeous silver back, BTW!

Good points. The second is an important context appropriate matter that prevents confusion ( a common obstacle on the learning curve along with cryptic names ).

I really believe in my gut that the name (and most likely, the logo) are here to stay. The fortunes of this enterprise will not rise or fall from these issues but rather performance and user satisfaction. The logo/name is embedded in the thousands of hours that have gone into 3D Coat's development and Andrew and associates will likely look askance at changing horses in mid stream. The GUI goes to the heart of performance/satisfaction and is of the utmost importance that it be done right, but "3DC" (trips off the tongue) and a bilious green are here to stay.

Wouldn't it be fabulous if Andrew put in a "Sharpen" and "Blur" tool? If you are sufficiently skilled, performing these actions are possible with the available tools but if a slider could do this globally, workflow would be greatly enhanced.

The depiction of anatomy is superb. The female head is flawless. Good work! I see a 3D Coat DVD on the creation of such forms in your future.

I like your idea, SonK, and your GUI is enough like C4D to be easy to learn. A feature of C4D's is the tool tip that appears when 'hovering' over a tool (it's name) and by Ctrl-F1, you get it's help file. One minor issue: Using abbreviation where the space available is adequate, should be avoided for the benefit of new users (of which we can expect many). If there is a customizable UI where each 'set' is undockable or at least sizable, users could easily create their own preferred layout called when they select one of the five operations. Gad, can this really be all done for a release in May?

All things considered, Andrew, you should probably consult your family and associates as they will live (prosperously it is hoped) with whatever is chosen.

Odd that I can not see any "political" content in the image. The "Great Firewall" may be developing allergies that trigger inappropriate responses.

It goes to a capacity for creativity that is what moves humankind along and our Ukrainian friend is unquestionably an innovator.

I just watched the first and Gary Miller is very thorough and clearly speaking. There are eight tutorials based on the sample werewolf.

Thanks for the links! The first was a little arcane but the second looked adaptable for C4D.

First, let me say I'm very interested in this thread as creating parallax maps would be extremely useful to me. Have you had better results from a simple export of individual maps rather than a bake of several?

Indeed! Akira, have you given any thought to the problem of animating deformations like the cloth on your figure? I've thought of keying changes in the contrast of a height map. I can't think of how one would do it with normal maps.

A shirt collar will deal with the "stars".

Perfect, maestro! Excepting only the too youthful "eyeball". This guy would have a yellowish tinge to an eyeball that was soaked in liver bile from a lifetime of bibulous over indulgence (suggested by the florid complexion). My own eyeball (it's 72 years old) has a blur around the iris and a kind of beige instead of white with a sprinkling of capillaries at the corners. Still 20-20, however, so don't believe anyone saying you must not stare at a computer monitor all day.

My "elephant skin" comment was in reference to Pyborque's "Old Witch" (link above). It was well done but for (IMO) too much "elephant skin", especially on places like the bridge of the nose, etc.

Yeah, the "elephant skin" was over kill. But "pores" might make a contribution. Fine work so far.

Presumably, it means returning to the original app (C4D in this case) and debugging the blarsted UV map.

No crimp in the actual mesh. I did it over and re-imported it as a obj. I have a couple of the dreaded black polygons on the edge, but otherwise it looks okay. The textured mesh has a clean UV map in Cinema but a couple of defects in 3DC. What is the standard procedure for correcting such artifacts?

Anyone care to comment? As a newbie, I welcome any and all elucidation.

Can any one suggest an easy way to deal with this problem? The mesh is alright. I had a few black polygons on the edges that I was able to eliminate by moving edges in the Editor window (is it possible to move points instead of edges?). I followed this work flow: 1. Exported from C4D as an FBX file (after doing what I thought was a decent job of UV editing in BodyPaint). 2. Imported mesh and texture into 3DC using defaults. 3. painted away, learning how. 4. Exported Normal map using tangent based, layer 0 based. 5. Black polygons showed up on edges in C4D render, as will as a crimp in the image where the Normal map 'describes' the artifact that shows in the image.