alvordr

I agree that adds dimension in areas the other doesn't, it doesn't highlight how light is affected by curvature in any great way...perhaps combine a sphere in the middle of the cube or even consider putting large bumps and divots on the sides of the inner cube?

You can use one of the new PBR functions and change the color from their default to red. However, animating this could be more problematic that way, unless you plan on taking it into another app, where you can animate the alpha of that texture from top to bottom in a smooth way.

Really good job, Phil! I love the amount of work you put into it and the "making of" portion helps viewers appreciate that. The only critique I have is that the animations are very linear, but otherwise, nice work!

Go to 'Layer Blend' (second tab from the left) in the paint layers tab area. There you can adjust the depth intensity for each layer. You can also try the 'Depth Opacity' setting at the top of the layers tab. However, you'll have less control over it that way. If you just want to remove all the depth info from a layer, assuming it's not the baked normals area (which you can simply hide by pressing the eye icon next to it), you can simply turn off paint and specularity information and keep depth on set at 0 and then fill layer, I believe...using the Insert key. Nice gun, by the way.

I also don't like this one BIG limitation that would put 3D Coat over top of all other software, EVER! It needs to be able to make my dinner for me and right now I can't do that with 3D Coat.

True, but that's not obvious to most newcomers and some others. Perhaps we need to highligh/tout that capability? Also, does that include emissive and layer painting?

While this may sound like a continuation of the re-projection function that was mentioned above, it's slightly separate. Right now, it appears that we need to sculpt, retopo or autotopo, project, and then paint. Seems to me that the fix is not to bother with projection or even UV/Retopo until long after the sculpting AND painting are done. Why bother painting at a certain resolution, because it follows the UV/Retopo/Projection phase at a particular resolution? All that seems to do is limit the quality of the texture work being done. ZBrush works this way, as well, and it's annoying. Just sculpt...paint...and then do the other work. As far as an argument for or against having to go back and make edits to prototypes...why bother going through all the UV/retopo hassle if you're going to make major changes, anyway. Just autotopo and then decide on the changes. There's no doubt in my mind that a re-projection function would be helpful, as I do know that you can't always get that final sculpt/retopo the first go-round after a prototype is decided on, but it sounds like this would be an automated function...as you sculpt, as you retopo, but perhaps done behind the scenes, until you press that "Finalize" button that spits out a production item.

I haven't had a chance to test the latest beta to see if this is in there or not, but it would be great to be able to have a "Set to Default(s)" for the environment map. I changed it in the last beta and then couldn't figure out how to get back to default. Also, having this setting stay the same every time I open the program can be nice and a pain in the neck. Would be great to offer an option to save with each project AND to have a custom default setting.

Yep, I was referring to the manual. Sorry. Thanks for the reply. I think it's reasonable for people to expect the pdf version to be out-of-date compared to the online version. Should be easy enough for folks to figure out which is more necessary.

If you're doing models for games, then having one UV map for a complex object can really help from a performance standpoint, as well. Loading multiple UV maps for one object can really cost, but allows for greater control over fidelity of the textures. The trick is learning to determine when and when not to create a single or multiple UV maps and/or figuring out how best to approach that fine line between fidelity and performance.

I have said it many times, but it seems that the two programs compliment each other very well. I would take one over the other for certain tasks, but in the end, having both really smooths out problems you might have in one, with the other. If I'm doing hard surface modeling, I'm not personally going to touch ZBrush. I'll use 3D Coat or a dedicated program for that, such as 3DS Max, Cheetah3d, etc. This isn't to say that ZBrush can't do it...absolutely false. However, I find it's method for creating hard surface sculpting, short of panel loops, very awkward and time consuming...granted I'm no ZB power user.

...and if you're offline....no help?

Nice job on the peacemaker. I suggest using perspective/orthographic toggle on your pic....

I feel that both are extremely useful in my workflow, depending on the tasks I'm using them for. That's the reason it's important to know how you're planning to use one or the other. For me: 3D Coat for: Some sculpting tasks Retopology Texturing Baking ZBrush for: More control over brush strokes (better "feel" for me) Quick autotopo for general fixing of weird areas For character work, I go into ZBrush now, finish the sculpture, either do the retopo work there or take it into 3D Coat, use 3D Coat for unwrapping, and then texture it in either app. I have found myself going into ZBrush more, lately, but they compliment each other well. I wouldn't prefer to answer one or the other, as I love both.

Cool, as always.

I've never understood the point of having modulate as the default in the paint room. 100% of the time I'm changing this to something else.

4.5.b1 CUDA took forever to load...got that white-wash "not responding" screen, so I waited a while for it to finish. I did load, but it also may have taken a bit because of my firewall. It loaded my presets, just fine. It's weird going back to 3DC after using ZBrush so much lately. I keep trying to increase brush strength using S. I also like the preset buttons. I wonder how well that will work when you have tons of them, though. I take it the new procedural material system didn't make it in...never mind, I found it beside Stencils. I just don't know how to apply it. Pulling up one of my own "materials" ends up showing just a blank sheet. EDIT: OK, so I was able to see the material by changing from the default Cube Mapping to Camera, but I have to do that every time I pull one up and painting over it in the Voxel Room onto the sculpture doesn't appear to have any effect. I also noticed that if I load the DX .exe, it shows I'm using 4.5.b1(CUDA), but if I load the GL one, it shows I'm using 4.1.17D(CUDA). This yellow adjuster also appeared out of thin air as I was right clicking to adjust my brush size: I can't recall what it does and I certainly don't want it in my way. It would also be nice to be able to get the environment back on a reset, rather than having chosen an un-preferred environment image and not knowing how to get back to default.

I hear ya, brother! Just wanted to know, as copying a whole folder over eats up precious space. Gotta say, I like the new installer...much cleaner looking.

Yep, but I've learned not to assume anything. Have you heard what they say about assumptions?

Hello, Andrew. Is 4.5.b1 setup to install everything or do we need to follow Javis's instructions on backing up our presets, etc.?

Ooh...I love the latest robot! Nice work.

I wasn't intending for my response to sound hostile. I was simply looking out for our community. There are plenty of samples of my work posted in the forums and on my own sites, but I'm already employed and not looking to work for you. But I'll play. How about some samples of your company's work? You can simply look at the front page of this forum and see the level of talent that's here. Granted, there's a big difference between being able to model something and being able to model it for game-ready or animation-ready work. There are plenty of people/companies who offer freelance work that expect work for free. While it may be obvious to you that you're willing to pay, it's obvious from the responses here that you're the only one that picked up on that. All we were asking was if this was paid work and what type of work it is. For all we know, you could be a person applying for game artist work and using our samples as your own. I very much doubt that's the case, but hopefully, you can see why we bring up these questions. Don is right, getting some freelance work can help with your portfolio, paid or not. Likely the biggest problem most artists have starting out, other than inexperience is a lack of confidence. There are a LOT of companies and individuals that want to take advantage of that. I'm just trying to help keep those who are building their portfolio from wasting their time and energy on un-focused and possibly fruitless work. I've been through that, as I'm sure many others here have. We have a very talented community and that talent is worth something. For what it's worth, you're also right that you should ask for samples of work. People will give that if they're serious about applying. Your earlier answer containing further details about the type of work you're looking for also helps. For instance, someone could show you tons of work that isn't going after anything you're looking for, but if they know what you're looking for, then you and they both have a better chance of meeting in the middle. The only things I could find on Google when looking up your studio is a Steam profile with dead links on it, and a music video and other generic stuff that tells us nothing.

It's really coming along. Now, I don't do 3D printing, so I'm not knowledgeable about it, but would be curious if you have to retopo this to get it to your 3D printing company. I might also suggest that the flower petals be a bit smaller, so as not to overpower the stone.

Sorry, but most people who are serious about doing this kind of work aren't looking to just hand out their experience and use of their own software licenses for free. It's not really appropriate to ask for them to vie for your opportunity if you can't even tell us if it's paid work. That data should be no secret. I would assume it's not OK for you to give your game to us to review or play without some legal commitment to payment. It's pretty much the same thing you're asking us to do. There may be someone willing to jump in, so I wish you luck, but my advice to anyone who wants to do this professionally is not to undervalue yourself.