Rygaard

I agree with your opinion! @Falconius I know ZModeler is an excellent system within Zbrush. In 3D-Coat retopo / modeling is very good. Of course, 3D-Coat will improve this area, but for the future ... We can use programs aimed at polygon modeling like Blender. I use 3D-Coat and Blender through Simple3DCoat Applink which is almost instantaneously importing and exporting from one program to another. At the moment, I think we need 3D-Coat to direct its development to the Sculpt Room. I really liked your suggestions: 1) Live Booleans system. Actually, that would help a lot in the process of sculpting without being destructive. We would have full control over Boolean operations! 2) Development of more brushes in Live Clays. Without a doubt ... The more brushes the better! 3) More primitive meshes that allowed a greater degree of control over their creation characteristics. I believe that 3D-Coat will improve more and more. We have to understand that 3D-Coat are several programs in one! To maintain quality and develop such a program is complicated! From the beginning, Zbrush only had focus on the area of sculpture and so it went ahead developing calmly the other functionalities.

I also share with you the same feelings you have about 3D-Coat! It's a great program! That's why I opened this post so that all of us together could strengthen and further improve 3D-Coat through suggestions and more important of all... we talk to Andrews about it all so he can see what the artists need and direct 3D-Coat in this direction! I already thought exactly what you said and I agree with you! I also do not understand how 3D-Coat still does not have as much force on YouTube or other media through videos and other media. Be videos of Streams or other media! When I tried to learn 3D-Coat, I could not find videos about 3D-Coat as easily as we found from other programs! I really had a lot of difficulty in my learning process!! But I am very grateful for the efforts of the few people who provided some explanation in videos about 3D-Coat. @AbnRanger, I believe you are behind the official 3D-Coat videos! Please correct me if I'm wrong! Thank you! Without the videos you made, I confess that I would not be using 3D-Coat, but the competing program! Currently, the only source of information I found is the official 3D-Coat videos on youtube, speed sculpting videos and some artist channels (also on youtube). It would be very good if we also had Streams with varied techniques and subjects about 3D-Coat. I believe the biggest problem is the availability of time.

I agree and I would like to add a few words that the @AbnRanger spoke.... I understand people can get confused when they start sculpting on 3D-Coat. I confess that this confusion has happened to me ... When I started using 3D-Coat, I did not know and did not exactly understand the difference between Voxels and Surface, in my head it did not make sense to have 2 different modes of sculpture inside the 3D-Coat. Over time, you begin to understand that having the 2 modes is advantageous within your work. This is unique in 3D-Coat. The two modes that 3D-Coat have are extremely important. Each one with its respective advantages and disadvantages. I think currently the technology used in the Voxels would not allow the use of "Dynamic Voxel Resolution" because if you stop to think, the Voxels will theoretically always provide you with a mesh without any problems. You will never worry about mesh topology. Voxels's main function is to generate the initial volume for your model and easily perform Boolean operations. You can set the resolution you want, but for the whole volume and not for certain areas. The disadvantage of voxels is that for you to detail in voxels, you will need a much denser mesh of polygons, and thus slow your system, because of the double calculation that 3D-Coat will do in every brushstroke you make in the model. On the Surface, you will have all the brushes to perform any detail on the surface of your model, including adding dynamic subdivisions (through Live Clay and other tools). On Surface, you can control the mesh the way you want, so that your computer is not slow. Of course, depending on how you work with live Clay and other brushes, you may experience problems with the mesh surface of your model, but we have tools available so we can fix any problems or if we do not fix it, we have the option to turn the model into Voxels (by pressing the ENTER key) and instantly the mesh will be repaired. On the surface mode, if you want, you can start your project from scratch without using Voxels. I believe that what we have currently is perfect. If you join the strength of the Voxels and Surface your creativity is your limit! It may be that you are missing out on more specific Brushes in the Voxels to control your model as they exist in Surface Mode. I would like to suggest to everyone, the development of more Brushes for the Voxels. So, I believe we will have more control and functionality within the Voxels.

@nobackupThe way that developers did Voxel system, I believe it would not be possible for a brush to control its mesh density... (as there is in Surface Mode). As said @digman you can control just increase density or using Resample. But everything is possible when it comes to 3D-Coat! Currently developers have done a great job of switching between Voxels and Surface modes. This exchange is almost instantaneous. If you have the Presets visible and choose an Opposite mode brush, 3D-Coat will automatically change the mode you want to use without having to go to Voxtree and change the mode. I discovered this in luck by changing the Preset brushes.

I respect your opinion, but I do believe for most people who use 3D-Coat, the Sculpt Layers system is extremely important to any workflow as previously explained. Maybe, depending on how you use 3D-Coat is not essential and need not, but for me, in my work, it would be extremely essential and fundamental ... By what I understand about the Voxels and when I use the Voxels ... Voxels was not developed for the purpose of having live clay. It was made so that we can quickly create the Volume of the mesh we need without worrying about any kind of mesh topology. Once you have the volume of your mesh, yes yes comes into play, all the various tools of Surface Mode, such as Live Clay to control, detail and refine your mesh as you wish. In my opinion it would not make much sense to have Live Clay in the Voxels. I do not see any advantages and improvements in workflow that way. As I have an open mind for enhancements into 3D-Coat, it might be of some use to manage the resolution on the Voxels ... Maybe a Reduce or decimate brush for the voxels?! But even so, all the Surface Mode tools are at your disposal so you can completely manage your mesh and at any time return to the Voxels!

@digman is correct! We all know that in every program there are things to be fixed. There are bugs in every program. Just like, unfortunately frustrations exist! I have no doubt that all these bugs should be fixed so that the program can be as stable as possible. But at the same time, fixing these bugs can not be an excuse for the program to stop being developed. In my humble opinion, we really need the great features like Sculpt Layers and others tools I've already cited and explained about here in this post to facilitate and improve our production and further liberating our creativity. After all, we are artists! We can not stay behind the competing programs. The development of 3D-Coat (great features) should be done in parallel with the repair of the errors, making the program more stable and better!

Although, I am not a person to make videos I do not use such programs), I will try to do my best by recording a video and explaining everything right. I'm going to ask the viewers, if they agree with us, to help us send emails to Andrew asking for the features that ultimately will only benefit us all for sure! Yesterday, I was doing a montage on Krita (in a basic and rough way), putting the Paint Room Layers system in the Sculpt Room area. In fact, I had already suggested this possible solution. You will see that together we will follow this long-awaited revolution in 3D-Coat. Andrew will not turn his back on us and he'll end up listening to us. Andrew will not make us more frustrated. (I want to believe it!) I believe that when things need to be done or redone, you can not let go! It should solve the problem. As in the example you spoke about the multi-threaded in the transition of the sculpting modes (Voxel -> Surface -> Voxel) and the brush engine system. I agree with you that the layers system is a great challenge, as well as other features that Andrew wants to avoid. Of course, the simplest requests will be given priority. We must insist and show Andrew how important and great features must have prioprity to be made for yesterday! Avoiding this eternal frustration from us 3D-Coat artists just watch the other competing developers give their audience what they want. And today we stand in the eternal waiting! I agree again with you that if Andrew spent his time developing the Sculpt Room with the features we have already mentioned in this post the next version of 3D-Coat would be epic!

AbnRanger I got tired of being quiet and seeing what we had (3D-Coat) appearing gradually in the Zbrush, but in an improved way. And the funniest thing is that when they introduced these features to the audience, everyone applauded and heard an "ohhhh" from this audience. I did not understand anything because this "ohhhh" I had done previously with 3D-Coat. Will understand! I agree with AbnRanger that 3D-Coat is not far from the ZB no. No way! (Soon, I hope I can share my sculptures with everyone in our fantastic community.) I was used to using ZBrush and when I started testing 3D-Coat I noticed a certain difference in the smoothness and softness of ZBrush brushes compared to 3D-Coat. I confess that I was a little disappointed with 3D-Coat, but after the 3D-Coat team, I believe they reshaped the brushes and to my surprise I was amazed by the 3D-Coat Brushes, the possibility of making the Presets and reaching an excellent level in the sculptures. Of course, it is necessary to add and strengthen with new features and controls to the 3D-coat Brushes system. I'll be very honest with everyone here in the community. I was very reluctant to use 3D-Coat because of the lack of the Layers system in the Sculpt Room and other important features that I used in ZBrush, really this is a huge barrier for other artists to see 3D-Coat and so stay in ZBrush! I've seen many years of 3D-Coat users begging for 3D-Coat developers to add the Layers system and others features and nothing really happened! AbnRanger, of course, you share with me the same kind of feeling that I have to be disappointed to see every ZBrush release every improvement as you said it already existed in 3D-Coat and us 3D-Coat users just sitting and watching all in a quiet way. It really makes me very sad. I understand that Andrew and his team did a great job in the Paint Room trying to balance things with the Substance Painter. But I do not settle for seeing the Sculpt Room, please do not get me wrong, a little abandoned. I see in 3D-Coat a real strength and jewel in relation to sculpture. I feel it is a real waste not to strengthen the Sculpt Room, because for me the Sculpt Room is fantastic and unique in 3D-Coat with many possibilities to leave the world open-mouthed! I ask Andrew to have a different view of the Sculpt Room and that we need all the great features I've listed above for yesterday. Please, Andrew, listen to us! We need to be at the same level or better than at ZBrush. I believe this can happen, I believe in the work of 3D-Coat developers who are more than qualified to make it happen. I did not quite understand it when I saw the 3D Print version and the 3D Coat Mod. Then I realized that they were light versions of what we already had with 3D-Coat. I agree that the time it took to develop these versions could have been used to develop the great features we always ask for, as well as to improve the tools we already have in 3D-Coat in the Sculpt Room, Retopo Room and etc. Sure enough, AbnRanger, I remember that episode that Andrew Price did. I admire his courage to have shouted to the world how things could be better and of course caught the attention of everyone! That's exactly what we need here in 3D-Coat! I completely agree with you AbnRanger! Andrew and his staff are fantastic! We need to put order and priorities. We need users with a more artistic view and in this way present and suggest the great features that are necessary, as well as improvements in the tools that 3D-Coat already has, thus strengthening 3d-coat, making it more stable! It is vitally important that we are listened to so that we can ensure the success of 3D-Coat. Actually, we need to take a turnaround and rethink the things that currently happen in 3D-Coat. We can not let 3D-Coat get behind ZBrush! Do not criticize me for it! I believe that people are tired of asking and realize that they are not seen or heard! That way they give up, disappear and migrate to another program! I ask everyone, what would a website do to make requests for features and explain how useful it would be if they actually let go? One thing I realize is that the ZBrush community is heard in some way and its developers end up directing development to what the artists need. Even they are proud to say that! If Andrew, listen to us and heed our appeals, I have no doubt that a true revolution would happen! I would venture to say that 3D-Coat would be on the same level as ZBrush or even better than ZBrush in the area of sculpture and production. AbnRanger, I humbly tell you that you should have a lot of weight in your opinions among developers and in the community. I respect you very much and being very sincere with you, many features of 3D-Coat I could only learn through the videos that you do on youtube, because there are not many tutorials explaining techniques and functioning of 3D-Coat unlike the ZBrush that you can learn in an instant. I ask the 3D-Coat community to bond even more and strengthen as never before. Only then, who knows, Andrew and other developers, will be able to listen to us and give us what we need and why we need it. I still believe we can be listened to and attended to ... We have the responsibility to make 3d-Coat become better! Let's get organized even more! AbnRanger, I know it's a complicated question, but what can we do?

All right, my friend, no problem. I believe this discussion is very good and important for the understanding and development of our 3D-Coat! I'll look at the links you gave me! Certainly, I agree with you that 3D-Coat has several highlights as in retopology, as well as in rebuilding meshes. Also, the other day, I tended to rebuild a mesh created by photogrammetry and to my surprise, I was amazed how 3D-Coat shone and I ended up smiling a lot because what 3D-Coat was able to do made me think that ZB was far behind in this type of procedure. 3D-Coat was really fantastic! A very pleasant surprise! I understand the challenge that developers have to face in order to have the balance between all the areas that the program has. I use 3D-Coat for sculpting and texturizing. I know that with the implementation of the features and tools I have already mentioned it would be of great benefit to all artists from different areas (3d Printer, games, animations and etc). As an example, let's talk about a project for 3D printing, where in the final sculpture should contain in the mesh all the details physically in the mesh. In this project (but could also be for any 3d production): 1) The layer system would be very important. The artist could create a new layer for his sculpture base (if you want to work this way), the next layer could do the details like wrinkles, the other skin layer, the next pores and so on. With this, the artist can (if there is an opacity slide) have total control over the mesh, mixing the layers together and decide how much stronger or weaker a layer will influence the mesh. And of course, if you needed to change something that the supervisor asked for, it would be much easier. It would not be a destructive process. Something similar to what we already have in the Paint Room layer system. Something FANTASTIC that could be added in these layers would be the possibility to use masks to further refine what was done in the layer (Functionality that also already exists in the layer system of the Paint Room). And if not ask a lot the possibility of creating and group folders for the layers. In short, I believe the layering system that already exists in PAINT ROOM would be PERFECT if it were in the Sculpt Room. Imagine the system that already exists in Paint Room existed also in the Sculpt room, the production of any project would limit the creativity of the artist, the sky would be the limit! 2) The system similar to the Morph target that exists in ZB in conjunction with the Morph brush would be very important as well. Where you could create a sort of mesh snapshot at that time before any changes, then make desired changes and be able to have control with the Morph brush of how you want the detail to appear in the mesh. With this system, you could also notice, through a slide that changes from the state that created the snapshot to the mesh carved afterwards, the deformations that happen when you fold a leg, arm and trunk of a character and thus be able to repair a possible stretching or deformation of the mesh. This system of Morph Target and Morph brush could be used in conjunction with the layer system I mentioned above (1). 3) A system Reprojection of details between one mesh and another. I know that 3D-Coat does not use an organized mesh to sculpt on it until the end of the project. Today, we carve out a mesh of triangles (voxels, live clay, and remove strech) to make retopology after. But at some point in the project, I would like to redesign all of my details that have been made into an unorganized mesh for an organized mesh without having to bake the Paint Room or if there is a mesh or file problem we need to get the detail of this mesh and transfer it to another mesh that is free of problems. 3) We need a Noise Maker system for detailing the meshes with the generation of different types of texture patterns and also with the possibility of placing a texture map created by the artist with a preview of how the mesh will look before accepting the made physically there. I do not know if it would be interesting to use Sculpt Room shaders to be able to make this kind of Noise Maker system. 4) A Bake Displacement Map system directly in the mesh in the Sculpt Room. Actually, this is very important if you make the texture of displacement map in another external program or in the 3D-Coat itself where you need to have all the details of the displacement map in the mesh to continue the detailing process in the sculpture or to the Decimate process for 3D printing. In this system, you could have an Preview along with a displacement map force slide before pushing a button to bake the mesh. Currently I know we can import the displacement into a mesh organized in the Paint Room and export the mesh in three different amounts of polygons to carry out the bake of the displacement in the mesh and only after performing this procedure you can import into the Sculpt Room . Another procedure, instead of exporting the mesh, is to go to the bake menu and click the paint button Room -> Sculpt Room, but I noticed that the details are not presented correctly, that is, the details do not get good resolution when we see the your result in the Sculpt Room. 5) Better modifier tools, because currently, in my opinion the Warp tool is not very intuitive and difficult to control. I do not know if it is because of lack of knowledge on my part or if the tool is complicated to manipulate to have the expected result. As well as other types of modifiers that would further facilitate sculpture. 6) System of creation of Groups of Polygons. Very, very important even for those who sculpt knows how important this functionality is, where we can define an area of polygons in which we can change the mesh whenever we want, as well as hide other polygons other than this group of created polygons. This type of polygon creation and selection system exists in ZB and Meshmixer. No doubt that this functionality greatly facilitates the work of the artist. 7) A Falloff tool or topology in the brush moves and in the other brushes so we can sculpt or move without affecting areas around the sculpture point (eg opening or closing mouth or eyes). It is horrible for you to sculpt a certain area and change undesirable areas around the sculpted area. This tool could be used in conjunction with the above-mentioned polygon group creation and selection system (6). Improve the peformance of the masking system. When a sculpture of thousands of polygons is taken to the Paint Room, the system is currently slow with the creation of masks in the Paint Room. Could you have the same Paint Room masking system in the Sculpt Room for better masking performance? Another important thing in the system with the Freeze brush in surface mode is that when I save a mask and try to recover this saved mask, it usually does not appear the same way I saved it. I believe this is caused by changing the mesh made later with the Live CLay brushes or with the Remove Streching option activated in the brush, then when you try to load the mask after the changes, it does not have the result you would expect to have. 9) Regarding the detailing of the surface of the mesh, I do not know if it is me who is not knowing to detail the surface or if it is something that I have to do different, because currently, when I try to detail on the surface of the mesh using Alphas brush or the Stencil system, the result is a mesh with an effect of lack of quality, as if I did not have enough polygons to have a quality that I would like to have in the sculpture. I do not know if it would fit an improvement in 3D-Coat in this sense or if it happens only with me. Because when I do the same procedure in ZB I get the quality I desire in the refinement of the mesh. 10) We could have a better system with alphas, where we can better control the behavior of alphas, something that exists in ZB. In ZB, we can control how much the alpha will deform the surface by controlling and hiding the quad or oval shape of the brush and also a possible alpha smoothing without having to take Photoshop over to apply a Gaussian Blur. As well as alpha repetition control (tileable). I believe these are the main features that pop up in my head right now, I know we have many other necessary features as well that other users have already asked and explained how much would be valuable during the production process. I hope I have managed to explain even a little summary of how much we need these features and helped developers to look more lovingly on these improvements that are needed in the 3D-Coat. I have a lot of hope that one day I will have these features in 3D-Coat!

Hi, I'll see the link you gave me how to help! I know that these programs you mentioned already have a lot of development time and are specific to each area. As well as, I know that 3D-Coat is made from several programs like yourself said (Paint, sculpt, retopology and etc.) and making the development of 3D-Coat more difficult. I am here trying to help and pass on to developers in the 3D-Coat sculpture area, we need features that other programs already exist that will considerably improve the way the artist will perform their creations. I think the 3D-Coat Sculpture area is one of the strongest areas of the program, so I know that 3D-Coat is able to have these features (I hope so). I'm going to talk briefly about the first feature I asked for was the Layers System. We know that in a production, we are subject to approvals and with this, there are modifications in a project. After finishing a project, usually changes happen in the project and with the implementation of the layer system, we, artists, we can change what was done without doing a destructive procedure, that is, we can have total control of the project without having to waste time remaking all over again as requested by a superior. Today, 3D-Coat is a destructive system in sculpture. I believe all the features and tools I've spoken about are extremely important and vital in a production. I know that many users of 3D-Coat look forward to it and have already explained why they have it, because it will definitely make it easier for create freedom for the creation of the artists like in ZBrush. I know that with the increase of these features 3D-Coat will take a very important step, causing many artists to join the program. Do not get me wrong, but sometimes developers because they are programmers do not see that some features are important to the artists, but from their point of view they do not need such functionalities. Everything I said is for the success of 3D-Coat. And I'm sorry if I mentioned other programs, but there's no way I can not see and ask for something that does not already exist in other programs like Zbrush.

Hello everyone, Recently, I saw the release of zbrush 2018. In addition to fantastic new tools and enhancements, they finally put something very similar to 3D-Coat's live clay. First, I want to say that I love 3D-Coat, I bought the license even though I was a Zbrush user. When I saw 3D-Coat, I fell in love with the unique features offered by 3D-Coat (voxels, live clay and several unique program tools) that even the powerful Zbrush did not have. I may be wrong, but over time, I noticed that the Zbrush releases were very similar tools to what 3D-Coat had already had for a long time. When I started to do my work on 3D-Coat, I realized the difference of the brushes when I tried to sculpt 3D-Coat that did not have the same feeling I had in Zbrush (even many users complained about the same thing). Until there appeared brushes that supposedly would be similar to the Zbrush (Artman's brushes). I did not give up 3D-Coat and I started doing some tests trying to find ideal settings, and I started to love the way I sculpted 3D-Coat. So, I came to use 3D-Coat as my MAIN sculpting and texturing program and because I really like and care about 3D-Coat, I would humbly like to appeal to @Andrew Shpagin and the fantastic developers of 3D-Coat that, please, begin to improvise and add tools to the Sculpt Room. I know that such tools are complex to make, but because I believe so much in 3D-Coat I would very much like to see the System of layers in the Sculpt Room, Morph tools and Reprojection of details from one mesh to the other, Noise system maker, Possibility of baker of displacement map directly in the mesh (without having to export the mesh and import the mesh again), Better tools of modifiers like inflate, bend and etc, Possibility to create groups of polygons so that we can isolate and work with them at the moment we want (like polygroups). A Falloff tool or topology in the brush moves and in the other brushes so we can sculpt or move without affecting areas around the sculpture point (eg opening or closing mouth or eyes). A better integration of masks with Paint Room, because if you have a mesh with many polygons and take to the Paint room is very slow the procedure of making masks or improvise tools of the Paint Room in the Sculpt Room for the procedure to be done quickly. Improvements in the detail of the surface of the mesh, because when using an alpha the mesh gets the detailing with effect of few polygons (it is different when doing the same procedure in the zbrush, getting better). Functionalities for better control of imported alphas. As well as other tools and features that many users ask to be made in 3D-Coat. I hope you do not criticize me for asking Zbrush tools and features for 3D-Coat because I can only see 3D-Coat enhancements on Zbrush. If they do not mind putting very similar 3D-Coat tools on their system, why not implement tools similar to theirs in 3D-Coat? Sometimes I think that tools like Copy Clay (from Surface mode), which is a fantastic tool type (which is having problems with recent versions of 3D-Coat), was created and left out. Just like other tools. For a long time I have been waiting for tools and features that I have already mentioned above and never appear. I get very sad and discouraged by this. Once again, I know that it's complicated to develop such functionalities and I know of the effort of the developers to do what is 3D-Coat that we all know. I really congratulate you for creating this fantastic program and I love it, but please read my requests with love, because I would like to see 3D-Coat shining more than it shines nowadays! Before anyone tells me to ask for these features in the ordering section session, to send email to the support or something, I noticed that it does not help much, because many things are already in those places and they stayed there. I hope everyone will ask to @Andrew Shpagin and developers for new features and tools, as well as improvements to existing tools. Because I do not want to hear from many artists who make videos on youtube that 3D-Coat is not good at sculpting and detailing how Zbrush is. I would like to see many good things in the next version of 3D-Coat. It will be possible @Andrew Shpagin and developers? For those who want to see a preview of ZBRUSH 2018 on youtube, you'll understand what I felt when I saw so many things being released and improved by them: https://www.youtube.com/watch?v=XYsTuP5giPE

I'm also having trouble setting up 3D-Coat shortcut keys 4.8.10. When I try to add a shortcut key -> Geometry / Unhide All the program simply does not allow shortcut key and when I try to change an existing shortcut key the program erases the shortcut does not allow more shortcut key. Another strange thing that is happening is the Copy Clay tool (Surface Mode) that does not work as it should. It simply explodes the polygons when you do the duplicate procedure, just like when you try to load button as well.

Does anyone have this same problem with the Copy Clay tool (surface mode)? When I use the copy or load, the polygons explode according to the attached image. I am using the latest beta version 4.8.10 and the same problem was experienced in previous versions. Please 3D-Coat developers could fix this wonderful Copy Clay tool. Thank you...

Hi ... I would like to warn you that the Clay Copy tool (Surface Mode) is in trouble. I was trying to copy an already sculpted ear to the other side of the head to avoid sculpting the same thing twice and I had the problem of the copy coming out completely blown. I quickly made a test example so you can see exactly what is happening with the tool. And it seems to me that if you try to upload something you've already saved to use in Copy Clay, the result is the same where the polygons are exploded. Is anyone else having this kind of problem?

Really, the 3D-coat community is wonderful! I messed up talking about 500GB and actually I was meaning 500MB! Could this problem you are passing be a limit on the Trial version of 3D-Coat?

The layer system in the sculpt room is not the same as we know it to be in Zbrush. In 3D-Coat is a volume organizer, both in voxel and in surface. As you said, the true layering system that happens in 3D-Coat is in the Paint Room and I also believe that the way you sculpt displacement in the Paint Room is completely different in sculpting the mesh in the Sculpt Room. Perhaps the advantage of sculpting displacement in the Paint Room is because you will be using a mesh with fewer polygons, much lighter than a mesh of millions of polygons in the Sculpt Room. What did support tell you about this file import error of more than 500GB? There must be a way to fix this kind of problem ... As you said that memory is not the problem! True, you need to work with an extremely dense mesh to be able to access the finest fine details to be able to have the most accurate shape. Since 3D-Coat is making the error in the file what will you do? I would even suggest splitting the mesh into 2 pieces, but it looks like this is also causing you problems. Unfortunately, I can´t help you. For sculpting, I'm not currently using live clay. I created a preset, where I adapted the buildup brush, activating remove stretching and normal sampling at 10% which has worked pretty well for me. I have to learn how live clay works properly. I thank you for the tips. Yes, you can transfer a displacement mesh from the Paint Room to the Sculpt Room. I believe there are 2 ways to do this. The first is through the Bake menu and the other is through the File / Export menu (choosing from 3 mesh density options) and then importing into the sculpt room. I already tried using Proxy as if it were divisions that we knew in ZBrush. I sculpted each level of mesh reduction / decimate. But unfortunately, there was a mess in the mesh. I think to be able to work this type of method, you should use the reduced / decimal proxy making the changes with the Move and also sculpting then return to the original mesh.

Thank you very much for the explanation of the detailing. I'll go deeper into the Presets, I've even created some. My intention of detailing the mesh is for 3D printing. The first part in the character's primary and secondary forms is easier to do with all the fantastic 3D-Coat tools. The part that is being a little complicated is in the fine details. When I try to use live clay, every brushstroke I make on the surface of the mesh, the live clay tool generates a large amount of polygons, even controlling the detailing slide in the live clay tool. This results in an extremely dense mesh before even finishing the final detail of the character and the computer starts to slow down. The use of the paint room for the fine details would be very good if my goal was animation, but I aim for 3D printing. The only thing I need to understand in 3D-Coat is how to control the mesh in the detailing, since in zbrush the procedure is only to divide the mesh in the limit that the computer supports and to use the alphas with the desired detailing. In the zbrush the details do not have a "low resolution" effect even in low subdivisions, whereas 3D-Coat still has this effect if it does not divide the mesh very much. I know it sounds a bit confusing in what I'm trying to explain in fine detailing using 3D-Coat, but it's something very noticeable when you detail using ZBrush and then try to do the same thing in 3D-Coat. You end up feeling and seeing the difference.

I registered in the Mantis bug system of 3D-Coat and put several +1 +1 +1 +1 asking for the layer system in the sculpt room. Yesterday, I sent an email to the support asking not only for the system of layers in the sculpt room. As well as tool enhancements and tooling for the Sculpt Room such as: - GPU-based brush engine - A morph brush system similar to ZBrush - Tool that allows the transfer of details from one mesh to another mesh. - Improve mesh detailing in the Sculpt Room (because a very dense mesh is required to achieve good detail and not be low resolution). - As well as other various tools aimed at sculpting. I ask all the 3D-Coat community to also join in and ask for these implementations and improvements in the sculpt room. Just so, all of us asking, 3D-Coat developers will be able to know and put 3D-Coat in the way of those features that are extremely important to us artists.

Please, for everyone, who can also contact the support requesting these features to Andrew we will all win. The more people asking, Andrew will be able to turn his attention to those requests! thank you

Thanks for letting me know! I will contact the support to inform me more about the possibility of system of layers, improvement of the brushes and tools in the sculpt room. In my opinion, this should all be a priority in 3D-Coat.

In the Paint Room, sculpting or detailing with displacement when I increase the subdivision of the mesh (Adjust Tesselation) and using textures of 8K the painting process gets slow. I know Mari was designed to handle 8K textures up, but I wish 3D-Coat would have a better performance with 8K textures, it would be fantastic. At the moment, it seems the best way to deal with this problem is to work with 4K maps for each character fragment as you said it (head, torso and etc). I hope that with 128GB of memory and a GTX 1080Ti the procedure of painting and sculpting has an excellent performance working on 3D-Coat. Excellent video tutorial, just like everyone else! If not ask too much, could I suggest a video tutorial? Could you demonstrate how to achieve fine, realistic detailing in a character on 3d-Coat? Well, I can not detail my characters in 3D-Coat in the same way as in ZBrush. The best realistic detail I can achieve is using ZBrush.

I have the same desire as you to have more tools to further improve the work. I know it's not good to compare 3D-Coat with Zbrush, but it's the program that competes with 3D-Coat and everyone knows about it. For many years, 3D-Coat had pioneered the unique and incredible tools and features that Zbrush admired, enriched and at the same time perfected for its toolkit. I love 3D-Coat, please do not get me wrong, but I do not understand why 3D-coat´s team did not add and refine tools to the sculpt room in the same way that ZBrush's team did for them. For example, the layer system that is extremely important and that all artists use in their work to date does not exist in 3D-Coat. As well as other tools that I would like to have existed in 3D-Coat and that exist in ZBrush. Regarding Paint Room, depending on your task, for example, choosing Displacement mode, the paint is completely slow and even more so if you increase the size of the brush. I do not understand much, but the problems that you said, for sure, are related to the program and have nothing to do with the hardware that is the best in the present time. You're quite right, ZBrush knows how to handle millions of polygons much better, which makes it look spectacular in your work. I'm in the process of transition to 3D-Coat. Trying to better understand the procedure of sculpting and detailing. The fine detail I'm aiming for would be similar to Zbrush, but it seems kind of tricky to achieve because you need to have a lot more subdivisions in 3D-Coat, otherwise the details get low resolution. I know I could use tools like live clay and other techniques, but as I told you, I want to better understand the operation and how to achieve fine details in 3D-Coat in the same way as in Zbrush. I thought that with 128GB RAM, 3D-Coat could reach millions more polygons. The maximum you work with is 10-15 million? Or does your work need not go beyond this amount of polygons? With the PC Buid that I will acquire, I hope to be able to work fluently in 3D-Coat.

So it means that the amd Threadripper 1950X is an excellent system for 3D-Coat (even with possible problems). I'll mount the system using it and if possible with 128GB of memory, but with one GTX 1080ti. My intention is to use Sculpt Room for sculpting and fine detailing (I wish I could replace Zbrush) and Paint Room 8k textures. In both working fluently and without slowness.

Thanks for sharing your experience. Please, could you tell me how your experience using 3D Coat in Sculpt Room and Paint room by amd threadripper 1950X?

Honestly, I will not know to answer you exactly if Ryzen CPUs are better. Other people with more knowledge may. I bought 3D-Coat and I'm going to have a pc build where I want to have the best experience working with the program. I've always heard that Intel was superior to AMD, but because of my research and the help here from the forum (I have no way to thank everyone enough to have patience and attention) I've changed my vision completely and it looks like AMD has changed the game . I go towards AMD on this PC Build and I have strong intuition that will be my best bet in every way. I know that my answer will not clear up your doubts completely, but the only thing I know is that everyone is having great experiences with AMD in using 3D-Coat.