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L'Ancien Regime

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Everything posted by L'Ancien Regime

  1. I'm in love. And she's in Montreal. She's the most accomplished of all the ones you've posted so far.
  2. Actually I went back to my installation of Pro Render and it had completely erased itself from my computer, nowhere to be found! Then I went to AMD to download it and reinstall it and they wanted me to form an account. They refused outright to recognize my Protonmail account. I suppose they want an ISP based mail account which is ridiculous. It's a free program. Why the security?
  3. I mean, just look at this; this is just one little detail from an immense section on rendering in Houdini with Mantra and how it's connected with lights, and cameras and materials, ROPS (Render Operators) and SOPS (surface operators) and on and on. (The Diffuse Limit is just one obscure parameter among dozens perhaps a hundred, maybe thousands of parametric adjustments In this example, increasing the Diffuse Limit has a dramatic effect on the appearance of the final image. To replicate realistic lighting conditions, it is often necessary to increase the Diffuse Limit. However, since the amount of light contribution usually decreases with each diffuse bounce, increasing the Diffuse Limit beyond 4 does little to improve the visual fidelity of a scene. Additionally, increasing the Diffuse Limit can dramatically increase noise levels and render times. https://www.sidefx.com/docs/houdini/render/limits_tab.html It's beautiful. That's a beautiful little render. And it edifies you. It's almost like it's the Holy Bible of VFX and CGI. This is how I'd like to see the manual for 3D Coat.
  4. You know what would make the best basis for a meticulous manual, in the manner of Houdini? The programmer's notes buried right in the code. // We need to multiply quantity by 2 here because they are bought in pairs cost = quantity * 2 * storePrice; All the code is annotated to avoid confusion as it's passed up and down the pipeline of labor . It should be a commentary that goes into the greatest detail not only what each tool is doing but what each parameter inserted is for and how it's linked to other operations and dynamic databases within the program. That's the kind of molecular level of information that the manual we need should be drawn from. It's not 3D Coat v2 anymore. It's a serious vital tool now, not a casual toy. That's probably an insane thing to propose but it felt good to say it.
  5. I find the documentation is deplorable in 3D Coat and that's very frustrating because it's my favorite go to tool. The manual is totally superficial to the point of being useless. Videos are scattered and often insufficient (or just completely antiquated) for serious work, leaving vast aspects of a tool's functionality unmentioned. Everything should be thoroughly documented and put up for us the way it is in say, Houdini. I'm trying to learn the new Polyhedron tool and unless Digman comes back to politely and patiently explain it to me then I'm at a loss. And digman doesn't work for 3d Coat and so it's unfair that he should be the only teacher around here to tell us how to use this program in depth. And man, does digman ever know this program in depth. Ditto for Vertex Painting. There's one or two very superficial videos on this workflow. When you design these tools why not write down what you're thinking and how they're supposed to be used in a workflow in great detail? Then just put it up as part of your documentation for us to study.
  6. So I reworked the bottle stopper and in doing so I discovered that a Normal Map is essential to rendering glass. By reworking it's displacement entirely with the normal map in ppp, it just popped, crystalline clear, the way it was supposed to be, not murky or sandblasted as it initially appeared. To do that with the rest of the bottle I'll have to redo the gold pattern on it using a normal map instead of just a painted displacement identical to the painted gold alpha basically. Even with just a mouse it should be much better second time round. I didn't have time for that tonight but I did have time to apply a simple normal map to the .obj slab of amber liquid in the crystal flask. That and removing some base color blue that was tucked away in the liquid shader's base color made it look a lot more like some kind of perfume and not yesterday's coffee in your secretary's styrofoam cup.
  7. This is more of a proof of concept rather than a finished work at this point. The raised, gilt pattern on the glass was painted using a mouse so that made it pretty damn clumsy to execute; I don't even have so much as a Bamboo tablet right now. I'm waiting to buy a Cintique Pro soon so this will have to do. The glass stopper needs badly to be reworked. Lots of tweaks and experiments to come on photon maps and caustics. But the main thing for this weekend was to simply pull this off to this extent so I'm happy with that. And again, the Autopo produces impeccable meshes now, particularly in tandem with the Symmetry. I'd hate to have to hand retopo the Boolean hollowed interior of this vessel with a hand retopo.
  8. Very very nice. Could you please tell us something about your workflow for that? is is pure Photoshop painting or did you build up a lot of it in 3D?
  9. The best compliment I can give Cleitus' work is that I love studying it so I can learn how to get proficient in 3D Coat. He has mastery over tools most people never even touch. Please do tutorials Please do videos of you working with all the tool clicks involved.
  10. I can see its potential virtues but I'm having a bit of trouble grasping it even with tutorials. For instance, this tutorial; It says that you're painting on Voxels, apparently mainly in the Sculpt Room with shaders as opposed to PPP or MV painting. Fine. But then he starts to work but he's not painting on voxels. He's painting on the surface mesh in the Paint Room. I'm already confused right at the start. Someone please rectify this for me. Maybe I should just proceed as though surface mode was the equivalent of voxel mode? Also what is the difference between Micro Vertex and Vertex painting practically? Mainly I want this because I want to work with painting out displacement maps, not normal maps. Seek and ye shall find; I solved my own problem
  11. I'll clone the original solid wing several times. then I'll cut out the intricate web of gold holding it all together. Then I'll take another clone with the cut out web still visible but ghosted and cut the crystal cells out by hand with the cutting tool or just extrude a clone of that gold web and use it as a boolean tool to cut out the solid wing. Something like that.
  12. OK. But I used to use that technique and this workflow is much better. That autoretopo with the long spindly loop is quite the technological accomplishment I can assure you, since you do seem to be new to this subject. In fact I'm amazed by it to no end. It's a huge liberation for artists in 3D computer graphics. It wasn't possible 3 years ago. The 3D Coat/Zbrush/Mudbox workflow is to sculpt with 10, 20, 30 million polygons or voxels, then retopo, by hand or automatically, a much simpler poligonal mesh then bake out the fine details of the original sculpt onto the UV mapped retopology, then render the UV mapped poligonal retopo with it's Displacement, Normal Maps, color maps and ambient occlusion and curve maps, gloss maps and perhaps even emitter map.
  13. It's not mocking the program whatsoever. That wing autoretopo is just a test for a much more complex retopo job that would be a pain in the ass to do otherwise. It passed the test with flying colors. This is going to be a job that requires a good autoretopology program, not otherwise. I'm looking forward to some extremely satisfying renders with all that gold, enamel, pearls and cut crystals in it. I'm doing it in 3D Coat. It's got all the tools I'll need outide of the render engine which will probably be Renderman or maybe AMD's ProRender.
  14. I just did this test for a much more complex retopo job for a 3 year old project I'm reviving. It took several tries but just straight up Autopo with no painted weight maps or contour splines added gave me this adequate result with a final setting of 10,000 polygons. 15000 was too much and 7500 not enough; the retopo just crumbled at the outermost fine extremities of the topography. Two or three years ago there's no way Autopo could have given a result like this. This is such a relief. I hate doing big complex retopo jobs by hand. The retopo took far more time than the initial voxel model to sculpt. I spent an entire month going crazy on one retopo job. It was crazy. I went as mad as a march hare trying to do this by hand. It was like solving some insane calculus problem that wouldn't work out no matter how you tried to solve it.
  15. Post em. Let us see. I'm particularly impressed with the way it automatically detects and works out flow lines. Andrew or whoever worked on this should come in here and tell us as much as he (they) (zhe?) can without giving out trade secrets.
  16. It royally kicks ass. I remember the bad old days. This is amazing and complex as hell with that nasal sinus area above the palate and those eye sockets are not simple at all; they're thin semi spherical membranes and not a single tangled mesh or uneven mess in sight. And FAST. As good if not better than Zremesher. 15000 polys with no splines or painted weight maps.
  17. I don't have any philosophical explanations for it. Creationism, Darwinism...it's almost irrelevant when you start looking closely at how in one spot you find incredible gossamer thin bone tissues and in other places a network of thick buttresses or in the case of the skull, a thick helmet with an almost spongy porous interior to protect that precious computer from shocks. Its hard not to be seduced into thinking there's some meta intelligence dictating the formation of these complex structures to its purpose. It's a sublime miracle. It's an absurd contraption.
  18. Well the time has come with my new Threadripper and Radeon VII finally up and running to fire this thread up again. Seriously anatomy is so much fun and as someone said to me here once, perhaps in this thread, that it's wrong to do a hybrid approach with Maya or some other subd polygon program to start out a body part. They were right and frankly working in 3D Coat, purely with voxels and then going over to surface mode solves so many problems in working with complex body parts. With that I think I'm finally going to go over to Vertex Painting too; it's a challenge with a lot to learn there but I think that's the price to pay to take advantage of some seriously powerful tools. When I was looking at some source photos of the skull lately I was thinking about how strange a thing it is. There's this big cranium, a shell housing this huge brain and then the face architecture is sort of stuck onto the lower front of it, almost like a carpenter's scaffolding. It got my thinking that rather than trying to sculpt the entire head all as one mass, rather you should create this brain container then use the Curve Tool to construct the rather delicate structures of the face; Inferior nasal concha , the mandible, the maxilla, the palatine bones, the vomer, the zybomatic bones. Then duplicate and shrink down that Cranium and use it to subtract it from the original to hollow it out so you can study the interior of the skull too.
  19. So I created a new curve for the Curve Tool. If I just make one span it's set up perfect, face on, just the way I want it to be. But if I go for a third or a fourth it flips over on edge. Is there any way to keep it face on no matter how many segments I make with it? Also when I was making my new curve object, I came across this cool page in the manual on creating new curve shapes but when I go to the curves section in the sculpt chapter of the manual I can't find it. I only could get it through the little menu drop down when I was creating the new curve tool shape. The manual is very mysterious and uh..opaque. I wish it had all Andrews notes when he was creating each tool item or something like that.
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