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L'Ancien Regime

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Posts posted by L'Ancien Regime

  1. So I've been using Per Pixel and it's really difficult to work with. The colors and textures between the different angled photos are very hard to match. 
    I took a  break from it to think this through and I just tried the micro vertex painting system instead and it just goes on a lot faster and easier. The Per Pixel seems to create a dryer more porous looking bone while the first one seems to have more of a living bone look and when I get into painting muscles attached to bones I think they'll work much better with the micro vertex approach



  2. On 11/25/2020 at 6:02 AM, thinkinmonkey said:

    Very interesting project and great results.
    When I worked on a project of paiting ancient vases, 3DCoat saved my tasks because I was able to project photos of vases when photogrammetry failed, well, we had little experience with that and a very thight window time, but we did.
    What I found useful was using masks in order to have a non destructive workflow, so I could have two adjecent photos and mask (and deforming) one until they looked like one continuos texture. Masks were really important and I think they could be a little improved.
    Anyway, painting in 3DCoat was really nice experience.
    You can have an idea here, insects and vases painted in 3DC: https://www.artstation.com/artwork/GXDk8d


    Thanks for this. I particularly liked your vase; it's seamless alright and that's what I'm struggling with always in these kinds of projects because if the original photos aren't all lit identically with at least a 2 point softbox setup and maybe a third point reflective card to even the light out so there's no shadows or color bleeds from the surroundings, creating that seamless continuous texture. You definitely don't want a key light for this kind of project.  The need for authentic scientific validity in this far outweighs any artistic fun so it's a bit stressful to try to get it right.


     In 3D Coat there's masks but essentially the layer system in the paint room works as freeze layers or masks so that as you said you can produce one continuous texture. 

    But you're right about one thing; 3D coat is the best program for this kind of work. 

    • Like 1
  3. I've tended in the past to not take advantage of all the tools in 3D Coat, just jumping in and going for results. Too many tools to learn can sort of lead to an overload when you stack it on top of a project. But this time I've gone about trying to master the paint room. I've learned a lot in the last week or two but I'm only scratching the surface of the available tools. I'm going to have to figure out the freeze tools for example. Any of you have any favorite tools in your workflow you'd care to recommend?






    When you're doing complex textures 360 on an object it's important to have each angle shot assigned a matching layer to keep track of your work so you can go back and make adjustments and corrections without going crazy.  I inserted separate tool bars on the interface for depth gloss and color; dealing with them on the top bar menu was driving me crazy. In particular the depth seems to want to set itself to 100 with each new texture or alteration.  Keeping layers locked down was an important part of my new organized work regimen.



    About half the work is in photoshop, just making the photographic texture materials useable in the paint room.

    You have to get rid of shadows, and color bleeds from various sources,  paint out the specular reflections to turn your source photo into an even texture. 

    And I used to be critical of the amount of time Andrew invested in his own render engine but now I'm finding it indespensible. It's incredibly fast and gives very forgiving results.  I'm just flicking back and forth constantly. Stuff that looks grotesque in the paint room can turn out surprisingly nice in the render room.



    • Like 2
  4. 32 minutes ago, Werner_Z said:

    Yeah, I wanted to post that video originally but did not want to post zbrush stuff here.

    Yeah I've been criticized hard for doing that here but see, I vastly prefer working in 3d Coat to working in Zbrush....I'm a big fan of  Andrew's so I figure if we do this once and awhile when necessary it help's 3D Coat to be even better than it is now.


  5. Actually I want to say that what is really needed is better documentation on everything leading to a clarification of potential workflows. Creating workflows is very individualistic and creative in itself in any complex software and I'd really like to have SideFX Houdini quality documentation on all functions and workflows.




    The comparative weakness of 3d Coat's manual/documentation is my biggest criticism of a program I'm very attached to.



    • Thanks 1
  6. I'm using  2 x 4k monitors and the current interface on a 4k screen seems antiquated and crude compared to other DCCs out there right now.

    I'm not going to say what should be done to improve that; I'll leave that to the ergonomics experts. 3d Coat workflow is already better than ZBrush despite the obvious advantages in many areas of Zbrush. I'd like to see the workflow clarified, made more obvious and straightforward an direct. 



    • Like 1
  7. On 8/3/2020 at 1:43 PM, TonyG said:

    Hi, All,

    I have had Zbrush for over a year and have competed quite a few sculpts. It’s a great and powerful program and I enjoy it. However, 3D coat has been on my eye for a while now and I am about to buy. I was wondering which software do you prefer overall? I want to know the benefits of 3Dcoat. I want to sculpt both hard surface and organic 3D character meshes. I do not like the interface and functionality of Zbrush overall and I’m ready for a change. Any advice would be greatly appreciated.

    Why don't you give us a better idea of where you're going with your own work by posting some samples of it, so we can see if 3D Coat would fulfill your needs. I really like 3D Coat's workflow and while every program has its vexations I've found Zbrush to be substantially more annoying to work in than 3D Coat.  Zbrush is older and has a bigger user base so that there's a tendency to look at the work that's been done in it as proof of its superiority.

  8. I have a question though on using the shaping tools to lay out the black and white areas that become voxelized dimensional objects in  Sketch Tool; they're the same shapes you use for Cut Off Tool, where they work fine. But in the context of the Sketch tool there's one important shape that doesn't work well at all; the Closed Spline goes wonky on you.




    When you try to use it by clicking the spline points within the Sketch Tool box it shoots right off to a point far from the target area and the Sketch Tool box refuses to allow any curve points to be placed inside it.




    It would be useful in the Sketch Tool context if we had access to drawing with this spline.


    And one other question; when Tenitsky has drawn a circle or square in Sketch Tool to the size and dimensions he desires, he can slide its location around the Sketch Tool box with some hot key or something before he has released his mouse button and formed the blob of voxels in the Sketch box.  Any ideas on what that technique/hot key is?

  9. 9 minutes ago, sprayer said:



    1 hour ago, Carlosan said:

    Is not working, sorry :(

    Bug reported. 

    Thanks a lot Carlosan. Are there any versions that do work? I've uninstalled 9.52 and installed 9.54 and the problem remains the same.  And thank you too sprayer.

    It's too bad because I've never liked the sketch tool before; I thought it was cheap and dumb but that Tenitsky tutorial shows it's new form off to good effect. It produces some very cool work now.

    • Thanks 1
  10. http://www.cgchannel.com/2020/06/download-over-90000-free-ies-lighting-files-from-ies-library/





    Why this?
    IES files describe how light from a lamp is distributed in a room. This data is provided by many manufacturers so that lighting designers can realistically simulate how a project will look when a specific light source is used.

    3D artists also use this data to calculate their images more realistically. However, it is cumbersome to find the correct file using try and error, as the manufacturer does not necessarily include a visual example.


    Jürgen Furrer has launched IES Library, a new online library of IES files for use in architctural visualisation and illustration work.

    The site currently has over 90,000 IES files available to download for free, representing real-world lights from manufacturers like GE, Osram and Philips, each with a rendered preview of the light pattern it generates.


    Download IES files for real-world light fixtures for use in DCC and CAD software
    A global standard for photometric data, the IES file format encodes the intensity and spatial distribution of light emitted by real-world light fixtures.

    IES files are supported by most industrial design and visualisation software, including DCC applications like 3ds Max, Blender and Maya, either natively or through renderers like V-Ray and Arnold.

    Although IES files are freely available online, IES Library collects together data from many individual repositories, including those for a range of major lighting manufactuers, and eliminates duplicate records.

    Each file is presented with supporting information like wattage and bulb type, plus a standard render showing the lighting pattern it represents, generated automatically in Blender.

    Files can be filtered by manufacturer or by type: there are simple categories for downlights, uplights, flood lights and multi rays.

    New tagging and browsing features planned for the site
    Furrer is currently in the process of populating the library with data, and says that he has around 160,000 files to process in total.

    Future features planned for the site include a contextual tagging system, the option for usrs to rate individual files, and a Blender plugin to make it possible to browse files directly inside the software.

    Users have suggested making it possible to filter data by the type of fixture in which a light can be mounted.

    Availability and system requirements
    The IES files on IES Library are free to download, and are licensed for commercial use.

  11. Martin Scorcese's Kundun, set in Tibet was actuallly filmed in Morocco. Lots of awesome matte painting shots in that movie





    There were lots of awesome matte shots in Scorcese's Gangs of New York too. 




    The ending in particular was beautiful sequence of animated matte paintings of New York's Manhattan, from the 1860's to its pre 911 city scape. 



  12. Please Carlosan, 

    not "Paste"

    rather; "Paste as plain text".




    Because with raytracing mantra needs to have access to information about other objects in the scene, not just the object that is within the current renderbucket.
    Delayed load micro polygon rendering on the other hand does not require geometry to be aware of other geometry in the scene.

    Often if you want to give the impression of reflections with delayed loads you use environment maps in the shader. Which will not give you self-reflection, but will give you a lot of the shading you are looking for.

    So raytracing defeats one of the purposes of using delayed loads -> the objects are kept in memory rather than being thrown out when no longer required by the current bucket.



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