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L'Ancien Regime

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Everything posted by L'Ancien Regime

  1. I met a traveller from an antique land Who said: `Two vast and trunkless legs of stone Stand in the desert... Near them, on the sand, Half sunk, a shattered visage lies, whose frown, And wrinkled lip, and sneer of cold command, Tell that its sculptor well those passions read Which yet survive, stamped on these lifeless things, The hand that mocked them and the heart that fed. And on the pedestal these words appear -- "My name is Ozymandias, king of kings: Look on my works, ye Mighty, and despair!" Nothing beside remains. Round the decay Of that colossal wreck, boundless and bare The lone and level sands stretch far away.' [1]
  2. Just the ornamental displacement texturing is left though I've been expermenting with creating bloom effects to create a layer on top of the mirror silver (under the glass) to emulate the leakage of air and moisture between the glass and the silver leaf to create a tarnish bloom effect....It's an antique mirror so it might be cool to age the mirror somewhat. A bump layer for tiny scratches and wood grain might help to age the frame too..
  3. I was worried I'd have trouble making a realistic mirror with a piece of glass with silver on the back but it turned out to be a piece of cake. I did a little experiment last night and after some futtering around I was able to 1. assign glass shader to a bevelled polygonal slab 2. separate the back face from the beveled slab and extract it 3. assign a 1% roughness silver colored shader to the extracted face.. 4. just for good measure I flipped the normal for the extracted silver face so it was facing into the glass slab. That might have been superfluous though since it's still two sided for now..I'm going to try making it one sided to save render time on all those back side reflections taking place..
  4. Digman, I started reading your instructions on Thursday afternoon and I have to admit it was some heavy reading. (Where do you get all this stuff? I sure couldn't find it in the manual or the videos). But I kept on plowing away and after many false steps and mistakes and having to go back over and over again like an idiot I finally got it (at 4:00AM here! Time for bed) It's totally different this way. All the distortions that were tearing the hard edged frame apart are gone now and the physical forms are much smoother. And the face of the man at the top of the frame isn't such an evil psychophath anymore. Tomorrow I'm going to try the Displacement Map option... Thank you so much.
  5. Wow, I LOWERED the resolution and it worked much better. This is great Digman.
  6. OK I got a slightly different Loading Object menu than yours with "merge into scene (microverts)", but here's how I set it up
  7. Thank you so much digman. You're a fantastic teacher. And yeah the 10 edit rule sucks..
  8. Correction; "I'm not sure how to set up to bake from the PAINT room..."
  9. Thanks for the advice. I need it right now. I'm baking my textures directly from the Retopo Room. When I turn on the Paint Room it's empty. I'm not sure how to set up to bake from the retopo room since if I just bring the saved .obj poly mesh in there I won't have the underlying voxel sculpture to bake out. Sorry but this is arcane knowledge to me and the video tutorials I've gone through are leaving me in the dark on this. When I try using the menu you're using to bake out the normal map and displacement map I can't even figure out any way to select the mesh I'm working on; All it allows me to choose are two irrelevant old meshes. I've been baking out from this Texture Baking Tool only...so how do I extract all this to the Paint Room so I can do it your way? There's still artifacts around the side of his nose and on the lower platform on the right hand side to the left of the sphynx...a weird black slash in the surface that doesn't appear to have any cause in the mesh when I examine it in Maya or in 3d Coat I've selected padding but there's no box for choosing the padding setting. The voxel mesh is at 39 million triangles.
  10. So all the problems with decay of the surface were the result of a stupid little mistake as usual. I'd checked the normals before exporting the frame from Maya to Maxwell but when I brought the frame into the Maxwell scene it was huge. Maxwell has a clumsy interface and when I scaled the frame down I accidentally went too far and flipped it upside down and inside out. I rectified that and then after some experimentation I ditched the baked out Displacement Map from 3d Coat and just went with the baked out Normal Map. The Displacement Map was distorting the hard edge frame too much and it was bringing in some artifacts on the sculpted details like the face at the top of the frame..the Normal Map is more than enough to smooth things out and recreate the detailed shape of the original Voxel sculpture. This is just as well since Maxwell only allows one displacement map per shader. I'll use that displacement map to hand paint the repetitive geometrical ornaments of the frame shafts in Photoshop in greyscale instead. The gold is the IOR gold at 90% roughness.
  11. I'm having a lot of trouble making the displacement and normal maps work properly. Either they work and the surface seems to crumble and decay from their excesses (the black and white picture) or they don't work and I'm left with a fairly harsh polygonal mesh finish...(the color shot) I'm wondering if the mathematical complexity of the full object isn't working against me here. maybe I should just go back and work on retopologizing the individual elements then parenting them together for the render... These are full 8096 x 8096 texture files..
  12. Well I got that worked out...now to get down to some serious texturing and redo it in a higher res version with all holes closed. There's some kind of decay going on in the skin if you look closely...
  13. When I hit OK no displacement or normal map gets produced. How do I do this?
  14. OK, finished UV mapping and I've been able to export the UV mapped .obj to Maya...now I need to bake out Displacement and Normal Maps. I've set everything up in the Texture Baking Tool but I don't know how to get it to bake out the maps. Anyone? I can't seem to find any tutorials on this...the ones that are up are pre autopo .
  15. Thanks for all the hard work you put into it. Much appreciated
  16. Thank God 3D coat has the best UV mapping tools in the business. After the long toil of manual retopo this is a piece of cake by comparison.
  17. As you get near the end of a retopo job, the escape routes for triangle polygons gets harder and harder to find without screwing up the rest of your mesh when you use the Split Ring. It can get vexatious and you might be inclined to start cursing the whole thing until you sit back and marvel at what a cool thing all this 3d graphics stuff is. Really it's better than any drug, better than LSD... Split ring starts shooting through your work like a spark of electricity...
  18. When can we expect the next BIG release (ballpark figure)? what number will it be? Will there be a fee charged to those that already own 3d Coat or will it be free etc etc etc..
  19. Fascinating...this is the first I've heard of Vector Maping in 3dCoat. I hope this thread continues. Are there any video tutorials made for this yet?
  20. Wow that's fascinating. Thanks for sharing..
  21. Thanks a lot digman. I really appreciate that. I wasn't posting all this stuff out of egoism...I was posting it in the hope that someone like you would step in and give me some help in this journey into the unknown.. You delivered. Good stuff.
  22. I could still do that if this approach doesn't pan out. My worry now is that after I've UV mapped it and am ready to bake out the displacement and normal maps etc that it'll all be too much (at the highest settings, that is 16384 x 16384 pixels) and it'll crash the system or something. It's going to be an interesting experiment. Autopo didn't like all the ins and outs and loops of the frame. I'm hoping the map baking process will handle it all better than autopo...
  23. I started out in Maya setting up my mesh in perfect symmetry. I brought the mesh into 3d Coat and it was pretty symmetric for the most part though there were some very fine details where the mirrored side was a bit messed up. I turned off symmetry to go in and fix those spots. Then I started doing the retopo and found that the symmetry was getting more and more askew on me to the point where it was no longer tolerable so I surrendered to my fate and just did the entire thing without symmetry. Obviously that doubled my labors...*sigh*
  24. This has been a hellish ordeal going on over a week and a half now, but I must say it taught me a bunch of stuff about retopo I never knew; all sorts of little details that make me appreciate the scope of the work that's been done this aspect of 3d coat. For one thing it's made me very adept at getting in all sorts of nooks and crannies to lay down polygons that I'd never thought possible before.
  25. Hey I just learned I could go back to Voxel Mode and patch this muck up without losing all my other retopo work. Very cool.
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