Jump to content
3DCoat Forums

L'Ancien Regime

Advanced Member
  • Posts

    2,169
  • Joined

  • Last visited

Everything posted by L'Ancien Regime

  1. Incidental ornament. You can reach a point where you feel overwhelmed by all the work that needs to be done to finish an elaborate project and the work slows down to a crawl. That's when you have to force yourself to just plod forward to your goal..
  2. Yeah that first video was excellent and I really appreciated seeing you use the masking function. That was great. I wish the video had included the insertion of those long curvilinear tendrils emanating from his face though... Thanks for posting those vids.
  3. Hey Digman, I just resampled from 13.5 million down to 6 million with no loss of detail. Thanks And I'm using Surface tools and they're vastly improved (I'm using the latest Beta version of 3d Coat) from the last time I tried them some time ago...
  4. Thanks a lot Digman...something to mull over here..
  5. See the thing is I utterly despise the retopo in Zbrush while I think the 3d Coat's retopo tools are THE BEST in the business. Unwrella, HeadusUV Layout whatever, they're all junk to me. 3d Coat is it. I actually enjoy laying out UV maps in 3d Coat and that's insane because UV mapping fills me with nausea. So on one hand I need to be in 3d Coat but on the other hand I'm apprehensive about it's ability to handle a large complex structure like this. So what I'm doing is basically tippy toeign around a lot of problems hoping that they'll all resolve themselves somehow by the time I'm finished sculpting and ready to lay on textures...textures that must be fairly precise, repetitive and tightly symmetric or regular... I'm not sure doing that in 3d coat's 3d environment will work..
  6. The workflow is strange but then I'm not content with any of the workflows I've seen out there and there seems to me to be two contradictory elements to this work pulling it in two directions. The hard edged frame will need to be elaborately textured, and like my fauteuil on the finished works gallery I'd sort of like to have it firmly pinned down in its rectilinear topology so I can place the repetitive geometric patterns carved into in in Photoshop. But contradictory to this there are the organic elements; the scrollwork, the garlands of acanthus leaves and the sphynx. I'm tempted just to go back and forth with them between maya and 3d coat working and reworking them. I'm sort of toying with finishing them in Zbrush if I can't get the detail I want in 3d Coat though for now I'm trying my best to keep this a 3d Coat job. Frankly the Zbrush workflow leaves me a bit cold and I like Voxels a lot. Perhaps I'll have to just bite the bullet and go out and buy 8 more gigs of RAM to double up on it to handle the full load of the work. Note the Sphynx is over 4 million triangles... If you can suggest various resolutions to this puzzle they'd be welcome. I'll definitely consider them carefully.
  7. The Chimera...I wonder what it would be like to make love to such a creature??? I think I'm falling in love with her..
  8. That's at the end when I'm texturing it. By sketch I mean just roughing things out to see how the proportions will work and how I'll lay out the masses of the object.
  9. No, just quick voxel sketches...voxels cry out for a monster computer with massive amounts of RAM and a Soviet Army of CPU cores but if you can get them 3d Coat rules..
  10. Rapid test sketch to see how everything will fit together. 2d paint brush is awesome for this. And this makes me think that in huge scenes when you need to have a lot of props in your scene, it would be a very effective way to work to have the most distant objects in the scene to be nothing more than quick sketches like this that would give a mere impression without requiring a lot of toilsome detailing....
  11. Yay! I finally figured out how to get the Merge tool to work with high rest Voxel image..
  12. The main mesh is in Maya polygons smoothed and I'll be taking parts out for reworking in 3d Coat with the merge tool, reworking them as voxels then retopoing them and bringing them back into Maya to stick onto the main frame.
  13. That's beautiful...just in time to hopefully employ it in my own new project. Thanks a lot of taking the trouble to make us a new tutorial, another valuable acquisition in my comprehensive hard drive collection.
  14. The biggest problem here was making the brass rail around the edge of the table in Maya. Initially I wanted to use transparency maps to pierce it into a grille but that proved impossible so I boned up on creating deformers under Animation and pieced a fully 3d one together with all the punched openings in the metal. Lots of messing with little stubborn problems there but it all worked out in the end. Yesterday I pieced it together...today I figured out the metal railing and did some UV mapping in 3d Coat (the best UV mapper there is right now I think) and tomorrow I'll take all the pieces of it into 3d Coat for per pixel painting of color maps, normal maps and displacement maps, like the grooves on the legs of the table. Then I'll assemble all my maps in Maxwell to create the MXM files. I'm planning on really aging that railing; I hope I can make it look like really old brass..right now all the textures in the table are Blinn placeholders... BTW, anybody got a nice white marble with dark streaks in it, something high res like 2096 x 2096 or higher that they can share with me? Update; I've been wrestling with painting this grille railing all afternoon. IF YOU DON'T HAVE YOUR UV MAP LAID OUT RIGHT THEN YOU AIN'T GOING NOWHERE IN PER PIXEL PAINT. That's all I have to say about it. But I finally cracked down and made cuts on every opening in the grille...all 180 of them. Let's just say I'm developing a facility with handling my obj in the view port.. But the ugly work is done so let the fun begin...generating a whole series of color, normal and spec maps, to try to give the impression of fatigued brass with some worn gold on top of it...This will be fun. So I've put a thin unevenly mapped layer of dull gold over a substrate of some kind of corroded smooth metal, with a broad bump map to make an uneven relflection to break up the perfect finish and make it look like worn electroplate gilt trim. It's got a way to go yet
  15. Ok I've got it now..right in front of my nose.. Aaaaand the new workd champeen for UV mapping...3d Coat! hahaha. what a struggle of stumbling around in the gullies though...
  16. Thanks I'm using the Applink for Maya 3dCoat and it's excellent but there's a hell of a lot of buttons to push in it and a lot to know.. I've gotten a created asset from Maya to 3dcoat for Voxelization in the past, but now I want to transfer an asset as a topology for UV Mapping...and it's all trial and error for me...I'm looking for a smooth workflow here.
  17. Also, it's in pieces...I'd like to bring them in from Maya as layers I can turn on or off and manipulate seperatly as I work on them but I'd like them all on the same setup in 3d Coat. I'm bringing them in from Maya so I don't necessarily have to import them to 3d Coat as .obj files if that is necessary.
  18. PTex and C4d are a lot easier to work with than PTex and Houdini;
  19. You know, it's pretty sad that if I write "rendering ptex in mantra" into Google, this is the first hit I get. I've got 5 videos in my collection that I've gleaned here and there on this rather important subject and THREE OF THEM DON'T HAVE SOUND AND ARE OF DEPLORABLE QUALITY. Of the other two one is only a tacked on segment of two or three minutes to a Houdini Master Class and the other is Peter Bomar where he works with texture maps to Houdini from 3d Coat BUT IT DOESN'T DEAL WITH PTEX. This is the kind of support that Houdini gives to PTex; http://www.sidefx.com/docs/houdini11.0/shade/ptex Big help eh? Please, will someone make a proper comprehensive guide, written or video on how to implement PTEX between 3d Coat and Houdini??
×
×
  • Create New...