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RabenWulf

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  1. @gbball It's the Dam Standard 2 brush. Basically a free upgraded version of the regular Dam Standard brush that comes with Zbrush as a default, one of the most used brushes in digital sculpting. The Dam_Standard_02 is simply the best brush I have ever used in any digital sculpting software. You can find it at either of the links below: https://www.artstation.com/artwork/mbrnE https://maddam.gumroad.com/l/QEmnC @Carlosan Its almost acting like there is a liquid underneath, which causes it to shift and expand up around the carved areas, as though the surface beyond just the center of the brush is affected. Its very hard to explain with words. The smudge aspect in 3DC might be a basic version of whats going on, or perhaps one of the components. If you can get access to Zbrush, even if just a demo, I'd certainly the tool a try just to see exactly what its doing.
  2. Picture: Less than 20 seconds of squiggling it around, broad strokes and close proximity ones. I'd say in comparison to the way the mesh displaces the surface, it is horrendous, at least to me. There is definitely something Zbrush is doing behind the scenes that is giving the user a finer amount of control on their brush strokes, with a more natural surface displacement going on with the same kind of ease. This is one brush that is able to offer so much variety in result without making any adjustments to its properties. I really struggle to get the same kind of results with 3D Coat. The tool's behavior is definitely important, but I think there is something else driving this difference, namely how it interprets input and displaces the mesh, especially when it comes to overlapping/sharp cornered areas. The 3DC brush engine definitely needs whatever zbrush is doing that makes it work so well in this regard, unfortunately it does not appear to be present in 3DC's new one (at this point in time).
  3. I tried just about every combo, once more just now including that one with a similar alpha and could not even get close to the same results or behavior. Zbrush seems to displace the surface in such a way where its shifting and expanding out the areas around the cut, and when the cuts intersect they merge smoothly with one another. Depending on the direction you move the brush it creates a specialized pattern that mixes well with intersecting crevices. 3DC just gives me horrendous results trying to emulate the same thing, leaving me to think its just not possible in 3D Coat as it exist now. Keep in mind this is the Dam Standard 2 brush, not the more simplistic version that comes with Zbrush by default. I hate to say this, but the developers might have to take time to use zbrush for awhile to kind of '"reverse engineer" what is going on with their brush engine, assuming they have not done it already. There is just something different going on with the brush behavior that is keeping it heads above the competition, and its not just performance.
  4. Unfortunately it did not drastically improve on the feel and brush behavior. Maybe its just me, but it feels more or less the same as the old, just with the GUI cleaned up, better performance and the brush options updated. I hope Andrew can continue to work on bringing it closer to Zbrush in terms of brush behavior and displacement. A lot of the stuff I can do quickly in Zbrush can only turn out kind of muddy looking and with surface "artifacts" in 3D Coat. Would be interested to see if anyone can recreate the Damian Standard 2 brush behavior as well in 3DC -(found here: https://maddam.gumroad.com/l/QEmnC.) With that said, the changes so far make it a far more enjoyable user experience, just they are not significant or rather, drastic enough, to warrant an immediate upgrade on my end. Still on the fence with that one. I like the direction things are going though.
  5. Good to know. Look forward to seeing some updates on that in the future. As for the sbar files, many can be found free floating around the internet as anyone can produce them with Substance Designer. Plenty of material libraries to pull from at this point.
  6. There is another angle to consider now. Adobe just released a free substance addon for Blender, which lets you use sbar files in Blender. Mix that with Blender's painting features/addons and you can have an alternative version of Substance Painter in Blender, for free. What 3D Coat really needs is a take on the dynamic texturing and masking that can be found in mixer/painter (in contrast, they lack the good painting tools 3DC offers). If Andrew could create a dynamic substance file (sbar) alternative ("coats"?) for 3D Coat, which can be used in DCC apps and game engines, that would make it the most well rounded texturing application.
  7. ... why would it be included? All the features of Textura are in the Pro version. Textura is basically a slimmed down, limited feature, version of regular 3D Coat. You are upgrading regular 3D Coat aka "Pro", so you get the full package as opposed to Textura being one part of the full package.
  8. Which is frustrating as any time you have a new "big" feature, it is the most important thing to not only market but have documentation and tutorials on. This turned out to be a kind of "soft launch" where few probably even know it came out much less what the biggest changes and additions were. I'd like to see 3D Coat succeed but it is dropping the ball on a marketing level. I suppose this is fine if the developers like going at this pace and don't need a boom in sales or interest. Anyways, I may be wrong, but it looks like the most useful workflow for the nodes so far is to craft "shaders" with depth information, which results in the ability to paint "sculpt" data alongside textures (optional) onto a mesh. With fill layers this can result in a quick surface sculpting/texturing approach. If I were Pilgway, I would focus on showing that kind of workflow and even continue to refine it in relation to the GUI so that its as easy to use as possible. This would also provide a unique "difference" that it could have over Allego..er Adobe's offerings.
  9. Minor observation, but was the Brush tool (original name) supposed to be replaced with "Pen" for 2021? Pens are generally defined as writing instruments for applying ink to paper (can include other surfaces), so it looks a bit out of place when acting as the former "brush" tool (brushes are associated with paint, thus 3D Coat's paint imagery).
  10. Does not seem to show in $, only Euros. That might throw some people off coming from the states.
  11. Hope they add it back, or at least put Textura/EDU up there. It's a good place for software discovery and its something that can show up when people look for Substance as well. Gotta compete in the same arena.
  12. Steam also acts as a kind of floating license, which to some people is a more convenient way to access the software. Wherever your steam account goes, so does your software library. The other added benefit is the hundreds of million active steam accounts, which provide visibility for games and software on the platform.
  13. Agree 100%. Not just that, masking quality in sculpting mode is of extremely poor quality, yet its fine in paint mode. So what you had to do in the past is flip to paint mode, mask, flip back to sculpt mode, rinse and repeat. Now with this version, it appears if you mask in paint room once, the quality in sculpt room matches the paint room, however if you flip to the fracture mode while something is masked it becomes a color coded mask, which then carries over in visual appearance in the Paint room. Very odd behavior. Masking in 3DC really needs to become unified in behavior and quality. Tbh I wish they would also get rid of the "freeze" naming, and just go with the standard naming convention.
  14. I would find that decision wrong, as it does not appear to take into consideration why Designer and Painter are separate in the first place. Designer started off as a much older piece of software known as "MaPZone". In one meeting, some of the Designer users asked why they could not have texture painting (Painter) in Designer, and the developers essentially said that it was not built to really be a direct texture painting application. There were some technical hurdles they would have to over come, and it would better to start from scratch in order to get the ideal substance Painting workflow. This is clearly not the case for Pilgway if they were able to make nodes as a 3DC addon. Where Designer was not a painting application from the start, 3DC was. In short, if 3DC node/parametric texturing is an addon, it means that it can already work within the 3DC's framework as a normal feature. If Pilgway wanted it to be separate, it would have been far smarter to just have it as a stand alone application. The only way I could see an addon being acceptable in this particular case, is if it were for Blender, Maya, 3DS Max...etc rather than just 3DC by itself. As for the payroll subject, its tough. The key is to increase user base, which in turn generates more revenue in the long run. Higher prices or pay-walled features creates lower accessibility, and thus a smaller user base. This is especially true when the market is already saturated with options. If Pilgway could afford to it, I would personally suggest they make their software as cheap and as accessible as possible, just to grow their user base. Focus on growth, much in the same way Epic is doing now with their free software and games, and where Zbrush was with their pricing/no cost upgrades back in the day (though they did not have a saturated market to compete in). Once the user base grows exponentially and a strong foundation is built around those users, begin to increase pricing or offer those pay walls. The larger user base carries with it its own momentum. Higher quantity at lower prices can result in higher profit than lower quantity at higher prices, but the returns are usually slow to start at first. Imo it is critical that 3DC focus on growth (user base), as that is what gives the most sustainable revenue in the long run.
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