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David O'Neil

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  1. (On the bright side, regarding the shadows that I agree with, the red matcap material in the default palette is set up awesomely for giving you fine sculpting feedback that you can't get with almost all the other materials. So I hope he keeps that one as-is! But the others - you are absolutely right. Way too harsh.)
  2. When you are in the sculpt room, if you 'edit shader settings' on current object, and get it to the way you like, is there a way to get that shader back into your shaders palette? Or is the only way to copy a shader to begin with, and only work on the master copy? I've looked around and couldn't find anything, but hope I missed something. Thanks!
  3. My first thought was, "Oh No! Another Setting To Master! When Is Enough Enough!" But playing with it, it looks useful. Thanks!
  4. Done, thanks. Also have right-click duplicated the tool into the palette, or whatever you want to call it. I've made enough mistakes with the brushes, though, that I finally understand them well enough to recreate it without a preset! Ggghhh!
  5. For anyone who has a similar question, another (big) part of the answer is what brush you use for detailing. With the following settings, I finally feel like I have the control I want. I know that I used this brush long ago, before playing around a bunch and losing the settings. With it on low depth, big or small radius, you can 'push' the surface how you like.
  6. Thanks. I'll continue working it out. In the past, I never got the pinch brush to work the same as ZBrush when in surface mode. (And when I tried live clay, I got a headache because it added density, but then trying to smooth over that density became a complete pain.) Maybe this time will be different. Do you typically bump up the resolution when you take it to surface?
  7. Thanks. That helps a little. I'll figure it out. Right now I'm thinking ZBrush's pinch brush is the thing to use for a final pass, but I'll see if I change my mind. Frustrating!
  8. As indicated in the following picture, do you guys have any tricks for making seams like the pretend fabric on top of fabric line be crisp and non-wavery, like mine currently is? Or is it just a matter of getting in with a fine brush and doing the equivalent of painstakingly touching each voxel? Thanks, David
  9. It would be nice. Just to be sure you know about it, you can 'cut' your model up like the middle man on the bottom row when you create a new voxel project. Step through that model using the transform tool. That is more powerful than ZBrush's approach in some ways, and has allowed me to start posing while creating, which is something you can't really do with ZBrush from what I've seen. You can take it further than that example model, because you can make mirrored 'instances' instead of clones, and you won't have additional objects taking up all the memory that they do. Those 'instances' can be posed in relation to their instance parent. Totally cool! The only drawback to this approach is that after you have the pose you want, and merge everything, you have to manually clean up each joint a bit. But the posing flexibility is awesome, and for my purposes, beats ZBrush hands down.
  10. Is it possible to traverse just the current subtree via scripting? I see 'SelectNextVolume', but I can't figure out how to get it to stop at the end of the current subtree - it goes to the end of the entire model tree. Also, where is a good documentation source for this? I saw reference to a scripting guide, but couldn't find 'SelectNextVolume' in the 'http://3dcoat.com/scripting/' documentation. Thanks, David
  11. All I did was go to the sculpt room, make the sphere, draw on it, increase the resolution, and apply the gold shader. Once I went through the steps with a model to create the maps, and upon opening in Blender I saw the same pattern there in the render. I don't recall playing around with lightmaps.
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