Count Joshula

uncheck Voxelize Before Quadrangulation, and it will appear

If the mesh you created in Groboto3d is of acceptable polycount, then just use that mesh as the retopo mesh to bake the details.

Okay, I found out what is happening, which I didn't quite realize. If you export using "Diffuse" for a texture, the color will be darkened where ever there is Metalness painted. You can see the image below for descriptions (Hovering over stuff in 3d Coat often gives you a description). What seems weird to me, is that changing the Texture Workflow doesn't seem to do anything for me. "Color (albedo)" seems to get the color information despite being set to "gloss/specular" workflow. Anyway, if you are using Metalness and your paint layer's Metal Opacity is above 0%, then Diffuse will be darkened. So, you need to export "Color (albedo)" and not Diffuse. If you are not using Metalness, or your Metal Opacity in your paint layers is set to 0%, then you can export with Diffuse and still receive color information. If anyone wants to clarify or expand on this, please feel free to interject.

A couple more things. Even though in my screenshot it says the preset is "Unity (Standard)" . The preset isn't 3d coat's original preset, it's my own that I use for the standard shader. Also, when I export using 3d Coat's "Unity (Specular)" preset, I get the black diffuse texture like you do, but it's because the color is being stored in the "Specular Color" texture, and not the diffuse. So, I think that something is similar is probably happening to you. But, depending on your workflow it still renders in Unity fine with the black diffuse as long as color is being stored in the Specular. (see below) However, when I export it with the exact settings Carlosan has in the screenshot above, the diffuse exports with the color, so I'm not entirely sure what would cause it to be different for you IF you followed his export settings exactly.

No problem, let me know how it goes

And, here are my settings in 3d Coat. This is how I typically export when using the Unity Standard shader.

Not sure what's going on, it worked instantly for me. Here's a screenshot inside Unity:

The presets are only going to change what textures are exported, not how they are exported. So, 3ds Max vs Unity "color (albedo)" texture shouldn't be any different. That being said, what you are experiencing does seem a little weird. Would you mind uploading your project? Also, what will this be used for? Unity? Because I have a decent amount of experiencing exporting to Unity. (Also C4D and Octane, but you didn't mention those at all)

Ya, that's not how I export. I go to File > Export Object and Textures. So, go there and really examine all your options there and get familiar with it. Note: 1. You can uncheck Export Geometry if you don't want to export geometry. 2. You can save presets for your specific workflow.

The streaks between faces is padding, that should be okay. If you are not using a PBR lighting system, then you should export "Diffuse" not "Albedo"

https://www.youtube.com/user/AlienMinefield/videos

I would have to know a little more about your project. Are you importing a model that's already UVed? If that's the case, just select the brush tool, then select the Smart Material and paint the parts you want, then switch to another Smart Material. What you're asking seems realllly straight forward. So, I'm not sure what you're having trouble with.

Basically you're going through the autotopo and it's not calculating properly, so it doesn't output a mesh. 3d Coat isn't good at telling you that it failed. But, that's what's happening. Your mesh is probably too complicated for it. I've been using 3d coat for awhile now, and I just don't think you're going to be able to do it the way you are trying. If you want good retopology, you'll have to manually do it. Not to mention, like Javis mentioned, the topology already looks good and low poly.

Ya, so the scene is very large. It's like if you were to stand at the top row of a football stadium to view a coffee cup in the center of the field. It's a terrible way to view a coffee cup, but the coffee cup is still to scale. So, for some reason when you import an object, 3d Coat is making the scene really big, and that makes your object really small. Why it does this I have no idea, but it does the same thing to me as well. So, there is either a reason for this, or it's just another quirk of 3d coat (in which there are many).

What I mentioned would scale all the islands at once, not individually. It sounds like you want to scale all the UV islands from each individual UV island's center point, because you left too much padding between the islands. But, I think you're going to have to just scale all the UVs at once, then adjust the spacing manually. You might be able to do what you want with other 3d software, but I don't think you can do it in 3d Coat. Anyway, that's all I got, so hopefully someone else chimes in. Good luck!

That seems pretty big. You could always adjust the scale of the model in another 3d program. Or, go to the Sculpt Room, then Geometry menu then Edit Scene Scale. Then go to the UV room to Apply the UV set. Then back to the Paint Room. When dealing with the Overall Cavity Modulator, keep in mind you can do values like 0.01 or 30. Also, when select a Smart Material, you can click and drag the Magnify Glass in the preview options to adjust the size of the textures, but this won't affect the conditional properties since that is dependent on curvature and I think AO as well.

Okay, some more info. After you go to Sculpt Room to change the scene scale. You need to go to the UV room to "Apply UV Set", because that also seems to mess up the UVs. Then, when you go to the paint room, it'll ask you if you want to apply the new UV set (because if you have anything painted on it, apply the new UV set will mess everything up). Alternatively, have you played around with Overall Cavity Modulator in the Smart Material Editor? Right click a smart material, then go to Smart Material Editor, then near the top is Overall Cavity Modulator. That can sometimes help if the scale is not too far off.

I would either copy your project file or not save after doing this so you can test it out. But, go to the Sculpt room and then go to Geometry then Edit Scene Scale. It has an effect on the rooms, but testing it out right now it was a little weird for me. If you get it figured out or it works well, be sure to post a reply with what you did.

If you are doing this in the paint room, there are a couple things you can do. You can use the Eraser, and deselect color and roughness so it only erases depth. Or you can go over to the layer and lower depth opacity to 0.

Well, I believe AutoScale is also scaling the UVs at different scales, which could easily make it difficult for textures to be properly aligned. Why can't you just scale them all at once? Use the Rect Select tool and grab all your UVs over in the UV Preview Window and just uniform scale them up. Lemme know if that's what you intended. If not, maybe I can figure something else out.

Sorry to revive an old thread. But, THANK YOU so much. This worked for me as well. I have version 4.7.06 and I experience this as well. My Scene Scale was like 92623200000.0 or something like that (just a very large random number). I have no idea what caused this. But, I did as you said: "Go to Sculpt room, geometry->Edit scene scale and set scale to be 1 " And that worked. I can now bake again. Whatever bug causes this still exists in 4.7.06 I love 3d Coat, but often the software still feels like its in Beta.

Every 3d Coat user knows that the Import Tool "On Brush" is extremely powerful, and one of the greatest features in the software. However, it's lacking some features and needs some attention. Request: Add a preview window for Import “On Brush” that updates when the user adjusts Yaw, Pitch, and Roll, as well as Shift X, Y, Z. Additionally, give the user a way to define a Hotkey that could “Lock” the brush in the viewport. This way the Import Brush could stay frozen while the user could adjust the parameters so that they could change position and rotation with visual feedback. These changes would add precision and speed up workflow.

Little update: I managed to adjust my workflow a little and figure out how to get things from 3dcoat to Octane. I think there are still some kinks to work out. But, attach is my first attempt. Basically, I sculpted in 3d Coat, and when I was ready to move on, I merged whatever I thought needed merging, then changed the layers to Surface layers. I then used 3d coat's decimate, and then I exported the OBJs to be auto UVed in 3dcoat. I then textured the OBJs and exported all the maps to be ready for Octane. I was hoping to find a workflow that was a little more flexible. If I wanted to make changes to the sculpt, there's a lot of work I'd have to redo. But, since I'm trying to do speed sculpts daily, I don't really have to fix mistakes anyway. If anyone has any questions, let me know. Also, you can follow my progress on instagram, I'll be doing another sculpt late tonight.

Hmm, the plugin does seem like a step in the right direction. Thanks for pointing it out. And, if I tweaked my workflow to specifically cater to it, then it could work. Since I would only be getting colors (and nothing else like roughness maps), anything that was a different substance (like metal vs plastic vs skin) would have to be a different object so I could make separate materials in Octane and adjust other parameters accordingly. It wouldn't give me a lot of control, but it would at least be fast. I'm also looking into ptex at the moment, but I'm a little unfamiliar with using it. Cinema 4D doesn't support ptex, but it seems like the standalone Octane might. So, I could temporarily use that to get me a step in the right direction. What I need to find out about Ptex is 1. Can I export multiple maps (albedo/roughness/specular color/etc) and 2. what are the limitations (polygon count a problem?)

Hey everyone, I've been doing daily sculpts and so far I've kept my work completely in 3D Coat. And, rendering in 3D Coat just isn't cutting it anymore (for what I'm trying to do, I think it is a nice feature overall). I want to get my work into Cinema 4D and render with Octane. Basically, I want to do a High Poly sculpt, texture it, and then get it into C4D. Automapping High Poly sculpts in 3D Coat often leaves me with a lot of seams. So, any tips to help with that would be appreciated. And, I also have a very hard time getting the auto re-topology working. Here is my current best idea: 1. Create new layer and merge visible to get all my sculpting layers to one layer. Then, smooth/fill problem areas. Export as OBJ. 2. Use Decimatation Master in ZBrush. Export OBJ. 3. Go Back to 3D Coat and map the UVs. Export OBJ. 4. Export the High Poly sculpt from 3D Coat and then go to Knald to bake Height/Displacement, AO, Curvature, and whatever else I might need to the Low Poly OBJ. 5. Go Back 3D Coat for painting textures. (optional before painting: Bake the shaders I used during sculpting to the low poly - which works decently) 6. Export to Cinema 4D. This workflow gives me decent results without losing too much of my original detail. But I wonder if there's a better workflow. I want good results, but my priority is definitely speed. I'm doing sculpts everyday, and adding too much to my workflow will only wear me out. IDEALLY, my steps would be: 1. Sculpt in 3D Coat 2. Paint on High Poly Sculpt in 3D Coat 3. Magically Export High Poly, painted sculpt to C4D So, please help me find a way to get my High Poly painted sculpt into C4D as quick and dirty as possible (well, not too dirty). I also invite you to check my stuff out: https://www.instagram.com/count.joshula/ Thanks for reading! -Josh