andykarta

I'd like to select all the points on the bottom of a foot I'm working on in the retopo room. And I'd like to do it with the rectangle selector or lasso. But I only get the stuff that's in view of the camera. Cinema 4d has something like this. Does Coat?

Hey. Yeah, it's off. I'm thinking I'm doing something wrong with the scan depth. Otherwise I'm flumixed.

Hi again. I have retopoed my human bodysuit model and baked it with normal maps. But the normal map has nothing on it. The tutorial says make sure the inner scan depth is not visible and the outer scan depth is completely visible. I have tried both from from .9 to 10. But no normals appear. What am I doing wrong?

I make what I hope is a nice human form mesh for a bodysuit. Then I subdivide and all these polys get all weird. The green mesh is what I start out with before I subdivide. The tushie shot shows what happens after I subdivide. And the blue backshot shows what the mesh looks like when I turn off backface culling and hide the high res model.

When I retopo a human shape with symmetry the polygons on the edge of the symmetry plane sometimes remain unconnected. This becomes a huge issue when I subdivide. Sometimes things get welded. Sometimes they don't. I'm being as careful as I can when approaching the symmetry plane with the add split tool. What am I doing wrong? In the first image I also have a problem with the tool itself. It snaps to another part of the topology and it's hard to tell when it does that or how to even see it. Please ignore that for this issue. I'm doing another post on that. It's a separate thing that makes me crazy. In the green pic I used the brush to split the topology which I couldn't do if the verts were actually connected (or the same vert). In 3D Max I'd use weld. Is there such a thing in Coat? Is there a better solution? Thanks in advance.

I made a model in Fusion 360 with about fifty bodies. (Fusion is a semi CAD program designed for modeling...kinda). I mention this because modeling solids in Fusion produces awful topology. I mean, really really ugly tris with no uniformity at all and sixty point stars. Few if any ngons though. If I try to autotopo it, Coat freezes. Interesting workaround though. I open it for UV Mapping. Coat says that I should use auto mapping. So I do and I get a beautifully topologized map. Even the spheres and curves which have a particularly ugly topology out of fusion turn out super nice automatically. The UV seams are totally wrong but that's not an issue because of Coats excellent tools in the retopo room. The thing is, what the hell? Why is autotopo unable to do something that auto mapping does with ease and excellence. It doesn't even take that long. I have another issue in the SOS section that's related. If I import the file in Voxel mode or surface mode, Coat thinks my 3000ish polygon model has 300 MILLION polys. It freezes and crashes. And yet if I import through UV mapping, Coat has no problem. It seems like a mesh topology issue but it's trippy. ***** (Why the face). Coat is awesome but friggin weird sometimes. Maybe I'm doing something wrong with the imports. I've watched the excellent tutorials. I'm changing the resolution and tried both surface and voxel mode. Nope. It freezes with Fusion 360 meshes. But importing through paint or UV mapping works like a charm. Then I just move it into another room. I mean, I'm not mad. I have this beautiful topology with the push of a button. I'm happy. But still guys, why are you making me crazy?

I made a mesh in Fusion 360 and brought it into Cinema. Now I want to UV Map it in Coat. In Cinema it has about three thousand polygons. But when I import it into Coat it says it has 300 MILLION polygons. The program freezes and I can't UV map a relatively simple mesh. Sometimes it works but produces issues that seem to be related to normals. These issues do not occur in Cinema or 3D Max.

I'm making a Klingon ship using hard surface modeling and the edges on my 1.2 million poly voxel are ick. These hard klingon alloy edges reminds me of tiny little paint splats up close. I'm just cutting and transforming primitives right now. And when I import to Max, it looks even worse. In max it reminds me of late stage ebola. I've tried smooth all. I tried in both voxel and surface. I've increased the resolution to five million polys. I've even tried using pinch though this model is supposed to be without serious sculpting. I was even thinking of doing a retopo but even then I'm afraid the splats and ebola will screw up my normals. I need that hard perfect edge. What am I doing wrong here?

When I export my texture with the obj from the file menu it's way too bright. Even when I turn off all the other channels, no change. I then export the color texture through the texture menu and it's right. Why won't it export the same way when I export all the texture channels at once from the File menu? Are other channels getting ruined too? Should I just export every channel separately until this is fixed? Is it some arcane setting I'm not setting?

If you don't know the answer is just say so. No one will judge you. Making me watch forty minutes of video that doesn't answer my questions is just mean. This is the third post in a row where your answer has been worthless. I should go back to zbrush. The interface is harder but the community actually tries. Have a nice day, sir.

I've been using Tif files cuz tga and png don't make thumbnails. I was at .03 for some reason. Updated now. Same thing happens. I only use the Textures Import menu. And again, the weirdness here is if I make a new photoshop file, even my favorite tif format, it works hunky dory. So something's happening under the hood. Could it be something with the proceedural alpha I'm using in SP. Just a shot in the dark but I applied only red paint and it imported fine. But the crazy stuff makes Coat say 'no way, no how'. In fact, it doesn't even say it. No error no nothing. And there is a UV map in case you're wondering.

What channels in Cinema 4d do I place metal and glossy files from 3DC? Is roughness bump? Does paint depth alter the mesh that is saved to the obj file or does the original mesh remain pristine until I apply the displacement map in Cinema. I've heard 'rumors' that you should export the mesh before you paint because the Obj file will record the displacement from the paint as part of the original topology. Say it ain't so. Should I use the diffuse or color channel in Cinema for the color map in Coat. Is there a best practices for exporting textures to Cinema? Assume standard renderer please. Will PBR paint work in Cinema using the built in Cinema renderers. I'm still deciding whether to buy Octane or Redshift so lets assume the Cinema renderer. If I want to use Octane or Redshift do I need to do anything to prepare in Coat before I transfer to Cinema? What about using Arnold in Maya? Any special things to deal with that I can't do in the Maya hypershade (or can do much better in Coat). If I plan to bake a new normal map is there a way to save the already painted layers or should I save them as textures and then apply the bake. I know there's a sculpture update tool but I'm probably doing something wrong cuz it doesn't work. (But that's another question for another day).

I've made a set of textures in substance painter and want to import them into Coat. Coat doesn't seem to want to take them. It just does nothing. It doesn't even think about it or freeze. It's like it said, 'nope.' I can open the same textures in Cinema 4d and they look right. I'll then save it as an obj with the textures and try to open it in coat. And the obj opens and there's a new paint layer. But it seems blank and doesn't appear on either on the tex editor or the viewer. But then....I open the substance painter files in Photoshop and just create a new file of the same size (4K), paste in place, save as a tif (same format I saved originally though I've also tried jpeg) and it imports fine. But then I open up the same kind of file but one I made in Coat and it opens just fine even if the UV map is different. After the troubleshooting I've done, I believe the 3D Coat and Substance Painter are feuding. I really don't care about doing the extra step to get things workin. But this is totally out of left field and I want to know what's going on for when it becomes an issue since I plan to use both programs a lot.

Wow, thanks, I guess.

I'd rather not have any displacement maps. I'll definitely have normal maps.

I have arnold from Maya but I'm thinking of getting Octane or Redshift.

I'm making a uniform for my animated superhero and there's some hard surface modeling. I can paint with depth or I can sculpt some of the detail. Sculpting fine detail takes A LOT longer but it lets me paint the model without a bump or displacement channel. Anyone know which is better in what situation?

Hi all. I want to make a single exact copy of the alpha on the canvas. I did it once. But I can't do it now. I know about brush spacing. But that's not doing it unless I'm doing it wrong.

Wow, I get to talk to the experts and the masters. Why do I not come to this forum more. Yeah I'm making a bodysuit so there's extra loops put in the critical areas. Luckily I don't have to worry about fingers since I amputate the hands. But I gotta tell you, a 10 thousand poly bodysuit seems to work amazingly well with almost no touchups The only problem is the neckhole. I got gauntlets to cover the armholes and boots to cover the feet but the neck is really obvious. I may wind up making a separate collar and rigging it separately. But even the Daz magus collar which comes with Daz sometimes deforms wrong in very obvious ways so I'm trying to keep this as a one piece suit. I may just make a tube, mess with it a little and parent it to the neck bone. Cuz without the neck autotopo takes minutes, not hours.

Thank's @AbnRanger. I don't want to seem ungrateful because that is a great technique that I will definitely use. What the videos say is put a mesh cap on top of the holes and then delete the cap's UV topology. But you're changing the topology. And yes I know we're RE TOP OL O GIZING which kind of means the same thing as changing the topology. But that was the previous step. We're designing outside of the design phase and I'm trying to learn how to do this animation stuff like a professional so animation people won't point at me and snicker. That sweater looks like it might have been made in Marvelous Designer (which I just got in December for fifty percent off, and not the unsupported crashy steam version, so yay). They want you to blend the mesh with he cap so it's smooth. That's not always possible without destroying the Marvelous Designer goodness like folds and fluffy collars. You know what, the bottom line is that I'm being a wimp. The answer to this question is simple. Just manually retopologize the damn thing (though that's not always possible when you have draping folds either). Coat has the best retopology tools in artdom. So yeah, good to know but I guess the answer to my question is stop being lazy and learn to drive a stick. Though any other advice on this would be quite welcome.

Hi all. I'm making a bodysuit from the mesh of a Daz genesis 2 model in Coat. I first amputate the arms, head, and feet in Cinema 4 d to create holes in the bodysuit. Then I import as an obj. Then I auto topologize and it looks aweful. Just in case it matters I need to import the mesh as a surface object. Because as a voxel object there is terrible mesh terribleness where the two arms are connected by an unwanted thick mesh between the arms like a big rubber band. But if I make it a surface and then subdivide to five millionish polygons it goes to voxel just fine. But autotopo takes forever and often crashes. When there is no thickness and the arm head and feet holes are closed, autotop works beyond expectations producing a beautiful mesh. But I want holes and thickness. It's a bodysuit. Anyone have any ideas.

Actually I found a solution. After I rigged in Daz I used a bridge called GoZ and UVed in icky zbrush. But yay. Coat needs more bridges. Zbrush's UV tools are so not as good.

Hey guys. I'm a noob and need UV help. I'm making a superhero body suit for my Daz gen2 model by using a daz gen2 model. I decapitated him and cut off his hands and feet. I retopologized to 2000 polys in 3D Coat. The result is actually pretty awesome in terms of topology for the auto topologer (and I haven't smoothed it out or done any of the other magic things you can do in Coat.) But it's a single cowskin lookin thing and in 3d Coat it shows that there's mild overlap and stretching. Now this is not how anyone who makes tutorials on UV mappings that I've seen makes their UV maps. They make islands or clusters with seams and stuff. And I'm okay with that. But my paint is going to have this hexagonal geometric pattern like armor or whatever. I want the hexs to be as uniform as possible as my superhero is really buff and this leads to a little stretching. It's way better than it was but I want to make something I wouldn't be embarrassed to show to non noob animators. I'm worried if I put a lot of seams in then it'll cut off the hex pattern at the seams and my guy's paint job will look crappy. With this model the there is some distortion though it's not major. Before the darn hexes varied in size very visibly and now you kinda have to look for it. And again, I can make it better in Coat manually. But should I cut the bodysuit all up with seams. I'm probably going to make the collar a separate island because it has detail and I want to try making it huge in UV space. But that's just me trying to figure stuff out. So is there like a formal best practices way of making UV maps that I should follow in weird cases like this. In fact does anyone have a suggestion to a really deep study of UV mapping. I don't mind paying a few sheckles for a book. But paint should be pretty. I'm getting there but I don't think Pixar would be happy with the kind of Uving I'm doing....though that's not the best example in the world. Don't they use PTEX?

Additive painting....if it was a snake, it'd bit me. Thanks.