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I've been trying to figure out how to get the material on the torch in the attached image to Glow in a final render. Ideally it would actually emit light and effect the materials around it. I assigned the shader material "fire" from the volumes category, but that had no effect. I tried setting the diffuse material that was painted on to the mesh where the flame is to emissive, that just turned it sort of brighter but in no way affected the environment around it. Any help with this would be greatly appreciated.

Hi I have been trying to render a scene in 3d coat. I brought models into the paint room, textured them and tried to render them with Renderman. Everything appears to work correctly except that only part of the scene renders. The scene is composed of items on a table. this scene renders OK with the default 3d coat renderer but Renderman only renders the table top without the items on top of it. Is there a way of selecting or excluding items from the render? Am I supposed to render each object separately and composite them in some way? Any help will be much appreciated. (I have to say its a lovely render of the table top)

So I've made a model quite a while but recently re-rendered it in Keyshot with "fun" materials/env Made In 3D Coat. I guess I didn't even use my pen tablet for this

Hey guys, I have been playing with toon shaders recently and I have some trouble rendering it to look like in the sculpt or paint room This is how I would like it to look (Flat shading, hard shadows) This is the closest I can make it in the render room but there is still a lot of soft form shadows and a lot less contour lines than in the sculpt or paint room. Iv included my shader and rendering settings. I know I could just screenshot from the sculpt room but I would like to render it at a bigger resolution with an alpha channel. Does this have anything to do with the HDRI im using or is it because of the shader settings? Thanks a lot for any help you can provide Cheers

I have had this interesting puzzle for some time now. When I apply a smart material, the preview box shows this astounding, detailed, just *gorgeous* material. When it's applied- not so much. Here's a sample of what I mean, as attached. What am I missing?

I'm trying to use 3DCoat to render turntables and I'm hitting some annoying limitations. First of all - how do you set rotation center? Is it fixed at world/item center? There's no visual cue. Secondly - output path. When I set 3DC to saving image sequence I can't specify folder outside "RenderedImages" folder (also can't specify naming scheme pattern). Pretty annoying. Is there any way around that?

1st century BC Roman soldier uniform based on Caesar's legions. I did this one a while ago when I was trying to figure out how to create realistic mail ("chainmail"). The mail was done by applying a series of procedurally generated textures generated with Filter Forge 7. The model was rigged and animated in Akeytsu and rendered in Marmoset Toolbag.

Hi, I'm new to 3dcoat and using the trial version on a MAC. 1883x1026 sixed renders are saving properly to my designated folder, but any settings larger than the render window keeps cycling through the render with no saved file. Is this a limitation to the trial version or something I'm overlooking? Thank you for the help.

Hello, After I hit render where can i find my rendered image? Is it a JPG or another format? Thank you.

Hi all. I'm wondering if anyone else is experiencing this problem. I've been having it since 4.7. Basically I have a problem with 3d coat refusing to render metal properly, but only in the render room. In the paint room everything looks fine, but when I go into the render room 3d coat decide to give a super dark contrast to even the smallest roughness values. Example, paint room vs render room. I'm running 3d coat in opengl with a Nvidia 1060.

Hi, When I import .fbx files from Maya nothing shows in 3D Coat, almost like the mesh is invisible. I've tried "Import Object", Import, creating new instance and opening the file that way, nothing seems to be working. I would use .obj, but we're using .fbx for the project I'm part of. Are you aware of this issue and if so, do you have any fixes for it? Software used Maya 2017 3D Coat 4.7.06 (DX6x)(Educational) 3D Coat 4.7.06 (GL6x)(Educational) Hardware used GeForce 980ti (driver 376.19) i7 - 5820k @3.30 GHz 32GB Ram

Hello guys! I'm using 3D-Coat mainly for concept art and it feels really natural for me to work with. But I would need some advices from you guys. I'm usually creating large complex scenes with average level of details, then overpainting and detailing more in Photoshop. But I found almost impossible to export this detailed objects from 3D-Coat and trying to compose and render them since they are pretty polygon heavy. So is there any solution for rendering for instance a whole street of medieval town, with moderate level of details, some characters, etc.? I know that keyshot is capable of doing that, but I need some render engine where I would be able to set different types of light, hdri environment, maybe some fog, etc. Ideally to build whole scene with textures and paintings in 3D-Coat and than export it to some render engine or even render it somehow in 3D-Coat. Thank you very much in advance. Every advice is very appreciated

Hey guys, Here's my Steampunk inspired vehicle, I modeled everything using 3D Coat's Sculpt Room. Once the model was finished it was around 6-8 million poly. So I retopologized it in 3D Coat and managed to get it to about 39K poly and was really impressed. After which I textured it using the Paint Room and smart materials and rendered within the Render Room. Everything was done within 3D Coat. I'd wanted to try connecting a mix between a go-cart style unibody and a one wheeled motorcycle. Thanks for checking it out. :)

So I'm in the Render room, and mysteriously it puts an excessive shadow on something that it shouldn't. I've tried re-importing the model and the associated textures. I have a separate 3D coat file with just the numbers, and it renders just fine! I also axed the frame that surrounds the number, just in case some invisible part of it was casting a shadow (Spoiler alert: it wasn't). So maybe you guys have encountered this before. While you guys deliberate, I'm going to try using the non-cuda version and checking my topology on everything again just in case there's some invisible polygon getting all rapey on my shadows. .

Hello, I am working on a Pseudo-3D game which resembles Diablo 1. I am using the renders from 3D-Coat to complete my project. As you may already know, Pseudo 3D is still 2D but the camera angle is NorthEast and pivoted approximately 30 degrees from the top of the characters head. I have found the Render in 3D Coat to be extremely easy, however I find it near impossible to render perfect angles because I am terrible at adjusting the click and move angles. Is there a tab that I am missing that has the coordinates to adjust the camera that I can just plug in? I can't seem to find it if so. Thank you for your time, James Wick

Hey all, So I made a low poly model in the retopo room ( to test out the technique shown in this video ), used Retopo-> Per Pixel (no baking), painted it and looked at it in the render room. As you can see, a pretty cool aliasing occured (alisaing 1)....Same when I exported the object and rendered it in marmoset (aliasing 2) Anybody has an explanation?

Does anyone know how to export your medium-high poly voxel/surface model with vertex colour info intact - and render this model within Blender, with as near to identical results as you would find in your 3D Coat viewport? [ PBR Materials/ Colors / bump info / gloss info etc etc ] This would be great if possible - in many situations I dont need to rig or animate a model, so low poly version is unnecessary - this would speed up modelling/painting/rendering process massively!

Hey colleagues, Anyone looking for a OTOY Octane render licence ? Selling my beloved standalone licence v.2.x, since im not working in the field anymore. The price of this baby is 200 €! Send me a P message if interested! Cheers

I've very recently started playing around with 3D coat. Now I've finished texturing my first model I've hit an issue. The image on the left is how i see it in 3D Coat and the right is after i have rendered it in 3DSmax. It seems to have lost a significant amount of detail and a lot of the spec I'm using the default scan line renderer in this image in max but have also tried VRay and had the exact same result. Can anyone give me any pointers as to what i am likely doing wrong? I've basically spent the entire day trying to figure this out and feeling a bit fried. (we've all been there) Any help gratefully received. http://sta.sh/0c2rmylhn6j

Hi everyone. im new to this application but loving its functionality rather then other mapping & baking softwares. i managed to stumble across a way of baking all the specular, < shine and lighting & also the ambient occlusion maps into one image but i havent managed to find a way to do it again with other models. reasons behind i would like these textures to be baked with predone lighting ect. as seen in the preview window is because where the models will be placed do not allow me to have individual maps for the model just one texture file thats all i get.. thank you secondlife... i know there is a way to bake exactly what you see onscreen to the uv layout... but i am struggling to figure it out again any help would be fantastic Great program none the less guys! keep up the amazing work!

I believe that the best way to get this PBR painting would be with something that could let you visualize better what you are doing. The PBR painting is EPIC, no doubt! but, its rather difficult to see how its looking if the onbord render engine wont work with it. Why not step it a bit further like in Substance Painter/ Marmoset Toolbag?

Source http://www.polycount.com/forum/showthread.php?t=136390 --------------------------------------------------------------------------

In the render viewport when you select a light colour it gives you the exact opposite of the colour you choose. This is using the HSL1 colour picker. I have tried others and they all give the same value. However it's not quite so simple as that. If you choose pink at the NE setting of the hue wheel you get the correct colour. Equally if you choose green in the SW quadrant it seems to be correct. Other positions are not the colour you choose. I am using 4.0.04A on a Mac Pro with Mavericks 10.9.1

Source http://io9.com/disneys-new-rendering-technique-could-usher-in-a-new-e-1467435361 Link to the paper http://www.disneyresearch.com/wp-content/uploads/Project_jis_sigasia2013-paper.pdf An animation studio can spend days rendering a scene that features water, smoke and other substances that affect light (and its simulation) in complex ways. Now, a team led by Disney Research Zürich has developed a computational algorithm that can reduce rendering times for such scenes by a factor of up to 1,000. Animators call substances like smoke, fog, water, mist, and dust "participating media," due to their tendency to deflect or scatter light as it travels the distance separating its source from the camera (the shafts of light visible in the upper right hand corner of the Monsters University screenshot featured above are a good example of how we perceive illumination in the presence of participating media.) Existing rendering algorithms account for participating media by randomly sampling potential paths that light might take through a scene, and then averaging the results. But the number of potential paths is usually quite numerous, and many of these paths will often have little or no effect on the look and feel of the final animated sequence. Imagine, for example, a path that intersects with an object in the scene that blocks the light entirely, or a light source that is too distant from the camera, or separated by too much dense fog, to be seen at all. Calculating paths like these are not only a waste of time and processing power, they can also introduce unwanted effects in the animation. Getting rid of these unwanted effects, of course, winds up taking even more time, and introduces still further opportunities for rendering errors to emerge. Expand Above: The interaction of light and dust in a rendered scene from Zero Dark Thirty, via fxguide.Now, a team led by Disney Research scientist Wojciech Jarosz has developed a method called "joint importance sampling" that efficiently identifies which paths of light are most likely to contribute to what the camera actually sees. As its name suggests, the algorithm helps sort out which paths are important to include when rendering the final scene, and which can be excluded. The researchers will present their findings this week at the this year's ACM SIGGRAPH conference in Hong Kong. Researchers have looked into the use of importance sampling (IS) techniques in the past. Some of the most sophisticated methods rely on a bidirectional process that traces potential light paths not just from the light source to the camera, but from the camera back to the light source. Traditionally, however, bidirectional techniques have sampled the light-source–>camera and camera–>light-source paths independently. Jarosz's team's joint importance sampling method, in contrast, identifies potential light paths with mutual knowledge of both camera and light source locations. The result, the researchers claim, is a boost in efficiency that reduces rendering times while improving animation quality. Expand In the figure above, the results of the team's joint importance sampling method is contrasted with traditional techniques for both unidirectional and bidirectional path tracing. The boxes along the bottom of the images show close-up views of the scene. The relative lack of noise highlights the improved accuracy of Jarosz's team's sampling method."There's always going to be noise," said Jarosz in a statement, "but with our method, we can reduce the noise much more quickly, which can translate into savings of time, computer processing and ultimately money." It could also add considerably to the creative process itself. "Faster renderings allow our artists to focus on the creative process instead of waiting on the computer to finish," Jarosz explains. "This leaves more time for them to create beautiful imagery that helps create an engaging story." In an exhaustive two-part essay on the latest trends in the VFX industry (which goes into much greater detail than I can provide you), fxguide's Mike Seymour cites from a speech delivered by Jarosz earlier this year, and highlights how novel techniques like joint importance sampling could help pave the way to a new era of animation: [in "The Perils of Evolutionary Rendering Research: Beyond the Point Sample,"] the keynote by Jarosz at EGSR 2013, [Jarosz] argued that the way "we approach many difficult problems in rendering today is fundamentally flawed." Jarosz put forward the case that "we typically start with an existing, proven solution to a problem (e.g., global illumination on surfaces), and try to extend the solution to handle more complex scenarios (e.g., participating media rendering)." While he feels that this "evolutionary approach is often very intuitive," it can lead to algorithms that are significantly limited by their evolutionary legacy. To make major progress, we may have to rethink (and perhaps even reverse) this evolutionary approach." He claimed that "a revolutionary strategy, one that starts with the more difficult, more general, and higher-dimensional problem – though initially more daunting, can lead to significantly better solutions. For more information on joint importance sampling, visit Jarosz's team's research page. For more on how joint importance sampling fits into the broader field of visual effects, I highly recommend "The State of Rendering," Seymour's comprehensive overview of the latest trends in VFX, including, most notably, the industry-wide push to achieve increasingly plausible shading and lighting.