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Found 20 results

  1. Hi, Still a newbie to 3dcoat, sorry in advance if this is in the wrong place to post this question. I have a few questions, I am not sure if my workflow is correct. What I normally do is take a decimated version of my high res sculpt into 3DCoat as a reference mesh, then I retopo it, I do the uvs from the retopo room and export out as an obj. Normally that has been working fine. I recently had some issues as the obj wasn't working for me with something else so I had to change the export to fbx to go into my other programme. My issue is that I have one model and I need 4 uv maps, which I created and named. so i exported out the retoped model as an fbx but when I took it into sub painter (version 1.71) the uv maps were broken up into lots of different parts.... Could someone point me in the right direction with the uving, I have watched multiple tutorials but still can't see the answer I need. Am I missing a step in the process with uving? Thank you in advance.
  2. Hi, I bought 3D coat based on a peer recommendation for its retopology/UV tools. Is there a good and thorought guide on how retopology and UV tools work in 3D coat with an import from Zbrush? I searched a bit on youtube and found some but not knowing if these are using the latest version of 3D coat I'm not sure if they're relevant. Any recommendations?
  3. I'm trying to unwrap a UV of my model so that I can bake it and bring it into Maya. But I'm not sure of the process needed to do this. Any help would be appreciated Thanks
  4. Hi! I´m trying to achieve the following process: 1. I have a character build out of several mesh-parts. Some of the extras intersect the main mesh. Each Mesh has a good topology+UV and is well textured with diffuse, normal maps etc. 2. Now I need this multi mesh character fused into a single mesh with no "inner parts" just one single closed shell mesh. 3. While fusing I want to keep as much of the old topology as possible, as it is a well made topology. Perfect would be if only the new connection meshes that are necessary to build the new shell mesh are fused into the existing ones. 4. I want to bake the different UVs into one and keep all textures incl. normal maps etc. in there original place fitting to the new fused shell mesh. Now my questions: 1. Is this process achievable in 3dcoat (or another tool)? If yes then are there any tutorials on that or what are the main steps/functions to use? 2. If not all of the wishlist is possible, which of the steps are possible? And for the non achievable parts: Are there workarounds? Thanks! Sascha
  5. 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
  6. Hello, I've been using 3D-Coat for a good while now but I've never run into an issue quite like this. When I import this particular model that I've been given to texture, I noticed that there were these strange diagonal bands in the texture editor. I didn't think much of it at first but when I paint with depth information, the depth gets applied at maximum strength when inside these bands regardless of what the brush strength is. This only seems to happen with this particular model. I've included the .obj version, but I can't figure out what aspect of the model may be causing this. The bands don't seem to correlate with any of the edges on the model. There is only 1 UV set on the mesh (I've checked it in 3ds Max, Blender, and Maya, all showing the same thing). The problem occurs regardless of whether I export it as a .fbx or a .obj. This problem occurs with this model in both 3D-Coat 4.5 and 4.7 regardless of the texture resolution I specify when I import the model for per-pixel painting. Any ideas on what might be causing this? You help is much appreciated! HumanShip01_Arm.obj
  7. Hello all. I have a model I created in ZBrush, from which I made a "low poly" version (~60k faces) using ZRemesher followed by some manual editing in 3D Coat. I am using the latest stable version of 3D Coat, 4.7.24. Now I am trying to make UV seams on the low-poly mesh in 3D Coat so that I can texture it. I have it in the retopo room as a retopo object. I am trying to use the UV Mark Seams tool with the 'edges' selection, but even with with number of segments set to '1', I can mark, at minimum, 3 edges at a time, which automatically follow along the edge loops. Since this is my first time trying to make UV seams manually, perhaps this is intended for a reason I am unaware of. But there are points where I would like finer control if possible. Is this a bug, am I doing something wrong, or am I misunderstanding an aspect of creating seams that accounts for this 3 edge minimum selection? Thanks for taking the time to read my questions
  8. Here's something I came across. Solution was easier than I expected.
  9. Im using 4.7 and when I bring a mesh(symetrical) from Maya with good normals (and no inversed normals - also did freeze transformations so no black areas), do the UVing in 3d coat and take it back to maya I get blue shaded uvs along with the red shaded uvs. The red shaded uvs are from the duplicated and mirrored meshes. How do I make sure the all the uvs are blue shaded???
  10. I've looked for a solution to this but haven't found one yet. I'm not sure if it's a bug or an error on my part so I hope someone can shed some light on it. Thanks! If I import a normal map which was baked in Maya, this map looks fine. However, when I save and re-load the 3DCoat file the seams become apparent because the normal map has been modified. I'm guessing it's 3D Coat performing it's padding operation. But it seems the it's generating incorrect padding info for the a normal map somehow. I'm using version 4.7.06 DX64
  11. I'm finding that exporting a displacement map is not getting the results needed. As you can see in the picture from Blender, the displacement map is all pixelated and useless really -- it doesn't add any additional depth or anything. What am I doing wrong in this process? Here is my workflow: 1. Unwrap object 2. Retopo room > file > export retopo object 3. Retopo room > bake > bake into normal map for per pixel 4. Paint room > textures > texture baking tool 5. Input: Choose the .obj exported from step 2. Thanks much in advance! Here is a link to the .3b file.
  12. I'm sure this is a total newb question, and I apologize if the answer is really obvious. I've been watching a few tutorials on UV unwrapping as I try out 3D Coat, and all of them show the workflow for unwrapping as: 1. Import/sculpt the model. 2. Click the UV tab & start the UV unwrapping process. However, this doesn't work for me as I am never able to get to the second step. In multiple different files, when I click the UV tab nothing is there. I've look through all the menus I could find, tried converting from V TO S, and looked through Google for this answer and found nothing. Anyone know what's going on here? All help would be appreciated. Thanks much! Aaron
  13. See the attached image -- very helpful. As you can see, the mesh is unwrapped neatly, and there isn't much information on the layers, but they are still acquiring some kind of grungy artifacts (which don't appear to be from a low-res texture or something). I'm not using any alphas, just the standard brush, and no smart materials. Any idea what is going on & how to fix it? Thanks in advance! Aaron
  14. Hello everyone. My work flow right now is Maya LT -> 3D coat for UVs -> Unity/Substance designer/painter In Maya LT, i can click on an object, create the initial UV and then move to the next object. This keeps all UV's in the first set on the 0,1 space but it stacks them. This works well for unity because it allows me to texture things individually and at a larger UV space. What I'm wonder is, does 3D coat have support to work this way OR is there a plan to do so (maybe it's a feature in beta?)?? Right now, all UV's are stacked on top of each other in 3D Coat. I can't seem to find away to select on of the objects and just manipulate it's UV's separate of the rest. Unity doesn't have support for UV sets and i'm not quite sure about the support for UV tiles. I hope i was clear enough in my question, i'm pretty new to all of this. Thanks! -Jon
  15. Hello! Playing around with 3d coat for the first time, I've created a face in zbrush, and now I'm looking to retopo and uv it. I've managed to finish the retopo version (the retopo tools were VERY nice to work with) with x symmetry turned on, it looks something like this: Here's the part I'm unsure of. I'd like to "commit" to the symmetry, and have one full mesh. (Similar to doing a duplicate of the half, mirror, and merge in other 3d apps). I tried out hitting the "Symmetry" button, which gives me these results, as you can see some of the edges along the symmetry line are no longer visible: With the UV Mark seams too, I can highlight edges that should be there, but no visual feedback indicates I've selected anything. Selecting the edges I can see turn green. What am I doing wrong? Thanks
  16. Hey all, They just put up my new course over at Digital Tutors. Here's the link! http://www.digitaltutors.com/tutorial/1122-Retopologizing-a-High-Resolution-Sculpt-for-Games-in-3D-Coat I'd love to hear feedback! And thank you Pilgway for making such a great piece of software! Thanks for checking it out! -ShaneO
  17. Malo

    Alien Challenge Head

    From the album: Malo

    Head for the Alien Challange. Complede workflow timelapse. Sculpting, Retopo, UVs and Texturing. http://youtu.be/h_exNtRdW5M

    © Malo

  18. Hello folks. Does anyone know how to create multiple UV tiles in the UV Room and how to prepare the model for seamless texture painting when multiple UV tiles are present? Is it possible in 3D Coat?
  19. I'm working on mobile games and I usually have very small texture maps to use on my objects. 512x512 is the size I have to work with for my assets a lot of the time. Because of this, I'll use the polys of my objects and UV islands to get nice clean edges rather than drawing lines in a bitmap. For example, I would separate the UV island of an entire window to get clean hard edges around the edge of the window when it renders in the game engine. I do all of my retopo work in 3D-coat and I like painting my objects in 3D-coat as well but I'm getting a bit frustrated. I've been looking for a way to increase the edge padding around my UVs when I'm painting textures in the Texture Editor in the Paint Room. I'm talking about the bitmap edges around my UV islands in my texture, not about the space between UV islands when they're packed. As far as I can tell, there is no way to increase the size of the padding until I export the map. By default, the padding is set to 1 pixel I think. I want to be able to increase this padding when I'm painting, so my UV islands sit inside a solid color and don't have the color of the polys that they're next to bleeding onto my edges. See the attached images. Also, in the Texture Editor, it would be great if there were an option to "turn off" the respecting of the UV islands and just let me paint wherever I want as a plain old 2D image. Even in the areas where there are no UVs. Right now I have to export my map (say the diffuse map) from 3D-coat and then take it in to Photoshop and clean up the edges and add my own "padding" to the UV islands to get rid of the jaggy bleeding stuff. Even when I tell 3D-Coat to export the map with extra padding, the results aren't always that great and I still end up with jaggy edges and bleeding in some areas. I want to control this padding myself when I'm painting. Am I missing something? How do the rest of you handle this? I could just paint my map completely in PS but It would be faster is 3D-Coat. Bony
  20. Hello. I've just purchased 3D Coat after my trail ended. I have to say I tried the hell out of it and I'm very impressed with the software. Sculpting with voxels is something I've been looking for for a long, long time, ever since I saw Ken Silverman's Voxlap engine. While not directly related to 3D modelling or sculpting, it showed how powerful voxels might be. I never quite understood why nobody picked up the idea of using voxels for volume shaping and model detailing. And then there was light - I've stumbled upon 3D Coat! But enough of praising the app. I've been doing a hero character in 3D Coat lately and I'm a bit puzzled about the some aspects of the workflow. I would like to address a couple of questions to more experienced 3D Coat users. My character consists of several parts (body, tongue, a pair of tendons and two groups of teeth, each on a different VoxTree layer), so I'll be using several different materials after I import the retopologised model into Maya). I need those parts to stay on separate UV spaces and maintain proportions in relation to each other. I have already retopologised the volume and placed each part of the character on a different retopo layer. Unfortunately UVs from each one of them are bunched up together on a single UV space and I can't seem to find a way to separate them to different UV spaces. How do I do this? Does a voxel shader affect textures in Paint Room in any way, or is it completely ignored? There's a Layer 0 in the Paint Room. What does it contain? Looks like a geometry, but other layers (that were created with the Merge with NM command from Retopo Room) seem to contain geometry as well? Layer 0 can't be deleted. UV Room most of the time stays completely empty, even after I unwrap UVs in Retopo Room. It fills with content after I Merge with NM. Is it normal? Paint Room has me completely puzzled.
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