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Found 17 results

  1. Hello. I have a problem with appearing normals (shadows on the surface). I am sure that i am doing something wrong in the topology. Please one of the good modellers can tell me what i doing wrong and how solve that to make smooth normals? I've also attach two screenshots that showing the problem.
  2. If you are still struggling to model characters with the best topology for animation, then you should check out this tutorial series. There are 5 amazing videos. Here is the first video in the playlist. Enjoy and Learn.
  3. Hi everyone, this is a WIP and not (yet) official guide, I'm working on a tutorial that might be clear-cut method from start to finish. You can leave a comment if I'm missing something, or point out an error. Some information is entirely my own understanding, some may have been used from your own posts etc Subheading: PaintRoom --> Retopo Room --> Bake to MicroVertex --> Bake Displacement to Lowpoly mesh This Article discusses the the complete workflow(s) from model creation to Baking both Material maps and mesh of your Highly detailed Per Pixel Painting, Microvertex and Ptex Projects using Smart Materials that utilize displacement maps. 1. Displacement Topology - Preparing your model: Voxel meshes are ideal for displacement due to uniform faces that prevent painted textures on the surface from stretching and other glitches. It's also very important that your models don't contain hard edges otherwise faces will likely mix into each other creating distortion. If you need high performance in your 3D application, tris are best for game engines due to efficiency, performance and file size but Micro Vertex working with tries can create artifacts. Using Quads with Microvertex maybe more ideal to paint characters and in general quads are preferred for smoother surfaces and better deformations for animations. For Film & Game Engine Optimization that uses Automatic Frustum & Occlusion culling, plan your model. Large objects such as cliffs or walls can hide/disable other parts or areas not seen by the camera or animation viewport, so it's ideal to slice the model in such a way as allowing parts to be automatically hidden to speed up Renders and Game Performance while making visible and focusing only on what the camera actually sees. There is an essential rule of mesh resolution that needs to be followed and that is that your lowpoly model needs enough resolution initially to be subdivided from. The reason is that your model could likely be full of cracks in other programs when displacement maps are applied, it doesn't have enough actual geometry to deform (even with tessellation) You will see that smooth mesh by subdivision helps but may not fix the problem, the model needs enough resolution from the beginning of the paint job. There are a few methods of preparing your model for painting and we have it numbered from best to least under: Displacement Topology -Preparing your model, UV Mapping, Painting and Baking the Mesh. (1) Per-Pixel-Painting Topology: Ideal for landscapes -use meshes with tries (can be set upon import) Import a low poly mesh, in the menu set to "Triangulate" if using quads, set UV to "keep UV" , Subdivision can either be 0 of you want to use tessellation instead while painting (faster but lower smooth quality) or use "subdivide" (higher quality but slower to paint) If you use Subdivide 3DCoat may automatically choose a medium setting which may be sufficient. You can always add tessellation to each of your paint objects (models) later. Choose "full smoothing" if you want accuracy using Smart materials that use height maps. (2) Ptex Topology Method Topology: Ideal for Characters using quads. Upon New Ptex project topology, import model, choose" Auto-Retopo with Ptex". -It will do the the retopology for you and then send you directly to Ptex painting. (3) Micro Vertex Topology Topology- Ideal if you have to use models with quads for quality Character deformations in animations. -unless it's best and safe to convert them to tris upon import and simply export the maps but the maps might have to be exported for quads. UV Mapping: Manual UV tip: Best approach to avoid glitches is to cut UVs in a grid with straight lines, Voxel topology makes areas to cut easier to identify. Cutting into grids has equal/balanced pull on the vertices in all directions. To get more detail especially with landscapes that don't need organized UV islands, aim for islands to be square or rectangular and aligned vertical or horizontal. The more UV space filled in the better. Automatic UV Method: (1) Using Per-Pixel-Painting Mode: (Community input required for the general consensus of the best UV creation in 3DCoat -ideally with parameters that are used in the manual UV creation process) (2) Using Ptex Method Mode: The Ptex Paint method provides automatic UV mapping upon export. (3) Using Micro Vertex Mode: (Community input required for the general consensus of the best UV creation in 3DCoat -ideally with parameters that are used in the manual UV creation process) Painting Tip: When painting displacement closer to less rounded edges, reduce Depth value to approximately10 or lower, paint and test, undo, reduce or raise value, paint and test etc. Some Smart Materials contain AO, after selecting one that has AO maps you will be asked if you want to generate an AO layer because the smart material requires it. This is optional, It might be better to keep your project light, and bake AO at the end of your painting but painting with AO can help you see details better and know what you're getting right away. You can create and edit your smart materials to fine tune it. Learn about creating Smart Materials Here (You can create Smart Materials in any existing or empty project) (1) Per-Pixel-Painting: is currently the Best Method to paint Smart Materials using displacement, to understand why, visit this link (2) Ptex Painting: Since Ptex and Smart Materials have been made compatible with each other, more investigation is needed to determine if it's more advantageous over Per-Pixel-Painting but at this time it uses Quads but can it be exported to tries and still look good? (Community input required for this for the general consensus) (3) Micro Vertex Painting: Since Micro Vertex and Smart Materials have been made compatible with each other fairly recently more community input is required to determine the benefits. *Micro Vertex is compatible with creating displacement maps and "in theory" is compatible with Vector Displacement Smart Materials which should open the door to paint complete whole Colorful photo-scanned models but Smart Materials may or may not yet have added Vector Displacement Map Compatibility. A Smart Material with Vector maps maybe the first of its kind to produce Vector Displacement and Color at the same time. Baking Displacement to low poly to reduce the need for high tessellation in other 3D applications -WIP This wasn't the workflow in the past. Generally Displacement maps are created from the differences between the original and the high poly version (which is what you want) however, this is just for creating the correct displacement maps. During your painting with displacement maps used in your Smart Material, as it changes the vertex positions in the high poly it also changes some in the low poly. Bake To Hi Poly Mesh (1) Using Per-Pixel-Painting Mode: bake the displacement into a newly created high poly mesh added to a layer in the paint room using "Bake sculpt mesh onto paint room mesh" (Top Menu Under Bake) Exporting Textures: Normally when exporting textures with subdivision levels, layer o must first be selected. The (1) Using Per-Pixel-Painting Workflow: (2) Using Ptex Method Workflow: (3) Using Micro Vertex Workflow: Bake Displacement -To-Lowpoly Mesh: (1) IF you're using "Per-Pixel-Painting" send to: Retopo Room, choose "bake into scene Microvertex" then bake sculpted mesh to sub-D (you set it with option menu when bake) + displace applied mesh in paint room as polygon group name layer. (real deform high polygon mesh) (2) IF you're using "Ptex Painting" send to: The Ptex Paint method provides automatic UV mapping upon export. (3) Send Micro Vertex to: Different Displacement painting methods and evolution - what you need to know before you decide your workflow: https://3dcoat.com/wiki/index.php?title=3.1_Per_Pixel_vs_Microvertex Methods of Setting up Displacement in external applications Using traditional Methods - Adding extra geometry to instruct the shader or the program to add more vertex points and positions 1. Tessellation - Set tessellation level only as high as the details need to be. Tessellation can come in two common forms; 1.Distance-based that offers Level of detail (LOD) on the model the closer it is to the camera and 2.Full tessellation (currently used in 3DCoat) 2. Smooth mesh By Subdivision - Subdivision like full tessellation offers no ability for LOD, meaning it's going to reduce performance but like tessellation you can increase or decrease levels. It's the best visually and if tessellation doesn't close cracks due to lack of geometry, smooth mesh by subdivision might fix that. This mode is also incompatible with some GPU Renderers like Iray and will greatly slow it down. Your application may let you combine both methods; "Smoot Mesh By Subdivision" and "Tessellation." Generally using Level 1 of "Smooth Mesh By Subdivision" and "Tessellation" level between 1-2 gives optimal results for rendering. Emerging No Extra Geometry Methods 1. Screen Space Displacement mapping (SSDM) - Some initial experiments from developers have shown real-time game play of 500-1000+ FPS in Unity from the developer "Oddity Interactive" (Using the performance heavy photo-scanned RD-Textures was more in the 400 FPS range) Another Example
  4. Hi I'm working on a 3d coat to modify a model topology with a quad remesher in Blender. There is a green line like the attached image. What does this mean? I don't think the edge was cut, nor the line that cuts the uv, but I don't know what it is. The 3d coat version in use is 3d coat 2021.03
  5. So I'm using the Strokes tool: and I'm drawing lines with my mouse/tablet pen like this: Now sometimes I accidentally make a straight line by clicking OUTSIDE the object and dragging but I want to do it within the bounds of what I'm retopo-ing. How is this done? Note: I know to use Shift for 45 degree and straight lines but this isn't what I want in this particular case!
  6. 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
  7. Hi there, I'm about as beginner as it gets when it comes to 3D Coat and I'm currently exploring the AUTOPO tool. I've watched a few tutorials and read a few guides but I'm still getting some sloppy results and was wondering if anyone would be able to offer some advice on where I'm going wrong. Here is an album including pics of my original model with the strokes I used, the best AUTOPO results I could get, the settings I am using aswell as the original mesh within 3ds Max. As you can see the topology I am getting is quite messy and one of the feet is basically missing. I also tried to use a symmetry plane but whenever I click the button nothing happens. Any sort of help would be much appreciated, thanks. Also in case anyone was wondering I am aware the model is lacking a neck, eyes and mouth because on the final model they will be obscured by a large beard and eyebrows so I never bothered modelling them .
  8. Hi guys! So i have some small issues, where ever i try to retopologize these meshes, some weird shit happends and it doesnt do it well! So i have used it a bit, and it has worked fine for other less complex stuff. So i know i would get some work here, at some point i got it fine, non the less, alot of bad topology! So, its probably just me doing something wrong! I tried jucing up the different settings, and yeah, but the thing is this: I took it into maya (3d model animation software) and seperated all meshes, removed them, closed holes and took it back, got then the result from the seconds picture! Which was better.
  9. Hi people! There is one thing i hate - when im working with a topology i often drag its' points. In 4.5 release dragging mode been changed (img submitted). Is there any way to disable this "jumping" of points?!! Disabling snapping mode is not appropriate 'cause the points start fly away from the surface. Thanks for support!
  10. Hello, can a fellow mud-box user tell me how i export a high poly mesh from 3DC to mud box with correct topology? (so i am able to subdivide it in mudbox)
  11. Hi again! Im not sure if my problem is a regular bug but i got it happened not once! After creating some topology on a voxel model i decided to make some changes to a voxel model and made it. When i return to my Retopo room i see my retopo mesh is broken and replaced to noone knows where... The only way to fix it that i found is to import old retopo mesh from previous saved file. So, if its a regular problem, is there any way to add some kind of block to retopo groups to prevent any changes if i am done here? thanks! Its my little wish to creators
  12. Hi everyone, Very newb question- I have been retopologizing a character with different parts, head, body, hands, hat etc and I don't understand the reopo group layers. I read the information in the pdf but it didn't answer my question. How do I get a piece of new topology created hidden, so I can retopo a part that is underneath? Thank you in advance Martian Girl
  13. Added minor details and retopologized the model. Let me know what you think of the topology flow for a game. If anyone is interested I am involved in a game development project; small team and early stages. Skyward Haven http://www.drakeprism.com/signup/
  14. For games where the model will be converted into tris and use a texture and normal-map, Is it more efficient to use separated topology like this (22 tris) Or joined topology like this (28 tris) ??? and why
  15. I saved my project , and when i came back to it the green coloured re-topology is now just black line which i cant join/atactch more topology to. how do i change it back?
  16. I have been playing around with the retopo and autopo tools with some success on organic shapes but seem to be having problems with hardbody shapes. Could anyone help me with in particular maintaining good edges (sharp edges, 90degree beveled etc.) Thanks
  17. Hello all. I have a bucket that I made some time back with 3ds Max and brought into Mudbox. I painted it and render it out and put it into the UDK. It was OK for the time I had to do it, but now I want to try my hand at voxelizing it in 3DC and going through the motions. I have sculpted in details in the Voxel Room, but any time I Autoretopo this, it's aweful. Am I stuck with doing this one by hand? Voxelized Bucket: Autoretopo Problem:
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