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Found 102 results

  1. edaddio1

    Retopo editing issues

    I've been editing an existing retopo and saving my progress along the way. However, when I reopen the file, it is showing only the original version. My edits aren't shown until I use "delete edge" on it or click the retopo layer "hide" and "unhide" it. I'm not sure how to export my edited version. Any advice would be great, thanks
  2. Hey everyone, I wish I could use a 16-bit alpha in 3D-Coat. Before importing the 16bits alpha to 3D-Coat, I checked it and it really is 16 bits. Remembering that I saved this alpha in Tif format. So I created a cube of 500,000 polygons inside the Zbrush and exported the obj. I imported this cube into 3D-Coat. I used the same alpha in ZBrush and 3D-Coat. The result of this alpha in ZBrush is better than the result made within 3D-Coat as you can see in the image. Does importing the alpha (even if in tif) into 3D-Coat, will the program automatically convert the 16-bit alpha into 8-Bits? I can not understand this difference that is happening in the picture. I believe there is an error or bug happening in 3D-Coat when I right-click the alpha, a menu appears with options, when I choose "edit in Ext. Editor", I realize that the alpha is no longer 16 bits and yes 8 bits in the external editor. And when I choose the "Edit the 16-bit Tif" option a reading error occurs and instead of the alpha appears (no alpha) a dark square. I have already tested on Gimp 2.10.8, Krita 4.1.7, Photoshop CS2 and it always happens the same thing. Please, I would like to know what I could do to actually have a 16-bit alpha inside 3D-Coat? I'm attaching the cube and the alpha. Thank you alpha_and_cube500k.rar
  3. Hey Everyone! I'm trying to use Falloff to try to control Alpha's MidValue. I know that falloff is not for that. The result is a surface inflated inward or inflated outwards. To apply detailing on a character is virtually impossible, because there is no way to control the alpha on the surface of a flattened way, ie only the detailing on the surface without inflating and deforming the the surface of the character. If you do not use Falloff, the alpha will look rectangular step inward or outward. From what I know, there is no control to solve this within 3D-Coat. It is very complicated for an artist to use alphas to detail a character without having control of how the alpha will deform the surface of the mesh. If the user does not have a control similar to MidValue, it will be very difficult for the artist to perform his quality work within 3D-Coat and this will cause the artist to try to do his work in another program. And more complicated is the artist who has no knowledge of trying to fix the alpha in an external program just because of MidValue. Sometimes alphas textures (displacements) bought on websites when they are used inside 3D-Coat have the same IMAGE effects as I did (above picture) because there is no function inside 3D-Coat that controls Midvalue. And to be very honest with you, I do not know how to fix the Alphas in an external program, even though I know that 127, 127, 127 (gray) is the point of no deformation. I know it's annoying to say that, but unfortunately if I do not figure out a way to detail my characters inside 3D-Coat, I'm going to have to use another program for that. This makes me completely sad because I would like to do all my work within 3D-Coat because 3D-Coat is my main program. At the moment, unfortunately, I do not like to say this, but I have to agree with many other artists that I listen to that they use the competing program to detail their characters because they have the means to do so. The image bellow I'm trying to show the importance of MidValue to fix possibles problems with the alphas: I made this video to demonstrate to all of you why the MidValue function is essential and important. In the video, I show the difference of this function between ZBrush and 3D-Coat. Please watch and if you want to speed up the video so you do not get bored, just be aware of Midvalue values. In Video, in this example , when midvalue has a value of 0 in ZB it has the same result as FallOff of 3D-Coat with a high value, which results in the out-inflated surface. I already researched and I've done thousands of tests with the alphas to try to solve the MidValue problem and I could not. It knocks me down. Please, if anyone knows how to control Alpha MidValue within 3D-Coat, share it with everyone. Or point out a way to fix these alphas in an external program. Thank you for your attention and sorry for anything. I already sent emails to Andrew talking about Alpha's MidValue and whether there would be a possibility for users to have a similar function to control alpha. Please, if you agree with what I have said and demonstrated, send @Andrew Shpagin an email (support@3dcoat.com) asking for something similar to the midvalue function. This is very important.
  4. ebitz

    STRIK by Brom

    This is a 3d rendering of Brom's concept artwork "Strik" for his card game "The Dark Ages". Modeled in 3D Coat and Blender. All Texturing was done in 3D Coat using smart materials. Some baking done in Blender and some in 3D Coat. Rendered using Cycles, and posed using Rigify addon (Nathan Vegdahl, Lucio Rossi, Ivan Cappiello) inside of Blender.
  5. heymrwho

    Textures not looking right

    I recently bought 3D Coat and I've been having fun with it. The fun lasted until I exported the textures to Blender. The results I'm getting in 3D Coat are not the same I'm getting in Blender. The textures look stretched and the details are not there in Blender. I tried using Eevee, unwrapping in different ways and tried different export setups. Soo this is how it look on 3Coat and this is on Blender UVs and nodes and here is the export setup I hope is something I'm doing wrong and someone can help me out because its been frustrating
  6. Hi! I have made a 3d scan of a starfish using the real sense camera SR300. I used 3D System Sense software. It outputted an .obj and an .mtl filetype. I used blender to clean up around the model. Then, I exported it from blender to 3dcoat as an .obj filetype. In 3Dcoat, I fixed up the mesh and the texture. I exported it as an .obj file type and put it into unity, but the texture is missing. The texture is visible on the mesh in 3dCoat, but it is not accessible through the Texture editor. I am at a loss. Can anyone help me figure out how to recover my texture, so that I can export the mesh and texture into unity? texture editor doesn't show the texture.. XOif I turn off layer 1texture visible in 3D coat, but not accessible..... ;/ I would be REALLY grateful if someone can help me out! Thanks! Leona S
  7. ebitz

    Mighty Wings

    Been a while since posting. Model was done and rendered in Blender as well as smoke FX. All texturing was done in 3D Coat.
  8. Tiling Engine 'Sandbox Tiler' - Fill with Voxels ***Please support this idea on Trello*** I have had this idea of a system whereby we can create easily Tiling textures using Voxels ever since Andrew started working on the Alpha for V3. The easiest things to compare it to are Zbrush's Tiling Canvas or Corel's Painter Pattern making function where you paint and your brush will go off the edge of the canvas and wrap around to the opposite side. Therefore creating easily tiling textures without worry. The difference here being that you are using actual voxel geometry in 3DC instead of on just a 2D canvas. I mocked up 3 images using Silo & photoshop to help demonstrate what I mean by this. It should work in theory very much like the Tiling Grid from the start up screen if you've ever used it. Advantages for using Geometry instead of painting bump (the two can be used in conjunction - paint high detail bump at the end of the process) -You can get a much nicer normal map that works better with game lighting engines. -You can extract an exact tiling 32Bit Displacement map for high resolution rendering. -Visualising the placement of objects in 3d space (e.g. overlapping bricks, grout, moss in cracks on different layers etc.) -works with Merge Tool -works with all Tools & Brushes -exactly replicates states of point cloud & surface that wrap around at the extents of the sandbox. Let me know what you think as I can imagine this would be of a lot of use to artists creating Tiling textures for games/film. p.s. Just realised how 'Tomorrow's World' this request is. Maybe by 3DC V4 or V5
  9. LucaFox

    Substance Designer + 3DCoat?

    Hi guys, I hope the question doesn't sound too silly, in that case, pardon me for my noobness! As you know I'm still relatively new to the software, and in these days I'm studying the smart materials abilities of 3DC. My two questions are very simple and straightforward: - Can I create smart materials/materials in Substance Designer and then import and use them in 3DC? - Does it make any sense? I mean, does 3DC smart materials editor has any flaws or lack, or I can just craft the craziest, cartoonish or hyperrealistic materials? Thank you for your time! ^-^
  10. Hello guys, I love using 3D coat to retopo, UV and texture. I just have an issue on 80% of the models I work on with "symmetry". It will be working great, then out of nowhere later into the project it seems like all the polys snap to the symmetry axis plane... What causes this to happen, how can I prevent/stop it from happening and how can I fix the retopo after this happens. Once I turn off symmetry, the original half goes back to normal, but I can't use symmetry on it again unless I export, import. Did I just answer my question or is there another way? Thanks!
  11. 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!
  12. All environment pieces & level I did for The Burning Descent VR, for RyseUp Studios are here, the game run under Unreal Engine 4. I also helped on other fileds such as VFX art ( a little but super fun moments ! ), ConceptArt, Animation ( rigging & posing only for special purpose ) and Character's textures. I used 3DCoat for mostly everything except for stencils/Brushes creation ( PS ) with custom smartmaterials ( same used on SWR project =) ), ZBrush for all of those canyon rocks ^^ 3dsMax for all Lowpoly's and plenty of highpolys ( mostly when not organic ) MightyBake for baking. Special thanks to Anthony Daneluzzi, Fantin Gislette, Alexandre Cheremetieff, Jonathan Belot, Laurent Dessart, Guillaume Zannoni, Maxime Teppe, Coralie Bruchon, Adrien Chenet, Milen Ivanov, and evryone who helped bringing this game to life ! I really enjoyed working with all of you and I hope we'll keep teaming'up like that in the future =) The Burning Descent is a VR Game made@ RyseUp Studios in Lyon Full project here ( + viewers of each asset and some scene ) : https://www.artstation.com/artwork/ryzzm
  13. Hi all ! Here's some stuff I worked on for The Burning Descent, an upcoming VR Game made @ RyseUp Studios, Lyon ( FR ). I worked on Coralie Bruchon's Baked 3D Models directly and only on 3DCoat ( still a GREAT pleasure to work on this software, I ♥ you guys for giving us this source of inspiration and good feelings =') ), with sutff I already used on StarWars - Redemption ( such as brushes, smartmaterials, deveopped along StarWarsRedemption's evolution ). I had to unify their look with the Environment I was responsible off during the whole prod, so here we go guys ! Thor'Axe - ( High/Low/Uvs/Bake ) was made by the talented artist Coralie Bruchon ( https://www.artstation.com/artist/longsharp ). Anthony Daneluzzi made his weapons from A to Z, and I did the Chest + all PBR textures/Rig/Posing mostly with 3DCoat/Akeytsu. Full Project's here : https://www.artstation.com/artwork/eyV9w Reyna - ( High/Low/Uvs/Bake ) was made by the talented artist Coralie Bruchon ( https://www.artstation.com/artist/longsharp ). I did the Guitar/Skull + all PBR textures/Rig/Posing mostly with 3DCoat/Akeytsu. Full project's here : https://www.artstation.com/artwork/yGZ6O SenPai'n - ( High/Low/Uvs/Bake ) was made by the talented artist Coralie Bruchon ( https://www.artstation.com/artist/longsharp ). Anthony Daneluzzi made his weapons from A to Z, and I did the PBR textures/Rig/Posing mostly with 3DCoat/Akeytsu. Full project's here : https://www.artstation.com/artwork/qzZER More stuff coming soon ! =)
  14. artofcharly

    Forester fantasy world

    From the album: Fantasy World

    Hello, everyone! I want to show you the new project on which I worked in my spare time. This is the fantasy world for my forester creature. For the fast rendering I used: 4*Dual Xeon e5 2670 2,6 GHz - 128 Threads + 1 Intel Core i7 4930K 3,4 Ghz 12 Threads. on the Forrender.com Render time - 58min. Noise - 3% - enough for the final image By the way, who will give the promo code - cgevent to our forrender.com managers - you will receive a 15% discount for render.
  15. Vexod14

    e-LysE | Origin

    From the album: e-LysE

    Default Skin full project + viewers : https://www.artstation.com/artwork/0g0rK A character I did for an unfinished project, but I may use her in another one after some little tweaks... High+Low polys/Uvs done with 3dsmax, Baked with MightyBake, 4K PBR maps all made on 3D-Coat with StarWars-Redemption's SmartMaterials, rig/skin/posing with Akeytsu, rendered with Marmoset Toolbag 3.

    © Vexod14 | Etienne Beschet

  16. Vexod14

    e-LysE

    From the album: e-LysE

    e-LysE - full project + viewers : https://www.artstation.com/artwork/0g0rK A character I did for an unfinished project, but I may use her in another one after some little tweaks... High+Low polys/Uvs done with 3dsmax, Baked with MightyBake, 4K PBR maps all made on 3D-Coat with StarWars-Redemption's SmartMaterials, rig/skin/posing with Akeytsu, rendered with Marmoset Toolbag 3.

    © Vexod14 | Etienne Beschet

  17. Vexod14

    e-LysE | IronGirl

    From the album: e-LysE

    "IronGirl"'s Skin full project + viewers : https://www.artstation.com/artwork/0g0rK A character I did for an unfinished project, but I may use her in another one after some little tweaks... High+Low polys/Uvs done with 3dsmax, Baked with MightyBake, 4K PBR maps all made on 3D-Coat with StarWars-Redemption's SmartMaterials, rig/skin/posing with Akeytsu, rendered with Marmoset Toolbag 3.

    © Vexod14 | Etienne Beschet

  18. Vexod14

    e-LysE | Insurrection

    From the album: e-LysE

    Insurrection's Skin full project + viewers : https://www.artstation.com/artwork/0g0rK A character I did for an unfinished project, but I may use her in another one after some little tweaks... High+Low polys/Uvs done with 3dsmax, Baked with MightyBake, 4K PBR maps all made on 3D-Coat with StarWars-Redemption's SmartMaterials, rig/skin/posing with Akeytsu, rendered with Marmoset Toolbag 3.

    © Vexod14 | Etienne Beschet

  19. Vexod14

    e-LysE | Dragonfly

    From the album: e-LysE

    DragonFly's Skin full project + viewers : https://www.artstation.com/artwork/0g0rK A character I did for an unfinished project, but I may use her in another one after some little tweaks... High+Low polys/Uvs done with 3dsmax, Baked with MightyBake, 4K PBR maps all made on 3D-Coat with StarWars-Redemption's SmartMaterials, rig/skin/posing with Akeytsu, rendered with Marmoset Toolbag 3.

    © Vexod14 | Etienne Beschet

  20. Vexod14

    Reyna

    From the album: TheBurningDescent | Characters

    The Burning Descent | Barbarian - Reyna Reyna ( High/Low/Uvs/Bake ) was made by the talented artist Coralie Bruchon ( https://www.artstation.com/artist/longsharp ). Anthony Daneluzzi made her weapon from A to Z, and I did the Guitar/Skull + all PBR textures/Rig/Posing mostly with 3DCoat/Akeytsu. I used 3DCoat for mostly everything except stencils/Brushes creation ( PS ) with custom smartmaterials ( same used on SWR project =) ) Special thanks to Coralie Bruchon, Adrien Chenet, Alexandre Cheremetieff, Maxime Teppe, Anthony Daneluzzi, for your feedbacks ( especially about skin tones ;) ), it helped me so much ! The Burning Descent is a VR Game made@ RyseUp Studios in Lyon

    © RyseUp Studios

  21. Vexod14

    Reyna

    From the album: TheBurningDescent | Characters

    The Burning Descent | Barbarian - Reyna Reyna ( High/Low/Uvs/Bake ) was made by the talented artist Coralie Bruchon ( https://www.artstation.com/artist/longsharp ). Anthony Daneluzzi made her weapon from A to Z, and I did the Guitar/Skull + all PBR textures/Rig/Posing mostly with 3DCoat/Akeytsu. I used 3DCoat for mostly everything except stencils/Brushes creation ( PS ) with custom smartmaterials ( same used on SWR project =) ) Special thanks to Coralie Bruchon, Adrien Chenet, Alexandre Cheremetieff, Maxime Teppe, Anthony Daneluzzi, for your feedbacks ( especially about skin tones ;) ), it helped me so much ! The Burning Descent is a VR Game made@ RyseUp Studios in Lyon

    © RyseUp Studios

  22. Vexod14

    Reyna

    From the album: TheBurningDescent | Characters

    The Burning Descent | Barbarian - Reyna Reyna ( High/Low/Uvs/Bake ) was made by the talented artist Coralie Bruchon ( https://www.artstation.com/artist/longsharp ). Anthony Daneluzzi made her weapon from A to Z, and I did the Guitar/Skull + all PBR textures/Rig/Posing mostly with 3DCoat/Akeytsu. I used 3DCoat for mostly everything except stencils/Brushes creation ( PS ) with custom smartmaterials ( same used on SWR project =) ) Special thanks to Coralie Bruchon, Adrien Chenet, Alexandre Cheremetieff, Maxime Teppe, Anthony Daneluzzi, for your feedbacks ( especially about skin tones ), it helped me so much ! The Burning Descent is a VR Game made@ RyseUp Studios in Lyon

    © RyseUp Studios

  23. Vexod14

    SenPai'n

    From the album: TheBurningDescent | Characters

    SenPai'n ( High/Low/Uvs/Bake ) was made by the talented artist Coralie Bruchon ( https://www.artstation.com/artist/longsharp ). Anthony Daneluzzi made his weapons from A to Z, and I did the PBR textures/Rig/Posing mostly with 3DCoat/Akeytsu. I used 3DCoat for mostly everything except stencils/Brushes creation ( PS ) with custom smartmaterials ( same used on SWR project =) ) Special thanks to Coralie Bruchon, Adrien Chenet, Alexandre Cheremetieff, Maxime Teppe, Anthony Daneluzzi, for your feedbacks ( especially about skin tones ;) ), it helped me so much ! The Burning Descent is a VR Game made@ RyseUp Studios in Lyon

    © RyseUp Studios

  24. Vexod14

    SenPai'n

    From the album: TheBurningDescent | Characters

    SenPai'n ( High/Low/Uvs/Bake ) was made by the talented artist Coralie Bruchon ( https://www.artstation.com/artist/longsharp ). Anthony Daneluzzi made his weapons from A to Z, and I did the PBR textures/Rig/Posing mostly with 3DCoat/Akeytsu. I used 3DCoat for mostly everything except stencils/Brushes creation ( PS ) with custom smartmaterials ( same used on SWR project =) ) Special thanks to Coralie Bruchon, Adrien Chenet, Alexandre Cheremetieff, Maxime Teppe, Anthony Daneluzzi, for your feedbacks ( especially about skin tones ;) ), it helped me so much ! The Burning Descent is a VR Game made@ RyseUp Studios in Lyon

    © RyseUp Studios

  25. Vexod14

    SenPai'n

    From the album: TheBurningDescent | Characters

    SenPai'n ( High/Low/Uvs/Bake ) was made by the talented artist Coralie Bruchon ( https://www.artstation.com/artist/longsharp ). Anthony Daneluzzi made his weapons from A to Z, and I did the PBR textures/Rig/Posing mostly with 3DCoat/Akeytsu. I used 3DCoat for mostly everything except stencils/Brushes creation ( PS ) with custom smartmaterials ( same used on SWR project =) ) Special thanks to Coralie Bruchon, Adrien Chenet, Alexandre Cheremetieff, Maxime Teppe, Anthony Daneluzzi, for your feedbacks ( especially about skin tones ), it helped me so much ! The Burning Descent is a VR Game made@ RyseUp Studios in Lyon

    © RyseUp Studios

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