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Found 116 results

  1. Alexey Vanzhula

    About new Alpha and Brush systems

    Hi guys. Can anyone explain me about future alpha and brush systems. What are the advantages of rewriting them?
  2. Interuser

    Hair brush

    I think, that all program user need this brush couse of ZBrush has something like that.
  3. Hey Everyone! I was trying to find workflow information related to games and movies. So I found a video from a YouTube channel called Flipped ... I started watching and I heard the following comment: "... so the tools you're probably gonna have to learn here are first Zbrush. If you are character artist Zbrush is to go to tool. We have people asking cannot sculpt in Modo, Blender, 3D-Coat? Technically yes, practically NO! Zbrush is by far the most advanced sculpting tool here! " "Also because it's just become it is the industry standard..." As soon as I heard this, I still tried watching the video, but I stopped and I could not watch it anymore. It's not because I use 3D-Coat, but I've had a lot of feelings about what I've heard and I'd like to share with everyone. I can speak and give my opinion very credibly. That's because I've used ZBrush for many years and I've been using 3D-Coat for a long time. So I know exactly what I'm talking about. First, I was sad to hear that they say that 3D-Coat would be the last choice of tools when it comes to sculpture. And I know that other people also say that because I've already listened. Secound I was disappointed because ZBrush is not that far from 3D-Coat in relation to the sculpting tools and Brush system. Thirdly, I was upset , because if you do not know how to use a program properly, it does not mean that the other program is so superior. And probably, these people do not even want to give themselves the chande of sculpting on 3D-Coat. They are right in one thing, Zbrush has become the standard for the Industry. In 3D-Coat, I can make sculptures as good or better than when I used ZBrush. I do not see that gigantic difference between ZBrush and 3D-Coat. If a person thinks that just because he or she will use the ZBrush that will become a Rodin or Michelangelo digital is very much mistaken! Because the program will not sculpt for you! Zbrush began to develop first and has a great team. Of course in 3D-Coat the system of brushes and alphas can be improved. In the latest versions of 3D-Coat, @Andrew Shpagin has been improving the Sculpt Room, giving us tools that neither ZBrush has. In the near future of 3D-Coat, I'm sure @Andrew Shpagin will give us an excellent new system of brushes and alphas with features that will allow us an even more refined control of Brushes and Alphas. Because I use 3D-Coat every day to sculpt, I try to show and demonstrate to @Andrew Shpagin and the whole community the features that are important and that would make a big difference to our work. Maybe @Andrew Shpagin will listen to me, maybe not. I hope so! I know that sometimes I may be annoying for suggesting features and improvements, but I always have the mindset of wanting to see 3D-Coat be better than it already is! To complete my thinking, 3D-Coat's sculpture system is very good and the detailing system inside 3D-Coat is starting to have a brightness. The artist who wants to sculpt in 3D-Coat will have the same success as ZBrush. Just learn the tool and be happy. I know there's a lot going on, but I could not shut up this time! That is my honest opinion!
  4. Hi, I was wondering if the following workflow is possible: 1: Sculpt a model using voxels and/or surface tools. 2: Use Autopo to give a nice quad topology to the mesh. 3: From the Retopo room, send the retopo object back to the Sculpt room, so you can sculpt on the retopologized mesh. I guess a workaround is to export the retopo mesh and import it into the Sculpt room, but I hope that isn't necessary. Thanks, Metin
  5. supereasy1001

    Baking Errors

    This is from a sculpt and bake in 3dcoat. Notice to shading making to triangle obvious. Has anyone encountered this? Any help would be greatly appreciated.
  6. Okay, I throw my hands up. Calling for open advice! So I've been working on a weapon model and I drew up some reference, brought it into 3D-Coat, ready to do some voxel sculpting. Almost immediately I hit a brick wall. So here's what I'm trying to pull off. This is a screenshot of the sculpt shortly after doing a little cutting to match the silhouette. As you can see from the reference drawing, the sword's blade transitions from a thick depth at the back to a tapering edge at the front. My plan was to narrow that thick front plane down to a fine edge...you know, like any sword. Here's another image: The complexity of this edge is such that I have yet to find any great method of cleanly performing this operation. Pose tool, cutting off at specific angles, rebuilding the edge with curves, etc...all of these methods have been failures or felt really impractical. The only other thing I've been able to think of so far is just getting in there and free handing it to perfection. I went on a number of searches to find advice on blades, beveling in general, etc...I didn't turn up much help. I found a lot of advice on beveling, but none of the methods were quite adequate to recreating this exact geometry. Frustrated, I just went ahead and built the thing with traditional modeling. I'll put a shot of that up just as a further example of how I wanted it to look: But, the fact that I couldn't figure out a great solution to this really drives me crazy and I'm still trying to figure it out. I'd like to be able to rely on 3D-Coat from the ground up, since I really love the feel of working in it otherwise, but hitting such a hard wall right away on a pretty simple model made me feel like I ought to be using it in more of a secondary role. I'd love to see if anyone has any great advice here; anyone know how to pull this off nice and cleanly? Let me know if I can clarify anything for you.
  7. From the album: Artworks

    Sculpted in 3D Coat, rendered in Blenders realtime renderer Eevee.

    © Christoph Werner

  8. I had 4.8.25 and sculpt layers did not work for me. I downloaded 4.8.32 and sculpt layers still don't work. I made sure that I was using a surface model. Created two layers above layer 0. I named one Test A and the other Test B. I then selected layer A and drew a line. I did the same thing to layer B. When I cut the opacity down to 0 on either layer nothing changed on the model. I then cut each of the layers off and nothing happened. I made a new file started with a surface model and did the same thing. Still it didn't work. Is it broken or am I doing something wrong. layer_test_001.3b
  9. Hey everyone! My intention in creating this topic is to be able to contribute to the improvement of the Brushes, Alphas, Stencils and Textures system for 3D-Coat. Since @Andrew Shpagin commented that he was developing a new system of Brushes, then who knows, this topic could help in some way and at the same time you can comment, enrich and further strengthen this subject that is of the extrem importance for all of us who are users of 3D-Coat. I have sculpted a lot in 3D-Coat which is a fantastic program, especially in Surface mode and I can tell you all in all sincerity that I really missed a lot of important tools and functions during my work and I believe most of you too. Please do not misunderstand me, but on several occasions, I was a bit discouraged by the lack of tools and functions in 3D-Coat and thus making me take my work to other programs to be able to move on with my work. I know it's healthy to have a workflow that involves other programs, but honestly taking your work to ZBrush to be able to perform certain functions is very frustrating. In my head it does not make sense to have to get a ZBrush license just to complete my work that I do with a lot of affection inside 3D-Coat. So with this feeling, I would like to suggest and share some suggestions that could make a big difference in our work related to this area. Actually, it would be a lot of suggestions, but I'm going to get caught up in what seems to me to be the essential and really make a difference in our work. --------------------- So, shall we start? ----- 1) Alpha and Textures for 16 Bits: --> VERY IMPORTANT! I believe one of the major important steps for 3D-Coat would be the program to accept to work with alphas, stencils and textures with 16 bits. This will help greatly in the process of sculpting and painting taking the program to a level of excellence and would prevent the surface of the mesh from becoming strange through alphas and textures of 8 bits. Please see a quick comparison of the same Cube created in ZBrush with 500 thousand polygons and then this cube was imported to 3D-Coat for the application of the same alphas that were used in ZBrush. In this test, you can see that in all examples in 3D-Coat (located to the right), the surface of the mesh showed more noises, pixallated effect and generated some imperfections in the geometry of the mesh (bad geometry). The reason for this is because 3D-Coat only works with alphas and 8 bit textures that limits the program in the definition and quality when applied to the surface of the mesh, since 8-bit grayscale images which contain 256 gray levels. In ZBrush examples (located on the left) you can see that the surface of the mesh has a better quality, it has an excellent smoothing definition (not having the pixelated effect) and does not generate a geometry with problems on its surface, since 16- bit images which contain over 65,000 gray levels. In my opinion, 3D-Coat switching from 8-bit to 16-bit would give users an incredible and spectacular detailing power (whether in the area of sculpture or in the painting area) similar or even better than what we find in ZBrush. ----- 2) New Alpha Pallete: (These functions, if implemented, could be part of the Paint Room as well. ) I think 3D-Coat could improve a lot in the area of alphas. This suggestion for a new Alpha-related palette would bring the user important and useful functions as well as an instant preview for the user to observe the changes that would be made to the alpha being manipulated. -- Features and Functions: . Flip H: It would flips the alpha left-to-right, making it a mirror-image of itself. . Flip V: It would flips the alpha top-to-bottom, making it a mirror-image of itself. . Tiles H: The H Tiles would tile the selected alpha along the horizontal access. The H Tiles could have a different value then the V Tiles to would create unique tileable alphas. . Tiles V: The V Tiles would tile the selected alpha along the vertical access. The V Tiles could have a different value then the H Tiles to would create unique tileable alphas. . Offset H: The Offset H would offset the image horizontally. . Offset V: The Offset V would offset the image vertically. . Distort Image: The distort image would be the same found in the Preview Options of Stencils and Smart Material. This would works similar to liquify brush of photoshop. . MidValue: (Very IMPORTANT feature) - Mid Value would set the zero displacement value. If would set to 1, then white would be considered zero displacement and all sculpting would push in on the model. If would set to 0, then black would be considered zero displacement and all sculpting would push out of the model. Setting Mid Value between 0 and 1 could allows you to sculpting in and out at the same time. . Surface: (Very IMPORTANT feature) - The Surface button mode would automatically defines the best middle gray value for your alpha. It would allows you to add details from the alpha to your sculpt without destroying details already on the surface. . Filters: Curves, Levels, Dodge, Burn, Threshold, Invert, Gaussian Blur, Motion Blur, Unsharp Mask, Noise e etc... The idea of the filters would be to completely refine the Alpha. You could choose how many filters were needed and these filters would appear in the order you choose in the list on the side. The user through the Eye button icon could or could not see the Filter, thus the filter would become active or not. The user could delete, duplicate and change the order of the filters in the list. Just as you could save and load the list with the filters and their respective properties that were previously configured. The user could create a new alpha from the list that would appear in the Alphas palette. And best of all is that this filter would be non-destructive, all properties and values would be permanent and would be changed at the time users wanted. ----- 3) Alpha Capture from sculpt: Capture Depth information in 16 Bits to create Alphas with ease. To make life easier for the user and further improve the creation of alphas within 3D-Coat, this new tool through a function similar to that of programs that capture the computer screen by dragging a rectangle, would be able to capture the information of the Depth of the geometry surface and could efficiently generate a 16 Bit Alpha of that surface of the sculpted mesh. This generated Alpha would automatically appear in the alphas palette. ---> Important New features for better Brushes control: ----- 4) Imbed and Gravity: - Imbed: (very IMPORTANT feature) The Brush Imbed would control the embed of selected brush. Brush Imbed would gives a brush a definite control on how a brush would interact with a surface. This would allow a slight deformation on the surface or a more extreme deformation on the surface. - Gravity: It would allows you to add gravity to your brush strokes, giving it a draping effect. Through an Orientation function, gravity could be oriented to the Z axis and thus change the direction of gravity. ----- 5) Topological area of influence function for the Move Tool and Pose Tool: (Very Important feature) When the user activates this option, the surface of the mesh would have a restricted degree of influence to perform the deformation of the mesh surface. Example: Close or open the eyelids (when moving the upper eyelid, the lower eyelid would not be moved) or the mouth (when moving the lower lip, the upper lip would not be moved) according to the area of influence of the brush configured through properties that would aid in the refinement of this function. Since 3D-Coat is not attached to a topology, I had thought the following solution to this problem would be the possibility of 3D-Coat using the Calculation of Curvature used in the Smart material system to be able to identify the surface of the model and thus 3D-Coat could have concrete information on how the program could restrict an area, even if that area is in contact with another area. ----- 6) Changes made to Proxy Slider could have compatibility in Sculpt Layers: At the moment, when the user works with models at any resolution in the Proxy Slider and returns to the normal model, all layers in the Sculpt Layers are lost. ----- 7) Clip Mask Layers on Sculpt Layers. (Very Important feature) This would be really important for detail control on the surface of the mesh in a non-destructive way. ----- 8. The Snake, Spike, ToothPaste and Muscles objects could have better compatibility in Surface Mode (so there are no problems stopping the program or at times not accepting the operation) and a very important thing, they could be compatible with Sculpt Layers. I've already emailed @Andrew Shpagin about all of these suggestions. There are many other functions and tools I could list here, but in my opinion, these suggestions explained above, would already give all artists who use 3D-Coat a huge improvement in the work. What do you think? Please help make it happen! Thank you
  10. Please move to bug forum as I'm unable to create posts there for some reason. I used the Sculpt Room Primitive tool, I selected a cube from the models tab where alphas and such are for brushes. I enabled Click to Place, Scale to Brush Radius, Use Stroke Direction. I place the primitive on to an existing surface(eg another cube), it looks correct, I can keep placing it. If I change my mind and choose a different model(or just click the same cube model again), the latice deforms. To correct this one must click reset axis(or reset primitive), then select the model to load again, the latice will be corrected, which avoids distorted mesh, although orientation was lost(I'm not sure why orientation was changing slightly in the first place). You may notice that the reloaded mesh/model had grown in size, this is a 2nd bug, just keep clicking the model icon to reload it, it will grow in size progressively to a certain point(not sure why there is a limit). This 2nd bug occurs when scale has been altered(only seems to affect smaller scale not larger than original scale). So altering scale via transform/lattice toggle or Scale to Brush Radius cause this error. 1st bug is related to Use Stroke Direction. Using Transform/Lattice Toggle and scaling/rotating the model, repositioning it with Click to Place and reloading the model doesn't appear to distort the lattice, but slight rotation offset can be noted of the lattice from the model, this fixes itself(applies incorrect lattice transformation to model) when transforming or repositoining the lattice/model(Click to Place or Transform/Lattice toggle gizmo). I noticed no difference with Use Stroke Direction(just testing now). It was when the scale was made smaller like Scale to Brush Radius setting when enabled that the lattice distortion was more evident from a rotation. No rotation, just click to place with Scale to Brush Radius and small brush radius, then reload the model, the lattice has enlarged but model stays original size, use Click to Place without scaling to the brush or use gizmo to move/transform the shape and it will then apply the lattice to itself, if you load another model in again instead of a transform, it will also apply the lattice(increase scale), then grow the lattice again with the model being replaced with larger size model. I have tried with Use Stroke Direction on different sides of the cube I was attaching the primitive model to, the lattice behaves differently(no orientation via Use Stroke Direction, and just Click to Place and Scale to Brush Radius results in lattice growing equally all lengths), on the top face I was noticing only scaling in the y axis, it also adjusted the orientation on that axis.
  11. Sometimes when doing boolean operations they fail, the error is long and usually about intersection. Adjusting and trying again(especially with say muscle brush) this can be frustrating process... Any tip on how to resolve? Is it just bad geometry or lack of or too much triangle density/difference between the two volumes?
  12. I try to change normal sampling value to minimal = 5 - but it not change behavior of the brush. It begin change it angle to surface similar to normal sampling = 100 as soon as the edge of brush cursor touch the vertical surface - the brush begin change its tilt. But when normal sampling is = 5 - tilt of the brush must change when center of brush cursor will approach to vertical surface - but not edge of cursor. Only in Flatten tool - normal sampling work good I already reset Options-files in Documents/3D-Coat - it dont help( How to fix this problem?
  13. Hi! Hey everyone... Could someone please confirm a possible error? My version of 3D-Coat is 4.8.18 and I tested it with the GL and DX. I'm trying to use the Curve Stroke in the Sculpt Room in conjunction with any brush (freeze, Clay or others brushes) and it's not working. The percentage of the calculation appears when the tool is applied and as a result nothing happens. Now, when I went to the Paint Room, I chose the Stroke Curve and it worked correctly. I did the same test on the previous version of 3D-Coat 4.7 and the Stroke Curve worked perfectly on the Sculpt Room and Paint Room. Does Curve Stroke in the latest version of 3D-Coat not working in Sculpt Room? Thank you for your attention.
  14. Hey Everyone... I saw some old videos (from Raul Fernandez) about the Copy Clay tool from Surface Mode - Sculpt Room. In the videos, Raul Fernandez showed that when you copied some part of the mesh or when you load an object saved in a folder, a preview of the copy would appear in the brush before you even applied the tool. 1) I'm trying to use Copy Clay, but I'm not having this same preview of the copy in the brush before applying the tool. Is there something wrong or is there no longer a preview of the copy in the brush? 2) Please, could anyone explain all features of the the Copy Clay Tool (not only for me, but for everyone here in the community)? I could not find explanation in the manual or video about this tool. I already thank you for your attention.
  15. Hey everyone, I would like to know one very important thing if there is a feature that I am urgently needed in 3D-Coat. I'm making a character. I used the Decimate Proxy Method to be able to make changes in the pose of the character, especially in the arm. After the character was lighter, I hid the whole character except for the arm, in which I began to repair the arm (using Pose Tool, Move Brush). Finally, when I finished all my work, I pressed the button that serves to exit the proxy mode and return the character with the original amount of polygons and then I saved the file. When I realized and looked at the character, I do not know how this must have happened, but in several places of the character the mesh was distorted and displaced. These places should be protected because I had previously hidden these parts to be able to use the Pose Tool and Move Brush. I believe that somehow 3d-coat did not respect the hidden mesh and even then made a mess in those areas. At the same time, I tried to use CTRL + Z to undo all the changes to recover the character in the original state (before my work I did on the arm). But 3D-Coat just went back to the mesh proxy and stopped there (no longer allowing undo) while remaining the messy mesh of the character. In this project, I'm using Tortoise HG (I'm new to this program) to save all my modifications rather than saving multiple files as I was accustomed to doing.That means I have only one project file. Due to my desperation and the very late hour I thought of reverting the file to the previous state I had saved in Tortoise HG (which would be a file before the modifications in the arm), but I messed up and went back to a file very early , where I lost practically all the accessories and much more of this project. And to complete the tragedy, I could not undo this action in Tortoise. Luckily, I had exported the character in .3b (before the changes in the arm) and also I had exported the character with the changes in the arm in 3b. (but with the other parts of the body messed up). Having said all this, I wonder if there is a way to reproject the good parts I've made of the (messy) character to the character who has the correct mesh? I know that in 3D-Coat there is the Copy tool (voxels mode), but for me to do this procedure I will have to convert my character to Voxels and so I will lose many details that I already did in Surface mode. I know that to keep these details, I will have to increase millions of polygons and I think my computer will not support it. So, is there any way to transfer the work I did on the arm (bad file) to the correct mesh (good file)? Similar to the mesh reproject functionality that exists in ZBrush? thanks...
  16. Carlosan

    Margarita

    From the album: Carlosan

    Model: 3DCoat Paint: 3DCoat Render: 3DCoat Postpro: Gimp

    © @Andreoni

  17. alexlivingstone

    [Solved] 3DCoat HP to LP workflow

    Hi All, just using some free time at work to get some things sorted in my brain. I am a relatively new user of 3D coat and am really enjoying it. Sometimes I get a bit frustrated with the different rooms inside it and how things change but it's coming along. Out of curiosity I am just wonder what the proper workflow is to go from HP to LP game ready asset. Is this correct; - Sculpt HP in sculpt room - Retopo LP in Retopo room - UV Retopo - Bake Normal Map - Paint HP in paint room - Bake Textures (little confused on how to bake in the paint room with the options in the Texture menu.) I've only used Substance before to bake and paint. Thanks for your help.
  18. dniitall

    Polish/smooth mesh?

    is there a way to polish/smooth a mesh in the Sculpt room with a command instead of doing it manually? thanx
  19. kwhali

    Identify holes in surface?

    When running the Geometry menu and choosing close holes, the popup is aware of 50+ holes. I ask it to close them, some tiny holes that were not easy to spot such as single triangle become large, however, hole fill appears to have failed. Can I some how highlight the holes instead or cycle through them with camera aligning to the hole with previous and next buttons to navigate? As it is surface, the mesh have some areas that might be considered a hole but is not, eg window or door cavity with no thickness . Perhaps this causes the failure. I could manually repair actual holes if coat could show me where they are.
  20. I cannot post to bugs forum yet, please move to there. When pressing shift or shift+ctrl to switch to one of the alternate brushes like smoothing, reduce or anti-bump, presumably it is not meant to take on the behaviour/effect of the active main/primary brush in use?(brush sizes/alpha etc yes, but not the properties that make a brush unique from others, like pinch or flatten) Copy Clay when using either alternate brush will apply it's effect(sample or stamp mesh data to volume) then apply the alternate brush effect, such as smooth or add detail. Most tools don't seem to behave this way, so presumably it's a bug. I noticed with Freeze brush, hold shift to toggle brush like reduce which clearly is not smoothing, it will smooth out any mask selection, actual intention of the alternate brush doesn't happen(neat that you can smooth freeze like this but caused some confusion of how these alternate brushes with shift/shift+ctrl weren't working), similar behaviour with Surface Hide, however it doesn't toggle hide/unhide with alternate brush modes, which is what I'd expect, hence I think Copy Clay is behaving incorrectly.
  21. Unable to post in bug forum, please move there. I used some live clay and made detailed sculpt area, then use Copy Clay tool to sample and apply elsewhere on the mesh, I noticed that once I sampled this data 3D Coat become quite laggy/stuttering on Intel skylake i5-6500(quadcore 3.2GHz 4 cores/threads). While bit difficult due to very low FPS, if I navigate mouse to tool options and clear data the CPU usage for Coat dropped down from 70% to 10-15%. I also tried hide the layer, no effect. It turns out that Blend being enabled caused the high CPU load, if disabled, CPU usage is still higher(averaging about 20-25%), clear data will be equivalent of changing tool which brings CPU usage back to normal(unless return to the tool). When changing tools sometimes I noticed the sampled mesh data appear in grey like when using import or primitives tool. I imagine while it is not visible when using the tool, perhaps 3DC is interactively moving this mesh around still, so the denser the mesh data sampled, the more intense on the CPU? Any reason to do this, if there is no interactive preview, then perhaps the tool should not have high CPU usage doing whatever it is doing non-stop and just apply when user clicks? I imagine the CPU usage is higher for blend enabled because it's interactively blending in advance before applying when clicked? The brush only seems to apply by single click, not applying multiple instances along a brush stroke, so it seems like this is a bug to me.
  22. Using the flatten tool on sculpt room surface volume, I finally get hang of controlling the plane(but it'd be really great if there was way to control more precisely the plane with transform tool?). What I don't understand is that the flatten effect has a certain depth/volume like area of effect. If I have flat surface and protruding shape, I can set the plane to the flat surface and brush through the protruding object. I notice that it may only flatten to a certain depth/height. The depth setting of the brush does not affect this nor does the brush alpha seem to matter. If I increase the brush radius/size however, now the unaffected surface area is flattened too. Is there a way to control this so I can use small brush size but still affect a large height/depth? Also why is the polygonal lasso tool not available for brush like this? (same with the clean clay tool when wanting to remesh/decimate specific region). They both seem to be affected by the effect being related to the brush size/radius, I imagine that is why.
  23. I do not have permission to post in other forum like bugs/feature requests. Please move to appropriate forum. I used in Sculpt Room, the top menu Geometry -> Smooth All. I later find out that to just smooth tangents I need to set smooth degree to 0. While experimenting with this feature, I noticed that there is no cancel, press escape closes the window, but applies the effect, you have to undo the operation, no way to prevent it being applied once the pop up appears.
  24. If you have a hole that is not a usual hole shape(eg an L or U, a line shape hole if you will) these seem to have problems closing, especially so if you have a ring shape hole with outer and inner surface(within the same volume) and you want to merge/connect them as a single mesh, understandably this is something tools like fill holes and poly remove(with remesh after) seem to struggle with. In addition to that, if I have a surface with the edge chipped of, like... ___n___ where the n is missing data, I have noticed poly remove with remesh enabled also can struggle here. How do you go about closing/extending? I have tried booleans in the past with varied success, the muscle brush has worked the best requiring some extra cleanup work after, but struggles in some situations giving failed boolean operation often.
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