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Found 9 results

  1. 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
  2. Hey everyone, I think I've figured out a possible bug when I'm in Surface Mode in the Sculpt room. When I use the Clone Tool and Cut And Clone Tool on surface mode, simply any mesh that was not selected is deleted or mysteriously disappears. Both tools work perfectly in Voxels Mode, but unfortunately in Surface Mode something very strange is happening and the tools do not work as they should. In the video below I demonstrate this possible bug in the Clone Tool and Cut and Clone Tool in Surface Mode.
  3. Hey everyone... In the old demo video of Raul Fernandez, he demonstrated about the Fill Holes tool in the Surface Mode Sculpt Room. Within the properties of this tool, there were two properties directly related to an opening of the mesh or hole in the mesh that were: SmoothContour , ExtrudeContour and Reduce Boundary. Currently, in the Fill Holes tool it seems that there are no longer these 3 properties. I would like to know where I can find these properties SmoothContour , ExtrudeContour and Reduce Boundary or are there other tools in Surface Mode that make these same functionalities? I forgot to ask about the Reduce Boundary property ... Where is this property located too? Thank you very much
  4. 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.
  5. Hi! Really enjoying 3Dcoat, but I'm having two issues in the sculpt room that I can't seem to get rid of, but which are probably easy to fix if one knows how One is that resampling the mesh seems to cause it to break a few brush or smoothing strokes later. This happens quite often in surface mode, but I can't seem to find out exactly what causes it. It does not seem to respect symmetry either, which is weird. Screencapture: https://www.dropbox.com/s/02vzompckb5zknc/ice_video_20160228-121701.webm screenshots: https://dl.dropboxusercontent.com/content_link/rdmh23KUtYgmD1nmvBUql8kSBhdYipYbPMeNScMccPY5kXfGQgAMzg1K8GjLm34l/file https://dl.dropboxusercontent.com/content_link/PHQ6Y95PIfyJUFVixksBICxjLV1Bzact8DKt7AwDJPQ1jZ9TNpaMywaqHKmc127H/file The other one is that I can't seem to reposition the light Screencapture: https://www.dropbox.com/s/gyzfh5wc1p320ax/ice_video_20160228-131758.webm Any help would be appreciated!
  6. I keep getting this problem when I am working in Surface mode and then change my layer back to Voxel mode (and vice versa). Parts of my model vanish. I'm not using any tools to make this happen and this is just sculpting, no work being done in the Retopo or UV room. I start with a cube and use the cut off tool then res up and just keep adding details. Then to add surface definition I change to Surface mode and start adding details on my model and then I change back to Voxel mode and this happens. The same thing happens if I go from Voxel to Surface mode too. I don't know if it is because I am increasing my resolution to a really high level or whether its a bug or known issue. 3D - Coat doesn't crash when this happens I can continue to sculpt and performance is smooth.
  7. worldcrafter

    How do i see all brush alphas in paintroom

    sometimes (seemingly random) the large array of brushes is reduced to only 11. why is this and how do i change it back in the paint room
  8. 3D Coat 4.0.04B(GL) 32bit trying to follow the steps/methodology outlined in this thread: http://3d-coat.com/forum/index.php?showtopic=14408 ... i was actually having more luck in the previous beta version... TL;DR: Why does selecting a Surface Sculpt tool make my mesh disappear totally? Also, why does converting it from voxel to surface make huge chunks of the model disappear? How can Bloodsong import an OBJ and sculpt on it? 1: new scene retopo room import reference mesh, select obj file. Problem: the obj comes in with a texture, but the texture is upside down. how can i flip the texture, or just not display it? 2: retopo menu: use current low poly mesh. gets rid of the texture view, anyhow! 3: voxel room merge tool pick from retopo; the object appears Problem: hitting 'Enter' to commit at this point causes huge chunks of the mesh to go missing. 4: avoid hitting 'enter,' just click the V in the layers to change to S mode. this seems to work fine. the voxel sculpt tools at the top of the toolbar turn into surface sculpt tools. select the first tool. Problem: this causes the entire object to vanish. 4a: to avoid object disappearance, just close the merge tool, and hit enter to 'commit' the object. a darker grey duplicate object is created, but the bright white starter object is still there. there doesn't seem to be a way to get rid of it. what am i doing wrong? what am i failing to understand, here?
  9. Bloodsong

    Working Steps Same, Results Different

    okay, i thought i had a methodology worked out that worked for me, but... going through the same steps is giving me different results. is it me, or is this some kind of bug i need to report? OVERVIEW: i'm trying to make a morph for a poser figure. problem number one for poser obj's is that they are incredibly microscopic compared to the universes of other 3d tools. problem number one for making morphs is keeping the vertex order and count of the object the same. here are the exact steps i followed, and the anomalous results i got from them. Version: 3D Coat V4.00.b15AGL ======================== ROUND ONE TEST 1: No Symmetry Start in Surface Modeling Mode (i figured this would preserve the obj surface without mucking around in all those voxels) Open/Import the base OBJ file. The Transform Tool is selected when the OBJ is brought into the scene. Move the Gizmo Only to 0,0,0. Scale 200% five times. (Note: my scaling math is off during this part of the test, so of course the position and scale of the resulting morph is FUBAR, but i'll include it here for the sake of completeness.) Select the Surface Tool: Expand Click 2x on the Right Forehead (i'm using a head model base) Select Adjust: Transform Tool (note: if I select the Transform Tool I saved in my presets, it tries to change me to voxel mode) Move Gizmo Only to 0,0,0; Scale 0.25% five times. (yes, totally WAY wrong.) Export OBJ, hit Cancel on mesh density reduction. TEST 1: Results Load Morph Target in Poser; turn on Attempt Vertex Correction. yeah, the scaling is FUBAR, but... the important thing, the vertex order is clearly correct (I can see the shrunken, misplaced head is not exploding). However... i don't see the lump on the forehead. ??? it just looks like the base object. TEST 2: Mirrored Since I know Sculptris totally FUBARs the vertex order when going into symmetry mode, i'm testing symmetrically painted morphs separately. Undo the Previous scene 5x, until the object is un-shrunken, and undo the forehead lump. Turn On Symmetry X. Use the Surface Tool: Expand 2x on the forehead. Two lumps are created. Repeat the same (incorrect) de-scaling and exporting as TEST 1. TEST 2 Results Load the Morph Target in Poser. This time, turn OFF Attempt to Correct Vertex Order (just to test) Results are the same... exactly the same. First, hooray! the vertices are all in the correct order and the morph doesn't explode. Secondly... uh... still no lumps on the forehead. EXPERIMENT ONE Undo the file back to the base head that was scaled up and has lumps. Attempt the de-scaling 4x, then 1x, try to figure out where my percentage math is screwed up. EXPERIMENT ONE Results the 4x descaled head was still a pinhead. the 1x descaled head was too high/large (naturally), and also exploded. NOTE: why is it now exploding, when before it was perfectly fine? ROUND TWO at about this time, i figured out my scaling routine is wrong. duh. yeah, so sue me, i'm not a math major. i calculated if i just scaled the object up 1000%, then i should scale it down 2.5% TEST 2.1 Start new scene, go to New Surface Scene. Import the base OBJ file. Use the Transform Tool (gizmo at 0,0,0) to Scale 1000%. PROBLEM: why is the object not scaling up where i can see it, like it just did before? (okay, doing 200% 5x vs 1000% 1x is probably different, but... that different? if i hit the scaling at 1000% again, then the object was large enough to see. did it ignore my first scale-up? did i put it in wrong? i restarted 3dcoat a couple of times, because it appeared to not be working as expected. TEST 2.2 i decided to scale up 2000% and scale down 1.25%. here are my notes on this attempt: (okay, stupid newbie mistake: always say yes to merge) Turn on Symmetry X. Surface Tool: Expand 2x on forehead. Resize (Gizmo @ 0,0,0) 1.25% Export OBJ, Cancel on reduction. TEST 2.1 Result: PROBLEM: target geometry has wrong number of vertices. 38,246 vertices instead of 38,290 it has 112,857 polygons instead of 38,354 and it is all triangulated! (which the original OBJ is not.) NOTE: i have not changed my import/export/sculpting/scaling methodology. why am i now getting wrong number of vertices results? i checked the original exported mirror test obj. it, too was triangulated, and it, too, had almost twice as many polygons as the original OBJ file, but... it had the correct number of vertices in the correct order. PROBLEM: when i imported the obj into poser, the head was not the right size/position as expected (could be my scaling math. i used to have a program that did poser obj scaling and de-scaling, but i no longer have that.) however, i DID see the knobs on the forehead, unlike previously. TOO LONG; DIDN'T READ: importing and exporting an object for a morph resulted in a morph that worked, except the sculpting that was done on it did not appear. exporting the same object again resulted in a morph that exploded. importing and exporting an object again, in a new file, using the same methodology as before, resulted in a morph that didn't work because of wrong number of vertices. but did have the sculpting appear on it. bloodsong needs help scaling an object up to work on it, and then back down so it is in its original size/space (it is not centered in the universe) for export. what, exactly, of my system specs do you need and where can i get a dump of them for you? thank you for your extreme patience.
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