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3DCoat Wishlist


Carlosan
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  • 1 month later...
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I would like to see some curved surface generation tools akin to birails

Fillets at intersections of booleans

a non permanent boolean system where one layer can be displayed as being cut from another layer but actually hasnt been made permanent ( as in standard 3d modelers such as max and xsi where the sub objects can be moved after the boolean has been commited and the result updated in realtime.

 

ability to freeze parts of a cloth simulation for better control.

a basic rigging system for posing models ( also for use with cloth system ).

 

Improved uv island generation , the abff lcsm  alogrithms are for the most part quite good but a lot of the times they unwrap very badly with some areas massively larger than  other areas compared to the base model. Modo does a far superior job at unwrapping islands.... for this reason I mark the seams in 3DCoat ( fastest of all the 3d apps ) and unwrap in modo.

 

Projection system .Autopo-subdivide- reproject for a nice clean surface mesh.

 

Update local autopo .

 

Say you have a model and then you autopo to create low res cage.Then you add some more parts to your high res mesh .It wou for 3DC told be nice be able to analyze  where the differences are from the first autopo and add to( or subtract from ) the low res cage .The low res model could also be used as a deforming cage.....Kind of an autopo-as - you -go  system.

 

Surface mode(liveclay) use a HSDS system for localised subdivision, kind of like what zbrush /mudbox use but with localised subdivision without destroying subdivision layers.

Maybe a way to do sculpt layers  ...... Im just guessing but it might be a solution .Also maybe a way to do mesh morphing 

 

See here for the 3DS Max documentation  on this

 

http://docs.autodesk.com/3DSMAX/15/ENU/3ds-Max-Help/index.html?url=files/GUID-E7312BB6-AB50-4328-8855-64AD828CAEC5.htm,topicNumber=d30e85460

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  • 2 weeks later...
  • 2 weeks later...
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In the Retopo room, it'd be nice to have the option of changing the transform pivot/gizmo to match any corresponding objects in the Voxels room. 

 

Here's the reason; I made a voxel toy character in various body parts and set up all of the transform pivot/gizmos in 3D Coat (to ensure that the limbs/jaw rotated properly). I then used the new Autopo tool on each body part (and it worked great), but the transform pivots have all be reset so I will have to set them up again in my external application of choice. Ideally, it'd be great if 3D Coat would allow me to keep the pivots if I choose, and export them as .objs.

 

Thanks!

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  • 3 weeks later...
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This isn't so much a limitation as just something about a tool that bugs me. When using the draw along a spline brush mode the little box with the options appears too close to the spline. It very often gets in my way and ends up right where I want to put the next control point. If it appeared a bit farther away from the spline it would be much less obtrusive and I'd open that popup menu by accident way less often..

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A way to lock a voxel layer so that it can't be selected or modified without unlocking it firstly. When I have a lot of layers, it's very frustrating to use the move tool to quickly adjust proportions when certain objects are accidentally selected/moved.

 

This is one thing that's driving me insane so it'd be great if anyone else has a solution in the meantime!

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A way to lock a voxel layer so that it can't be selected or modified without unlocking it firstly. When I have a lot of layers, it's very frustrating to use the move tool to quickly adjust proportions when certain objects are accidentally selected/moved.

 

This is one thing that's driving me insane so it'd be great if anyone else has a solution in the meantime!

Doesn't layer ghosting help here? It locks the VoxTree layer and prevents from Pick by click and all sculpting actions applied to it.

But if you mean a way to lock Retopo Groups which you can move with the Move tool even when the layer is not selected - I totally agree. But this one looks like a bug that needs patching.

Edited by ajz3d
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Doesn't layer ghosting help here? It locks the VoxTree layer and prevents from Pick by click and all sculpting actions applied to it.

But if you mean a way to lock Retopo Groups which you can move with the Move tool even when the layer is not selected - I totally agree. But this one looks like a bug that needs patching.

 

Ah, I wrongly assumed that ghosting was just a visual aid! Thanks a lot, I should have tested it so my apologies. However, I would like the option of locking the layer without having to ghost the object. In my case, the object has an interior so ghosting it makes it all quite messy to look at, making adjustments difficult.

 

As for your suggestion re locking the Retopo Groups - I completely agree! In summary, locking is a good thing! :D

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  • 3 months later...
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The Lathe function in the Primitives tool could be expanded.

At the moment, there are two base primitives: cube and cylinder.

I think, it would be very nice if there was a variable one can set for the amount of edges on the sides.

For example, if the variable is set to 3, there will be a triangular prism.

If it is set to 4, there will be a cube and so on.

if it is set to "infinite", there will be a cylinder.

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Would love to see (at least) 16 bit int texture support throughout, ideally full float support. I realise this is a major architectural update.

 

It would be very handy to have a "bitmap paint" mode where you could just use 3DC as a bitmap painter. I know this can be faked in various ways by putting a grid in with PPP but easy native support would be nice, especially for Linux users with limited paint options.

 

Cheers,

 

Peter B

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i have to second layer support in voxel room.

 

I use c4d. And while its base mesh creation is equal to nothing. It does have great layer support. Which really comes in handy when you want to make multiple versions.

 

For example i was making a shark. And in c4d i can make a new layer, sculpt some gills. hide the layer, sculpt a different set of gills. And then pick the one i like most. Also great for client revisions.

 

I understand that this isn't easy, since in c4d there is no dynamic subdivision. so its just moving the same poly's. But its a feature sorely missed.

 

 

Ah yeah and locking paint layers would be nice too. Since i keep painting on the wrong layer..

Edited by Aleksey
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I agree with layer support (be it in surface mode and voxel), but before that I've a bigger grief:

 

Voxels are awesome for sketching. That said, I don't use them. The reason ?:

 

Tools there suck, big time, nothing like a real "clay building" brush. Clay is eating/adding surface as you massage your mass (therefore you can't really build your mass unless going high in resolution from the start), build is just that: big uncontrolable lump, grow is the same but you have the same issue as airbrush: airbrush makes a mess with the alpha, you can't have fluid strokes, the alpha is repeated like a motif along the stroke.

 

Voxels are awesome, but the tools suck so much you don't want to spend time there... it's a pity really cause even if you can't get the same sharpness as in surface mode you also have the benefit of always uniform geo with freeform building, which in my book is the perfect tool for sketching or blocking masses. If only we could get something as good as rapid 2 in voxels... that would be awesome.

 

 

 

 

Ah yeah and locking paint layers would be nice too. Since i keep painting on the wrong layer..

 

Oh yeah... this things gets on my nerves so much... you can't sample color without being instantly teleported to the first layer from the top of the stack to contain color...  Why switch in the first place, it's to the user to decide on which layer he wants to paint, not the software to arbitrary choose in its place...

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I agree with layer support (be it in surface mode and voxel), but before that I've a bigger grief:

 

Voxels are awesome for sketching. That said, I don't use them. The reason ?:

 

Tools there suck, big time, nothing like a real "clay building" brush. Clay is eating/adding surface as you massage your mass (therefore you can't really build your mass unless going high in resolution from the start), build is just that: big uncontrolable lump, grow is the same but you have the same issue as airbrush: airbrush makes a mess with the alpha, you can't have fluid strokes, the alpha is repeated like a motif along the stroke.

 

Voxels are awesome, but the tools suck so much you don't want to spend time there... it's a pity really cause even if you can't get the same sharpness as in surface mode you also have the benefit of always uniform geo with freeform building, which in my book is the perfect tool for sketching or blocking masses. If only we could get something as good as rapid 2 in voxels... that would be awesome.

 

 

 
 

Oh yeah... this things gets on my nerves so much... you can't sample color without being instantly teleported to the first layer from the top of the stack to contain color...  Why switch in the first place, it's to the user to decide on which layer he wants to paint, not the software to arbitrary choose in its place...

I suggested something similar when Andrew re-worked the Surface mode brushes. I don't find Voxel brushing as useless as you claim, but there is now a BIG disparity between the two modes. Essentially, Andrew has abandoned Voxel mode as a sculpting platform. He leaves it as is, because what Voxels do best is construction & boolean type operations. Everything else, Surface mode is far superior. That's why he put the development time there, rather than spread it evenly. I think there should be some level of continuity between them in at least a handful of brushes. But in Voxel mode, you only have 2 or 3 useable ones.

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  • 4 weeks later...
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 The ONLY thing it lacks is Sculpt layers IN THE VOXEL ROOM. However, you do have sculpt layers in the Paint Room, and it's much more efficient than working with geometry. 

 

Sorry for bringing back an old thread but this topic is very important for myself and my colleagues I've asked to give 3dc a chance.  AbnRanger do you have a link to a video showing the above? This sounded great when you mentioned it before but I never got around to testing it.

 

thx!

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Hmm so I tried adding sculpting details on my sculpt and it's not doing anything in Paint room... color and such of course but I can't get any sculpt layers going... Would love to know your process AbnRanger, else I'll have to return to Zbrush for this part :( since it's a client piece that will definitely need revisions as I go.

 

thx for any help.

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It's very hard to explain exactly what is going on, but if you import a normal map or merge from the Retopo room "to Per Pixel Painting-NM (normal Map)" all that normal map detail is very limited in what can be edited. I didn't fully understand this myself, until recently, after raising the very same issue with Andrew. The confusion is because there is really a DUAL Map (Normal and Displacement) paradigm in Per Pixel Painting, that isn't apparent to the user.

 

When you sculpt on a new layer, it works like expected. But if you try to sculpt on the Normal Map that got baked, it's as if 3D Coat locks you out. Turns out that Normal Maps really don't allow you to do much editing. You can blur/smooth and smudge the pixels, but you can't really sculpt. When you create a new layer, you are unwittingly creating a displacement map in the depth channel. And 3D Coat uses that to sculpt with. When you finally export, it will generate either a displacement map and/or a normal map...BASED ON WHAT YOU SCULPTED IN THE PAINT ROOM.

 

Andrew just said he will try to enable that baked normal map (from the Retopo Room) to be edited (I don't know how he intends to do it...maybe convert a copy to a displacement map or something), so it would be a good idea if evryone reading this e-mails Andrew and asks him to allow us to sculpt on the Normal Map layer that gets baked from the Retopo room.

 

There is a solution right now though, and I think this is what Andrew intended to be an answer to this problem...that is to choose "Merge to Per Pixel Paint with Displacement." That layer, you can edit. But apart from that...if you are already in the Paint Room, with a normal map, you can just create a new layer(s) and sculpt on it. In the mean time, try to watch the videos for Merge to PPP with Normal Map, and Merge to PPP with Displacement. It will explain some, if not most, of this.

 

 

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Top of my head - everyday additions would greatly enhance my user experience.

With 3DCoat there is a fall off in productivity the further the sculpt progresses i.e the larger to smaller concerns.

 

1,the inability to be able to hide or ghost the transform gizmo - when working with small details the gizmo interferes with placement.

 

2, The visual feedback/ perception of sculpting brush marks and behavior is hampered by the current limitation of shader materials.

 

Two additions would greatly help here

a, the ability to be able to adjust shadow density for sculpting in occluded portions

b, the ability to be able to add sculpting room light settings as presets - and/or  the addition of added lights in the sculpting room to be included to make up

for the current limitation of materials.

----------------------------------------------------------------------------------

Of lesser importance.

 

3, All brush build/ indent responses switchable either to camera all to normals

 

4, repeat last action or stroke

 

------------------------------------------------------------------------------------

On a broader level which doubtless will make my opinion unpopular.

1, the lock down of further surface mode development in preference for a switch back to voxel development .

2, a broader realization of the rendering environment with regard true light placement and emphasis on ease of use and intuition.

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 Ok so what I'm gathering here is that you have to retopo the mesh before you can access PPP? Hmm, love the way it works but that isn't as ideal as I would hope :(

Per Pixel Painting is just a mode 3D Coat utilizes to paint directly onto the UV map/texture. If you are painting on a Voxel model, the only thing stored is Color and Spec...not depth. But yes, you do need a retopo mesh, with UV's (even Ptex counts as UV's cause it's essentially an elegant Auto-UV toolset). 3D Coat is basically using displacement maps to generate the sculpted detail in the Paint Room...but once you are there, it's very flexible. The Magnification & Reduction tool is much like using the Morph Targets in ZBrush...and you can do this with as many layers as you like...and use layer masks as well.

 

I'll try to record something showing this kind of workflow

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Ok gotcha, but this unfortunately breaks workflow considerably :( The tools are powerful no doubt, but the flexibility of returning to your Voxel room sculpt will be rendered moot since this way is a very final.

Art Directors, clients and such can be known for wide sweeping changes even if the sculpt was stamped as 'final'. Can you imagine going this route to be then told adjustments need to be made to the final sculpt? I might be ok with working around this since I'm testing the viability of 3DC in a production environment, but my colleagues... not so much :\

 

This is really unfortunate since I know it'll be awhile yet until Andrew gets to sculpting layers in the voxel room, but imho it should take precedence over most things considering a lot of the program is very functional. Don't get me wrong I can understand the difficulty of adding sculpting layers to a dynamic tessellated environment, but it really is a must. Like I mentioned earlier, even a way to 'morph' back to your original would suffice for now.

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