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Macy's Beleive O Magic

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Here's some of the Work I did for Macy's Believe O Magic Project. Modeling of all RT Assets and Camera.

3D Coat was used almost exclusively for Painting and Retopology.

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Final image of BOM Rendered and surfaced by Pete Circuitt

Im really pleased its finally gone gold on Appstore. (US only)

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Wonderful work. Bravo.

All painting in 3dcoat! These dresses, especially the second one! I can't figure how.

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Nice work Leigh.

@Michalis: Very easy in 3D Coat. The painting tools in 3DC are really great. I recommend 3DC to everyone who needs an effective and high quality texture solution. There are only a few things missing for texture artists in 3DC, but you get already a lot of great tools.

Texturing is the true strength of 3D Coat, not sculpting... (Leigh, sorry to be off topic.)

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NP Chris, Your right. Only problem I have currently is Separate submeshes and material assignment. All texture are baked into one texture with no way (I know of to assign separate materials per sub mesh in 3d coat. :angry: This is a little annoying as it handles separate sub mesh materials is assigned in another application.

For instance example of workflow, Create Multiple sub meshes in retopo room yet i want separate textures for each piece, and I cant!. Yet if i Merge seperate meshes into a scene for painting I can paint over multiple UV and export multiple maps.

Often I like to have the abillity to do this as i might combine UV later but i want separate maps for authoring the textures.

I hope more control can be obtained in the future.

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and @ Michallis Thanks, Yes what i should have said was Texturing, not so much (a bit but not a lot) direct painting(Virginias Hair was hand painted, and took AGES). And yes Flocking on jacket was a bit of a pain. but 3d coat biggest strength to me is the abillity to just get down and paint on multiple UV and bake out separate maps (no matter how you set them up).

Poly restrictions for Juniao Browser based applications are quite strict, extremely dependent on how many assets are on display. and hardware limitations of the technology.

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...

For instance example of workflow, Create Multiple sub meshes in retopo room yet i want separate textures for each piece, and I cant!. Yet if i Merge seperate meshes into a scene for painting I can paint over multiple UV and export multiple maps.

Often I like to have the abillity to do this as i might combine UV later but i want separate maps for authoring the textures.

I hope more control can be obtained in the future.

Strange. I have checked it, and can create individual UV pages inside the retopo room. Every page can be handled seperately and when you are ready you just move them to the paint room. The following assistant window shows all created sub uv sets and ask for the texture res and the names... Do I miss something?

EDIT: Now I've got it. Seperated RetopoGroups. Yes, it would be nice to get automatical seperated UV sets, connected and named in relation to the retopogroups. But you can use the way I explained. Not much more work time.

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NP Chris, Your right. Only problem I have currently is Separate submeshes and material assignment. All texture are baked into one texture with no way (I know of to assign separate materials per sub mesh in 3d coat. :angry: This is a little annoying as it handles separate sub mesh materials is assigned in another application.

For instance example of workflow, Create Multiple sub meshes in retopo room yet i want separate textures for each piece, and I cant!. Yet if i Merge seperate meshes into a scene for painting I can paint over multiple UV and export multiple maps.

Often I like to have the abillity to do this as i might combine UV later but i want separate maps for authoring the textures.

I hope more control can be obtained in the future.

Have been dreamin about that too. It just feels natural workflow to me too. It would be nice with this one http://3d-coat.com:8.../view.php?id=89

Very good job with Macy's Believe O Magic Project. Everything looks great.

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I also 'confirm' all these.

I was talking on another difficulty though. When trying to paint a geometrical pattern, like tartan patterns. When the seams of the cloths Have to be visible.

In these cases I use blender UV editor. Possibly import to 3dc is following, adding more layers (here 3dc is simply great).

You probably understand why, vertices have to be aligned as the pattern, avoid stretching etc. The most difficult case in UV editing IMO. There's an excellent plugin for max I think.

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I also 'confirm' all these.

I was talking on another difficulty though. When trying to paint a geometrical pattern, like tartan patterns. When the seams of the cloths Have to be visible.

In these cases I use blender UV editor. Possibly import to 3dc is following, adding more layers (here 3dc is simply great).

You probably understand why, vertices have to be aligned as the pattern, avoid stretching etc. The most difficult case in UV editing IMO. There's an excellent plugin for max I think.

Have you tried to paint directly inside 3DCoats texture editor view? This is the way, how I paint cloth -> The only seams are the cloth seams... Before doing this, you have to have good UV seams of course. The UV-model should represent the real cloth patches.

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Excellent work.

The textures on the coats is impressive.

What resolution maps would you use for them?

I still have a lot to get my head round UVs/texturing in 3DCoat,but it's apparent what a powerful tool it is (in the right hands)

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Have you tried to paint directly inside 3DCoats texture editor view? This is the way, how I paint cloth -> The only seams are the cloth seams... Before doing this, you have to have good UV seams of course. The model should represent the cloth patches.

Of course, it's the only way.

Can you do this?

post-2454-0-33977600-1326149905.txt

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not without a bunch of time Cleanup! :p:

I did have to do a fair bit of cleanup, But the cloth was actually not that complicated t pose characters straight seams.

But i get your point. it would depend on the complexcity.

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Let me stress, I just did AR Junaio Low poly versions of these not the highres Film assets.

But thanks to all for comments. I like the Spark about the Textuiring and UV all interesting and important stuff.

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Couple of Shots of Low poly BOM (Not used)

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and High poly BOM (Believe O Magic)

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After 3DC Concept this was modelled in Silo.

Thanks

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It's a beautiful camera. I do agree that after working on concept in 3dc, better use another app and reconstruct it. Better than trying retopology.

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Sensible way. I do see some on the forum try and create Complex geometry using Retopology and it again depends on the Complexity of the object and what the final result is required for/ final required polycount. Anything over 10-14k hard surface will generally be easier to elsewhere.

But thats not to say a good retop of the concept would not be a good starting point!

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Of course, it's the only way.

Can you do this?

The problem here is not to paint the texture. It's the UV set. I you are forced to create the UV set AFTER the cloth simulation, then you will get problems. The best way is to create the UV.set before starting the cloth sim. Even 3D Coat is not able yet to unfold the cloth isles correctly to a real flat patch. Unfortunately.

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