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Archived threads in /3/ - 3DCG - 146. page

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Hi, I'm middle of a bottleneck situation here.
I have a crappy GPU, gtx 580, but a very good CPU, intel 990x 5 cores 12 threads OC at 5.0 GHz.
While I'm pleased with the rendering times in v-ray, when I try to simulate MassFX collisions and forces in Max, it is veeeery slow, like 1 minute per frame. Baking the simulation is also slow.

Is there any way to turn the processing of MassFX to CPU usage, or do I have to upgrade my graphics card? I have the money for the gtx 1080 but I don't know if I should spend it.
2 posts and 1 images submitted.
I meant 6 cores for the CPU. It's a typo.

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What do you use to skin/weight your models?

I'm having a problem in both Max and Maya with smoothing the weights. How do you smooth a weight properly between 4 or more bones?

In Max I use the 'Smooth Weights' paint tool, but it does not smooth evenly between all the influences, it seems to have a preference to giving the most influence to the currently selected bone so you have to ping-pong between multiple bones smoothing each time you select a new bone. Also, Max loves to suddenly balloon out the weights, going beyond 100% and breaking it completely. Wat.

Maya on the other hand doesn't go beyond 100% influence which is nice, but it still seems to favor the current selected bones and not giving a desirable result.

I'm considering using XSI as my main program to skin with because it seems to be the only one where the 'smooth' feature actually smooths evenly between ALL bones that the vert is being influenced by. Does anyone else seem to have this problem or is it just me?
5 posts and 1 images submitted.
use a softer weight brush, like 0.1 for weight paint. And weight everything to root and skin everything bellow to 100 influence and work your way out the chains.
May have to go in and manually dial in some of those verts breh
be methodical in your weighting, if you need to weight a set of vertices on 4 bones, weight it on the 2 that are most important at first, then the next, then the last

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What are the blue things on the right image that look like empty objects?

How do we call them?
How do we make them?
What are they for? If their purpose is animating vertex groups, why not do it just with bones?

Any links to videos explaining that?
16 posts and 3 images submitted.
custom bone shapes for better selection and posing. They are simple vertex meshes (the rigger has to make then by himself) set to world origin position and hidden on some unused layer.
Somewhere in the bones panel you can change the appearence of a bone to any other shape you've created in the scene. This way you can select the bones better and by giving it a special form you can better recognize it's movement direction or function.
This is especially usefull when someone else is making the animation than the rigger. He can see rightaway which bone does what without having to examine the rig itself.
I get it. And what is the purpose on the big circle with arrows on the floor?
It's a whole body controller, you move the whole character with it.

I need a short, maybe 7 second, intro for my youtube videos and have been quoted $1000 USD and up. I only have $100 USD max to spend, I dont need one built from the ground up, I dont care if its from a premade template. I just need to add my channel name and some music and done. I made a rough go of it using Blender templates from Youtube but my shitty computer wouldn't render it. Is this even possible at this price or should I give up now?
29 posts and 1 images submitted.
I get paid minimum wage working a real minimum wage job and i make over $100 per day. I suggest you get a job kid
I'm 28 and work a full time job, I still don't see why that means I should pay over that am out for a 7 second template based project. Wouldn't it be better to answer what I asked instead of being a shitbag?
stop namefagging

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What's the best uv's for 3d painting?

I have been trying to 3d paint a post box but it is a bit of a struggle cause mudbox just crashes with-in 5 - 10 minutes of using it but, I was wondering how the uv's should be.

For example I wouldn't assume it would matter on their layout cause i'll just be painting onto the uv's. So if I out my model into blender and do a smart uv projection it just lays out the uv map everywhere. I know this is isn't amazing for texturing but does it matter for 3d painting?

Pic related, this is the uv i am using at the moment because I chose to texture in the node editor using blend nodes and such so it is relatively neat. but could the uv's just be anywhere as long as they are visible for 3d painting?
4 posts and 1 images submitted.
To be honest you can just shit on how they are cutout when they are at least scaled right

It depends. Strictly speaking only 2 things are important:

- avoid stretching and pinching as much as possible, to avoid a warped texture
- make sure that all UVs are scaled correct, to avoid texel size differences.


- if you use small textures, it can be helpful to line up faces nice and straight so you won't see individual pixels too clearly.
- to make baking normals, ao ,etc. easier, you might want to have bigger/fewer UV islands, to reduce the risks of seams.
- also, having bigger/fewer islands decreases the risk of edge bleeding.

so, when I look at your example, I'm wondering why you have a bunch of loose faces that would be much better connected to other faces.
>>525649 ok right, that's what I thought

>>525666 yep cheers that makes perfect sense, thanks

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I took up a school project to model a samurai and i have meager modeling skills at best. Help? I dont care if i have to pirate it when all else fails.
5 posts and 1 images submitted.
read the sticky.
Why are there so many people trying to use /3/ to duck their school work? It's school as long as you try you will most likely get a B no matter how much it sucks. Just go low poly.

I'm looking to hire somebody to make a number of low-poly 3D assets for a 2D project. (30 assorted mecha parts/weapons). No textures, just plain white figures. Where is the best place to hire a person for a job like that?
10 posts and 1 images submitted.

Thanks, I'll give this a shot.

I'm so mad right now, I've scrolled over 9000 Google results, but can't find an answer to what seems a really simple job.

I want to merge a huge amount of tiny OBJs into one single huge OBJ and keep all the textures, I don't want to group them so they give the illusion they've been merged together but actually are not, there needs to be ONE single mesh, an actual fusion. Pic related.

Each piece have a tiny overlap (done on purpose) to ensure that they touch each other leaving no open gaps between them, the problem with most reconstruction algorithms I've tried (ie. Poisson), is that it tries to fill everything, even holes that are supposed to be left intact, not only the parts that touch/overlap, not to mention I couldn't find a way to keep the textures.

What do you suggest me to do? Doing it manually is not a an option, there're just too many teeny tiny pieces.
Bonus points if it can be done with a free software, thanks all.
12 posts and 2 images submitted.
this is not possible

you either have a mesh that overlaps or edited mesh, there is no in between.
maybe it can work if you used dynatopo on really high resolution but its a slim chance
boolean with union can work too

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Are there any guides/tutorials out there on whats a good rule of thumb for stopping at the low poly model then making a high poly model to bake from?

I guess what I'm getting at is I don't know how much detail I should add to the low poly model before I switch to a high poly version to bake from.

This is an image from a tutorial I have and it shows how to do this but doesnt really go over how much detail to add.
12 posts and 1 images submitted.
which tutorial is it?

It's a really good tutorial but I wish he would elaborate on some stuff.
polygons are for silhouette and functionality. texture maps take care of the rest.

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Modellign program for a kid?

So I have a nephew who is always really interested in my work, but his mum and dad are just total computer illiterate. I don't live close enough or have enough free time to teach him but I was wondering what you guys would suggest I could buy him so that he would be able to teach himself but also have fun learning it?

I know its a weird question. Oh he is 10. I was thinking skechup and maybe something like unreal or lumion, so he can play with landscapes too. Something with a good content library would be preferable so he doesn't have to go hunting for models and simple textures everywhere.
11 posts and 1 images submitted.
blender is kid friendly, the kid learns the ui very easily compared to anyone that has previous experience.

ill start:

fausto de martini
robin dao
26 posts and 9 images submitted.
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huh, never considered that. I might have a lot of inspirational material from one artist but never considered it.
Seems like they dont stand out as much as say, a 2D artist.
Though I can name a few poser "artists" off hand. That may just be my bad taste.
Furio Tedeshi is mandatory
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This. I look up to him like he's God.

What do you think /3/?
need some serious feedback/redlines for this work
40 posts and 4 images submitted.
another angle
Pretty good, here's a few notes :

Needs more muscle definition on the thighs.
The inwards pinching on the cheek look wierd.
The colors are bad, I'd use skin tones.
Don't do the hair with zbrush

so whens the porn coming ?
>The colors are bad, I'd use skin tones.
not textured at the moment

I want to make a video like this, https://www.youtube.com/watch?v=s1E9MU_iHgg but then with my own shit in the background, I only can't figure out how to make the countdown timer and then place it in the video sequence editor.
9 posts and 1 images submitted.
The only way to do that in blender would be so god awful tedious you would give up half way. The best thing to do is to make the video then add the timer with some other software.
Dude, that timer was made in after effects. Just use that
>I only can't figure out how to make the countdown timer and then place it in the video sequence editor.

So you don't know how to do anything.

The whole countdown comp is a 2D mograph thing. Do it in After Effects or Motion.

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Fix the eyes, please

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Is there a Photoshop plugin that allows you to draw textures seamlessly?

I hate working with the offset filter. It's very limiting.
10 posts and 1 images submitted.
under '3D' there is a function called "new tiled painting". But it feels like a unfinished feature in the version I'm using anyways.
Krita has, it's called wrap around. Repeats the canvas in all directions and you can paint on it seamlessly. You can even zoom out a lot to check if there's any visible pattern.
you can simply use stamp clone tool

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