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.
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?
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?
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 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?
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?
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?
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.
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.
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?
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.
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.
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.
fausto de martini
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.
This. I look up to him like he's God.
What do you think /3/?
need some serious feedback/redlines for this work
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 ?
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.
>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.
Is there a Photoshop plugin that allows you to draw textures seamlessly?
I hate working with the offset filter. It's very limiting.