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

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Check out my reload animation!

Inspired by Black Ops 2!

Critique? All welcome! Thanks!

31 posts and 1 images submitted.
its worse in every way
Are you serious? That makes me sad if you are, I am very proud of this, I thought I did well.
It's cool but it's like people have been doing nothing else but weapons and reload animations for the past 20 years.

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can this level of work find a job?
30 posts and 8 images submitted.
>can this level of work find a job?
no. but its passable for majority of mobile games
It could, in the Nintendo DS / early 3DS era. And yes, in mobile games.
Tbh I would fucking love to play a PC game with this graphic style
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I love that era too.
I am thinking of applying for mobile games as it seems easier

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So over the last couple of years ive been using max every now and then to model stuff as a hobby, i dont think im very good at it and compared to professional standards its probably utter trash but it was always something that i was interested in.

I thought about digging a bit deeper and getting some literature to "widen" my knowledge about the software and techniques in general.

Anything recommendable? If possible i would like to focus on sub object modeling and scene building / lighting.
3 posts and 1 images submitted.
Not literature but I can recommend Chamferzone tutorials
Some of the big Max tutor names on /3/ are Tim Bergholz (Chamferzone on YouTube), Grant Warwick, and Arrimus3D on YT.
Between just the works of these three you can become a Max ninja. Tim has full-blown projects where he goes from modeling all the way to rendering, Grant is more focused on techniques and concepts that let you figure things out yourself, and Arrimus really focuses in on the specifics of Max - if you need a quick demo or refresher on what a certain feature of Max does and how it can be applied, chances are he already has a video on it.
They also apply various modeling styles to their work, Tim keeps things varied by using extrusion modeling but not worrying too much about quads or using booleans. Grant does things old school with quads and subdivision surfaces, while Arrimus goes yolo with booleans and baking detail into more detail.

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ATTENTION: This is not a /biz/ thread.

I have 100k euros I live in Greece and I'm thinking on deploying a motion capture studio. I want to go to the route of Autodesk Motionbuilder and so on. As this is not a /biz/ thread let's not focus on whether it is a good business choice or not. Let's talk about the software path, what hardware and tools will I need, news and latest innovations on mocap and if 100k euros are enough for all these.
I plan on rigging body and facial 4D photogrametry. I am an architect and I used Agisoft for the past 5 years. Also done animations manually with autodesk biped and CAT.
9 posts and 2 images submitted.
100k euros aren't enough to start a liquor store

I've got the studio covered. 100k are for the rest.
>100k euros
Is this a troll?

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17 posts and 2 images submitted.
>click thumbnail
>see mouse
>filename makes sense
Gearing up for the inevitable return of Dr. Godpig, are we?

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What is a good tool/script to skin hair/fur in Maya?

I've tried Google for days now, but I only get garbage results with all these tools that aren't suitable for games. I'm talking about polygonal hair/fur.


This is exactly what I need, but all the links are broken.
3 posts and 2 images submitted.
For hair and fur in games you use texture shells for short hair, systems like HairWorks or TressFX for long hair, or shaders for fur.
In case of effects-driven hair/fur, you use control splines generated from whatever hair styling system your package comes with, while shells are used for short hair and so remain mostly static and don't need to be animated.
Unless you're modeling a static hair piece or using a solver, your hair will probably look like shit otherwise, so don't even bother with doing what I think you're attempting. Use control splines and let the game render the hair.
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It's short, static hair that goes down the neck of the character. Copying weights works OK, but not good, because the 4 vertices on each "card" get different values on them by the neck. That script would allow the weight painting on each "card" to be the same value without paintstakingly doing it manually, so that it won't stretch.

The only problem I have with the hair as far as looks go is the sharp shadows that appear when two "cards" intersect, especially when viewing directly from the back, but there must be some way to fix that when so many games seem to do just this.

How the fuck do you make the 2.5 fillet in solidworks/
3 posts and 1 images submitted.
with the fillet tool dumbass

but thats a fucking retarted way to model that

because those arent fuckint fillets
also its 2.25

also make a 3 point arc of that radius

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post your latest projections and tear apart the one posted above you
9 posts and 4 images submitted.
post something you bunch of rotating faggots
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This is all I have for now. I've been busy with learning rigging in order to animate my own character, so I haven't had time to play with projection lately.

It's a large object, so the poly count is 3044 points / 3024 polys
freshly baked

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Should I model mesh first or sculpt it and then do retopo? Provide argumentation please.
15 posts and 3 images submitted.
depends on the level of detail.

sculpting a character right off the bat is near impossible. you would have to use zbrush for a substantial amount of time until you can make a good base mesh.
if you are just a beginner, start with regular modeling
So basically modelling organic with polys is just noob crutch these days? What if I have to make multiple similar characters with differing geometry but who will have to use same animations and skeleton?
>So basically modeling organic with polys is just noob crutch these days?

i don't understand this question. im just saying learning sculpting depends on how you see yourself in 1 or 2 years from now, are you planning on making characters? or is it just to challenge yourself?
sculpting a character is fast compared to modeling organics, but having the proper zbrush speed to do so takes a while.
also modeling organics improves your modeling skills tremendously, and you don't have to make realistic characters, just stylized ones to begin with

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Help me out /3/. How should I model this in Zbrush.
I'm good at hard surface mechanical modeling if it's free form. However, if I need to create something based off something preexisting I don't even know where to start.
I just use the clay brush to work out rough shapes but then I get stuck on some deformed shit.
Should I use 3D Max for these instead?
I'd like to keep in ZBrush so I can improvise easily while I'm going instead of replicating whole sale.
15 posts and 6 images submitted.
>block out with dynamesh
>use zsphere remeshing to extract hard surface "plates"
>use zmodeler for stuff like the holes
>panel loops to give the plates thickness
>kitbash in the gubbins like the big screw thing
Thanks. Makes sense
I guess the trouble was I was working on the actual knees of the model. Starting with a fresh mesh is much better

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Sup, i have a question. When you all finish your models and are ready to texture them do you all just instantly put into substance painter,MARI or other shit like this or any of you use actually texturing/materials from your 3D Program? Like Hypershade in Maya?
6 posts and 1 images submitted.
Hypershade is the name of the node editor in Maya, not a material.
You create your material in lets say Substance Painter.
Material in this case means a shader made up of several texture channels (albedo, roughness, normal etc.)

You export these textures and hook them up in the hypershader into a material of your renderer.

So lets say you use Arnold, you have to use a material(shader) from Arnold, which in this case is the Arnold Standard material.

If you use Redshift you have to connect your textures to the Redshift material.
What i meant is do you create your materials and apply them to your object using your 3D program (so if we talking about Maya then using Hypershade) or do you all just jump straight into Mari or Substance Painter and do it there.
No, if you have your unwrapped Mesh, it goes straight to a dedicated texture program.
Hypershade is just a node editor. You can't paint on textures there.

Where do professional texture artists get all their reference from?
4 posts and 1 images submitted.
Real life.
Where do I torrent it?
Google image search > Tools > Size

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How the hell do i model this part in red? I've been trying and trying a lot, poly by poly, box modelling (the best but still weird result) but cant get good results, i will post what ive done in the comments below
22 posts and 8 images submitted.
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What's the problem? Box model the frame and normal map the green shit.

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So we all know "big" studios use programs like Nuke, Maya and/or Houdini, but what do they use when they actually have the scenes ready for the movie and they have to put together the movie + add the usual credits etc. etc. shit that doesn't necesarily require too much work.
I doubt they use Adobe Premiere or Sony Vegas
12 posts and 1 images submitted.

Not FX. Editing houses do that kind of final pass.

da vinci and Avid

credits is a job of it own.
I have heard that Cinema 4d is used often for titles. But more for complex ones. For credits... i don't know really.
>Being used

What the fuck i always thought it was a piece of shit

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Is CAD/NURBS-based modeling essentially superior to mesh modeling for hard surfaces, esp. ones that have a lot of gentle curves to them? Isn't it better to model in nurbs and only when done convert to meshes?

Which program is best at it?
17 posts and 5 images submitted.
rhino or 3ds, not sure which is better
fusion 360 just to be safe
It's all fun and games until you need it for animation/deformation/games.

Then you have to fucking retopo the whole model.
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>when done convert to meshes
Yeah because that's just a one click process, right?

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