The BRAWL² Tournament Challenge has been announced!
It starts May 12, and ends Sept 12. Let's see what you got!
https://polycount.com/discussion/237047/the-brawl²-tournament
It starts May 12, and ends Sept 12. Let's see what you got!
https://polycount.com/discussion/237047/the-brawl²-tournament
Best Of
Re: How do you make the 3D pipeline less painful?
"For me, texturing and sculpting can be especially draining, and sometimes the retopo/UV/baking combo (even with RizomUV or Marmoset) ends up eating way more time than I’d like. It often feels like I’m fighting the process instead of moving forward."
Well, all of this is self-imposed really. Nothing forces you to work on models at a level of detail/fidelity requiring complex pipelines or hundreds of hours.
If the process feels like a chore, the solution isn't to hope for automagical tools (AI or not) to speed it up, but rather, to refocus on something you enjoy more. Or establishing strict time goals and adjusting fidelity and processes around them.
Lastly, wishing for AI to automate the tedious is IMHO a pretty bad idea. Because the day some automagical AI tool will be able to do proper UVs for you, will also be the day when you won't be needed anymore as a modeler because there will be plagiarism machines available for that aswell, and the job of a 3D modeler will only consist of cleaning things up.
If UVs feel like a chore to you know, that's probably just because you are not quite there in terms of modeling efficiently with UVs in mind.
Well, all of this is self-imposed really. Nothing forces you to work on models at a level of detail/fidelity requiring complex pipelines or hundreds of hours.
If the process feels like a chore, the solution isn't to hope for automagical tools (AI or not) to speed it up, but rather, to refocus on something you enjoy more. Or establishing strict time goals and adjusting fidelity and processes around them.
Lastly, wishing for AI to automate the tedious is IMHO a pretty bad idea. Because the day some automagical AI tool will be able to do proper UVs for you, will also be the day when you won't be needed anymore as a modeler because there will be plagiarism machines available for that aswell, and the job of a 3D modeler will only consist of cleaning things up.
If UVs feel like a chore to you know, that's probably just because you are not quite there in terms of modeling efficiently with UVs in mind.
pior
4 ·
Re: Early-Late 2000s CGI/Game textures
"What do you do if you're trying to make a face and don't have a reference for each angle?"
Well ... one could ask the same thing about every piece of sculpture ever made. The artist simply pulls from their experience, knowledge of anatomy, and personal design vocabulary for the representation (and stylization) of the various facial features.
As a matter of fact you actually don't really want to have references for every angle, because whoever provides these references isn't a perfectly accurate 3D software but rather a mere human artist. The multiple views on the model sheet will never quite perfectly match up, some adjustements will always be required.
A character modeler (or a modeler in general) isn't hired to be a human photogrammetry machine. Having hundreds of hours of drawing, sculpting and modeling under ones belt is an important requirement for the job.
Well ... one could ask the same thing about every piece of sculpture ever made. The artist simply pulls from their experience, knowledge of anatomy, and personal design vocabulary for the representation (and stylization) of the various facial features.
As a matter of fact you actually don't really want to have references for every angle, because whoever provides these references isn't a perfectly accurate 3D software but rather a mere human artist. The multiple views on the model sheet will never quite perfectly match up, some adjustements will always be required.
A character modeler (or a modeler in general) isn't hired to be a human photogrammetry machine. Having hundreds of hours of drawing, sculpting and modeling under ones belt is an important requirement for the job.
pior
3 ·
Re: [WIP] RED V-Raptor camera, Plasticity practice
Front part is ready. Except screw holes. I'll add details to them at the very end.
Are 800px wide images ok to see the details? Or someone needs full res?
Are 800px wide images ok to see the details? Or someone needs full res?
3d_legionary
3 ·
Re: The Bi-Monthly Environment Art Challenge | July - August (97)
I just finished my rendition of the Sci-Fi Light. I created the light model using Maya then did a minor pass in Zbrush to add a little surface damage and to not make the edges so sharp. I then sent it into Substance Painter for the texturing and finally imported it into Unreal engine for the final render and used Blueprints in Unreal to animate the light.
Vertices: 1801
Tri-count: 3,520
Texture Resolution: 1024 x 1024
Light on:
Light Off:
WireFrame: Maya
Light Off Wirerame:
Animation:
Vertices: 1801
Tri-count: 3,520
Texture Resolution: 1024 x 1024
Light on:
Light Off:
WireFrame: Maya
Light Off Wirerame:
Animation:
Smoggybeard
4 ·
[PAID] Seeking 3D Artist for Retro Racing Game
I’m developing a stylized racing game called SPEEDWORLD, set in the 1980s and inspired by vintage NASCAR, TNN motorsports broadcasts, and retro racing culture. I need two high-quality game-ready 3D assets:
- A 1984-style stock car, based on the Monte Carlo — low/mid poly, separate mesh parts for damage, clean UVs for in-game paint customization.
- A rigged, customizable male driver, featuring modular hair, fire suit styles, and accessories (mullet, open fire suit, gold chain, etc.)
Art style is stylized but era-authentic — no blocky cartoon look, but not hyperrealistic either. Think somewhere between a late PS2 racing game and a modern stylized indie title.
This is a passion project — not on a tight deadline, but I want someone who understands game integration and retro aesthetics. Long-term collaboration possible.
Unity-compatible format. I can provide references and briefs.
MarinoMiami85
3 ·
Re: How do you make the 3D pipeline less painful?
It looks like OP is working at a machine-learning startup for 3d content creation, so that's where this is coming from.
___'s machine learning and in-house art team combine to deliver production-quality assets in minutes.
___ specialises in developing cutting-edge Machine Learning algorithms for transforming images into digital 3D models. Our primary focus is serving game developers, offering a 10x speedup in their 3D asset production pipelines.
Blanked out the name to discourage SEO, but I'm sure you could find it if you looked hard enough.
Anyhow, it's all a bunch of astroturfing. Looking at you AsdiusWork, kostadina, lucaK25.
I get it, this is how you market these days, embedding things. But at the very least treat us with some level of respect and announce where you're from, don't hide behind some pseudo anonymity.
Eric Chadwick
9 ·
Re: How do you make the 3D pipeline less painful?
Hehe indeed ; and if it comes from a genuine place, then it sounds like "whatifs" from someone who hasn't worked on many models.
To the OP :
"A UV co-pilot overlays stretch/TD heatmaps, proposes seams you can accept/tweak,"
"wouldn't something like this be cool?"
Well not really, since seams are placed (or at least planned ahead) *while* modeling the low, as they very much influence the modeling. Hoping for an assistant to design them for you after the fact is somewhat absurd and wouldn't be much better than the many automatic or semi-automatic UV tools already available today.
What you are describing is close to one-day throwaway models that are not meant to go in the final game. And while such quick models can be interesting experiments (and as said they can certainly be done in less than a day with the currently available tools, ie tools that have been available for about 10+ years already), in actual practice they're not so hot as ingame placeholders since they take about the same time to do as a regular clean blockout ... and a clean blockout has the big advantage of being a starting point for the final model later as opposed to being fully throwaway. As a matter of fact it seems to be what Valve is doing with their Deadlock models. And if production needs to speed up unexpectedly, a clean blockout ready for quick cleanup and texturing will always be more useful than a sculpted model bruteforced into a pseudo-realtime model that needs to be redone from scratch.
Now of course new tools are always fun to think about (and certainly interesting to develop). But I genuinely believe that the time of an artist is better spent on developing efficient working habits with the tools available today, than on daydreaming about the next automagical thing.
To the OP :
"A UV co-pilot overlays stretch/TD heatmaps, proposes seams you can accept/tweak,"
"wouldn't something like this be cool?"
Well not really, since seams are placed (or at least planned ahead) *while* modeling the low, as they very much influence the modeling. Hoping for an assistant to design them for you after the fact is somewhat absurd and wouldn't be much better than the many automatic or semi-automatic UV tools already available today.
What you are describing is close to one-day throwaway models that are not meant to go in the final game. And while such quick models can be interesting experiments (and as said they can certainly be done in less than a day with the currently available tools, ie tools that have been available for about 10+ years already), in actual practice they're not so hot as ingame placeholders since they take about the same time to do as a regular clean blockout ... and a clean blockout has the big advantage of being a starting point for the final model later as opposed to being fully throwaway. As a matter of fact it seems to be what Valve is doing with their Deadlock models. And if production needs to speed up unexpectedly, a clean blockout ready for quick cleanup and texturing will always be more useful than a sculpted model bruteforced into a pseudo-realtime model that needs to be redone from scratch.
Now of course new tools are always fun to think about (and certainly interesting to develop). But I genuinely believe that the time of an artist is better spent on developing efficient working habits with the tools available today, than on daydreaming about the next automagical thing.
pior
5 ·
Breath Of The Wild Zelda - Free Rig
Super excited for the new breath of the wild so I made some art. I also put the model up with a rig for anyone who wants to use it! If anyone makes an animation it would be really cool to see them shared here
theStoff
6 ·
Re: Early-Late 2000s CGI/Game textures
When working on PS2/PSP/PS3/XBox I used a whole lot of vertex baked lighting. Maya was my app of choice back then and Vertex Chameleon was hands down my favorite tool.
I used Faogen 80% of the the hero models, or things that needed more complex baking.
I used Faogen 80% of the the hero models, or things that needed more complex baking.
Lamont
3 ·
