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: Ghost Lake - Stylized Unreal 5 Environment
Looking great! Loving the mountains in the BG.
The jetty was a bit confusing at first sight as it looks a bit like stairs. Or is it stairs? The snowdrifts pattern seems to ignore the jetty and its pillars as well.
The jetty was a bit confusing at first sight as it looks a bit like stairs. Or is it stairs? The snowdrifts pattern seems to ignore the jetty and its pillars as well.
Noren
1 ·
Re: The Bi-Monthly Environment Art Challenge | September - October (92)
a lot of learning was to be had this time round- I definitely could have done better if I didn't cut corners where I did lol
tried out procreate for texture painting this time! it was janky at times but pretty fun
stahlwart
4 ·
Re: Rigging question
The poses don't always have to match all the way through the pipeline. It might be more beneficial for artists to bend the arms in A pose and curl the fingers so they can be at the mid point of deformation like poopipe mentioned. But depending on the rigging system, that might be a nightmare to rig.
I like to think of the poses as a little more gradual and fluid, not locked into "one pose to rule them all". The whole point of being able to skin up a character is so that you can pose them, so absolutely leverage that and help out everyone at each stage of the pipeline.
Rig pose : The pose that you use to create the control rig doesn't even really involve the mesh, its just the skeleton and controllers. You create joints and hook up control shapes, create the motion systems that drive everything (IK/FK, driven keys, constraints ect..) this doesn't necessarily need to match your mesh perfectly. Rigging is easier when things are mostly straight with predictable default values. So using a T pose with feet facing perfect forward and arms facing away from the body at 90 degrees, straight fingers, it is great, for rigging.
Skin/Bind Pose : This can be whatever shape that matches your actual character. Baked in a motor bike pose? Great, I don't really care, I'll skin in whatever pose we need but I'm not creating a rig in that pose, unless I'm using a tool that helps with that.
Another example is bake vs bind pose, especially when it comes to faces. It helps to bake faces with the mouth slightly open and the eyes slightly closed, but no one during the sculpting approval phase likes looking at stoned characters, so you pose it, bake it and put it back.
Animation Pose : This is a default pose that animators like, usually this matches the bind pose, but it doesn't need to. Maybe the bind is a A Pose but the mocap system likes starting from a T pose, so give em what they need to succeed.
There are advantages and disadvantages of changing the poses or keeping them similar but it all depends on the tools you're using and the pipeline you've got going. There are ways to deal with every combination of tools and poses and none of it should completely brick your pipeline even if you pick the worst combinations possible. So you're pretty much free to do whatever works best for your team and your project. If that's everyone agreeing on one pose and everyone working around it, great. But I don't really see that as a necessity.
Personally, I think you should vet your pipeline with block out assets, make sure that all works exactly like you need it to, and then go about putting in all of the work to make the final asset. It helps to do it in stages and refresh the meshes as you go if someone has questions about a specific asset, like a crossbody shoulder bag or whatever, you can test it out before you dig in deep on asset creation. Take your time to figure out your topology and get things working like you want before artists spend all of that time.
I like to think of the poses as a little more gradual and fluid, not locked into "one pose to rule them all". The whole point of being able to skin up a character is so that you can pose them, so absolutely leverage that and help out everyone at each stage of the pipeline.
Rig pose : The pose that you use to create the control rig doesn't even really involve the mesh, its just the skeleton and controllers. You create joints and hook up control shapes, create the motion systems that drive everything (IK/FK, driven keys, constraints ect..) this doesn't necessarily need to match your mesh perfectly. Rigging is easier when things are mostly straight with predictable default values. So using a T pose with feet facing perfect forward and arms facing away from the body at 90 degrees, straight fingers, it is great, for rigging.
Skin/Bind Pose : This can be whatever shape that matches your actual character. Baked in a motor bike pose? Great, I don't really care, I'll skin in whatever pose we need but I'm not creating a rig in that pose, unless I'm using a tool that helps with that.
Another example is bake vs bind pose, especially when it comes to faces. It helps to bake faces with the mouth slightly open and the eyes slightly closed, but no one during the sculpting approval phase likes looking at stoned characters, so you pose it, bake it and put it back.
Animation Pose : This is a default pose that animators like, usually this matches the bind pose, but it doesn't need to. Maybe the bind is a A Pose but the mocap system likes starting from a T pose, so give em what they need to succeed.
There are advantages and disadvantages of changing the poses or keeping them similar but it all depends on the tools you're using and the pipeline you've got going. There are ways to deal with every combination of tools and poses and none of it should completely brick your pipeline even if you pick the worst combinations possible. So you're pretty much free to do whatever works best for your team and your project. If that's everyone agreeing on one pose and everyone working around it, great. But I don't really see that as a necessity.
Personally, I think you should vet your pipeline with block out assets, make sure that all works exactly like you need it to, and then go about putting in all of the work to make the final asset. It helps to do it in stages and refresh the meshes as you go if someone has questions about a specific asset, like a crossbody shoulder bag or whatever, you can test it out before you dig in deep on asset creation. Take your time to figure out your topology and get things working like you want before artists spend all of that time.
Mark Dygert
2 ·
Re: Star Wars Outlaws: Character design was the least of this games problems.
Guillemot can read Polycount though his many eyes and ears that whisper back to him, we need to be careful with what we write here, lest we be branded heretical, stripped of our colours, rank, insignia, to be nothing more than a black shield of the Emperor's will.
"A being of preternatural intelligence, cold reason and indomitable will, Guillemot forged his XIIIth Legion into a vast force of conquest and control, a weapon by which he made himself the master of a stellar domain in the Eastern Fringe of the galaxy, the Realm of Ultramar, which during his lifetime spanned five hundred worlds. "
"A being of preternatural intelligence, cold reason and indomitable will, Guillemot forged his XIIIth Legion into a vast force of conquest and control, a weapon by which he made himself the master of a stellar domain in the Eastern Fringe of the galaxy, the Realm of Ultramar, which during his lifetime spanned five hundred worlds. "
zetheros
1 ·
Ghost Lake - Stylized Unreal 5 Environment
Ghost Lake
https://www.artstation.com/artwork/bg530G
Ghost Lake is a project I have been working on in my personal time. My former lead at Mountaintop, Andy Kreutzer, told me to improve my Unreal Material Skills. I thought a fun challenge would be to create an Ice Material. Once I finished the Ice Material I tried to make a Foliage Material with wind. I then created a Landscape Master with Height Blended Snow. Pretty soon an environment was taking shape so I setup a very simple composition block-out. This ended up being alot more work then I had originally intended, but such is the way of things when you start experimenting in uncharted territory. Needless to say this has been a learning experience for me.
I have to thank Tim Simpson who came in clutch helping me with the lighting. I am also very grateful to have had solid feedback from Andy Kreutzer, Jeff Horal, Esteban Chaidez, and Ranko Prozo.
I was highly inspired by the game Wayfinder.
https://www.artstation.com/artwork/bg530G
Ghost Lake is a project I have been working on in my personal time. My former lead at Mountaintop, Andy Kreutzer, told me to improve my Unreal Material Skills. I thought a fun challenge would be to create an Ice Material. Once I finished the Ice Material I tried to make a Foliage Material with wind. I then created a Landscape Master with Height Blended Snow. Pretty soon an environment was taking shape so I setup a very simple composition block-out. This ended up being alot more work then I had originally intended, but such is the way of things when you start experimenting in uncharted territory. Needless to say this has been a learning experience for me.
I have to thank Tim Simpson who came in clutch helping me with the lighting. I am also very grateful to have had solid feedback from Andy Kreutzer, Jeff Horal, Esteban Chaidez, and Ranko Prozo.
I was highly inspired by the game Wayfinder.
markcarier25
1 ·
Fingerprints for Clay Mansion
Hi Polycount forum,
I plan to create a project that looks like a horror movie scene, all made of play clay. I am trying to apply fingerprint to the model now. How can I do it, what do you recommend? I use maya and redshift to do this...
Thank you.
I plan to create a project that looks like a horror movie scene, all made of play clay. I am trying to apply fingerprint to the model now. How can I do it, what do you recommend? I use maya and redshift to do this...
Thank you.
mountains
1 ·
Re: Is it possible to revert 3dsmax back to the legacy shift+drag behaviour in edit poly / editable poly
It's ctrl+shift+drag now. Doesn't make much sense and isn't even unified across different tools, but it is what it is.
Ideally, you'd simply be able to switch Smart Extrude to that new combination and reassign the old behavior to shift+drag, but I haven't found a script or plugin for that. Might not even be accessible. Perhaps with an external shortcut program / something like Keyhydra if that's still around.
You can turn Smart Extrude off completely, though:
https://cganimator.com/smartextrude-toggle/
Ideally, you'd simply be able to switch Smart Extrude to that new combination and reassign the old behavior to shift+drag, but I haven't found a script or plugin for that. Might not even be accessible. Perhaps with an external shortcut program / something like Keyhydra if that's still around.
You can turn Smart Extrude off completely, though:
https://cganimator.com/smartextrude-toggle/
Noren
1 ·
Re: Is it possible to revert 3dsmax back to the legacy shift+drag behaviour in edit poly / editable poly
you are going to heaven.
thankyoo
thankyoo
poopipe
1 ·
Re: When to self occulde AO bakes
There are no strict rules. Sometimes you need AO for masks generators only . I usually bake several AOs with different settings for different purposes.
gnoop
1 ·
Re: Baking problem (or understanding-problem?)
At 2048x2048, that tiny little part of the mesh is less than 100x100 pixels in the normal map, and you are getting your nose right up against it. No wonder it's messy.
One solution would be to use your UV space more efficiently (cut that corner area out and give it most of the texture space).
But the real question is why are you doing this? What is the goal you are trying to achieve?
One solution would be to use your UV space more efficiently (cut that corner area out and give it most of the texture space).
But the real question is why are you doing this? What is the goal you are trying to achieve?
Eric Chadwick
1 ·