Disney Overcoat 3D Painting
interpolator
Have you guys seen this before?
http://zurich.disneyresearch.com/OverCoat/
looks quite interesting! probably not possible on realtime/in game/animated models yet but certainly looks like an interesting approach to the problem of 3D looking too 3D and not expressive enough.
Ive only just looked at it cause Im at work, will have to look into it later.
http://zurich.disneyresearch.com/OverCoat/
looks quite interesting! probably not possible on realtime/in game/animated models yet but certainly looks like an interesting approach to the problem of 3D looking too 3D and not expressive enough.
Ive only just looked at it cause Im at work, will have to look into it later.
Replies
its really interesting... i would love to see a realtime version... would open up stylised games
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Interesting enough approach. I don't think this makes sense in real-time art though, as we can already do that, we just choose not to because of how inefficient that is. But nothing stops me from layering a bunch of polys on top of each other and painting on them. I do that a lot already with projection painting.
yeah I would love to see a stylized game that uses something like this to have characters and locations that dont just have hand painted textures on standard models but actually hand painted looking models too.
I know this is already achieveable but its a major ballache, so if someone designed the tools to make it easier or engine that is compatible then this could be very impressive.
thanks for finding the youtube version!
Looks pretty handy for achieving cartoon smooth feel.
Oh well...one can always dream.
Actually, not exactly that but there is something relative to it for 3d game arts.
http://3d-coat.com/play_video.php?link=http://www.pilgway.com/~javis2/DP/DP001-TheBasics.mp4
That's painting on the UV's, I think Uncle is talking about the real-time stranded projection ontop of the mesh in the scene that the tree's, cat and wizards had.
Also, offseting that Fresnel/mask with a Bump/Parallax function should do the trick.
I'll post up a quick image of what I mean, hold on ~ Pending Transmission.
Please note all of this can be done with Fin and Fur-Shells, just like SOTC did, but if you want something more complicated, here you go:
http://www.youtube.com/watch?v=Cqaew5S0aGA&feature=youtu.be
OK, so basically the video should give you an idea of what I mean, you basically Offset your texture several time (in this case it's 10) and that creates the soft layered effect you see.
The Mask is the fresnel, is basically taking the Mask in my textures Alpha and with the Fresnel going into the Opacity slot.
Please note the Red, Green and Blue channels are divided because I mask based upon my Gloss Texture, you don't need to do that.
So what is the problem? Well, it's a little expensive, but you can do it with maybe 4 Offset instead of 10, and minus the Specular math, Gloss math, Transmission math as well Diffuse math, it can be fairly cheap. Also, as you can see, on certain surfaces like the Box, it looks funny unless you carefully correct it.
The other problem is that you need to model the 'weight' of the fur. So if you make a character, that has fur, you need to create the volume of the fur on the mesh, which can be abit difficult for some artists.
It's not perfect, but it should help you even for Shells and Fins. Besides, I'm pretty sure someone can find a better solution then mine.
Oh well, in that case, we have to wait for them to release their app for us.
I'm not sure if thats possible tho, I'm poor at shaders really.
The bump offset nodes can take a range of values. If you use a greyscale height map as the input to a lerp then set a min offset and a max offset, you can get up to 256 levels of offset out of one bumpoffset node.
I did this with the hair shader I've put aside for a bit, but the depth part was working, though I didn't have silhouette correction like you did. But I did include some texture space self shadowing, internal and cast via a full rgb texture using each channel as a separate set of possible heights.
Uncle: Yes this technique could be used on any mesh. It doesn't actually clone or offset any geometry, it just messes with how the object is rendered so you can get transparent parts like that. As far as fur weight goes.. there might be something doable with the bump offset technique.. heh combining the recently discussed flow map techniques with bump offset values might work. Sorry that is vague. The idea is still new.
ON topic: This software looks awesome. Its like paintFX meets body paint. Gonna have to check out their research papers.
Please note the reason I made this shader isn't because I thought it looks better, but because I read up that on real-time DX9 software, Fur Shells can actually bring down the speed of the game due to the calculations of the shadows on each shell, I could mistaken however.
Vailias, ha, I knew you would come up with a better solution, but I had to limit myself to one texture since I'm using each channel for gloss, and the node setup got real messy real quick. Although I am curious as to what you mean and how you would tackle the single bump node structure, that sounds too good to be true.
Also, for the self-shadowing, couldn't you use the Normal map and use the G or Blue channel to calculate them? Sorry if it sounds like a doofus question.