and then some work and others don't like the retopo huge reference button but then you use the vertex painting one and it does a better job.
So 3DCoat has some weird behaviors around importing the texture on some cases, but it worked okay the baking of the textures when I selected decimated reference and then baked to a retopo object.īut I think this is one of the problems 3DCoat has, many buttons that do the same but has different names. Even 3D viewer can see the texture but not 3DCoat. But when using the SubD version, only the first subdivision works, 2 to 6 doesn't import anything. well, sometimes because I just tested all this with a 3D scanned man sample I downloaded from and the decimated models import textures into 3DCoat fine (changing the obj MTL info to the correct image file). And also you can use Mesh for Vertex Painting, seems like it also imports it as Surface Sculpt object, and you only click on it and select the mesh and it imported fine the mesh with the texture. It seems to work just the same as using the import command. You could use File -> Import -> Import for Vertex Painting/Big reference. its a great program for organic but i really wish 3d coat was less confusing on its capabilities. what a waste of time ive made all because the videos say you can hardsurface model. My model had a hole on it and it kept getting screwed like when it gets imported as voxels. 3D coat should stop marketing its program as possible to do hard surface modelling then or make some changes. The 3D Coat/Zbrush/Mudbox workflow is to sculpt with 10, 20, 30 million polygons or voxels, then retopo, by hand or automatically, a much simpler poligonal mesh then bake out the fine details of the original sculpt onto the UV mapped retopology, then render the UV mapped poligonal retopo with it's Displacement, Normal Maps, color maps and ambient occlusion and curve maps, gloss maps and perhaps even emitter map.Well, I never use that retopo huge reference button, last time I tried it, it seems like it imported the model as voxels and then convert it to Surface. It's a huge liberation for artists in 3D computer graphics. That autoretopo with the long spindly loop is quite the technological accomplishment I can assure you, since you do seem to be new to this subject. But I used to use that technique and this workflow is much better. Starting from through holes with smoothing and difficulty with adjusting shapes. When I tried to do something in a сoat with such subtle objects, it turned into torture. I mean that a number of things are easier to make polygons in another program. Export Separated Poly (Retopo) Objects: Exports each Retopo Group as a. Export selected: Exports only the selected faces of your retopo mesh. Export: Exports a retopo mesh to continue work in an external 3D application. Very nice for those unreachable problems in the eye sockets and other enclosed areas. Import: Import an external mesh to continue creating topology started in another 3D modeling program.
Oh and I just discovered "close holes" and "remove n-gons". Really, there is no need for ZRemesher at all now. Well actually I went back and tried an added loop around the eyes with three lines coming out of the eye sockets one across the bridge of the nose, one straight back to the top of the ears and one up into the forehead. My only critique would be around the rim of the eyes but when you start drawing in too many splines and insisting on two many conflicting flows that's when things start to get tangled up in the overload.
Click+hold outside model in empty space, drag across model to empty space, release click. But when I try to do this it doesnt work. Using symmetry was essential to good results. I watched this Loft Mode video and he uses it like the old Stroke tool. I went from 4900 to 10,000 polygons and didn't have to even touch up a single ngon or tangled mess anywhere. I felt it was particularly important to have more geometry flowing around the nostrils and it worked not too badly.
After many tests my verdict is less is more but having said that, it works well. So on further reflection I did a lot more work on Autopo, adding painting the voxel area where you want more detail and also adding indicators for mesh flow.
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