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1. #3D COAT EXPORT TEXTURE TRANSPARENT BACKGROUND SKIN#
2. #3D COAT EXPORT TEXTURE TRANSPARENT BACKGROUND SOFTWARE#

The thing is, it works fine for OBJ files and I can go in and at least maintain texture ID's so Substance Painter can use it, but then I lose the ability of multiple UV sets when I use OBJ. Are you saying I have to retopo every model I work with? I literally don't have time to do that with 200 models I am creating (we are creating high poly models and rendering 2D sprites out of them, so we have no need to retopo anything ). The whole reason I am trying to import the fbx file is so that I can UV map it. Your workflow at the moment is a pretty bad one. You should really look into the auto retopo tools within 3d coat, as this is typically the best way to get a voxel sculpt into the realms of a normal UV mapped mesh for per-pixel painting. Because they did not have any mapping information to begin with. The same result is applied on all other pieces. If you look closely at the second image there, in the UV window you'll see a very small orange cross in the bottom left, this is me selecting all of the UV's for that chest/abs piece. Though its worth noting that the mapping it applies is basically redundant. If I import your fbx into 3ds max it gives a bit more information on the issue, and unlike 3d coat, 3ds max will apply "some" mapping info onto the mesh that will allow it to import. Granted, 3dc could handle this a bit better by applying some arbitrary mapping on import, but ultimately you're dealing with a flawed pipeline from the get go.# The objects you create in the sculpt room do not have UV's, and you're trying to then bring that data into the per-pixel room where it's expecting UV's. 3b (3d coat) and the actual character scene with the relevant textures So you can jump straight into it.Īlso, you’ll get pdfs with useful links to resources and my 3d coat hotkeys.Okay, I've just grabbed your FBX from the other thread. Jumping in Marvelous to design clothing for the character and bringing back to Blender.

#3D COAT EXPORT TEXTURE TRANSPARENT BACKGROUND SKIN#

This part covers the basics of the scene set up like skin shader, lighting, sculpting, and modeling tools. The brushes give you a very natural painting feeling and are highly customizable. Texturing in 3D Coat is a great experience. Talking about particularities of sculpting in 3D Coat.ģD Coat has great retopology and UV tools to do the job fast and it is covered in this chapter.

Then moving on to creating the finished voxel sculpt of the character. The second part is about modifying the base head to different creatures. The segmented head is included in the project files so you can even just skip doing it yourself and start designing straight ahead. At this speed, it is only possible to do in 3D Coat. You will be able to turn it to various character designs while retaining the important bits (lips, eyes, nose, ears) under control. Setting up a sculpt that is easy and fast to modify. Long boring processes are recorded to timelapses without narration. It makes it convenient to navigate and study.Īll videos are short between 2-5 minutes for easy watching and the best learning experience. The whole course is structured that every video about a certain point that is in the name of the file.

#3D COAT EXPORT TEXTURE TRANSPARENT BACKGROUND SOFTWARE#

3D Coat knowledge is not necessary.Įxplore a new pipeline of 3D Coat and Blender that could fit very well in certain productions and cover many needs at a fraction of the commonly used software costs. Sculpting and texturing in 3D Coat with a scene set up in Blenderīasic Blender for the interface.