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Diomede, thanks so much for these two basic tutorials. I look forward to following along with the first one either tonight or sometime this weekend. And I really like the second because it shows that moving between scene set-up and modeling in Carrara can be a relatively easy process. Maybe that will actually get me learning how to model! :D
--MW
diomede, Great Job... Very cool... I've learned a few thing too... thanks for everything but especially the "keyhole" and other spline modeling tips. Now.... I have a few questions, when don't I. :)
Onto suggestions, hope you don't mind. Please disregard if you do.
Please let me know if I can help out in any small way.
Thanks, wgdjohn. I am having continuing problems with my keyboard dropping letters when I type. I have to go back and edit almost every post. Aaargh. I tried to fix some of the typos. Hope everything is a little easier to follow. No promises regarding editing more of the screencaps, but I will consider it.
I am about half way done with one more example. After that, I recommend people get the video tutorials by PhilW and MMoir. I want to give an example of editing shaders, creating new shading domains, using replicators, using the 3d paint tool, and growing hair.
EDIT: I am not going to refer to keyboard shortcts very often, if at all.
Aviator Mei, Vampire Hunter
I picked up a couple of items in recent sales so I will use them as an excuse to introduce a few other features. If you are a beginner, try to ignore my general lack of artistic acumen and instead focus on various tools Carrara has and how to access them. I acquired a dirt/blood skin shader pack for G2F and some vampire-related props. I will be adjusting the arms of G2F to integrate some of the blood texture maps that come with the shader pack and I will be using the 3d paint tool to put some blood on some of the vampire hunting props. In addition, I will be using a conforming clothing outfit that was designed for V4 on G2F. I will customize the shaders of the outfit and create some fur lining.
Here are some of the products I will be using.
First, the Aviator Outfit is for V4 but I want to use genesis 2 female. The following thread includes more detail on the process.
http://www.daz3d.com/forums/discussion/45361/best-practices-using-genesis-and-genesis-2-content-in-carrara/p1
However, one way to do it can be summarized as follows. (this uses the Daz transfer utility). This assumes that you own any needed "clones" that allow the items to be converted. http://www.daz3d.com/victoria-4-for-genesis-2-female
- to convert, open Daz Studio and load a base genesis 2 female
- find the V4 clothing item in your content libraries. Click and drag to the G2F. Studio will say it is wrong and prompt you to convert. Tell Studio the item was created for V4 (or whatever)
- Studio will convert the item for use for G2F.
- Select the G2F in the scene tab and use FILE : SAVE AS : WEARABLE PRESET and save the file to a location of your choice. I gather all of my V4 to G2F content in one place. Some people prefer to save as a support asset rather than a wearable.
- Repeat for each item to be used.
- Close studio.
I started a new medium sized scene.
I loaded the base genesis 2 female from the people folder of the content browser.
I loaded a global skin shader that I had customized for maps acquired with the Saki or G2F character (see tutorial 1 above). Just clicked and dragged from my shader browser to the mutlicolored globe found when highlighting the "actor" level of G2F and clicking the shader tab.
I loaded the aviator clothing items that I had converted to wearables by clicking and dragging to the G2F supergroup level.
I used the "fit to" function to conform each clothing item to G2F.
Next, I wanted to add dynamic hair. Following the method shown in the second tutorial, I clicked and dragged the dynamic hair from Naomi called "5 times a lady" to the "head" level of the G2F hierarchy.
Purely for visual convenience, I decided to create a backdrop in the assemble room. I selected the "scene" in the instances tray. I clicked the backdrop and chose Bi Gradient. I clicked the two middle boxes and chose white. I won't be keeping this at render time but it can be convenient when putting the scene together.
Next I wanted to alter the shape. I simply used dial morphs. I highlighted the "actor level" of the G2F, clicked on the parameters tab, and searched for Mei and then for Lotus. I dialed to taste. Note that the Mei morphs changed the G2F height. No problem, the V4Aviator clothing items morphed and continued to "fit to" the G2F.
I then went to the render room and did a test render.
I want to customize the Aviator outfit by changing the texture to a dark green denim, with white trim, and the white trim should have fur. I started with the shorts and used similar methods for the top. Note that the upper middle/right of the scene has icons for different display modes. You can set the assemble room display to use the textures of the objects. I generally don't do that, but here is an example.
I selected the actor level of the shorts and entered the shader room. Notice that the shorts only have two domains, which are clothing and belt. But I had reason to want a separate shading domain for the cuffs and the zipper tab.
To create a new shading domain, click on the wrench in the upper right and enter the modeling room (the actor level of the shorts should still be selected).
You will get a warning about protected topology. For these puroses, I just ignored it.
Using the selection tools, I selected the bottom of the shorts.
Under the model tab on the right, there is a drop down menu for shading domains. Choose new shading domain and pick a name. It will be applied to the current selection. Click off the model to deselect (or use "deselect all" from the top edit menu).
Returning to the assemble room (click the hand icon), you will see that the cuffs shading domain has been assigned the default grey.
With actor still selected, click the paintbrush icon in upper right to enter the texture room. There is a new shading domain for the cuffs but it is empty. You will see a drop down menu. Use it and choose create new shading domain. It will get a default name like shader or shader 1. Double click the new shader to open its tree,
Notice that the default color channel is a simple grey. I want an off white. One way to get a little pleasant variation is to use a gradient. Click the color channel and choose color gradient. A horizontal bar appears with varying shades of blue. I clicked on the arrows at the ends to bring up the color wheel. I set them both to white. I clicked in the middle of the bar to create a new arrow and bring up the color wheel again. Here I chose a simple off white grey. The next thing is to add something to control the gradient. I used the drop down menu to choose fractal noise.
The cuffs will be covered in fur so too much detail is not necessary. The following is just for illustrative purposes. I reduced both the highlight and the shininess. I then set a complex bump. In the bump channel, I used the drop down menu to choose OPERATORS : MIXER. The result is a source 1, source 2, and a blender. For source 1, i chose NATURAL FUNCTION : SPOTS. I reduced the size of the spots and reduced the blend (so more contrast). In source 2, I used the menu to choose fractal noise. In the blender, I chose value (1-100). I chose 50, which results in source 1 and source 2 being used equally. If the value s 0, the result is to use source 1 entirley. If the value is 100% (or 1), the result is to use source 2 entirely. You can create very complex shaders.
Next I addressed the base fabric of the shorts. Still with the "actor" level selected, I double clicked the clothing fabric shading domain to bring up its tree. I clicked on the color channel and chose texture map. I navigated to a folder in which I keep denim tiles. I chose a greenish denim. I chose to tile it 8 times. Note the check mark by "tile." Next, holding the control key, I clicked and dragged the color channel to the bump channel so the denim grooves colors would match the bump. I then went to the top shader level and set the bump to taste.
I repeated similar steps for the belt. I double clicked the belt shading domain to bing up its tree. I loaded a texture map of leather in the color channel and then copied that to the bump map, and adjusted the bump intensity at the top level.
I did a test render. Aaaargh. The shorts have a belt buckle with wings. Unfortunately, it does not have a separate shading domain - yet.
Using the same method as for the cuffs, I entered the modeling room and selected the polygons for the wings and the circle to create new shading domains. I then entered the texture room and used the wizard to pick a metalic shader (brass) for the wings/circle buckle. Another test render.
Next I gave the shorts a fur trim by using dynamic hair on the cuffs.
I returned to the assemble room.
I dragged the hair icon from the upper menu to the actor level of the shorts.
Carrara prompted me with two choices related to how the hair would be used. I chose "geometry based" and "guide based."
I zoomed in on the shorts model. Notice the "select by" menu on the right side. I clicked "selected by" and chose the "cuffs" shading domain that I made earlier.
The cuffs turned green.
The properties tray (right side) has three tabs, labeled "tool," "general," and "Dynamics."
Under the general tab, I reduced the length to 0.05 and set thickness to medium,
Click to check or uncheck "show in 3d view" to see the projected hairs. However, the blue guide hairs will be shown in this modeling room but not the main room even if the show in 3d view is unchecked. If you have show in 3d view unchecked, you won't see the hair in the assemble room. It can be easier to work on other items in the assemble room if this is unchecked.
I checked the "short hair / fur" option rather than the long hair option.
I increased the number of segments per hair to 10 and the number of guide hairs to 60.
With "show in 3d view" checked I went to the render room by clicking the film icon in upper right and did a test render. Notice that the hair just sticks out straight, is not dense enough, and the color does not match the cuffs shading domain.
.
I returned to the hair modeling room by clicking the wrench icon.
I unchecked "show in 3d view" to just show the blue guide hairs. I could have used the brush tool (upper left menu) and manually brushed the blue guide hairs in the direction that I wanted.
Instead, just for this example, I clicked the dynamics tab. It has settings to control how gravity, objects, wind, etc., affect the hair. I kept the default settings and clicked "drape all." It took a few moments, but the blue guide hairs draped downwards. I clicked convert to accept. Clicking any other button causes the most recent drape to be lost and the hair returning to its previous state.
Under the "general" tab, I increased the hair count.
I rechecked "show in 3d view" so I could work on the hair shader.
I clicked on the paintbrush icon (upper right) with hair still selected to enter the texture room for the hair.
Notice that the hair shader tree is a little different than the standard. The hair shader tree has separate channels for the root and tip. It also has channels for friz, waviness, etc.
To more closely match the underlying cuff shader, I put a white gradient in the chanels for root and tip, but left the ohers at their default.
I returned to the render room (film icon upper right)
I did a test render and thought the fur was still too long.
I returned to the hair modeling room (wrench icon upper right), and under the general tab reduced the length from 0.05 to 0.03.
I returned to the render room and did a second test render. I was happier with the result. If not, I could have returned to the modelng room and used the brush tool, or adjusted length, or the number of hairs.
Note that you can use texture maps to control the settings in the hair shader channel, including length and thickess.
Relatively happy, I returned to the hair modeler and unchecked "show in 3d view" to continue working on the scene.
In the assemble room, I took a break from the main project and decided to relabel some of the shaders to keep track of them better.
In the instances tray (lower right) there are tabs for "instances," "objects," "shaders," "sounds," and "clips."
I clicked on the "shaders tab" to bring up the list of shaders currently available in the scene. Recall that I had created new shader domains for the cuffs and the belt buckle. Carrara assigned a name to these called "shader" and "shader 1," and... for any that I created. I then edited these to make them white, or chose the brass shader preset, etc. However, the name is still "shader" or whatever.
In the box in the lower right, with "shader" tab clicked, I navigated to the "shader" and "shader 1" icons and renamed them cuffs and brass respectively. To do so, doubleclick on the desired shader in the lower right and the shader tree will open. You can change the name in the properties tray (upper right).
Return to the assemble room.
Recall that you can click and drag shaders to your shader browser to save them for use in other projects (see first tutorial).
I then applied the same concepts to the aviator outfit's top.
I returned to the assemble room. I selected the actor level of the top and entered the modelng room.
I created new shading domains for where I wanted the fur.
I applied the saved green denim shader to the main area of the top and the saved white gradient shader to the collar and trim area of the top. I used the brass shader for the zipper.
I dragged the hair icon to the actor level of the top.
I adjusted the hair thickness, length, number of hairs, etc. and draped the hair, and converted the drape.
I changed the hair texture.
I did a new test render with both the shorts and the top with their new saders and fur trim.
I then focused on the skin shader for the G2F. I want the character to have blood on the forearms and hands. I recently bought the "Ultimate Dirt and Blood" resource kit for G2F by Tolero. It includes a number of texture maps that can be used on the shading domains for G2F with presets in Daz Studio. I am going to apply just the limbs blood map to just the forearms and hands in Carrara.
http://www.daz3d.com/ultimate-dirt-n-blood-for-genesis-2-female
In the assemble room, I selected the "actor" level of the genesis 2 female and clicked the paintbrush icon to enter the texture room. The G2F has very many shading domains. I double clicked the shading domain for the forearm from the list on the right.
The shader tree for the forearm appears. At the top level, I changed from multichannel to COMPLEX SHADER : MULTICHANNEL MIXER. The tree now has slots for source 1, source 2, and a blender.
Carrara places the pre-existing skin shader in source 1.
I clicked source 2 and chose "multichannel."
I opened the shader tree for the multichannel that I created for source 2.
I clicked on the color channel and chose texture map.
(If you don't know where the Tolero dirt/blood product was installed, you can use DIM to find where the maps were installed before continuing).
I navigated to where the maps installed and chose the limbs texture map for blood.
Similarly, I loaded the limbs bump map in the bump channel and the appropriate limbs map in the hgihlight channel.
I clicked the blender and chose value. The way the blender works, a zero value uses only source 1, a 1 value (or 100%) uses only source 2. Intermediate values mix the two sources. I set the value to 100% so that only source 2 would be used.
I did a test render to confirm that the blood was applied to the forearms.
I repeated the process to apply the blood maps to the G2F hands.
I did another test render.
Note that you can use the 3d paint tool on the g2f to paint a black/white texture map for the blender to apply the Tolero blood shader only to where you want. However, I will demostrate that on an easier model, a prop that I recently acquired as part of the vampyre kit.
Here is the test render with both the forearms and the hands covered in Tolero's blood.
A hammer (mallet) comes with the Vampyre's Bane props kit. I am going to use the 3d paint tool to paint some blood on the front of the hammer.
I opened my browser tray and navigated to where the props were installed.
I clicked and dragged the hammer to the right hand level of the G2F hierarchy in the instances tray (lower right). This is called parenting a prop. This means that the hammer will move when the hand moves. I used the translate tools (upper left of assemble room) to move, rotate, and scale the hammer to where I wanted it (on the hand of the g2f). I also loaded a few other vampyre bane props in the scene but did not parent them to anything.
I selected the hammer and clicked the 3d paint tool from the upper left menu.
Carrara opened the 3d paint area and warned me that there are no active paint regions. I'd have to create them.
BE CAREFUL!!! DON'T OVERWRITE THE TEXTURE MAPS THAT COME WITH YOUR PRODUCTS.
To make sure that I did not overwrite any existing texture maps I chose an empty channel (in this case alpha) and clicked the magic wand looking icon to create a new empty texture map. Carrara will automatically apply to the correct uvs, so for your own models, it is important to have a good uvmap.
Carrara offers a new file dialog which includes the default color. In this case, change the default color from white to black. Increase the size to 1024 by 1024.
Next choose a name and location for the new painted texture file to be saved.
Next, in the channel in which you will paint (in this case Alpha), click the little paintbrush icon in the right side properties tray so that the paintbrush will be activated there.
Next I clicked the tool tab to set the paintbrush. Use shift and drag simultaneously to change the brush size, or use the menu. I changed the default brush to a more scratchy brush. I changed the paint color to white. I then left clicked and dragged to paint directly on the hammer.
This is the result I want because I intend to use this black and white map as the blender opacity mask to control where the hammer's own shader is used and where a blood shader will be used.
To get the map, return to the "textures" tab where the list of channels and their maps appears. Notice how the square next to alpha now has white specs? That is where the paint strokes appear on the uvmap. Right click on the map in the alpha channel and export to a desired location as either a tiff or jpg or other desired file format.
I the clicked the hand icon in upper left to return to the assemle room.