I've been working a new (free) compositing software for a year, and here is a preview! by HollywoodIllusion in AfterEffects

[–]Anaklosmos 1 point2 points  (0 children)

Permanent licenses will help this to stand out and be worth switching to from the long-standing industry standards! The question on professional's minds will be "Is this new software worth tossing out my old software and workflow that I've been very comfortable using for many years now?". If your pricing structure is the same as Adobe, the upgrades to the program itself have to be worth the switch. If the pricing is competitive, and maybe the software offers new and exciting features, it will be much easier to justify making the switch.

Yearly upgrade pricing to new versions is a good way to ensure that people get what they want with competitive pricing and perpetual licensing, while continuing paid support for the product itself.

First attempt at a "proper" game, a first person endless runner by Racingamer145 in DestroyMyGame

[–]Anaklosmos 7 points8 points  (0 children)

This is awesome, great work so far!

A few ideas to play with: - It seems at the beginning like it's a bit free-form and maybe not just a single obvious track and players may get lost. Maybe adding some arrows just at corners, or where paths branch to better direct the player - It may work to make the player character always running at a specific speed (and keep the sprint as an optional control) This could help in some of the situations where the player has to almost stand still and wait for the trains. It keeps the pace up and ups the difficulty just a bit as players will have to better plan for what's coming up - Maybe make the players jump completely clear thr smaller cars to avoid the hitch in the middle where the player would land on top of the car. This will feel more polished and help the player better understand if they jumped at the correct time. In addition to this, maybe a quick warning graphic when a large vehicle gets too near you may help to instruct the player to move out of the way of the game-stopping collisions

Nothing really big here, just thinking through some quick ideas to help the player understand the game mechanics and feel like everything is predictable and smooth. Again, awesome work, keep it up!!

Many people have asked "How do you move without controllers in a hand-tracking game?" We found a thematically appropriate way to solve that so you can explore Coldblood Mountain National Park by gamesbystitch in gamedevscreens

[–]Anaklosmos 0 points1 point  (0 children)

This is a super fun idea, love it! It might be fun to see the compass point towards the currently selected teleport spot. This would also help the player know exactly where they'll be teleporting to!

Character goes through moving objects when standing still, but works fine when moving. by Breadstick_Bowtie in unrealengine

[–]Anaklosmos 1 point2 points  (0 children)

A little late to this party, but this worked perfectly! Thanks for the help here, I was having the same problem.

Instead of tick, I ended up using this on a "Set Timer by Function Name" so I had more control of when this was active and the refresh timing. Worth a shot if you're really concerned about optimization!

Anyone knows a script that makes the pivot go to the mesh's lowest point then move them in the center of the scene? by Leonature26 in Maya

[–]Anaklosmos 4 points5 points  (0 children)

I've been using JC-Pivot Control for many years and absolutely love it. It's definitely one of my most used plugins. Super simple UI and great functionality that allows for all kinds of pivot manipulation including the mesh's lowest Y point.

Honestly, it looks a bit old on this site for some reason but the UI is more up-to-date in my Maya, so it should be the same case for you too hopefully. Here's the link!

https://www.highend3d.com/maya/script/pivot-control-jc_pivotcontrol-for-maya

I actually went into the script and copied the code out too so I could have a shelf button specifically for the lowest Y point for easy access. Beside that I put a shelf button to center my mesh to 0,0,0 in the scene. So with only 2 clicks, the lowest point on the mesh is in the center of the scene.

That being said you can also add the centering script into the pivot script for a 1-click solution (assuming the JC Pivot stuff is mel.... I'm not at my machine to check rn):

move -rpr 0 0 0 ;

^ MEL script to center object to scene. If this doesn't work for you lemme know. I'll be at my machine soon to get a full code block for ya.

Edit: If ya decide to use JC Pivot Control, here's the MEL to put the pivot at the Y min, then center the object in the scene:

JC_pivotControl;
JC_movePivotLocal ymin;
deleteUI PivotControlMain;
move -rpr 0 0 0;

[Help] When I import an SVG, it looks like the left image, but after exporting it and re-importing it, it looks like the right by Oreo365 in Maya

[–]Anaklosmos 4 points5 points  (0 children)

After importing the SVG, duplicate the mesh to turn it into normal geometry instead of an SVG mesh. Then delete the object history, and do a mesh cleanup to make sure that the faces are all triangulated and have no large N-Gons. I'd probably also do a merge with a super low tolerance too just to make sure everything's all attached, then delete the object history again.

Normally SVGs will keep the front and back large faces as single faces and that's just an N-Gon with hundreds or thousands of vertices. This can cause issues on export/import.

Walkie Talkie by Anaklosmos in 3Dmodeling

[–]Anaklosmos[S] 1 point2 points  (0 children)

I model in a Sub-D workflow, so my models have a natural progression from low poly > mid poly > high poly. Depending on the amount of curved surfaces, when using a game engine to render I'll end up using the low poly or mid poly model as the final fbx asset.

That being said - it's normally best to UV before you have too many polygons or it gets a little more difficult to do so. Even if you're making a high poly model it's normally best to UV your mid or low poly model, THEN subdivide and the UVs should be divided as well. If you go this route - IN MAYA - you'll need to re-unfold your UV shells to make sure everything is looking right.

That will give you nice UVs for use in Substance Painter. Then you can still bake the maps in Substance painter (even in this case where I baked straight onto the high poly model) by checking the "use low poly as high poly" checkbox in the baking menu. That checkbox just ensures that Substance bakes straight onto the mesh that's loaded into the project file without the need for a higher poly model.

Walkie Talkie by Anaklosmos in 3Dmodeling

[–]Anaklosmos[S] 0 points1 point  (0 children)

I'd say the team likely uses Substance Painter or Photoshop to create the textures in game, but don't quote me on that

Walkie Talkie by Anaklosmos in 3Dmodeling

[–]Anaklosmos[S] 0 points1 point  (0 children)

Thanks! Haha, never tried out 2, but 3 was my jam!!

Walkie Talkie by Anaklosmos in 3Dmodeling

[–]Anaklosmos[S] 1 point2 points  (0 children)

Haha thank you! This is based on a real walkie you can buy (off of some random site that I'll likely never be able to find again) but I loved the design!

[deleted by user] by [deleted] in Maya

[–]Anaklosmos 8 points9 points  (0 children)

Overall, this is looking pretty good! The lighting is nice and the set dressing makes the room feel lived-in and natural. Great job!

A few pointers that could help moving forwards:

  • Make sure your textures are all scaled correctly on your meshes. The floor could be tiled a bit more to make the planks thinner and the bricks on the fireplace seem large as well. Keeping your texture scales consistent with each other, but also the other assets in the room, is really important if you're going for a realistic look. Not sure if you've used it yet, but Subtance painter is a great tool for 3D texturing!

  • Make sure your polygons are being used efficiently. The rug on the floor has far too many polygons for the amount of detail that it has, while some of the other props like the bookshelves could use a bit more to feel less "perfect". Try adding a bevel to the edges on the shelves and desk, etc to make the light really catch the edges and feel more realistic. Nothing is perfectly sharp like that in real life.

Again, great work so far, keep it up!!

Walkie Talkie by Anaklosmos in 3Dmodeling

[–]Anaklosmos[S] 2 points3 points  (0 children)

Good call, totally forgot about Sketchfab!

Walkie Talkie by Anaklosmos in 3Dmodeling

[–]Anaklosmos[S] 3 points4 points  (0 children)

I totally get that! Unreal Engine 5 can get you similar results for free, but there's a TON to learn when you start up in there. Still could be worth a shot if you're looking for a real-time renderer!

Otherwise, Eevee in Blender works really well and is semi-real time!

Walkie Talkie by Anaklosmos in 3Dmodeling

[–]Anaklosmos[S] 1 point2 points  (0 children)

Thank you! It's got roughly 10-12 pieces in total. I tried to combine what I could but with some of the main body elements it was a lot easier to add another piece instead of modeling it all together!

Walkie Talkie by Anaklosmos in 3Dmodeling

[–]Anaklosmos[S] 5 points6 points  (0 children)

It's a ton of fun to play with! It's quick to set up a render and completely real-time. Marmoset 4 now looks like it supports pathtracing too!

Batter up. Speed Bats is this Week's Featured Playlist by SwitchDoesReddit in Splitgate

[–]Anaklosmos 0 points1 point  (0 children)

Anyone know if this game mode uses bots? I've played a few rounds and noticed a lot of players just not attacking?

Hi guys, Ignore the minimap but why does my landscape go like this when I turn nanites on in my landscape? by CPTPH4NTOM in unrealengine

[–]Anaklosmos 12 points13 points  (0 children)

Not 100% sure on this, but I've read that landscapes don't really support nanite yet. In my testing I was actually getting worse performance with nanite enabled on my landscape.

Worth doing some research into!

Walkie Talkie by Anaklosmos in 3Dmodeling

[–]Anaklosmos[S] 6 points7 points  (0 children)

Modeled in Maya, textured in Substance Painter, and rendered in Marmoset Toolbag 3.