I would like an explanation on how to transfer Morpheus for Genesis 8 Male (which I used the SB scripts to transfer from Genesis 3 Male) to Genesis 8 Female. And to transfer Sakura 8 to G8M.

Morpheus is a tough one, if you don't have a version of my alpha script. The alpha should be able to do both. It took some doing, the first time I encountered a file structure like Morpheus. But I believe I got the script to understand how to deal with it. Sakura should just work. Bearing in mind, I own neither, and don't have any reports on Morpheus. I think, however, Morpheus will give bad results due to shoulder squish. Sakura probably won't.

To get good, working transfers, quickly, I don't think I can explain. The various manual methods will work, but I believe Sakura and Morpheus have a lot of optional morphs and M/JCMs. Porting those over one at a time would be... Tedious. Aside from that, the only option (for Morpheus, mind. I'm pretty sure existing alphas will handle Sakura) is the script I'm working on, now. Please don't take that as a statement of natural law. I don't know a lot about what others may have been working on. I know methods from earlier in the thread will work, mostly. I just don't know of any automated means to do it.

This is case where having been exposed to BASIC in the 80s and being overconfident enough to say DazScript can't be that hard really helps. Because I think your best option is to wait a bit. Your second best option is to use Redz's methods and write a script to manually copy and translate the ERc data between figures. mork has a script way up thread that transfers expressions dufs from g3 to g8 and it's a good place to get a handle on how to read dsf files with a script. In fact, my old brute force script was basically driven by mork's work.

OK, well the Morpheus transfer to G8M worked fine so I will just try it from G8M to G8F. I have the alpha script. Then I'll do same to Sakura from G8F to G8M. If they don't work it is easy enough to delete the transferred morphs.

It's like you said though I'm not sure the Morpheus morphs are going to look so hot on the G8F body. 

Thanks very much.

Yeah, I think the big game engines are really competing now, and I love it. Just read Unity 2019.1.2b release notes some time ago, and cathed this:

GI: Adding support for the Optix AI Denoiser. The Optix AI denoiser is a deep learning based denoiser trained on library of path traced images. It yields a substantial improvement over existing filter options, especially on low sample counts and it is resilient to leaking. It is currently only available on Windows and with compatible NVidia GPU.

 

Wonder how fast it's going to be? As a side note, anybody knows if Octane renderer 4 is available for game engines yet?

It is a really exciting time. Unreal and Unity are doing real time ray tracing, and Octane is getting into the act as well.

I read that the experimental version of Octane 4 has Brigade, their real time ray tracing game engine.

I always get a giggle out the opening page for Daz “...accurate character tolerances made Daz a go-to solution on CAPTAIN AMERICA, THOR, and IRON MAN.”.

However, the Unreal engine is quickly becoming the actual method that studios use for these "tolerances". They build sets in Unreal and use these to preview the action IN REAL TIME so the director has an idea of what to do. They may use Unreal to simulate camera angles, preview animation, and more.

For a recent example, the new movie, ‘Welcome to Marwen’ uses Unreal to give real time feedback on the actor performances and lighting. This is from OSF:

"The lighting also involved a lot of virtual production techniques to give the director of photography an insight into how the decisions he made on the mocap stage would actually affect the entire environment in the end result.

if Zemeckis wanted to try out different lighting, blocking, or camera angles, the UE4 team was on hand on-set to update the corresponding digital scene and give a preview of the changes in realtime. (see http://onsetfacilities.com)

Due to the actors performances being so important to the director it was essential to keep them engaged. Thanks to the Unreal Engine realtime feedback it was possible to demonstrate what the changes were actually doing by just checking the monitor which helped the actors by showing evidence instead of just a “Trust me, its gonna work out”. The actors have an instant preview of the finished product there and then.

Once all the performances were recorded, the VFX team combined the footage with hand-keyframed animation on the doll head rigs, going back and forth between the 3D scan of the actor’s head and the doll model to find the right mix of face footage and keyframing. Through this process, the team applied believable, recognisable actor performances to the dolls’ faces.

Beyond providing a means to record and transfer actors’ performances to animated characters, virtual production gives filmmaking crews opportunities for on-set creativity that just weren’t possible before."

“What I love is how virtual production is now being used on-set to increase creative possibilities; opening up new ways for Directors to think, beyond what’s been possible before. Directors are now using realtime virtual methods and technique, on-set”  Asa Bailey Virtual Production Supervisor."

Directors are getting more and more comfortable using game engines in their workflow. Now that game engines are getting ray tracing along with Octane, it is only a matter of time before we see final film footage using a game engine for its rendering. Unreal and Unity are already being used for cartoon animation. The day is coming people.

Speaking of Unity, how about a walk through an apartment in Unity? (Not actually ray traced)

Lets stop to think about what is going on here. This is running at 4K, and at that resolution, it is running at around 90 frames PER second. That means that this game engine is drawing an entire picture in less that 10 milliseconds. That is 10 THOUSANDS of a second. This is being done with a single 2080ti and i9 CPU. The CPU is hardly doing anything, though, as each core never breaks over 10% useage. You can also see that the VRAM in use is about 8.5 GB, and this is important to note. This apartment has two floors and several rooms, it is raining, and all of this data combined is only 8.5 GB. Obviously this video is not perfect, it is clear some materials are lacking. But I do not believe that is the fault of the engine, I rather think it is simply the materials used.

What is this video? This video is a demonstration of company that wants to sell clients VR tech for their customers. Like building floor plans in VR so an architect firm can use them to sell these plans to their customers. These are interactive, allowing people to pick new colors and options and see the result instantly in a mostly photoreal way. There is a link on the youtube to the site, where you can download the demo in the video for yourself and try it out. 

The graphics in the apartment walk-through are great & high-res and all but they have sort of an unchallengingly lit overcast day look.

Still that isn't the problem in that video, the problem is all that graphics power and still the I/O controller is as jerky and unprofessional and very much 1990s digital mouse & keyboard jerkiness as the 1st Wolfenstein-3D game. When people walk about an apartment their 1st person perspective isn't so jerky. If someone is following someone in an apartment walk-through their 3rd person view is not so jerky. When profressional movies are made the cameras used for either perspective are not so jerky. They need to clean that up.

You merely need to drink the kool-aid. ;)

Genesis 8 moved towards regular-looking people, which meant less glamourpusses, (though we now finally have an authentic anime doll, Sakura 8, thanks to RareStone). But Mousso and, at times, Raiya & P3Design have kept that end stocked. For interiors you should look at the ones who were prominent in your day (Stonemason, Jack Tomalin, Polish). After getting past some initial hiccups, Tesla3dCorp & Digitallab3D have churned out a lot of high quality, render-ready interiors (with a few forays into exteriors). New stars include RareStone, bluejaunte, D.Master (stylized characters), Linday, Josh Crockett (creatures), Herschel Hoffmeyer, Chungdan (not so new---but newly ascendant), & RiverSoftArt (scripts & utilities). Then there are the stalwarts that keep plugging along, like The AntFarm, DzFire, RawArt, 3D Universe, Virtual_World ---and for hair: RedzStudio, AprilYSH, OutOfTouch, goldtassel, SamSil, & 3DCelebrity, with Kool and Sarah Payne making recent rumblings.

Seek, and you shall find.

...wish they had offered such characters with G3 (Molly is the only one).  Takes a lot of work sometimes using merchant/morph resources to undo the "glamour factor". 

On the other hand takes a fair investment to adopt a new figure having to purchase all the morphs, models, and utilities all over again, particularly since we will likely have no new updates to Gen-X.   Time I have, money I don't.

...still waiting on "Little" Cat 8 though.

Agreed; although, I'm fine with Cat 9 too. :)

...yeah save for some hair and an occasional character morph, just abut every character asset in the store is for G8 now.  Still have a number of items on the wishlist I am slowly acquiring (tight budget).  Sometimes sales help (December was a very good month).  Yeah I have a huge library of character assets, all the way back to Gen3. (I still have a soft spot for Aiko 3 and Sadie).  There are a couple tricks I know of to old content to work with G2 and G3.  but going backwards from a newer figure (like G8 - G3) is a different matter.  I have the G8 - G3 Clothing Converter in the cart (thanks to the Best of the Best sale) but in the description it mentions it will not work on "wearables" (outfits thatare complete single preset [which PC+ and Daz Original clothing often is]).

I am fortunately finding more and more useful ways to work backwards between generations as I discover more skills so the HD details on the more distinctive later generations trouble me less as I now in fact can transfer them better to M4 and V4 who still are far more highpoly and thus more morphable to any other figures for a someone not a DAZ PA with access to HD morph technology.

If you ask how, simply by fitting the 4's as one would clothing, hiding the source exporting obj and using the attenuate feature on morphloader pro and the handy fact those legacy figures can do separate body part morphs to create obj morphs, doing the ExP crap to create injections still a PITA though, I find that annoying and wish there were an easier way but at this point in time nobody is going to develop a utility.

that aside here is the crux

it's the reliance on HD morphs that will ensure each generation of Genesis will always be better as they get lower poly in the base mesh.

This is what makes the Genesis 3  and even more so Genesis 8 distinct from 1&2, the high use of such morphs and why the latest figures in active development are always going to look better, GenX can only do the bases even if someone does create an equivalent for Genesis 8 to below.

...yeah save for some hair and an occasional character morph, just abut every character asset in the store is for G8 now.  Still have a number of items on the wishlist I am slowly acquiring (tight budget).  Sometimes sales help (December was a very good month).  Yeah I have a huge library of character assets, all the way back to Gen3. (I still have a soft spot for Aiko 3 and Sadie).  There are a couple tricks I know of to old content to work with G2 and G3.  but going backwards from a newer figure (like G8 - G3) is a different matter.  I have the G8 - G3 Clothing Converter in the cart (thanks to the Best of the Best sale) but in the description it mentions it will not work on "wearables" (outfits thatare complete single preset [which PC+ and Daz Original clothing often is]).

I'm with you. I think the HD morph should be included, with the Pro Bundle at least. But for those few figures Daz included it, (with both bundles and the base figure,) there was an outcry like you wouldn't believe. People actually posted they refused to purchase the figures because they didn't want the HD morph!

Yeah, I think the big game engines are really competing now, and I love it. Just read Unity 2019.1.2b release notes some time ago, and cathed this:

GI: Adding support for the Optix AI Denoiser. The Optix AI denoiser is a deep learning based denoiser trained on library of path traced images. It yields a substantial improvement over existing filter options, especially on low sample counts and it is resilient to leaking. It is currently only available on Windows and with compatible NVidia GPU.

 

Wonder how fast it's going to be? As a side note, anybody knows if Octane renderer 4 is available for game engines yet?

It is a really exciting time. Unreal and Unity are doing real time ray tracing, and Octane is getting into the act as well.

I read that the experimental version of Octane 4 has Brigade, their real time ray tracing game engine.

I always get a giggle out the opening page for Daz “...accurate character tolerances made Daz a go-to solution on CAPTAIN AMERICA, THOR, and IRON MAN.”.

However, the Unreal engine is quickly becoming the actual method that studios use for these "tolerances". They build sets in Unreal and use these to preview the action IN REAL TIME so the director has an idea of what to do. They may use Unreal to simulate camera angles, preview animation, and more.

For a recent example, the new movie, ‘Welcome to Marwen’ uses Unreal to give real time feedback on the actor performances and lighting. This is from OSF:

"The lighting also involved a lot of virtual production techniques to give the director of photography an insight into how the decisions he made on the mocap stage would actually affect the entire environment in the end result.

if Zemeckis wanted to try out different lighting, blocking, or camera angles, the UE4 team was on hand on-set to update the corresponding digital scene and give a preview of the changes in realtime. (see http://onsetfacilities.com)

Due to the actors performances being so important to the director it was essential to keep them engaged. Thanks to the Unreal Engine realtime feedback it was possible to demonstrate what the changes were actually doing by just checking the monitor which helped the actors by showing evidence instead of just a “Trust me, its gonna work out”. The actors have an instant preview of the finished product there and then.

Once all the performances were recorded, the VFX team combined the footage with hand-keyframed animation on the doll head rigs, going back and forth between the 3D scan of the actor’s head and the doll model to find the right mix of face footage and keyframing. Through this process, the team applied believable, recognisable actor performances to the dolls’ faces.

Beyond providing a means to record and transfer actors’ performances to animated characters, virtual production gives filmmaking crews opportunities for on-set creativity that just weren’t possible before."

“What I love is how virtual production is now being used on-set to increase creative possibilities; opening up new ways for Directors to think, beyond what’s been possible before. Directors are now using realtime virtual methods and technique, on-set”  Asa Bailey Virtual Production Supervisor."

Directors are getting more and more comfortable using game engines in their workflow. Now that game engines are getting ray tracing along with Octane, it is only a matter of time before we see final film footage using a game engine for its rendering. Unreal and Unity are already being used for cartoon animation. The day is coming people.

Speaking of Unity, how about a walk through an apartment in Unity? (Not actually ray traced)

Lets stop to think about what is going on here. This is running at 4K, and at that resolution, it is running at around 90 frames PER second. That means that this game engine is drawing an entire picture in less that 10 milliseconds. That is 10 THOUSANDS of a second. This is being done with a single 2080ti and i9 CPU. The CPU is hardly doing anything, though, as each core never breaks over 10% useage. You can also see that the VRAM in use is about 8.5 GB, and this is important to note. This apartment has two floors and several rooms, it is raining, and all of this data combined is only 8.5 GB. Obviously this video is not perfect, it is clear some materials are lacking. But I do not believe that is the fault of the engine, I rather think it is simply the materials used.

What is this video? This video is a demonstration of company that wants to sell clients VR tech for their customers. Like building floor plans in VR so an architect firm can use them to sell these plans to their customers. These are interactive, allowing people to pick new colors and options and see the result instantly in a mostly photoreal way. There is a link on the youtube to the site, where you can download the demo in the video for yourself and try it out. 

I would like an explanation on how to transfer Morpheus for Genesis 8 Male (which I used the SB scripts to transfer from Genesis 3 Male) to Genesis 8 Female. And to transfer Sakura 8 to G8M.

Morpheus is a tough one, if you don't have a version of my alpha script. The alpha should be able to do both. It took some doing, the first time I encountered a file structure like Morpheus. But I believe I got the script to understand how to deal with it. Sakura should just work. Bearing in mind, I own neither, and don't have any reports on Morpheus. I think, however, Morpheus will give bad results due to shoulder squish. Sakura probably won't.

To get good, working transfers, quickly, I don't think I can explain. The various manual methods will work, but I believe Sakura and Morpheus have a lot of optional morphs and M/JCMs. Porting those over one at a time would be... Tedious. Aside from that, the only option (for Morpheus, mind. I'm pretty sure existing alphas will handle Sakura) is the script I'm working on, now. Please don't take that as a statement of natural law. I don't know a lot about what others may have been working on. I know methods from earlier in the thread will work, mostly. I just don't know of any automated means to do it.

This is case where having been exposed to BASIC in the 80s and being overconfident enough to say DazScript can't be that hard really helps. Because I think your best option is to wait a bit. Your second best option is to use Redz's methods and write a script to manually copy and translate the ERc data between figures. mork has a script way up thread that transfers expressions dufs from g3 to g8 and it's a good place to get a handle on how to read dsf files with a script. In fact, my old brute force script was basically driven by mork's work.

Beach Buddies

bought the beach buggy then hacked away to make it RH drive.. 

Ireally a

Stezza - I really appreciate the subsequent explanation.  I am always amazed at the combination of quality and quantity of your renders.  I don't think my computer could render that fast even if I had the creativity to build the scenes non-stop. Wow.  I forget, is scooby a morph of the hivewire dog, or is he one of your many wacky models?  Either way, very expressive!

 

@diomede you're to kind... my PC is probably getting old now in tech terms, I'd be surprised if anyone here has one with lesser specs.. I did do a scooby morph for the Hivewire  dog but this isn't the one.. nope this scooby I purchased a while back from 3dExport.. 

I would like an explanation on how to transfer Morpheus for Genesis 8 Male (which I used the SB scripts to transfer from Genesis 3 Male) to Genesis 8 Female. And to transfer Sakura 8 to G8M.

Did you check Reverse Deformations when you imported your morph, with the pose still applied that you hd on export? Did you use the same preset in the OBJ export dialogue and the morph import dialogue?

I just used Morph Loader Pro to import a modification I made to the hand pose in Zbrush but the morph isn't working as I expected and is giving me a reeeeaaally weird glitch morph. 

I don't have Zbrush and Daz on the same computer so I followed these steps:

1) Daz set figure to base mesh resolution

2) Daz set figure subD to 0

3) Export obj

4) Opened in Zbrush, made sweet freaking morph, and exported the obj

5) Used morph loader pro to import morph to Daz

6) carfully adjusted sliders

As you can see from the attachements, the morph is just on the hand positioning, but in Daz the whole arms are being affected. What am I doing wrong?

Original character Sorenda

Base Aiko 3, Kioki Morph

I noticed sometimes there is a red circle and I can select a single face, but sometimes there is no red circle and I can select only through right click which does not have an option for single face selection. Right now I want to turn part of an internal wall into separate surface to make an emission light from it but the single face selecion doesn't work. How I can create new surface from several adjacent polygon?

Are ypou sure there isn't soemthing in the way, and that you have the basic model selected in the Scene?

You mean the model, part of which is the polygon I want to select?

Yes.

Also is there a way to transfer only 1-2 icons from Tool Settings - Active Tool dropdown menu to the toolbar?

Only if they have actions listed in the elft-hand part of Window>Workspace>Customise - in which case you can drag them into the desired tool bar in the tab on the right of the dialogue.

I saw they all are listed in the right part under the Tools tab but are disactivated. Can I delete all the icons I don't want to appear (for now) and then activate them?

If they are there you can just drag them into a tool bar - click the tab on the right fro Tool Bars, expand the one you want, and drag the commands of interest across.

I noticed sometimes there is a red circle and I can select a single face, but sometimes there is no red circle and I can select only through right click which does not have an option for single face selection. Right now I want to turn part of an internal wall into separate surface to make an emission light from it but the single face selecion doesn't work. How I can create new surface from several adjacent polygon?

Are ypou sure there isn't soemthing in the way, and that you have the basic model selected in the Scene?

You mean the model, part of which is the polygon I want to select?

Also is there a way to transfer only 1-2 icons from Tool Settings - Active Tool dropdown menu to the toolbar?

Only if they have actions listed in the elft-hand part of Window>Workspace>Customise - in which case you can drag them into the desired tool bar in the tab on the right of the dialogue.

I saw they all are listed in the right part under the Tools tab but are disactivated. Can I delete all the icons I don't want to appear (for now) and then activate them?

I noticed sometimes there is a red circle and I can select a single face, but sometimes there is no red circle and I can select only through right click which does not have an option for single face selection. Right now I want to turn part of an internal wall into separate surface to make an emission light from it but the single face selecion doesn't work. How I can create new surface from several adjacent polygon?

Are ypou sure there isn't soemthing in the way, and that you have the basic model selected in the Scene?

Also is there a way to transfer only 1-2 icons from Tool Settings - Active Tool dropdown menu to the toolbar?

Only if they have actions listed in the elft-hand part of Window>Workspace>Customise - in which case you can drag them into the desired tool bar in the tab on the right of the dialogue.

would love to use modas cuts on G3 or Aiko 3.  there's a few hairs only works on V4 geometry. a way to transfer the hair groups to a disembodied hair cap?

those use haircaps and I have used them on your Carraractors

I noticed sometimes there is a red circle and I can select a single face, but sometimes there is no red circle and I can select only through right click which does not have an option for single face selection. Right now I want to turn part of an internal wall into separate surface to make an emission light from it but the single face selecion doesn't work. How I can create new surface from several adjacent polygon?

Also is there a way to transfer only 1-2 icons from Tool Settings - Active Tool dropdown menu to the toolbar?

Because I'm contrary, decided to make a male render of Bastet.

(Used Genesis 8 Male clone, used Morph Rigger to get it to pose properly)