What morph sets do you have? Face usually appears under Actor>Head, with further sub-groups within that (which will appear when the Face group is selected by default, governed by the check-box at lower-left of the pane).

Just foolin' around with some new toys…

I started with Giuseppe and mixed in a bit of Ollie 8, spun a few dials, and finally added the HD morph at 100%. I also modified the material settings for the eyes and the teeth. I'm really happy with the way he turned out.

Guess I need to do something with him…

He actually looks like a really nice older character. He blended very well.

Do you ever have trouble coming up with an idea for a 3D scene? I do, most of the time. It's one of the reasons I decided to participate in Llola Lane's monthly challenges, both here on Daz and on the alternate thread on the PFDLives forum, (members only, but it's free to join.) Even when real life is throwing lemons at me, I still manage to get my head into creative mode when I have a specific goal. This month's challenge is the shape Rectangle.

While looking for a bit of inspiration in my product list, I came across the Alley Scene, and was immediately intrigued by the grid of the pseudo-roof. I set up the camera angle, removing the ground, and used the camera settings in the Parameters to fill the frame with the set. Then it was just a matter of finding an HDRI that provided sunlight and white clouds on a blue sky. I tried several before settling on this one from the Sunny Sky HDRIs from Dimension Theory. I moved the dome using both the Rotation setting and the x-, y-, and z-axes in the Render Settings->Environment until I was happy with the pattern of the shadows on the left wall. Here's a screenshot. All the objects in this scene are from the default load of the Iray scene preset.

And here is the scene as rendered through the camera:

Lookin' Up

Very cool. I loved the shot showing the camera and its angle.

Daz really needs to reach out to the estate of the developer of Generation X, purchase the rights and code, and release a version that supports Generation 8. I know there is a manual way to transfer morphs - but really - this is one of the major things holding me back from buying more Generation 8 products. Otherwise, I'd be purchasing UVs, clone figures, whatever else I'd need to bring characters and content from V3 and V4 on up to Generation 8. 
Or work with the estate beneficiary to provide someone to continue to develop the platform by convincing them that there is a continued and increasing revenue stream by keeping the product refreshed. 

At one time Singular Blues was deloping a script for this. I'm not sure if he/she is still working on that or not.

But at any rate I agree there is definite use for such a product.

Are you using a support shape? The breast issue looks like the result of morph projection.

Daz really needs to reach out to the estate of the developer of Generation X, purchase the rights and code, and release a version that supports Generation 8. I know there is a manual way to transfer morphs - but really - this is one of the major things holding me back from buying more Generation 8 products. Otherwise, I'd be purchasing UVs, clone figures, whatever else I'd need to bring characters and content from V3 and V4 on up to Generation 8. 
Or work with the estate beneficiary to provide someone to continue to develop the platform by convincing them that there is a continued and increasing revenue stream by keeping the product refreshed. 

If you have ever done any modeling and understand how polygons and vertices work, you will have a whole new understandfing towards DS and autofit. It really is amazing that it all works like it does already.

prior to genesis 1 you had to transfer each of the morphs in the figure to each part of clothing each time you fit it and there was no smoothing or collision back then..

if you were a poser using and using V4/M4, you had to use morphing clothes to transfer any morphs to the figure in order to get any type of fit and then save that custom clothing for future use, it was a total pain, but it was the only way back then. Amazing how spolied we are now, LOL.

THIS^

I for one am even more grateful for the transfer utility.
I if were still a poser user, there is no way I would be making my own clothing content . 

If you have ever done any modeling and understand how polygons and vertices work, you will have a whole new understandfing towards DS and autofit. It really is amazing that it all works like it does already.

prior to genesis 1 you had to transfer each of the morphs in the figure to each part of clothing each time you fit it and there was no smoothing or collision back then..

if you were a poser using and using V4/M4, you had to use morphing clothes to transfer any morphs to the figure in order to get any type of fit and then save that custom clothing for future use, it was a total pain, but it was the only way back then. Amazing how spolied we are now, LOL.

So, got me the dForce Long Hoodie for G8F today. It basically dForces not too bad, but as soon as I try anything with the hood - like using a primitive to try to move it backwards - the whole outfit goes BOOM...

There's no morph build in the hoodie to move the hood back...  which is something I would consider vital for a hoodie... or at least the option to use dForce to move it back, which leads to an explosion...

So... any ideas? Except for using the Geometry tool to just cut the hood off instead of making it go back from the head...

You can combine the dFormers and the Smoothing Modifier just hide all other items in the scene and export an OBJ of the current deformation, then load it with MorphLoaderPro but turn off smoothing and the dFormers before.

Here I have two threads about how to 'Bake' the Smoothing Modifier 'collision' effect to a morph.

How to remove a colliding element but keep the collision effect?

Genesis 8 Figure Collision Item issue

https://www.daz3d.com/content-gatherer is the closest thing that I know of.  The nice thing is that besides listing the items, it can be used to store all of a scene's assets as a separate zip file in case your original scene gets lost or you want to move it to a different computer.  

Of course, you can also just save the scene file for each project for major sets.  My own process is to save every original character variation I create off as a character preset and to save every big set off as a separate "clean" whole scene file, along with subgroupings of all the key furniture and/or props as scene presets.  That way I can do all my posing using just the elements I need to set up a shot, save the adjusted version as a preset of the posed characters and any props that have been moved, then import that preset back into the clean master file.     

Thank you SO MUCH. That may just be the tool I'm looking for (and the price isn't too bad, either). I'm definitely going to check it out!

I do save a separate file for each panel in the comic (or at least for the scene); I'm real paranoid when it comes to having multiple backups. But that doesn't help much if, for some reason, I want to come back to a project in a year or two on a new installation and discover that – in spite of my best efforts to duplicate/back-up my content directories – I'm missing one small file or morph.

Victoria 8's skin has a waxy translucence that, though not exactly realistic, is quite appealing visually. It seems that both Olympia 8 and Stephanie 8 attempt to duplicate this, but they miss the mark. As far as G8F skins go, Victoria 8, Saiyaness, bluejaunte, & Godin hit heights that raise the bar from Genesis 3. Although I prefer Victoria 7's cuter head morph to Victoria 8, there is a product that makes Victoria 7 available using Victoria 8.

schouwenberg,

Here’s my vastly over simplified techno-babble view on how this works, and why it’s so complicated:

There’s a few major players: Studio, Iray, CUDA, and Windows 10. Studio does the highest level user interaction to build the scene, and when it comes time to render Studio packs everything up (ie, scene description parameters) and hands it off to Iray, which figures out the lower level details of how the light rays bounce around the scene. Once Iray has that figured, it interacts with CUDA to do the actual GPU calculations, and CUDA handles the lower level hardware interactions with the GPU cores and memory. And since the GPU is a system resource, CUDA also interacts with Windows 10 VidMm and VidSch to manage the GPU memory, which involves the Windows Display Driver Model (WDDM). Oh, and there’s the other very low level GPU/hardware drivers that do a bunch of other lower level stuff in the chain between CPU, system memory, PCI bus, monitors, and GPU.

Now, I can write a C/C++ code today that works with CUDA to use the GPU to calculate stuff, and it’s fairly simple. And Iray would have absolutely nothing to do with it.

For example, let’s say I want to modify a 1920x1080 image, which has around 2 million pixels. Ideally, I could assign each of those pixels to a thread in the GPU and it could calculate each of the 2 million pixels simultaneously in 2 million parallel threads.

In a normal C/C++ program, I’d write a “for” loop that loops thru each pixel in succession and does the calculation, then on to the next one. With a GPU I write the same sequential “for” loop, but I use some CUDA code that magically takes that sequential code and allocates GPU memory and converts the sequential code into parallel calculations and a gazillion threads operating simultaneously on the GPU. It also handles copying data between system RAM and GPU VRAM and a bunch of other stuff. So I’d write my “for” loop, ask CUDA to allocate memory on the GPU (using “cudaMalloc”), then transfer the image from system RAM to GPU VRAM (using “cudaMemcpy”), and CUDA handles the simultaneous calcs. And presumably, somewhere in there are CUDA interactions with Windows 10 VidMm and VidSch in the form of requests back and forth since Windows 10 is the boss of system resources. 

Now, presumably I’d think you could do a “cudaMalloc” request for the entire 11GB on a GTX-180ti and see what happens, whether you get push back from Windows 10 because it wants to hog everything. And I may try that this weekend. Though I fully expect there’s a lot more to it that I’m not considering, and I’ll probably have to study CUDA a lot more. If you’ve ever seen the CUDA documentation you’ll understand why. Maybe cudaMalloc is just a "request" for memory, but not an indication of what is actually assigned/dedicated to your process by Windows 10. Hence the confusion...  

But as far as figuring out how much memory is used, it seems to me that VRAM is quite different from system RAM, in that there are tons of background system processes running in system RAM at any time, but I think a GPU is pretty much dead until Studio or a game needs it. And usually not many apps are using the GPU. So you’d think it would be relatively easy to figure how much is being used. Just write some code to request a certain amount of memory and see what shows up in Task Manager as being used. And there’s also a “cudaMemGetInfo” function that “gets free and total device memory”, so maybe this issue can be resolved by writing a fairly simple C++ application that tries to grab GPU memory and checks the result. And maybe by checking the memory usage that cudaMemGetInfo returns versus what Task Manager says you might get some useful data. Though maybe Iray is also using "cudaMemGetInfo" when it gives the possibly incorrect "available" memory numbers in the log, so maybe it won't match Task Manager.

Anyway, this approach seems certainly far more simple and direct than worrying about Iray and getting Studio and all that other stuff involved by doing render test comparisons between W10 and W7. Far too many unnecessary variables with something like that.

Victoria 8 is Genesis 8. She's a morph from the Genesis 8 figure. And of course, she has her own skin textures, makeups, etc - like any of the Official Daz Original Genesis 8 Female figures.

So if a product says it requires Victoria 8, like a character, does it really just require Genesis 8?

No it will need the V8 morph for the character to look the same.

Victoria 8 is Genesis 8. She's a morph from the Genesis 8 figure. And of course, she has her own skin textures, makeups, etc - like any of the Official Daz Original Genesis 8 Female figures.

So if a product says it requires Victoria 8, like a character, does it really just require Genesis 8?

Victoria 8 is Genesis 8. She's a morph from the Genesis 8 figure. And of course, she has her own skin textures, makeups, etc - like any of the Official Daz Original Genesis 8 Female figures.

there's no thinking involved in the tasks I mentioned.
imagine you're making 1000 products:

• you need to copy your images to a similar directory under your product name 1000 times, the machine should do that
• you need to change all addresses to your new texture locations 1000 times, the machine should do that
• you need to render a bigger thumbnail for each item and put them into their directory probably more than 1000 times, the machine should do that
• you need to create a data/yourname/ folder, copy your product in it and package the whole thing 1000 times, the machine should do that

while it's our job to create an item, pose, morph and adjust the figures for taking the thumbnails, the machines are made to do the repetitive tasks that have a fixed formula

Believe me... you are N E V E R going to make a thousand products.  Especially NOT at once.

The computer is not telepathic.

 - After you make your textures in whatever program, you cannot expect it to know where to place them.  Each project will have its own folders.  Copy and paste or drag and drop is the closest you will get to the computer doing that for you.

 - If you have a Windows machine, download Notepad++, drop ALL your presets into it (as long as they are not compressed) and do a search and replace.  It will process all of them at the same time and save them afterwards, all at the same time.  If you tell it to.  But you still have to input the information that needs to be changed. 

 - What if you want to add text before you finalize the thumbnail?  Its not going to do that for you.  The larger thumbnail should be the one you render and then batch process all of them in software like XN Convert to the smaller 91x91. 

 - It does do that for you, when you save your product into your library, it creates the Data folders.  But yes, you still have a lot of work to do.  Its part of the business

Parented props don't get morphs, if you want to have it receive projected morphs it needs to be set up as a figure. You can, if it fits on the base figure without needing adjustments, use Edit>Figure>Transfer Utility, setting the helmet as the Target and the base figure as the Source - however, you may then find the weight maps need adjusting.

Hello! I'll try to be brief. I'm completely new and pretty much don't know anything.

1. I want to build a fence. Found a freebie .obj and after googling for a while managed to open it in hexagon, transfer to DS in chunks(split the gate and main fence chunk into 2 different objects) and after some scaling/exporting/importing back and saving as scene assets they are ready to be merged and used to build a proper fence of my choosing. But there is one problem. They seem to each have their own 0,0,0 points. NOT parented. Makes that kinda hard to allign them properly. Is there a way to reset their 0 points or at least sync them to one coordinates system?

2. While trying to adjust a pose model keeps "jumping up" without actually changing Y coord. But every time I lower it to the ground(y goes more and more negative) and try to change a pose again it instantly jumps back up. I'm not really sure how to describe that properly, sorry. If you somehow understood that, please tell me, what am I doing wrong?

3. After applying shaders to the fence this happens

Shaders are the same on every board. You can't see any difference at render but at viewport some boards turn green, sometimes pink, sometimes they just decice to "unturn" and become normal again. Doesn't really affect anything, just a bit irritating. 

Thanks!

Golf Shirt continued - some issues for details like collars, cuffs, and hems.

Since The Groom outft has been brought up, I'd like to discuss some usage issues that also affect modeling choices.  I did purchase the product, and I believe I will get some good use from it with a few morphs.  But in any case, there are a few issues that have to be addressed with the golf shirt project that I hope it is OK to use the groom wedding outfit to illustrate.  This is in no way a criticism of that product.  It is just an illustration of how modeling for old-style conforming and modeling for DForce present some interesting issues.  How do you plan to use your custom content?  The answer might affect some important modeling decisions, or maybe details rather than decisions.

1) Sense of thickness.  Most users want their custom content to give a sense of thickness; however, it is generally wasteful of memory and other computer resources to include interior polygons that would never face the camera.  Therefore, simply doubling the polygons of the mesh for inside and outside polygons is generally frowned upon.

--- Sense of Thickness - Old-Style Conforming.  With an old style conforming shirt, the bottom hem can be given a sense of thickness by curling the edge back on itself and extruding back up the inside of the garment for a row or two of polygons.  That is how the shirt for this The Groom product handles giving a sense of thickness to the bottom of the shirt (and the collar, and the sleeve cuffs).

--- Sense of Thickness - DForce. Aha!  A "curled in" row of polygons with DForce applied and no other adjustments might attempt to drape back out during the DForce calculations.  

2) Anticipate Morphs such as Open/Close.  For your project, is this the kind of garment that you will want to have morphs for open/close?  Golf shirt?  Probably.  But, a formal garmet like the shirt for The Groom tux, which has a bowtie, might not be expected to be unbuttoned (or maybe you do).  The Groom product does not anticipate relying entirely on morphs for open/close.  The shirt mesh for where the front comes together is a single contiguous mesh.  It is not separated and overlapping to allow for easy morphing to open/unbutton.  While a contiguous front mesh makes it hard to morph the shirt open, it is better for draping in a cloth simulation.  As always, choices.  Open might still be successful using a texture map with an alpha mask, perhaps.

3) Buttons - the buttons of The Groom shirt do not connect to the shirt mesh.  They float above it.

Sorry not to comment in so long; been a bit busy here.

-BeeMkay: Thanks for that link. I've bookmarked the it for future referencer; a LOT of info there and it's going to take me some time to get through it.

-btetzli: 1) I've been using the character marked 'Genesis 8 Dev Load' in SmartContent which loads ONLY the base Genesis 8 mesh; doesn't even load a texture to it let alone any attachments so I know that isn't causing the problem, though I'm pretty sure it's still operator error :p 2) I've made sure that all rotatations, scaling, translastion, etc. are zeroed and I don't use subdivisions at all when I'm making changes. So the CHANGED mesh IS all zeroed out before I try loading it as a morph. I also zero the Genesis 8 mesh before I export it to make changes to.

My thanks to all for the help. From what I can tell, DAZ Studio just isn't detecting the changes I've made for some reason. Keep in mind the only modeling software I've ever used up until now is Blender, which works a lot differently. It's most likely some very basic, dumb step that I'm leaving out or forgetting to do that's causing all the trouble. I'm sure I'll figure it out eventually.