Hi,

I didn't want to post two seperate threads.

Morph Default:

I've got a head morph for Genesis 8 Female that loads in when I load in G8F. I've tried altering the default to 0%, but after restarting the program, it still loads in.

Is there a way of changing and saving the default so it doesn't automatically load in, in the future.

dForce & Shoes:

Is the high heel pose added before or after simulation? I bought a lovely long dress which I was going to use heels with (which will affect the height of the skirt).

Do I add the foot pose to a seperate frame of the animation or load it in with the pose or is there another way...?

Thanks for any help :)

There's a new product that would do the job for you, https://www.daz3d.com/x-morphs , though you can do it yourself using Morph Loader pro with the attnuate options or using the Geometry Editor (though that will give an abrupt transition, both X-Morphs and attenuating in Morph Loader pro via a weight-map allow a smooth transition).

Uh, I thought it was pretty clear that the beard was a separate product. And if people are going to complain about anything being rehashed and resold over and over, it should be the exact same morph sets we have to buy again and again for every new Genesis figure.

This set is optimzed for dForce, has different texture styles, and is for a different figure. I'd hardly think a quality product, regardless of whether a similar one has been done before, should be worth complaining about.

You rig the basic shape, and make a modified version (not chnaging the actual geometry) to match the figure shape which you load as a morph. You don't reshape the base OBJ and then rig that.

Hi! I have here a full charater morph that I did while ago. The morph includes the body and the head, but I'd like to recreate a morph from this character that doesn't include the head and face shape so I can apply it on a new genesis 3 model. I am sure it is possible; it might be hard or super easy and I just don't see atm. 

One idea that I have but dont know how to do would be to morph lock the head part of a G3F model and apply my full character morph so that the head is not changed. Then create a new OBJ morph from it. Does that make any sens? Is morph locking some kind of thing with Daz?

Does anybody have a strategy to go on with that? 

Really enjoying this outfit (just including a link so that other people can find it). It has kind of the same vibe as the Twilight Sorceress outfit but offers more options for people who aren't into skimpwear, and even the semi-transparent texture sets cover enough (at least when you are using top, skirt, and garment) to be SFW.

For people like me, back-converting the outfit to G3F, here's some pieces of advice:

Review the PA's tutorial under "Simulation Settings" carefully, and make a judgment call about whether you think you would be more likely to use the belt and collar on top of the garment layer or underneath it, because the tutorial explains that you should add and drape certain pieces of the outfit first, freeze simulation and then add and drap the other layers. When I converted the outfit, I created two sets of wearables: one was the skirt, top, and sandals, and the other was the garment (hooded thing), bracelets, wraps (drapey things that hang from wrists) belt and collar, using the morphs on garment, belt and collar to insure that belt and collar would be the outermost layer. I put this second wearable in a subfolder named with a reminder to freeze simulation on the other pieces first. If you like the belt and collar better underneath the garment and over the skirt and top, you might want to morph all the relevant pieces accordingly, and save belt and collar as a third, separate wearable from the other stuff. and add and simulate it after the skirt-top-sandal layer and before the other layer.

Something the tutorial kind of points out, and I strongly confirm this for G3 converted version, is that you want to do an animated drape with your character morph added on the same keyframe as the final pose you want to use. Here's the result with Phyrra for G3/Mika 7:

@Bunyip02 - You've got too many more ideas to revisit machine gun dude?  Excellent.  I can't wait to see them.  Santa is coming along, thanks for asking  I've added the most basic morphs, such as blinking eyes and widening eyes in surprise.  I also added a couple blank morph placeholders to use as joint correction morphs.

@UnifiedBrain - Great classic noir comic, but I am going in a different direction.  

@shlomi laszlo - fascinating scenes, and always interested to see how people incorporate Howler or other postwork.  I've been playing with Howler a little but I'm not comfortable with it yet.  Would you mind sharing one of the raw renders so I can see the evolution?  Don't worry about it if it would be a hassle.

To spoil my story a little, Santa is not the heavy in, wait for it,...

Noir Pole:  Mining the Naughty List

I'm sure that I will adjust the title and composition, but the attached is the concept I have in mind currently.  Think of it as a darker Rankin and Bass.  I will also have north pole greebles to make it look like Santa's workshop.  Including elves may be a bit too ambitious.  Happy to receive suggestions, as always.

Hi everyone,

I hope someone will be able to help with this.

I have a problem with an annoying behaviour of an asset that I’m working on. It’s a figure asset that fits to a Triax figure and that I have initially rigged with the Transfer Utility and to which I am adding ghost bones to control the movement of a strap. Now the problem is that when I am moving the bone, or more precisely “while” I am moving the bone, the strap doesn’t follow until I release the mouse button (see the attached image). This is a very annoying behaviours as it makes it very difficult to pose the strap precisely.

Curiously, this behaviour affects only the ghost bones that I have manually added but not the bones that were added through the transfer utility, as those show live mesh deformation while I am moving the bones… as they should be.

At this point I have no clue about where the problem might come from and couldn’t find anything that answer this question anywhere. So I hope someone could figure this out, as I expect this to be a fairly common problem with asset creation.

Thanks

I'm not sure how easily MD can be used to do this (it's possible, I know). The usual route would be to take the outfit and the morphe dfigure into a modelling of sculpting application, reshape it to look right (you'd need to push the msh over the breasts out to wards the edges to expose the zipper, and bring the area over the sternum forward, for example), save as an OBJ with the name (not label) of the Sheila morph, then in DS, with the rigged clothing selected, go to Edit>Figure>Morph Loader Pro, select files and grab the OBJ, make sure the import preset is set to the one used to export the models for morphing (so that the scaling will match), and Apply - that should create a new morph in the clothing that will be applied automatically when the figure is morphed, rather than the one auto-generated by DS.

Thsi is about the Genesis 8 Female Head Morphs. In there, under Actor>Head>Face>Eyes, there is the "Eyelid smooth" morph target. Are there morph targets, that cannot be controlled by an ERC freeze command?

I made my own "close both eyes" target and wanted to include the "EyelidSmooth" target to enhence realism, but it doesn't work. The property tab shows, that it is not included. I checked my "close both eyes.dsf" file and it is listed there. What happened? The close Eyes morphs work fine, but the Eylid smooth doesn't. More weird: it first works, when setting it up, but it doesn't anymore after restarting DS. So here's a sample from my file:
                {
                    "output" : "Genesis8Female:/data/DAZ%203D/Genesis%208/Female/Morphs/MASTERSTROKE/SexyRoxy/EyeCloseR.dsf#EyeCloseR?value",
                    "operations" : [
                        { "op" : "push", "url" : "Genesis8Female:#CloseEyesBoth?value" },
                        { "op" : "push", "val" : 1 },
                        { "op" : "mult" }
                    ]
                },
                {
                    "output" : "Genesis8Female:/data/DAZ%203D/Genesis%208/Female/Morphs/MASTERSTROKE/SexyRoxy/EyeCloseL.dsf#EyeCloseL?value",
                    "operations" : [
                        { "op" : "push", "url" : "Genesis8Female:#CloseEyesBoth?value" },
                        { "op" : "push", "val" : 1 },
                        { "op" : "mult" }
                    ]
                },
                {
                    "output" : "Genesis8Female:/data/DAZ%203D/Genesis%208/Female/Morphs/DAZ%203D/Head/PHMEyelidsSmooth.dsf#PHMEyelidsSmooth?value",
                    "operations" : [
                        { "op" : "push", "url" : "Genesis8Female:#CloseEyesBoth?value" },
                        { "op" : "push", "val" : 1 },
                        { "op" : "mult" }
                    ]

Also computer HW needs t improve so that a completed high quality render of a finished scene never takes longer than 10 minutes.

That's a dog chasing its tail! If/when we achieve a 10 minute render, we'll just make our scenes more complex/detailed until the hardware needs to catch up again.

Not really, as how is a new scene that I haven't done and can't do now chasing it's own tail, which is always the same problem and if I were doing that I wouldn't need to change anything.

@nonesuch00, I suspect TA is speaking from experience. It certainly is my own experience. Up until Oct'16, I used this computer for everything, and I would wait for up to 7 days for an Iray render to look "good enough," often considering 5000 samples to be a worthy goal. Then I bought the best computer I could afford with one GTX 1080, spent over $3000 for it, with plans to add a second 1080. (I'm a real hater of crytominers now!) These days, my scenes are many times more complicated than before buying "the beast," and I struggle to keep the memory usage down enough to fit everything on the video card. For finished scenes, I render while I sleep, setting the Max Samples ridiculously high because I'm asleep and my computer is on anyway, it might as well keep rendering. My full scene renders these days are typically between 7500 and 15,000 samples, The point being, with a more robust system, I've changed both my goals and my expectations.

It's true prices are going up, here as everywhere else. At the same time, my budget for 3D is about to become almost non-existent as my husband is retiring in 3 weeks and my meager retirement income is going to be needed for monthly bills. I'll have to wait longer than I intended to pick up Marvelous Designer; I understand they have a good deal on the perpetual license for Black Friday every year, so I'll pick it up then. (Fingers crossed they do the same again this year!) I've been spending more time in Hexagon, and I have what looks to be a good tutorial on Blender to help me get started there. I also have both Bryce and Carrara. With virtually no money available to spend at Daz, I'll be spending more time learning these other programs. So in a way, not being able to afford to spend much money will be a good thing for me.

Instead of pricing me out of a hobby, I'm being priced right into learning to model for myself.

Yes, but I am as well. When I got my degree in computer science and mathematics we used mainframes and CRT text based terminals as sophomore. When I got to be a junior and senior taking a programming courses doing computer graphics those that did not flunk out were using Sun raster based workstations using the X11 System. You'd laugh at how slow those were and many where is black and white and CRTs that weighed 50 lbs maybe just for a 17"-20" screen. 

Then in the DAZ world of today itself I would set up a render to do 2000 iterations on my HP 8460P at 4K and it would take about 2 - 3 days. Now with my HP 8470P the same scene takes 12 - 16 hours. Since then I have lowed the quality threshold back to 95% with no massive difference in quality and renders are finishing even faster, also CPU renders but not 10 minutes render time yet. I'll have to wait for intel or AMD to get on it before that happens.

Now, I look at the rendering improvement just in extremely cheap Android tablets available today for less than $100 compared to the iPod touch 3rd Generation I had and the Android tablets perform much better and faster.

I think a lot of people don't realize they are living in a lap of luxury. I've very pleased with these rendering speed improvements and I expect even faster gains in rendering processes then I have already experienced. That is my experience.

but.... I have some renders that take ten minutes now. And if I get new hardware that can take a scene that used to render is 12 hours, and now it renders in 10 minutes... what stops me from just making more complex scenes now that I have more power? We aren't all rendering the same scene over and over, so I don't quite understand what you are asking for?

What stops you? Lack of need to do so. Like of time to do so. Lack of interest to do so. Once scenes of a complex enough nature can be rendered it's extremely unlikely that one will have the time to create the scene or the skills to do that either for that matter. I know of no one that is going to go, even using DAZ models, individually morph and dress 50K 3D human models to fill up Yankee Stadium. That's what's stopping you.

Also, I know many people even with modern HW that are stopped from creating simple scenes of several people and an environment though. I'm aware that the videocard makers are working on streaming geometry and images through limited RAM from non-RAM storage as rendering happens and that will stop your most trivial case of exceeding video card RAM. So that would be a good 10 minute test - these new streaming RAM video cards render a scene that exceeds 5 times the available video card RAM and finish that render in 10 minutes.

Basically 100% of all HW and SW in a computer is a controlled system with all variables known to the makers of the rendering SW for both CPU and GPU HW. The amount of RAM is known. All those video card makers & their proprietary rendering SW have to do now is create a series of 3D scenes that fill and exceed by 5 times the RAM to capacity and do complex light calculation things in those scenes like create halls of mirrors, and similar rendering gotchas and then use automated SW testing to test those series of scenes and have even the mathematically most  complex of those scenes they created must render in 10 minutes. They could also in the UI report RAM usage and mathematics usage for different portions of their renderer algorithms. So HW & SW capable enough that it hasn't outstripped it's ability with even simple scenes using things like multiple people in a scene with fibre hair and clothing. 

So then now if you want to excede the 10 minute rendering time capability test with such a capable system it is not longer such a trivial task to create a scene that exceeds the 10 minute render rule. So now you could write a script to fill up a digital Yankee Stadium with unique DAZ 3D human models and when that script finished you can send that scene to test the 10 minute rule. Not such a trivial task anymore to create a scene that exceeds a computer system's rendering capability.

With such a robust design for HW & SW even a Hollywood animation production shop would be hard pressed to exceed such a system's capabilities.

So I think current top of the line video cards supply 12GB so if the 1st generation of streaming RAM I/O video cards came with 16GB then 5x16GB would be a 80GB size scene to process & render in 10 minutes; so make it some complex 80 GB Hall of Mirrors 3D scene and other large complex scenes.

The first image is from Studio right out of the box. The geometry is good. If Sixus1 provided the original textures as a freebie this would be a great product. The second image is my first attempt at new textures in Carrara. I was going for more of the comic book look. The skin color isn't right yet. 

Hmmm.  I do like the guantlet and the suit a bit better than my kitbashed attempt, but the new face just doesn't look right.  Seems like the draw to getting this product now is just the outfit and gauntlet.  Do you know if it is posisble to alter the textures on his face, or is the shape and morph going to make that to difficult?  

Is it true that Arizona heat is different from NC heat?  NC is humid and hot, but Arizona is hot with no humidity?  Is it true Wisconsin does not have the humidity nor the heat?  I never lived there long but cannot remember a thing. I think Washington (state) is cold and humid!

What does humidity and cold do when they combine?  I know heat and humidity makes it feel hotter.

I don't know the specifics of the average temperature and humidity of all those places but the direction of heat flow does depend on the humidity.  "heat" is the average motion of molecules of a substance.  Heat flows from high to low.  The more molecules in a substance, the more likely it is to convey its motion(i.e. its heat) to things that it touches.  Water molecules in the humid air help transfer heat better than dry air because wet air is denser than dry air. 

 If the air is humid and higher than skin temperature then the heat is more likely to flow into the skin than if it is dry.  Similarly if the air is humid and the temperature of the air is lower than your skin the heat is more likely to flow out of your skin into the water in the air and make you feel colder than dry air would.  Also, humid air already has a lot of water in it so your sweat is not as likely to evaporate into the humid air.  Evaporation is a cooling process (because water olecules take energy from your body to jump into the air) so if you can't sweat you don't cool as fast as you do in dry air.

Also, in wildly differing places like at the bottom of Death Valley vs the top of some tall mountain, the air could be dry at both places and you might register the same temperature on a thermometer but the frequency of the light in the high place would have more energy in the UV range and you might feel warmer, you certainly would get a sunburn faster on top of the mountain.  i.e. your "perception" of heat is different as well as the actual effect that the heat of the air has on specific materials (i.e. thermometer vs skin) differs.

So, to summarize, ...  It's complex.  But basicly heat flows faster if the air is humid.  If the air flows into your skin you feel hot, if it flows out of your skin you feel cold.  If you can't sweat you feel hot. 

Note:  I believe I read somewhere that the nerves in your skin that measure hot and cold are the same for both feelings.  They detect and quantify the "direction" of the flow.  So, if the flow of heat is into the skin your brain says "hot", if out it says "cold".  

 

walter's opinions on weather

Is it true that Arizona heat is different from NC heat?  NC is humid and hot, but Arizona is hot with no humidity?  Is it true Wisconsin does not have the humidity nor the heat?  I never lived there long but cannot remember a thing. I think Washington (state) is cold and humid!

What does humidity and cold do when they combine?  I know heat and humidity makes it feel hotter.

I don't know the specifics of the average temperature and humidity of all those places but the direction of heat flow does depend on the humidity.  "Heat" is a measure of the average random jittery motion of molecules of a substance.  Heat flows from high to low.  The more molecules in a substance, the more likely it is to convey its motion(i.e. its heat) to things that it touches.  Water molecules in the humid air help transfer heat better than dry air because wet air is denser than dry air. 

 If the air is humid and higher than skin temperature then the heat is more likely to flow into the skin than if it is dry.  Similarly if the air is humid and the temperature of the air is lower than your skin the heat is more likely to flow out of your skin into the water in the air and make you feel colder than dry air would.  Also, humid air already has a lot of water in it so your sweat is not as likely to evaporate into the humid air.  Evaporation is a cooling process (because water molecules take energy from your body to jump into the air) so if you can't sweat you don't cool as fast as you do in dry air.

Also, in wildly differing places like at the bottom of Death Valley vs the top of some tall mountain, the air could be dry at both places and you might register the same temperature on a thermometer but the frequency of the light in the high place would have more energy in the UV range and you might feel warmer, you certainly would get a sunburn faster on top of the mountain.  i.e. your "perception" of heat is different as well as the actual effect that the heat of the air has on specific materials (i.e. thermometer vs skin) differs.

So, to summarize, ...  It's complex.  But basicly heat flows faster if the air is humid.  If the heat flows into your skin you feel hot, if it flows out of your skin you feel cold.  If you can't sweat you feel hot.   If you run naked on top of even a cold mountain you sunburn all over, really quickly.

Note:  I believe I read somewhere that the nerves in your skin that measure hot and cold are the same for both feelings.  They detect and quantify the "direction" of the flow.  So, if the flow of heat is into the skin your brain says "hot", if out it says "cold".   (However, I think I also read that recent research disproves that idea)

It's also, for nerds, interesting to note that "heat" is not a property of a substance it is an "emergent" quality.  Any individual molecule is neither hot nor cold.  The concept of "heat" emerges when quantifying the average behavior of a collection of molecules. 

You def dont need Aiko to use the textures, but she is about 60% of the morph. Here is a quicky without the Aiko morphs :) I am not used to doing brokers for non G8F figures so I always forget to include a G8F only render -.- Sorry about that! 

She's quite beautiful, even without Aiko - lovely work! :)

I rather like the black and white version of the car render.  All three look good but for some reason, I'm drawn to the black and white.

As far as modelling goes, what I've discovered is that if you can find which program its easiest for you to figure out the interface and get started, if you work on that for a bit, the other programs become less...intimidating.  The knowledge does transfer over very well.  I personally find Carrara to be the easiest to model in so far.

The other plus with Carrara, which I just learned yesterday, is that it can do some decent model conversions for Daz Studio to use as well. I guess Hexagon does, too, but this makes me more interested in at least giving Carrara a chance. When I got it, I also had Vue and Bryce to learn, of which I only really learned some Vue. But this causes me to reconsider Carrara as a contender alongside Hexagon (I'm pretty sure @Diomede uses both, so that's another reason to try it).

I have not even picked up Carrara to play with it as of yet, I may go after it once I get Hexagon under my belt.

Missuskisses, I see you over at the post Allenart posted me about above. Could you save me a LOT of time and condense this? Where can I get the transfer utility?

The script from the thread is unfortunately no longer available :(. There are links to ways you can do it yourself though in that thread also.

As for the transfer utility, it's already in DS in the hamburger menu in the upper right of the scene tab.

Laurie

Ahhhh great Richard! Well, Sheila is a FBM while the suit is the same one piece. There's a zipper but at the moment is just like an ornamental, (probably I will move on the side anyway I don't know if I will do it morphable (also because I not so expert to create morpheable single objects like zippers). Anyway the suit is a one piece obj.

So, you would be so kind to explain in few words how to add a fixing morph? You know everyrhing about morphs and dials so, who better than you can explain it? 

Thank you

You need to rig the model, or possibly set it up as dForce and drape from the zero pose. It's easiest to rig if you modelled around the base shape:

Import your model, make sure it lines up with the figure as imported (no scaling or other adjustments needed)

1. Have the figure loaded
2. Edit>Figure>Transfer Utility
3. Click the Source button, select the figure from the list
4. Click the Target button, select the clothing model from the list
5. Click Accept.

Missuskisses, I see you over at the post Allenart posted me about above. Could you save me a LOT of time and condense this? Where can I get the transfer utility?