Sorry you're having trouble- one of the best times I've found to shop is 3am-4am- when the site turns over around 1am (Central time) it can slow down- but it perks back up a few hours later. It gets busy in the US again around 7am and across the pond is on then too. When are you finding the lag? (I haven't had any trouble.)

Misty Whisky said:

Kyoto Kid said:

Misty Whisky said:

did someone say Friday? :lol: tahrahrahboobee-ayy, lie, ;) not that much energy this morning. shoulda got an extra shot of espresso this morning.

waited an hour and half for the bus last night. and the bus's phone center shuts before 17:00 can't even call them to bitch about it.

still polishing my double flashback chapter for confusion spots.
made into a chapter 1 and he's remembering 15 years ago. makes it only one layer of flashback. chapter 2 is 'four' years later. :) - i cans feel almost happy about it now.

seriously thinking about putting tentacles on the cover, but then i'd have to add a tentacle scene to the novel. gratuitous tentacles or make it relevant. i have to override my own inhibitions, can't have my sense of grossout interfere with the story.

if i finish rendering my covers this weekend, will be that much less temptation to spend more money on content. only thing left calling to me from my w/l is the omnifreaker extra layer thingee.

...there are no such things as "gratuitous tentacles". ;-)

Been designing more characters for the story (hence the comment earlier about slender women in leather trench coats). Currently working the lead antagonist, Ms Rita Kovec, who is head of the S.I.D. (State Intelligence Directorate) which basically runs the Serbian regime (which occupies both Croatia and Bosnia-Herzogovina) in the future. Maleficent has nothing on her when it comes to pure evilness and she's even make the likes of Stalin and her "mentor" Mr. Milošević wince.

maleficent was the bad lady in disney sleeping beauty?

mermaid010 said:

Could you do a quick render, small for an avatar (I don't know what is the size allowed here) of the mermaid sitting on a rock at the bottom of the sea.
Ok, render completed, here is a preliminary version. One problem I see, the max thumbnail size is 100x100, and when shrunk down to that size, it's almost impossible to see. Ideas?
EDITED TO ADD: crud, I must have bumped the camera angle, I see a gap at the waist that was supposed to be hidden by the arm. I never figured out how to transfer that particular figure/tail combo over to Bryce perfectly; while it seems fine in DS, when sent to Bryce the figure's legs become unhidden, and when deleted, there's a gap. I'll correct that with a slight camera position change in the next render along with whatever other changes you decide you want.

In space I really have no clue as to artistic direction. Individual elements I can understand but what constitutes a space “scene” is somewhat opaque.

Yeah.
I use Project Dogwaffle Pro: Howler for this sort of thing, but you could use anything that can treat animations like image files.
Take an animated fire effect and tweak it to run the appropriate amount of time and at the right frame rate. For Howler, and being a super-long animation with no breaks, the 120 fps likely wouldn't work. But anyways...

In Howler, I would turn the flames animation into an animated brush

Open the texture map for the wings

set up the animated brush in the correct direction angle and scale for one wing and store the brush

Repeat for the second wing, if they're mapped individually

Set Black as the primary color and turn the original texture into the appropriate length of animation

Instead of having it auto-repeat the image on each frame, have it fill with the primary (black)

Use the first frame (still owning the original texture map) to line up the animated brush of flames effect and paint it accross the whole animation using the animated brush key framer

Repeat for the second wing, if they're individually mapped.

Animation > Save Sequence > Save the new animation as a sequence of images for use in the Color channel.
I would go with further steps to deselect the black (selecting only the flames) and save as png w/alpha sequence. But instead you can:

Run a saturation filter on the sequence to turn it to gray scale for use in the alpha channel.

This gray scale might also work well as a multiplier in the glow channel with the color sequence if more brightness is needed.

==================================================================================================

Attach a particle emitter to each wing in a good, central location

Choose "Facing Camera" as the particle type

set the particle shader to use a gray scale "cloud" image to control a color gradient - initially as the colors of the flames (left side of the gradient) and ending in greys and perhaps a bit of brown (right side of gradient)

Still in the particle shader, use the life of particle to control the gradient as well

Now go into the emitter and set it up to start emitting sparks just before the animated texture starts flaming, having the particles use negative gravity so that they rise as the shader turns them from fire to smoke.

Duplicate the emitter as many times as you want for other parts of the wing, the other wing, etc., and make one that has positive gravity which starts later and spews hot coals from the wings to the ground. Make people scared to come near this guy!

Something like that is where I would start.

====================================================================================================

If you don't have the right flames animation sequence, you could make one in Carrara using either the Carrara Fire or particles or both.

Know that you may render in alpha in Carrara. So you could actually create the new texture directly in Carrara and avoid the need for using additional software, like Howler or Final Cut, After Effects... whatever....

Using the same methods, you can also create an animated backdrop which only flames up after a certain period of time.

Use a few spot lights grouped together which glow red, orange, yellow, etc., and spin the group under him. Carrara will let you change the rpm as well as direction throughout the animation. Once you get a cool (or HOT, rather! LOL) effect going, simply duplicate that and move it to come from behind a wing, lighting up only after the flames kick on, then duplicate that setup for the other wing, and another that goes along with whatever background flames you might add.

This stuff can get REALLY fun! Changing spin modifiers can take a lot of practice to get just the right effect. Well... all of this stuff takes practice, no matter what software you run. But I love how Carrara just begs us to do everything inside itself!

HINT: you can layer renders in Carrara - render something and then load it into the backdrop. Anything in the scene automatically appears in front of the backdrop. Add to the scene, render again. Add that render to the backdrop, and stuff, render again... and again...
Sequenced Image animation work great for this. And remember that you may render with alpha - so you can actually use atmosphere and/or background channels to add something 'behind' the backdrop, if it is using an alpha! Can we say... "Ouch!"?
Yeah... I think we can! ;)

TroutFace said:

fyredrygyon said:

TroutFace said:

fyredrygyon said:

So I finally managed to get to look at the Ocean Queen dragon and she's gorgeous. I may have to buy her on Friday for use as my sea drakes. How big is the model compared to a M6 model, Woolytrout?

I'm stuck at work right now, but as soon as I get home I'll load 'em both up and pop out a render. I'll PM you when I put it in the thread so you won't have to keep checking.

It's about an hour and a half before I leave, then add an hour or so for the commute home.

I never checked the sizes, otherwise I could tell you right off... :red: :red:

That's cool. I know I can resize n stuff but I'm just a bit worried that the extras might not resize well. Also are there wing morphs? I saw that the use dynamic and assume that means poser but I use Daz, which is why I'm hesitate to buy (other than the dreaded wait for payday)

Also you and I are in the same time zone so I'll just assume 6ish, ok?

I'm in lovely and uber-hot Tulsa, OK - Central Time. I leave at 4:45pm, catch the bus at 5:05pm, then show up at home - depending on the bus - abut 6:30pm. Just watch after that as putting some size comparisons together will be the second thing I do when I get home (the first is getting a beer, lol)!

Not sure about the wings - I just wanted the main body + wing skeleton, so I'll have to experiment., I use DS 4.6 so we're in the same boat there... :blank:

Yep, get off work at 5, get home about 5:30ish. Sometimes later if fiancé has to run back to office after getting me or we have a gym session

fyredrygyon said:

TroutFace said:

fyredrygyon said:

So I finally managed to get to look at the Ocean Queen dragon and she's gorgeous. I may have to buy her on Friday for use as my sea drakes. How big is the model compared to a M6 model, Woolytrout?

I'm stuck at work right now, but as soon as I get home I'll load 'em both up and pop out a render. I'll PM you when I put it in the thread so you won't have to keep checking.

It's about an hour and a half before I leave, then add an hour or so for the commute home.

I never checked the sizes, otherwise I could tell you right off... :red: :red:

That's cool. I know I can resize n stuff but I'm just a bit worried that the extras might not resize well. Also are there wing morphs? I saw that the use dynamic and assume that means poser but I use Daz, which is why I'm hesitate to buy (other than the dreaded wait for payday)

Also you and I are in the same time zone so I'll just assume 6ish, ok?

I'm in lovely and uber-hot Tulsa, OK - Central Time. I leave at 4:45pm, catch the bus at 5:05pm, then show up at home - depending on the bus - abut 6:30pm. Just watch after that as putting some size comparisons together will be the second thing I do when I get home (the first is getting a beer, lol)!

Not sure about the wings - I just wanted the main body + wing skeleton, so I'll have to experiment., I use DS 4.6 so we're in the same boat there... :blank:

prixat said:

Those tiny extra steps to more realism are very subtle.

Which UE2 mode are you using?

I would use ILT.
Make the distant light a bit yellow.
Put a 1% shadow on that distant light.

Put reflection on those windows.
The lawn edge and brick path needs a bump though it may not show at this distance.
The path needs some unevenness and dirt.
Turn some of those plant pots round so they look random.

In terms of composition, a large part of the house is featureless!
Bring the camera angle down a bit, crop out the top of the house.
The central part of the garden where the camera seems to be looking is empty, what is the main subject of this shot?

I use UE 2 base.

How to put reflection ?

Those tiny extra steps to more realism are very subtle.

Which UE2 mode are you using?

I would use ILT.
Make the distant light a bit yellow.
Put a 1% shadow on that distant light.

Put reflection on those windows.
The lawn edge and brick path needs a bump though it may not show at this distance.
The path needs some unevenness and dirt.
Turn some of those plant pots round so they look random.

In terms of composition, a large part of the house is featureless!
Bring the camera angle down a bit, crop out the top of the house.
The central part of the garden where the camera seems to be looking is empty, what is the main subject of this shot?

Oroboros said:

What you're really after is collision physics, which Bryce doesn't have.

Failing that, I think a judicious amount of the Solo tool will help cut down the 'noise' factor of arranging the cubes.

Start by layering the 'bowl' level cubes as you see fit. Put them on angles, go crazy, have fun, because no-one's going to see the bottom layer (other than the camera-facing cubes) so there's no point stressing about it.

Copy all those cubes and raise them both above, and to one side, of the originals. (Generally I do this with this sequence: Select Cubes, Group, Copy, Paste , Edit Attributes, add 10 to both the X and Z position coordinates, Ungroup. You may wish to select your floating cubes again at this point and copy paste a few times, to get more cubes.)

So now you have a pool of floating cubes you can drag into position. I offset them from both X and Z to allow me to use the preset orthographic views (`1234) for quick views without the floating cubes interfering with my central view. I also find that placing the Director in 'Center to Selection' view is the most useful view.

Select a floating cube. Also Select, say, 3-5 bowl cubes in close proximity. Click the Solo button.

All that should be visible now are the selected cubes. This should greatly cut down the wireframe noise when dealing with multiple objects. When you're done with the area you're working on, click the Solo button again, reselect a new area of bowl cubes and go again.

EDIT: Just by way of interest, Andrew Price of BlenderGuru.com created this short, entertaining tutorial on Blender's Rigid Body Physics settings that seem very appropriate for your needs, CT :)

https://www.youtube.com/watch?v=nHVYYMG3QVY

The video was, as you said, entertaining. I started watching, and said to myself, "This isn't what I'm doing at all." I don't even have Blender, but I still watched the whole thing all the way through.

However, after looking at a few real pictures of gelatin cubes, (such as the one below), I realized they have too much character to simply duplicate them. I started looking at pictures like this because of what you said about the bottom layers not mattering. They are transparent, so I thought perhaps that's not true. In fact, the bottom layers do not matter, as the picture below shows. Those will be duplicated, and laid out without regard to their intersecting. The top parts are going to be placed one cube at a time, and I will add character to each one. Some will have corners missing, some will look bent, some will be shorter or longer, some will be dented, there will be a lot with ridges on their sides, etc.. They will all be larger than the ones I started with. It's going to be a royal pain in the bowl. I'm going to finish though ... someday.

PICTURE BELOW IS A REAL IMAGE ... NOT A BRYCE RENDER. It's not my work, but a Corbis image.

What you're really after is collision physics, which Bryce doesn't have.

Failing that, I think a judicious amount of the Solo tool will help cut down the 'noise' factor of arranging the cubes.

Start by layering the 'bowl' level cubes as you see fit. Put them on angles, go crazy, have fun, because no-one's going to see the bottom layer (other than the camera-facing cubes) so there's no point stressing about it.

Copy all those cubes and raise them both above, and to one side, of the originals. (Generally I do this with this sequence: Select Cubes, Group, Copy, Paste , Edit Attributes, add 10 to both the X and Z position coordinates, Ungroup. You may wish to select your floating cubes again at this point and copy paste a few times, to get more cubes.)

So now you have a pool of floating cubes you can drag into position. I offset them from both X and Z to allow me to use the preset orthographic views (`1234) for quick views without the floating cubes interfering with my central view. I also find that placing the Director in 'Center to Selection' view is the most useful view.

Select a floating cube. Also Select, say, 3-5 bowl cubes in close proximity. Click the Solo button.

All that should be visible now are the selected cubes. This should greatly cut down the wireframe noise when dealing with multiple objects. When you're done with the area you're working on, click the Solo button again, reselect a new area of bowl cubes and go again.

EDIT: Just by way of interest, Andrew Price of BlenderGuru.com created this short, entertaining tutorial on Blender's Rigid Body Physics settings that seem very appropriate for your needs, CT :)

https://www.youtube.com/watch?v=nHVYYMG3QVY

Photo 1: And now you have your morph under your item. Move the slider back and forth and TEST your morph. If you don't like the pull, guess what? You still have your D-Former set up and can change the location of the base and tweak the field. Another great reason NOT to delete the D-former at the first opportunity.

Photo 2: Because I had yellow and orange dots from my Field on those rocks to our right, watch what happens when I move my morph slider. Fun! (This photo has 3 images together.) Look at how the rocks change- you can raise or flatten them. CLICK TO ENLARGE/CLICK AGAIN.

Photo 3: TIP: If you are morphing terrain, do spot renders or render a small area to see if the materials/surface need to be bumped or displaced. Because my morph stretched the terrain a bit (and I also scaled and pulled it) I upped the bump and displacement. Here's the settings.

Okay, done with D-forming. Now just some general workflow tips and transforming this area into a tourist or private outlook. Let's do Creating Groups and how that can save you time.

Photo 3: TIP: If you are loading a lot of flowers and vegetation into a large scene, load it up and don't bother to move it. Select them all in the Scene Tab (you can Control and click each one, or Shift and click the first and last one) then go to Create>Group. Now they are really easy to move to one central location, and you can disperse from there by simply clicking on the individual object. I did that with the flowers (they came in at the bottom of the cliff, I need them up at the overlook.)

Photo 4: So you can see the Group in the Scene tab and I moved it to the overlook by the waterfall. I also brought in the Beach Pod. Not worried about exact location or whether it's level, I'm just getting possibilities to the location.

Cris Palomino said:

Luci45 said:

Novica said:

Kiddo, you lost me, which isn't hard to do. Are you saying studio will recognize that you have Lee installed and all we do is use GM2? I like the looks of the heads you did. I think I like the third one, top row, the best.

Thanks. Yes, It is a strange way to do it, but that's the way it works. You would have to apply Lee's body and texture if you want to use them. I used several different textures on these. That is Malakai on the one you like. The ones with the thinner brows are Ryuu for M5.

Hi, Luci45,

I'm happy you liked my heads. Reversing out is actually regularly done on things. As long as you have the required figure, it works. If the base figure used wasn't reversed out, you'd be getting Lee without buying him. :) Interesting approach you took to change the heads. I did purposely change the heads to have different proportions in keeping with some of the nationalities I used as well as for a good amount of variation. Hope they continue to be useful and fun. :)

BTW, Cris is short for Cristina. ;)

Great thread!

Hi Chris. I do really love these. I'm sure I will continue to enjoy them and make some interesting characters from them with mixing morphs.

I hope you do more, like some females and Africans, Native Americans (North, South and Central.)

Kyoto Kid said:

...finally a break in the heat, officially hit 99° yesterday (100° and higher in central parts of the city). Today low 80s with a chance of thunder and then in the 70s for the next few days. Good time to install the new GPUs and run tests before the heat returns next week.

Kulay, maybe it isn't the mattress but your living situation that is affecting your sleep. I know when I am all wound up due to RL issues (like the unemployment extension debacle of the last several months) I sleep very fitfully. Maybe you really need to really impress on your caseworker that you need to be in a more constructive and positive environment than you currently are. A negative living environment can have very serious long term effects. After more than 50 years, I'm still wrestling with feelings of inadequacy that were only reinforced by the last job I as in. This is why it has been that much more difficult to find work (and why I am making a career change this late in life) as I don't wish to relive a similar experience again.

I know it is the disabled lady who is causing all the raucous in the house. (did I use the right word?) She is an invalid.

...finally a break in the heat, officially hit 99° yesterday (100° and higher in central parts of the city). Today low 80s with a chance of thunder and then in the 70s for the next few days. Good time to install the new GPUs and run tests before the heat returns next week.

Kulay, maybe it isn't the mattress but your living situation that is affecting your sleep. I know when I am all wound up due to RL issues (like the unemployment extension debacle of the last several months) I sleep very fitfully. Maybe you really need to really impress on your caseworker that you need to be in a more constructive and positive environment than you currently are. A negative living environment can have very serious long term effects. After more than 50 years, I'm still wrestling with feelings of inadequacy that were only reinforced by the last job I as in. This is why it has been that much more difficult to find work (and why I am making a career change this late in life) as I don't wish to relive a similar experience again.

Stuart,
Looks to me as if the shadow cast by the plane would not be visible to you from this perspective. If the sun had been higher up in the sky then indeed we would expect the shadow from the plane to fall directly beneath it. What I do think you are missing however is some degree of upward facing light. Most often we concern ourselves only with the light that shines down, we forget that light bounces back up into space from the ground. Maybe you could add a radial beneath the plane so that the shadow isn't so dark on the underside.

David B
Those galaxies look amazing. I'm really impressed to see these are made with procedurals. If you can find a means of flattening out the central sphere so that it blends into the spiral a bit more these will look fairly realistic!

Guss, Horo, David,
I cannot thank you guys enough for your detailed and honest feedback. You are all absolutely correct. There are several things going on that aren't immediately obvious. First I will explain what EGDLS is for Guss.

EGDLS stands for EarthGlow Dome Light Strategy. Just as I was describing to Stuart about the light that reflects back upward into space and how it should be illuminating the underside of the plane. Chohole's example shows clearly how incredibly bright the shaded area underneath the plane should be. In real life there is always a ton of light flying around in all different directions, not just downward. Most of the time we as Bryce artists don't think about the light that bounces upward, so I often see Bryce renders where there is some degree of light missing. After years of rendering images of objects with dark undersides it begins to look "natural" to our trained eyes but in fact it isn't. More light is almost always better than not enough. EGDLS is basically two light domes, one that works as a Skylight blue influence, and another that is a gold colored dome for the Earth Glow. Because Light domes can be directionally biased in Bryce, the Skylight dome is biased to shine more of its light downward and the EarthGlow dome is biased so that most of its light shines upward. Simply disable the shadow casting from the ground plane so that the EarthGlow light can penetrate and you now have a means to get light into the areas near the ground where skylight alone would have already been obstructed by taller objects. The problem isnt the EGDLS, as the tree trunks can demonstrate. But the leaves are a different issue.

What goes wrong with this scene is exactly what David described. Due to limitations, Ive had to make several compromises, one of them being the essential translucency. What you see here is my best attempt to employ ambience to do the job of translucency, of which it fails.

Below is a quick sample of what these same trees look like rendered with translucency. To answer Horo's previous question; ngPlant can use meshes or billboards for leaves, but I use only meshes for leaves because only meshes can produce translucency. Realize that this little render took 13.5 hours on my monster 8 core Xeon system, and there are only a few palms visible, it is nowhere near the complexity of a real scene. Granted the specular response is too high, but you can still see how powerful the translucency can be. The lighting levels are exactly the same in this render as in the previous one. This render was done with both domes set to the minimum of 16 lights each plus the default sunlight for a grand total of 37 point lights (which isnt very many at all). To get smooth shadows, I should be rendering with each dome quality no less than 256 totaling over 500 point lights all combined. Due to the low light quality setting, there is a ton of shadow banding visible in both the original render and this new one. The shadow banding on the woman's body indicates how few lights there really are.

Lessons learned:
I've learned that high polygon meshes generally render more slowly than low polygon meshes. A mesh that is over a million polygons will render significantly more slowly than a mesh only a few hundred polygons. I think it is due to the Self Shading. I suspect that when Bryce is calculating the way a mesh casts shadows onto itself the higher polygonal complexity means many more calculations. This is a sad irony for me.

Part of the trick for how I accomplish this degree of complexity is that I build highly detailed models and groups of plants up to a few million polygons and then instance that group of plants all over the place. In the case of the trees, by the time I get to using them they are no longer made of separate meshes for leaves and trunk, I have consolidated them into a single mesh object (this is necessary for the Instance Lab to properly rotate the model due to a rotational bug with Grouped objects in the IL). I don't instance groups, only meshes.

This current example took 14 hours to render and a big part of it was the fact that the trees are themselves now single mesh objects. Translucency is a shadow intensive effect, so the self shading of the translucency rays adds up quickly. I suspect that if I had not consolidated these meshes leaving the leaves separate from the trunks, the resulting render would have completed in half the time. Sometimes, I just can't catch a break!

I've not been anxious to do so, but from what I can tell a true render of the full scene with translucency and even decent light quality would take over a week on my system, which is simply impractical. As many of you know, the entire point of this study was to create Howie Farkes style content for Bryce. But it seems impractical at this stage due to rendering issues. If not for the memory leak bug and the rotational bug with Instancing, I'd not need to employ this ideal of "super-meshes" as a workaround to attain naturalistic levels of complexity.

I am working on a companion product to Night & Day City, let's call it "City Central" for now, it will provide a range of taller feature buildings, inspired by some famous actual buildings plus a dose of my own imagination. This is a quick and dirty render so not what I would call final quality, but it gives you an idea of what I am working on - the existing Night & Day City in the foreground, the new tall buildings set in the background.

OK - transferring Genesis Evolution Muscularity morphs to G2M and G2F with GenX. You need to have, installed, Genesis, the Genesis Muscularity morph set, GenX2, GenX2 AddOn for Genesis 2, either or both G2F and G2M.

Start DS

Open the GenX tab (Windows>Panes (Tabs)>GenX

You'll probably (without docking it) want to resize it wider and much taller than it will open by default.

In the GenX tab, working down from the top of it unless noted:

Make sure you are in the Transfer sub-tab (top left)

Click the Source button, and in the dropdown list that appears select Genesis.

If your computer is like mine, and you have as many morphs in genesis as I do, go and make and have a cup of tea (or dinner) while a little window opens and shows all the morphs being processed. Takes many minutes on my machine.

If it ends showing some errors in that window, just ignore them and click on OK (it's just some early Genesis morphs that have broken ERC formulae - won't affect this.)

In the central section of the GenX tab you'll see a list of bones, regions etc, each of which expand to show individual morphs. Right click anywhere in that portion of the tab, in the right-click menu go to 'Show in List' and across and make sure the first three of the four submenu entries are ticked - if not, tick them: Pose Controllers, Joint Controlled Morphs and Hidden Morphs/Controllers.

Go back up to the top of the GenX tab and in the box beside Find: type flexion. At the right hand end of that box click the button that probably has 'any' written on it, and in the dropdown list pick 'group' instead.

Just below that there are three buttons Previous, First and Next. Press First

In the central area, a morph channel will be highlighted in yellow - one of the Flexion morphs. Click in the little box at the LEFT end of that highlighted line, to the left of the name, so it is ticked.

Go back up and press the Next button. Another one of the morphs in the Flexion group will appear highlighted oin the central section. Click to tick the box to the left of that.

Repeat with the next button and ticking to the left of each highlighted line until all are done (you'll know when because the Next will take you back to the first one you've ticked.)

Now, go back to by the Find: at the top, delete Flexion and type muscularity instead. click on First, tick to the left of the highlighted morph, go to Next, click the new highlighted morph, and repeat until all the Muscularity morphs are ticked as well as all the Flexion ones.

Nearly done - that's the long bit. Now:

Under the morph list, on the left are three settings, each with a long button that produces a dropdown menu beside them. Set them to:

Mode: Selected morphs
Shape: genesis
Target: Genesis 2 Male (or Genesis 2 Female, depending which you want to transfer to),

To the right of those are three smaller buttons. Do NOT click the Select button. The middle one will say either Fast, Edges or Smooth. Either Fast or Edges is fine, and will produce the same results with the other settings below. Don't press the 'transfer' button yet.

There are some further options below that, but they may not be displaying. if they are not, then click in the middle of the bottom of the pane to cause the lower section of advanced choices to show. in that lower section set the following settings, changing the default ones where necessary:

Limits -10 10

Resolution 1 (actually, 10 will just about do. the default 50 will NOT do and will lose much of the morph definition)
Compress generated files (up to you - I leave off)
Tick Transfer controlled transforms
Tick Transfer dial groups
Untick Show hidden dependencies
Transfer CM with dependent morphs
Replace existing files

Now go back up to the Transfer button to the right of the Target selection and click the transfer button.

Done.

If you want to do this for both G2F and G2M, simplest thing at this point is to change the Target from G2M to G2F (or vice versa, depending on which you did first) and click the Transfer button again as the settings are the same.

This has taken me a LOT longer to write than it does to do. Indeed apart from the time it takes my computer to process all the Genesis morphs on starting GenX, it takes far less time to do than it does to READ this.

Yes, they are Central Time

I want to get prime but not sure but not sure if I can get it before midnight central time zone.

Maybe central USA time? Good question.