Anonymous at Sun, 29 Jan 2023 00:52:53 UTC No. 935231

no one uses rizomuv? Downloaded the trial, seems pretty based. Too bad it costs an arm and a leg.

Anonymous at Sun, 29 Jan 2023 02:38:26 UTC No. 935243

>>935188
>>935231
>people are inexperience
Have you have 8K textures because it seems like you have low textures instead of actually following expert advice on getting free 8k textures.

Anonymous at Wed, 1 Feb 2023 15:01:20 UTC No. 935636

Somebody help me please. From my demoing of it, rizomuv is great but it costs more per year than maya itself.

Anonymous at Wed, 1 Feb 2023 16:24:04 UTC No. 935641

>>935636
No one paints textures in 2D anymore, so perfectly shaped UVs are irrelevant. All you need to do is cut some well placed seams in maya, and click unfold, and you are 99% done. Make sure the checkers look relatively uniform in size across the entire mesh, and you'll be good to start painting in substance. 3D coat, or whatever is your software of choice for texture painting.

Anonymous at Wed, 1 Feb 2023 17:19:29 UTC No. 935649

>>935641
A lot of assets still use mirroring, especially on larger pieces. If you do hard surface assets for studios you will need to use it at times.

Anonymous at Wed, 1 Feb 2023 17:54:51 UTC No. 935652

>>935636
>>935231
look at the cgpeers thread, there's a mega with it

Anonymous at Wed, 1 Feb 2023 18:11:05 UTC No. 935653

>>935649
Granted I haven't done hard surface modeling for studios, as my expertise is elsewhere, so there might be some requirements I'm not aware of. But where is the benefit here, in comparison to just using mirrored painting modes in substance and such for example? Not that doing mirrored UVs in maya is hard either mind you, so I'm not seeing the need for a separate 3rd party tool for just that, if it truly is a requirement. Creating UVs is such a small part of the process, that the time saved per model is so small, that the costs are probably not going to cover the benefits.

Anonymous at Wed, 1 Feb 2023 18:52:20 UTC No. 935659

>>935188
For selection, if it's a clean loop, use shift + click first edge of selection, keep holding shift, and double click last edge of wanted selection. If it's not a clean loop, use the paint selection tool. b+mouse click drag changes brush size, holding ctrl inverts between select/deselect, depeding which you have selected as default. That should make selecting the edges you want to cut a breeze. I also recommend setting up a separate hotkey for cut/sew. That's how I do it at least.

Symmetry selection works fine, if your model is symmetric. Make sure to select the symmetry selection mode correctly. Object mode determines the mirroring line based on the object pivot, World mode based on scene origin. If your model is not 100% symmetric in vertex location, but has symmetric topology, use topology mode.

Anonymous at Wed, 1 Feb 2023 20:23:04 UTC No. 935664

>>935653
>as my expertise is elsewhere
aka I make daz porn in my mom's basement and don't have any knowledge to share

Anonymous at Wed, 1 Feb 2023 20:33:31 UTC No. 935665

>>935653
It's a performance constraint essentially. Assets need to hitting the right texel density/resolution to avoid using additional textures and thus minimize drawcalls. Intermediate sized assets: props, vehicles, machines, even characters use mirrored mesh elements. They can be asymmetrical too, where some mirrored areas use unique UV space (in order to display unique AO/masking/etc detail) This has to be managed across 20-40 mesh elements sometimes. UV editors are very important in hard surface.

Anonymous at Thu, 2 Feb 2023 00:29:19 UTC No. 935704

>>935665
Thanks for the explanation, that does make sense, and is something I haven't considered before. Should help me optimize better in the future, instead of just spamming more and more 8K textures with UDIMs. Although I'll still likely just stick to Maya for the editing, as the meshes I deal with are unlikely to get quite as complex as in your example, but I can definitely understand the need for a dedicated tool better now, in certain use cases.

>>935664
I'm a generalist, with a focus in animation, so when I'd work for a studio it has always been mostly animating, as that is what I'm best at, and I'd only help to fill in in other areas, when needed. So most of the non-animation work is often limited to my personal projects. While they can get relatively complex, they aren't quite as big in scope, compared to what proper studios might work on, so I wasn't aware of the potential required optimization solutions you might need to take in to account when doing UVs for them. In retrospect, I admit I was overly confident on my lack of understanding regarding proper uses of good UVs.