Oculus Medium Suggestions - Page 10 — Oculus
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Oculus Medium Suggestions

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  • KuraokamiKuraokami Posts: 3
    NerveGear
    edited January 3
    Please give us the ability to import STL-files as well as OBJ onto a polygon-layer. STL is very prevalent in the age of 3D-printing.
  • CrankboltCrankbolt Posts: 1
    NerveGear
    Hopefully I have not overlooked this feature and Its probably mentioned a few times already but masking, via paint layer or its own type of metadata so you can freeze voxels or the "clay".  Would be really very nice to have a type of lasso and a paintbrush/airbrush masking tool.  This is the only thing that really feels like its missing so far.   
  • jessicazetajessicazeta Posts: 198 Oculus Staff
    Hey friends, you can import OBJ files into Medium as of June 2018. STL is very prevalent but we haven't gotten around to supporting it - many things come into play when deciding when to support new file importing and exporting - but a good work around for now is opening an STL in 3D Builder and re-saving it as an OBJ to import inside of Medium.

    @Crankbolt - We hear ya!!!
  • Bri3nBri3n Posts: 1
    NerveGear
    Playing tutorials in Medium.  Add a incremental rewind so we don't have to restart the tutorial from the beginning if we miss something.
  • JasonWJasonW Posts: 11
    NerveGear
    edited February 6
    sorry duplicate post
  • JasonWJasonW Posts: 11
    NerveGear
    edited February 6
    @Crankbolt & @jessicazeta There could be a better way to do masking than simply borrowing from surface based approaches (lasso, paintbrush, airbrush, etc.). How about support for layer masking using Medium's existing layers system, so that:

    1. Clay voxels occupying space in a mask layer would prevent clay from being painted into voxels occupying overlapping space in regular clay layers. Thus masks would be volumetric instead of surface based like Zbrush.

    2. All existing tools in medium could be used to paint masks inside mask layers, including stamps, imported geometry, and the paint & airbrush tools could be used to create soft edged masks on surfaces.

    3. Regular clay layers could be converted into mask layers, or mask layers could be converted back into clay layers.

    4. Nesting a mask layer under a regular clay layer would allow the clay and mask layer to move together when repositioning and limit the effect of masking to the clay layer parent. A mask layer not nested under a clay layer would become a global mask, masking all clay layers and could be moved independently.

    5. The masking effect could be turned on or off by toggling its visibility. Another layer control would allow the mask to be inverted.

    6. When a mask layer is selected the clay painted inside would become opaque for easy editing, however when a clay layer is selected instead, the mask would render transparent or semitransparent depending on another layer preference.

    7. The grip button in one hand could be used to reposition a clay layer plus its child mask together, while The grip plus trigger button could be used to reposition just the mask independent of its clay layer parent. The grip button on the tool hand could reposition the clay layer but leave the mask layer locked in place. 


  • stayinwonderlandstayinwonderland Posts: 15
    NerveGear
    There really really needs to be some absolute world alignment tools. Having to guess where the floor plane is or guess where a slice made that's parallel to the floor plane is just unacceptable. So many times I'm about to make some kind of sweeping cut, let's say I have something cylindrical and I want to start cutting/shaving it down to size from top towards bottom, perhaps a fort or castle shape, well I have to really eyeball it and it's impossible because you're looking at it in perspective all the time.

    You can use the plane constraint but you're still having to guess if it's fully flat to the world. And you don't know if something you sculpted is flat either. I've brought what I thought was a flat floor plane out of medium and into a 3d package and it's totally leaning and skewed and bent.

    Likewise the mirror tool needs one button (like in all 3d packages): align to center (center mass of sculpt/layer). This is critical because so often you make something and later want to turn on the mirror tool and have to spend ages trying to move it (and of course because there's no absolute alignment tools you're moving it in all planes at once and it's leaning etc.) by hand and it's never quite right.

    I really can't fully commit to using this professionally while I'm guessing where things are in 3d space.
  • Stepphen_RobertssStepphen_Robertss Posts: 0
    NerveGear
    tolitt said:
    Wishlist.
    It would be nice if showed how many times the grid was enlarged!


    It seems much better than in a previous time,
  • DreamShaperDreamShaper Posts: 712
    3Jane

    Likewise the mirror tool needs one button (like in all 3d packages): align to center (center mass of sculpt/layer). This is critical because so often you make something and later want to turn on the mirror tool and have to spend ages trying to move it (and of course because there's no absolute alignment tools you're moving it in all planes at once and it's leaning etc.) by hand and it's never quite right.
    If the object bounding box, when the layer is constructed, had a center plane that matched the original mirror axis, you could snap the mirror to that.   Basically the plane would be at the center of the box.  The little round ball could have a slightly different shade on that sphere line.  Make it really easy to align/reset things.   Re-centering the bounding box might be tricky, but presumably the centerline would want to remain in the same place relative to the sculpt it was originally in.

    I think this would allow each layer to have built in symmetry, on a per item basis. 

    Of course, if the box had a plane running on all three axis, from the object center, then the mirror could be snapped through the various perpendiculars (x,y,z). 

    Aside from that, simply being able to flip the mirror 90 degrees would be a really useful feature.
  • keith.talbotkeith.talbot Posts: 6
    NerveGear
    I know many people export their sculpts into Keyshot, butI really enjoy painting the sculpts when they are done.  The current painting tools are actually pretty good and work surprisingly.  I do have a couple of suggestions for the paint engine.
    A few brush blending modes like you get in photoshop and other painting software would be useful, even just something like colour, multiply and overlay would be a great start as they would allow you spray tints of colour over shading or add shading to already laid down colour.
    Keep up the great work.
  • JasonWJasonW Posts: 11
    NerveGear
    edited February 12
    One thing I wish for in addition to masking, is better surface sculpting. Once I finish sculpting primary and secondary forms, I want to add texture like tree bark even If I have to sculpt all the detail myself without image masks. I've tried sculpting wood grain by turning on the surface constraints, but its very difficult to control surface depth and the stamp jitters around like crazy if the surface isn't perfectly smooth. Would like controls to:

    1. Set a surface radius to average normals so that smooth surface painting can be achieved. Sometimes the jitteriness is desired if it helps create randomized texture, but it's mostly just annoying or impossible to get the right look.

    2. Set a surface depth with a slider so that a desired stroke depth can be achieved. Its currently possible to reposition the tool tip inside the stamp to achieve depth effects, but it's very difficult to get right.
  • finkbomfinkbom Posts: 3
    NerveGear
    would it be possible  to set sculpt blend method  - between hard and soft like in dreams?- 

    -hopefully that shows what i mean-
    this is another example- (not dreams)


    is this possible in the way medium is programmed (ie its voxels is it not?) and i know dreams is signed distance fields - and the other example is raymarching (?)

    also/or-(im sure people have asked )- a way to mask part of a layer so it does not merge together)

    -ps thanks for medium 

    j


  • MetronsMetrons Posts: 45
    Brain Burst
    I think I've asked before, but please, please, please, please let us scale the stamps. I would love to use my left hand and scale in Y or X on the stamp to change the shape. SO MANY possibilities with a single stamp now. Scale using a manipulator and a reset to default option. That's all I ask. This would be so killer! Pleeaaaaaaaase!!!!
  • JasonWJasonW Posts: 11
    NerveGear
    @finkbom That's really interesting. Love the sculpting tools in Dreams. I wish we had soft blend, additive and subtractive sculpting in medium using stamps that can be scaled non-uniformly.
  • DreamShaperDreamShaper Posts: 712
    3Jane
    Ability to lock the plane/line when using that mode.  Idea would be that you could draw a line segment, release the trigger and resume the line at a further point.   Similarly, say if placing a stamp in single placement mode, could place again on the same plane.   Maybe lock  it, then it records the next placement and doesn't forget the plane until unlocked.   This would be useful for all sorts of pattern effects.

    On the screen where you can set scaling/taper/speed for laying down clay... would be cool to have a function (checkbox?)  that lets you draw the line you want, then have the machine calculate increments between the stamps.  Basically you'd draw your curve, then instead of figuring out the trigger pressure or movement velocity, and laying them out as the machine gets to processing them, it would figure out the arc and how far apart to evenly gap them, then draw the line.  Might get a little lag (like when you use elastic move), but the tradeoff would be precision in distance. 

    If Flood fill gets implemented, would be awesome if you could do a direct spectrum shift (keeping light/dark values) on stamps.  Basically a slider that would turn greens to blues, or make tonal adjustments. 


  • MetronsMetrons Posts: 45
    Brain Burst
    I'm also requesting a CLOCK inside medium. When i'm at work i have NO clue what time it is, how long i've been sculpting etc. if we could have a clock somewhere, i think that could be very handy.

    Also, i know people have mentioned radial symmetry and such, if we could enter numeric values for that 'plane' for the symmetry and also, let us DRAW out the plane. for example, lets say i need to make armor around a guys thigh, or arm, i'd love to draw a point A and point B that would show the general direction, then i could use a manipulator and adjust the plane so it's more centered in on the limb. 
  • DreamShaperDreamShaper Posts: 712
    3Jane
    Metrons said:
    I'm also requesting a CLOCK inside medium. When i'm at work i have NO clue what time it is, how long i've been sculpting etc. if we could have a clock somewhere, i think that could be very handy.

    Also, i know people have mentioned radial symmetry and such, if we could enter numeric values for that 'plane' for the symmetry and also, let us DRAW out the plane. for example, lets say i need to make armor around a guys thigh, or arm, i'd love to draw a point A and point B that would show the general direction, then i could use a manipulator and adjust the plane so it's more centered in on the limb. 
    If such a feature is included, please make it possible to hide completely.   There are times when a stopwatch/countdown timer/alert might be handy when doing speed sculpts, but I don't think it's a feature I'd use often.

    A clock, showing the actual time, constantly in my presence (or even popping up periodically), would absolutely kill the sense of complete detachment and escapism that I get when using medium.  Personally, when I put on the headset, turn on the music, I want to immerse completely.  The constant reminder of the "real world" would definitely break the illusion and be a buzzkill in a huge way.

    I can understand why some people would want a clock.  I'm just not one of them.
  • MetronsMetrons Posts: 45
    Brain Burst
    Toggle on or off I totally agree with. In no way does it need to be on all the time but...o do have meetings and it would be nice to have some clue of the tome.
  • P3nT4gR4mP3nT4gR4m Posts: 1,682 Valuable Player
    Be cool if the mirror plane was sticky. Like in surface constrained clay mode, if the target line attenuated the whichever side the controller was on. It'd be a bit easier than currently to carve a center line in something. I quite often find myself wanting to do that (especially with teeth)
  • IbegU2RiftIbegU2Rift Posts: 92
    Hiro Protagonist
    Would it be possible to to add "negative" mesh in a layer, so it could act like boolean modifier ?
  • MetronsMetrons Posts: 45
    Brain Burst
    PLEASE,PLEASE,PLEASE let us turn off the 'brush shape' when sculpting. i can not be the only one who finds it confusing trying to sculpt when i see a giant green/red mass where i'm trying to sculpt. I like having the brush shape there but when i press the trigger i want that gone. i want to SEE what i'm doing, i don't want anything in my way of seeing what i'm sculpting. again, PLEASE let us turn this off. 
  • DreamShaperDreamShaper Posts: 712
    3Jane
    edited March 13
    Metrons said:
    PLEASE,PLEASE,PLEASE let us turn off the 'brush shape' when sculpting. i can not be the only one who finds it confusing trying to sculpt when i see a giant green/red mass where i'm trying to sculpt. I like having the brush shape there but when i press the trigger i want that gone. i want to SEE what i'm doing, i don't want anything in my way of seeing what i'm sculpting. again, PLEASE let us turn this off. 
    Also with the material sliders, at least while they're being adjusted.  It's very hard to see what its going to look like in terms of color/reflectivity etc when it's bathed in a massive green selection glow.

    Speaking of highlighting, it would also be really useful if a child element is selected in a closed menu, if the parent menu was outlined (preferably in a different color).  Not a major problem when you have 2-3 layers.. can be a huge problem when you have 80-90 of them, select an object that's a couple layers deep in the hierarchy, and try to find it.  Even bigger issue when you accidentally drop it in the wrong place and don't realize it, forces to open every sub-menu until its found, which can also cause accidental hierarchy changes
  • DreamShaperDreamShaper Posts: 712
    3Jane
    edited March 14
    Mirror calibration tool:

    The mirror size is often useless for calibration (maybe due to variances in resolution in different layers?).  Would be nice if there's a mechanism where when a layer is selected a mirror reticule of some kind can be called up.  Idea is that it would be on a scale that is workable with and can be placed more precisely.  Once positioned, the actual mirror could snap to it based on the orientation.  

    Thinking of the reticule as something like the orb that shows up when a layer is first created, maybe with cross hairs  on it, like a small mirror that you could orient so it splits the sculpt how you want it.  Alternately, just a workable scale icon similar to the mirror icon.  

    Whatever the actual look of it, idea is to be able to have a small mirror thing for placement, and then the actual mirror can snap to that point.  Once snapped, it could be disposable or kept as a type of stored mirror savepoint for that specific layer.  Bonus points if you can cycle/toggle/select any of the 90 degree axis based on the center point you select.

    Not sure how well I communicated that, I can diagram it, if needed.
  • DreamShaperDreamShaper Posts: 712
    3Jane
    edited March 14
    Photo Stamp

    This one's kind of wild, but would be incredibly useful for texturing (either directly or through intersects). 
    Probably a completely new tool, not sure if it would have to use a base rectangular stamp or if could be more flexible.
    Idea is to take a photo image, line it up with the target stamp.  The color information would be given depth [extruded], similar to the way the spraypaint tool works.  Basically it would map the color information on the photo, then project that in a straight line to and through the target object. 

    So if a rectangle that matched the photo size was used (for example) the top layer would get the pattern(s) color(s) information from the photo, and look like a photo.   The layers underneath would be colored similarly to the way that a stack of identical photos would be  (ie, the color would be the same as the surface image, just go all the way through the pile).   If the rectangle didn't match, the user could cut away any border, if necessary.

    This would allow color/texture information to be translated through stamping.  Alternately, if intersection was used, the intersected object would acquire the color/texture info, regardless of the depth, as long as there is overlap.

    Upshot, I'm pretty sure this would radically change the power of color stamping, among other things.
  • DreamShaperDreamShaper Posts: 712
    3Jane
    edited March 23
    Voxel Patterning 

    If you look at organic patterns they are typically based on shape and color repetition of some type, often with a parallel contrasting color, when contiguous.  Color intensity functions as a form of depth cue, even when a surface is uniform.

    As I understand it, a voxel is a base unit of volume with limited attributes.  Relative position and presumably singular color information (base color, brightness, etc) is attached which lets medium do its thing.  The limitation being that, as a base unit, an individual voxel can only be one color at a time. 

    If I had to guess, the sliders essentially rewrite the data, at least on the voxels that have empty adjacencies, for the entire layer.  For example, emissive increases on a layer would add brightness to each voxel uniformly.

    At this point, a linear sequence is used to travel a matrix or a tree-like approach is used to identify which voxels are in the set, and make the changes.   Presumably, there are different path solutions available with different levels of efficiency.

    If I have the essence of this right, then some possibilities come to mind for texturing.  The exact implementation would vary with the traversal method.   Some previously unusable methods might be valid, since it doesn't require searching the entire set, instead it might skip some voxels to produce the desired effect.

    The idea

    Assuming the above is reasonably accurate, a texturing tool which changed characteristics of some of the voxels, rather than uniformly applying the changes, on  a mathematical selection basis becomes possible.  Whether this is fractal based, or whether it computes color changes on adjacency or adjacency curves, or whether it selects on something like every two moves forward and one to the right (step/procedural basis) or radians/paths from center, depends on how the point math works.   Possibly different approaches/sliders can be set to take advantage of various options.

    Anyhow, from a viewers perspective, this would do things like create veins of light/dark color, or perhaps increasing emissiveness or reflectivity along the path.  Perhaps it would shift colors (bumping the rgb numbers or value).  Alternately it might uniformly affect the selected voxels, while ignoring the others not found in the functions path.  More computationally expensive, it might gather data from its neighbors, and do interesting things.

    Maybe easier to do all of this within the framework of a cube and perform the equivalent of an intersect, rather than apply to the typical non-contiguous form.

    Perhaps it would be possible to make a single screen for generating these, where each slider controlled one aspect of the function (spread, direction, color shift, density.... whatever is possible after consideration).  This might (or might not be) displayable by a preview pattern on a sample cube/sphere, or a surface. 

    From the users side, they'd move some sliders (with or without feedback, and hit apply).  The composite function that was generated would then run through the layer or intersection cube and adjust accordingly.

    Not sure how much (if any of this) is within the scope of the current computational power, although perhaps enough here to spark an idea in the mind of one of the programmers.  Just mostly hoping for some deeper texturing options, so thought I'd see if I could spin something up!

  • SamuelABSamuelAB Posts: 44
    Brain Burst
    Allow us to export the poly Meshes we imported for the sculpt as well. This way ,we can use Medium for more complex projects like architecture without having to figure out the alignment again outside Medium.

    Medium is basically my favorite VR art tool, keep it up!
  • DreamShaperDreamShaper Posts: 712
    3Jane
    edited April 30
    Fluorescent light tubes (light sources that are long ovals), useful for things like starship running lights, neon, etc.

    Better yet, convert stamp (or layer) to light source.  [Not sure if this is possible, but would essentially make the object invisible and ultra-emissive in the same way that the point light is, drawing color and/or dispersal source based on the stamp or layer].  Would be cool for all sorts of things, city "window" illumination, etc

    Middle ground: A "draw-able" intensity controllable light source, maybe built off the capsule or sphere. 
  • thoiterthoiter Posts: 27
    Brain Burst
    Not sure if this has been suggested already, but some kind of dodge and burn tools would be really useful to simplify lightening and darkening of areas without having to keep selecting colors from the color pallette.
  • DreamShaperDreamShaper Posts: 712
    3Jane
    thoiter said:
    Not sure if this has been suggested already, but some kind of dodge and burn tools would be really useful to simplify lightening and darkening of areas without having to keep selecting colors from the color pallette.
    You can use black/white/gray (from the far left side of the palette) at partial opacity and spray over.

    I wouldn't mind seeing  a shadow lamp though, that reduced light levels in it's projection area, rather than illuminating them.  Might be interesting.
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