Transcripts
1. Hello and Welcome!: Hello and welcome to
Procreate solid foundations Part five, Paint 3D objects. On this course,
you'll be painting a 3D object of a soda can, and you will learn how
to import 3D objects, how to paint on the objects. But also you'd be learning
how to import a position 2D files on 3D objects. You will learn how to
creatively light your objects. You will learn how to
create an export at turntable animation of
your painted objects. By the end of the class, you'll have an image
to share with others in this class if you feel you're ready while not import
your own 2D texture of you or someone you love and have
that face appear on the cap. So you have something
which is unique and yours are posted online so
that others can see it. Does that sound like fun? Great. We'll make a start
in the next video, and I will see you there.
2. Importing and the Basics: Okay, so procreate 5.2 is
here and the big headline grabbing feature is the ability
to paint on 3D objects. So let's take a look at that. And in order to do that, you're going to need some
3D objects to paint with. So this is what you do. You come to the wrench icon
and you come across to help. There is a setting here called
What's New, tap on that. And you get this screen, all the nice things you
can do in Procreate 5.2. Where I'm circling,
it says Model park, tap on that to download
some 3D models. Procreate has given
us to work with. Now I've already done that, so I will come up to
the top right Whether a little x's, cancel that. And if I come to my
gallery, there you go. These are the models along
the top that you can use. And I'm going to
use the soda count. But I am going to duplicate it. Because you're going
to be figuring out 3D inside Procreate, and you're going to
be experimenting. And part of experimenting
is making mistakes. So I don't want to mess up my
original soda can file and start again with something that wasn't like
it originally was. So unlike a duplicate, I'll work on the duplicate
knowing that I can lose this at anytime and just start again without a problem. Okay, let's cut to the
overhead view because I just want to mention a couple
of things about gestures. A single finger will rotate
your object around in space. Two fingers will move it, and a pinch in or out. We'll zoom in or out. Now. That's just tap to select
the body of a cancer. It appears in blue. What brush do I have? Hard air brush. That's
why What color do I have? Let's make it a
fairly light blue. And when I paint, I can paint
on the surface of the camp. If I tap on the lid of the can, choose different color
just to make things clear. I can then paint on that. But the tab isn't selected. I will tap on that
to select that and choose another color again. And I can paint on that. That is because
whoever created this can made it as three
separate meshes, the body, the head, and the Tab. And they combine them
together into one object. And if you come to
the layers panel, you can see this. I have three different
layers that can tap the lid. And they all have
something in common, and that is something
called a UV map. So let's talk about that now. Our 3D model is
basically a series of points in space that
are connected by lines. And the lines go
to make polygons. And you use various
modelling techniques to create a model like this can, but then you need to find a
way to color it in and make it shiny or rough
or light or dark. There's a couple of
ways of doing this, but the method you need
to use if you're going to import our 3D
model into procreate, is something called UV mapping. Now for UV mapping, just imagine you've
got some chicken wire. ****, if you don't know
what chicken wire is, think of a fishing net that's
made out of very fine wire, which you can use as a
fence to keep chickens in. But instead of doing that, you want to make a
real-life 3D model. You bend it around and bend
it into various shapes. And eventually you
end up with say, a carnival head for example. But then you need to stick on
a huge piece of paper over the wire so that you can paint the face of the
carnival head onto it. And if you're going to do that, you've got to know how
to wrap the paper around the chicken wire model so that everything you paint is
where it's supposed to be. Or UV mapping is
a bit like that. It takes a flat
image and it pins that flat layer onto
your 3D model in such a way so that when
you paint something onto that flat layer
which has been UV mapped, also a 3D model, the brushstroke goes where you expect you to go and ideally you don't get any
unwelcome distortions or anything like that. And you need that UV
mapping information when you import a 3D
model into Procreate. Now the file formats you can use our USD Z or USDA's plus OBJ. These are very
common file formats. The OBJ file format, it can be imported and exported from any 3D program
I can think of. But this 3D model of a canon has hard UV mapping plus bitmaps
applied in a 3D program. Now we've got to paint them. If we come to our layers panel, I have three different
groups here. I have the lid, I have the tub, have the cannon, and
each one of those has something called a layer
there plus a little cube. If I come to the cam, I'm going to tap on
that little cube. What you get is three
different bitmaps and they all affect the look of that CAN in different
ways, the color. That's where you're going to be painting a different colors on. But also you can
decide how rough or smooth or Canada's
and also how shiny, metallic or not, the cameras, we will come on to
that very soon. But for now I have the
base layer selected. I have a green and
what brush do I have? Medium hot blood from
the airbrushing. And if I draw on this
camp, look at that. I can draw directly onto it. And if I put my finger
just to the side and push, I can move the camera
around and look at that. I've painted directly onto
the surface of the curve, which is very nice. It doesn't have to
be a simple color. You can use any of your brushes. You can. Vary the color. Live S. That is the basics of how you start to paint onto your chain. Kenneth. Let's get on and actually paint somebody alter this count. I've tapped the
body to select it. My paintbrush. I'm using
the medium airbrush. It's so large size 100%, and I have kind of a
bubblegum pink color. Let's just start painting. Well, I can paint like
this and move around. That is a bit
long-winded though, so I will two-finger
tap twice to undo. Instead. You can see I'm painting
on my base layer and if I just tap on it, I can fill the layer
with the pink. But again, I am going
to undo that because I don't want to paint
on my base layer. I'm gonna leave it intact
and instead I'm going to create a new layer on
top of it, layer six. You can see when you're
painting a 3D object, you still going to
get that little q, which I'm circling now. And if you tap on it,
you can see you have three different areas where
you can paint the color, roughness and the metallic at the moment they
are all empty. But I will just tap and
click on Fill layer. Everything is filled
up now and now we're going to create another
layer on top of this. And I want to choose
a deeper color now, something they're
a bit stronger. I will switch to
my soft air brush. I get it. Big server can reduce the opacity because
I want to gradually build up shadow on the
top of the airbrush, going down almost straightaway. You can see I might get a
bit of a problem with this because especially in some of the areas where
it's not fully opaque, I'm starting to get little streaks going down
the side of the can. Wear the area I'm brushing. Got slightly
different opacities. You got these little
overlap problems. Also, it is a very common thing where you get very
happy painting a certain area of your 3D objects that you
forget to do around the back. Just in case you're
thinking, well, obviously you've got to
pay all of the objects. You'll be surprised
how often you don't. What I'm gonna do slide and we're going to
delete that layer, create a new layer,
and start again. But this time I want to see the area I'm going
to paint unwrapped. So I come to my
wrench icon and you can see I have a little
icon here called 3D. This is new to Procreate 5.2. I'm gonna come down to show to the texture and turn it on. All of a sudden, I get this. Do you remember me saying how the UV mapping helps
map a flat image onto a 3D object will this
is the flat image unwrapped. And you can do a lot of
work with this that you can do with all your
regular paint brushes. And also I'm gonna two-finger
tap and rotate like this. So I can look at this
with it not on its side. And from here I have the
same airbrush as before. I know that the area
I'm doing right now is the top of the can. And so it could stop during
what I've just done, just going from side-to-side
and try to vary the opacity. But that's going to lead
to a couple of problems. The first one is, you
see that pink circle at the top that I think it's
the lower part of a cat. And it's all very
nice painting the sides of a cannon
like I'm doing now. But I've just painted a slightly random area on the bottom of the can and I can't see the
3D view to double-check this. Well, actually it
turns out the account, if I come to the wrench
icon and outcome to Canvas and open reference. Look at this. I can zoom
in and out with this and I can rotate it around so
I can actually see what I'm doing like this. That's gonna give me
a clear right there. And also the nice
thing about it, if I just choose another very bright color and I'll choose a
different brush. Let's try the medium
hard airbrush. If I draw on my can see it updates once I
finished my stroke and let go. You can see while you're
drawing on your cam, this is very useful and all the usual
navigation where I do a two-finger rotate
or zoom in and out. I can do all that stuff as well. But also you can see
another problem here. I have a seam on the
back of a current, and I've also still probably got the problem maybe on the
base of the cat where a little bit is
coloured slightly darker pink than the
rest of the base. I think we need a couple of workflow enhancements with this. I'll get rid of my reference. I will come back to 3D. Turn off Show details just so
I'm back in my main screen. And I'm gonna get rid
of this yet again, because I want to try and show
you a slightly better way. Create a new layer. On top on show 2D texture. Now I know you can see the pink, but what I'm painting
on is actually the empty layer paint you can see is on
the layer below it. Now I'm just going to
tap and hold right up in the top right-hand corner to get back the color I
was working with. And this time, what do I have? I'll choose hard air brush and I will come
to my selections. And I'm going to
create a rectangle. And then I'm gonna come
to my paintbrush and create a solid black
area like this. Then I'm going to tap in my selection is
to get rid of it. Then I'm gonna come to my adjustments and anyone
come to Gaussian blur, I'm just going to slide
so I get a really, really soft gradation like this. Then I'm going to
create a rectangle in the middle of all of that
was soft, fuzzy, square. And I'm making sure
that I go from the darker color right
through to where the Gaussian blur
completely fades away, then I'm going to invert. So now we can work
on everything to be outside of my
little right-angle. Welcome to my eraser. I have a hard eraser selected. I'm just going to erase
everything on the outside. Once I tap on your selection
icon just to let go again, I'm left with a little
strip of gradients. Then I will come
to my adjustments. It set a free form,
that's what I want. And so I'm just going to stretch the whole thing
or write out like this and stretch
this up to the top. Stretch this down
towards the bottom. In fact Arctic or the
way down like this. Then I'll tap again on my adjustments icon
to commit to that. That way I have my gradient
sitting on top with all the stretching and getting a little bit of banding there. So I'm wondering maybe I should blow the whole
thing a little bit. Let's try coming back
to Gaussian blur. And again, just blurred
it should a tiny amount. Just to work on some of
those little bands of color. Top again on my adjustments
to commit to that. Now let's take a look at that inside my
reference for you. And now when I turn
around, it's nearly there. I've still got a
slight same going down the back of it and I think I know what's
causing that. So I will turn off reference, come back to my Transform
because I think I need to stretch it out a
little bit more on that side. And let's play safe and
do it on that side. Tapped commit. Now let's
just come back to 3D view. So actions 3D SHO to detect Your turn it
off and move it around. And I've got a much more
smoother gradient to this. That's what I want.
3. Adding Image Maps: Okay, so I've done a bit
of painting with this. Can, I will do some more. But for now, let me tell you
a couple of things that at the moment you can't
do in this 3D view. You can't use your
symmetry tools and also you can't add text. But while the Yukon do is create a regular image with text or symmetry or
whatever you want. And then you can
place that image onto the surface
of your 3D object. So let's do that. Let's come to ad. And I will insert a file. Now at the bottom I have a
file called Zombie Fizz 01. I will be giving this
to you as a download. And if I tap on it, there I
have my zombie phase image. It's not quite where I wanted, but I can pinch outwards
to make it bigger. I can drag it around
with one finger and I can also two-finger rotate it. To get it to be more warehouse. I would like it to be. That's a nice and quick
and dirty way of doing it. But there is something
here called advanced. And when you do advanced, you get a gizmo, move it around. You can see you get a circle
with a couple of squares, a little dot sitting in
front of your circle, that little blue dot, I'm certainly Annapolis
or so you get a little semi shiny circle
just on that boy's nose. Look, it was Hillary and
a couple of days ago, my son water meter of paint
him in the zombie style. So I did, and I
thought it would make a nice image just so his
tutorial or just for the record, no, his eyes aren't
really that color. Anyway. I've got a
place, it's not bad. I would like it to be bigger. So I can stretch things
independently by using those two little squares which you can see one of
them dragging around. Now, if I push it too far, it starts to wrap around the side of a camera
a little bit too much. So you do have to be careful of that when you're
trying to work in 3D. If I drag on the circle
which is around the outside, I can rotate the little
circle just in the middle, just Whereas gnosis, I can move the whole thing
around like this. If I move around a little bit, you see that little
sphere which I'm circling now if I move that, you can see it rotates
the angle of the image. Let's move that
around a little bit. Well, for more complex
object, this can be useful. It's not working particularly well with volunteering hair. Certain bits of getting clipped, likely that bit of the Z just on the end of his
zombie phase at the top, there is something you
can do if you come down to where it
says projection, you get something
called projection depth that controls how deeply the immaterial placing gets
placed onto the 3D object. If I make projection
depth below it, can you see that you get
a kind of a box that shows you the start and the end points of
your projection. But if I move it back
to it's more than 16% that you can see. I get the exclamation mark, which was hidden before. It's important to play
around with that. If I turn on bi-directional, the case of a exclamation mark, it did make it a
little bit more clear, look off and on. But the problem I've
got is that I want this image to be wrapped
around the camp, but it's not quite
working because, well, you can see I'm
getting distortions. So what I will do is I'll tap
on my selection icon again, ankles my layers panel. You can see I have the
inserted image there, but I'm gonna get rid of it. Again. The 3D placement gizmo didn't work too well for
this particular object. It can work better
for other objects. But I'm going to show you
another way of doing things. If I come to my 3D and outcome
to show to the toaster, then I'm gonna come back
to my range and insert a file as before, zombie for 01. It comes in and you can
see it's kind of word, but there's a problem. It's underneath
that shaded lamb. That because if I come to my
layers panel, you can see, well, I had layer six elected
instead of layer seven. Not a problem with 2D. I can just tap and
hold on the layer, drag it up, and it gets placed
above that shaded layer. That's what I want. So I can come to my transform tool and move
it around to where I want. There you go. That's placed. It's all good. And let's take a
look. If I counted my canvas come to reference. And there's my car
in all its glory. But you can see it's got
placed a little bit too big. Look at the bottom,
that caution text at the bottom needs to go up a little bit also the top of the text that looks
a bit too big as well. So I will come back to my Transform and
make the whole thing smaller as two-finger drag up so I can see more
clearly what I'm doing. I'm noticing this. If I turn off to commit
to that transform, it doesn't transform
in real time. You have to commit to it
nearly there with us. Let's do a little bit more. It needs to be up a little bit. Maybe the whole
thing place down. Commits, transforms over. And let's take a look at this. That looks all right,
so I will close my reference image and
I will come back to 3D, showed AT texture. Look at that. Because I placed that while everything
was in the 2D view, I'm finding it wraps
around the can much more nicely than me trying
to do it in the viewer, in now the 3D view. But okay, I'm nearly
there with this. I would like to do a
little bit more to it. I would like to come to Layer seven and create a new layer, add, oh, look, I got that. Maximum of four layers reached. Maybe that is a memory
limitation for my iPad. Maybe that is a
technical limitation from the actual program. I don't know. But
the good thing is, we'll look that gradient
which I placed. I like it so I can
always merge down. Now once I've done that,
create a new layer. And let's create just a
couple of more things here. Let's see what color I've got a fairly deep color now let's
make this a nice deep red, intense red as well. What brushes do I have? Well, because I have
the new procreate 5.2 recents don't have anything
in here which I can use. No, they're not fair. But I did find Let's come down to water, just down
in the bottom. We'll look at this splashes. Let's try waterfall. It's all opacity of a 100. Let's make it nice and big. Just tap and tap and,
oh, look at this. This is looking nice, maybe
a little bit too big. So I'll undo that again and
make it a little bit smaller. And also I want to make it a
little bit more intense red. Because the layer
I'm painting on is in-between the base pink
and the zombie phase image. You can see that those
little splatters are going underneath the
zombie phase image, which is fine by the way, the zombie first, this is a
PNG file with transparency. So I don't get any nasty
white backgrounds. I only get the image
where I wanted. But again, I'm running into a
bit of a problem with this. Because look at this bit. Because this brush
is splitting down things over a really wide area. I'm getting these streets. This is a very common thing. So tap to undo, to undo and tap again until we get back
to where I started. For this. Yes, let's go to
show to the toaster. And there you go. I can split down a couple
of images like this. While we're here as well. Let's come to our water drip. Let's do a couple of them. Just here. Let's come back in our 3D view. And there's everything wrapped
around much more nicely. This is all starting
to work for me. I think I'll play around
with this a little bit. Let's come to this list six, because we are dealing with
painting different colors. I can always go to
my adjustments, come to hue saturation
and brightness. And we can change the
hue to whatever I want. Let's make this a more
intense green like that. I mean, come on, it's
Halloween stuff. So greens and reds, they're pretty popular
for halloween. And I will tap to
commit to that. We have there we
have My can with several layers painted on top of it and then inserted image. And we've also seen
wanted to gotchas along the way and what
to do about them. Okay, so, so far we've
been painting using color. But if I come to
my base layer and I'll come to a new search
and cooled materials. Allow choose, say this one here. I can paint on the image. Something happened,
which is new, but I'm not painting color here. If I was painting color,
I'll be painting it red, but instead I'm painting different surface
attributes to this. Can, I will talk
about what exactly is happening there
in the next video.
4. Materials, Lights and Space: Okay, let's talk
about how we got those rather
interesting effects. Where we painted on the
side of a cat and we got something looking
really different color, different texture,
different shading, two-finger tap to undo that. Well, if we come to our layers
panel and we'll open up, say, the base layer, the one
that came with a 3D object. And if I tap on my little
3D cube, you can see, instead of just having
one color layer, I've got two extras,
roughness and metallic. This controls the look
of your surfaces. You're painting in
various different ways. The roughness, how rough or
smooth it is, a metallic. How shiny or Matt it is. This object already came, the roughness and the metallic
already put in place. And if I come to save
a lid, for example. Unless take a look at
this later, actually. You can see I've got some rather different
patterns there. The metallic is very light, which means you get
a very metal looking at affect the roughness. You can see that's
quite complicated. You can see all these kind of brushed metal effect
on top of the cam. Let's do an act of vandalism
shall be with this. I will come to brushing,
hard air brush. I'll choose a straight
up black for this. Then I will come to my base
layer and I'll come to, come to metallic,
which is white. I'm going to paint black on
it. What's happening there? You can see my tiny little
black brushstrokes which I made on that metallic
part of the lid. It's not shiny anymore. It's very dull, it's very
non-metallic, not shiny. That's because I painted
black on service. Do you remember
layer masks where you get a lay-up and you
add a layer mask to it, which starts out as white like the metallic does, and
everything is visible. But once you start to
paint in black on it, the layer in that particular
area becomes invisible. Same principle here. But instead of controlling how invisible or visible things are, this is controlling how metallic your object appears at
this particular point. If you paint white, it's
going to look very metallic. If you paint black is going
to look not metallic at all. If you paint unmade gray, you're going to get a
slightly metallic look. Two-finger tap to undo that. And let's come to
our roughness tab. If I paint in white, you have that kind of effect. If I paint in black, you get that kind of effect
because with metallic, while the whole area can be
metallic, but the roughness, the various different
light and dark grays, which gives you the
appearance of being rough, typically with something
called a bump map in 3D, the white of the area, the higher the
surface appears to be in the dark of the area, the last push down the
surface appears to be. Rather than painting with
a simple brush like this, Let's try textured brush. Let's try to claim sole
paint onto the area here. Now can you see I still
have a texture there, but it's different to
what I had before that because I applied a
different paintbrush. Alright, so what does
that mean for us? Well, let's close that up
and come down to our Can. I have a number of
3D materials here? Or they've already had
programmed into them how metallic or how rough the surface that
you want to paint is. And let's just try, Let's just try the same brush you can. And sure enough, if I paint, you can see it affects
the whole area. Let's double-tap
to undo that and take a closer look
at what's happening. If I tap on this brush
and I come to the studio, you can see the extra
tab I have which says in materials and showing off you'd have metallic
and roughness there. If I open those up and I'll make a brush
stroke like this, you can see I have to
match just like we have for things like
the shape or the grain. But instead, you have texture maps for
metallic. Let's do this. Let's come to the
metallic source and I can import the file from
my default library. Let's come to bark. For example, tap on done. And I'm going to get a slightly different
effect with this. I can control the scale of it. Can you see the scale
being altered there? Same thing with the roughness. I can come and I can import. Let's try bonobo. Let's
see what that looks like. Tap on Done. I can adjust the scale of that. And if I make a pro
stroke like this, can you see how, if you lots of little pockmarks. As I move the scale around, now with the drawing
pad, you get something called a 3D preview. This is new. I've noticed that with these new brushes
that you get with 5.2, this doesn't do much. But if you come to a brush, which traditionally
has been a 2D brush, and suppose you come
to vine charcoal. I think this might be a bit
of a glitch because look, it doesn't work on that either. But if I come to W1 and
then it'll come down to willow charcoal and
take a look at this. With that, the 3D preview
turned on and off. 5.2 is just come out. This might be a
bit of a bug where the 3D preview
doesn't always work. This is what we used to just making a brushstroke like this. But if we come
internal 3D preview, we can test and see how the brushstroke looks
on a plane surface. So if I come to materials, metallic roughness, and if
I bring up the metallic, you can see the brush dots
be affected and also the amount, the amount
of the roughness. Glossy, he gets very shiny. The more you bring it
up, the more matter looks uncertain case of playing around
with these sliders to get the effectual
looking for. Alright, I'm gonna
click Cancel for that. Let's come back to
materials again. Let's try another one. Fell knew. That sounds nice. Let's just check my layers
and let's try adding, say amid greater this. And sure enough, you can
see the effect like this. Now here's the thing.
Show 2D texture. You can't paint the 2D texture
you have to paint in 3D. Just choose another
approach effect, just to show you how you can
vary it in different ways. There we go. But the
final thing to say is, well, the more mortality rate
is, the more it reflects. The next question is, well, what's it reflecting
in the first place? When you paint in 3D, you need some kind of
environment of that's going to be a background which can
reflect off the shiny surfaces. You need an environment. Come to our wrench icon, 3D and edit, lighting
and environment. Sure enough, there's
our ten count. I just single finger, drag
around, move it around, and pinch in and out to
finger to move it around. And I get a series of
cubes that these are lights and I can drag those
lights around like this. Let's coming closer and drag. Can you see how that highlight is
clearly off the current? As I move my light around, I have to be careful with this because you're looking
at this into d, but this is a 3D environments. And when I move it around, the relationship of
that light next to 3D object can change depending upon the angle
you're looking at. So be prepared to do a lot
of single finger dragging it around to see how that light looks in various
different In places. If I tap on the lights, I get for light settings, the intensity is at 32%. I can increase it so I get more light on my
object like this. The saturation is set to
completely desaturated, so it's a very
plain white effect. But if I increase
the saturation, I'm getting more of a
red light because he was set to read and I can move
that around to where I want. Now there are a whole
load of things inside any lighting environment
that you need in order to get a
very realistic look. But you can't make
a start with this because light has
different temperatures. Candlelight is very warm. Nighttime can be very cool. So well, I wouldn't
say saturated as that, but saturation up somewhere, getting a slight tint of light. Just to get a slightly
different effects. And I'll take this intensity down because otherwise
you will get a very blown out effect where you can't make out any details. So I'll drag that
down like that, tap away, pinch out. You can see I have three
lights at the moment. I can drag this around
to where I want. I can add a light just in the top right and
move that one around. You can have up to
four lights here. The other thing which you get a background to reflect off your actual object,
it a bit bigger. If I tap on environment, you've got something here
called show environment. I can turn that off. So everything becomes
black in the background, but you still get
the reflections. I will turn on Show
environment and you get lots of different options at the
moment I'm set to daytime, but I have things like Sunrise, which gives a warmer finish,
nightlife, studio lights. And you can choose
any one of these to reflect off the
surface of your account. And you can adjust the
overall lightness or darkness arrived here and tap on
Done once you've done that, that is my object and I'm
sorry, thrilled about it. I want this to go
out into the world. So come to my wrench icon. Let's share, to share
with the world, you can export your
model blackout. And so it can go talk to other 3D programs where you
can do more work with it. You might want to choose
us DZ or object files. And the program knows
about object files. But also if you look
down the bottom, it's has something
called Share textures. If you do that, then only the texts that you've
already painted, That's the various
textures you can see, which we've been
painting beforehand. They will all get
exported out as PNG file, so you can wrap them around the object in your 3D
program of choice. You can share as a standard
JPEG or PNG or tiff. But you can also set up a
little cycling animation. I suppose I choose
The Animated PNG. I get this little preview
of what I can do. The animation duration set to. I can slow it down like that. So it slows down a little
bit more like that. So it looks even more gorgeous. It's set to animated rotate. I can also have
animated swing where it goes first-world
way than the other. The Zoom distance is set to all I've said it
pretty high a 100%. If I lower that a little bit, it doesn't go backwards or
forwards quite as much. The ecetera, a 100%. If I drop that down, it gets a little bit more jerky. You that a little a
glitch at the end. I can make that a lot
smoother life bat. And the animation duration. I can slow that down
if I want as well. Sharing environments. I can turn that
off, in which point I get a transparent look, I get the extra option of
transparent background. If I turn that on, I can render this out so
there'll be no background. So that would just
be floating in space that can be useful
for compositing. I'll turn that back off. Come
down straight animated MP4. If you do something like that, you do get a choice of
different resolutions. Fairly low resolution, medium
resolution for K, very big. But just at the top, you can see the different file sizes you're
going to end up with, depending on what
resolution you do, you will not be able to have
a transparent background. If you do this, you can't
get that with MP4 files. You can go for a square like this out up on council
for that because frankly, it's making me feel ceasing. Okay, So this was the big headline
grabbing feature of 5.2. And in my time I've
spent a lot of hours in front of various
different 3D programs. What do I think about this? I think it is a good start and I'll be interested
to see where it goes. The fact that you need to import a model with a UV map already. There can be a little bit of a problem because you may have
to import from a desktop. So this 5.2 release, I regard as a good start,
there are certain problems. You can't add text. I think I might have found one or two little glitches with things like the brushes and be able to preview them in 3D. But it's going to be
very interesting to see what the makers appropriate
do with this in the future. That is 3D in a nutshell.
Simon Foster
