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@RGcincy Very cool technique that will come in very handy, and I would not have thought to use the half torus as a hair helper to pull the hair back. (Note: your link to the Pilots Uniform is missing the colon after https so it doesn't open properly).
thanks, forgot to test it
The goggles example is very impressive!
thanks robertswww, richardandtracy, and barbult!
93. Putting a Hat Over Hair
As we did with the goggles, we can use a similar technique to put a hat over the hair. Much of this relies on what I did in tutorial 92 so read that first. I used the same Kyle hair in these examples.
a. For the first example, I used the same helmet-goggle product as in the previous tutorial 92 but with the helmet left visible. Because the product was made for G8 and I’m using it on G2, I had to adjust Y-scale to 106% to cover the ears with the built in headphones.
b. I updated the weight map by painting more of the upper hair, leaving the area of less influence (purple color) by the part. How much of this you can do depends on how the hair was constructed.
c. Select the helmet and set a keyframe at frame 10 using the +key icon in the timeline.
d. Go to frame 0 and scale the helmet as needed to clear the hair. In this case it was 110% Scale, 187% X-scale, 106% Y-scale, and 148 Z-scale.
e. Run the simulation with the torus visible to pull the hair back as we did in tutorial 92.
The second example uses the hat from Smells Like Fall for Genesis 2 Female
f. Although it was made for the figure I’m using, the hat has more of a gap around the face then I like. So I scaled it down to 85%.
g. The scaled down hat had better fit of the head band but had parts of the ears and head showing through. I used MeshGrabber to pull those parts of the hat out so the skin was hidden.
h. Go to frame 10, select the hat, and click on the +key icon in the timeline to set a keyframe. At frame 0, scale up the hat to clear the hair. I used 105% Scale, 196% X-scale, and 185% Z-scale.
Frame 10: Frame 0:
i. Run an animated simulation to get the result below.
94. Creating and Using a Face Mask
During covid there were many homemade face masks in use. Here’s a version for Daz.
a. Load a figure. I used G2 Male as it’s fast to load.
b. Create a Z-positive plane of 18 cm size and 40 divisions. Adjust Y-scale to 70%. Position it over the face so the top edge is about half-way up the nose and the tip of the nose is almost touching the plane.
c. Create a Y-positive cylinder of 31 cm length, 0.3 cm diameter, 128 segments, and 16 sides. Position it so the plane passes through the vertical axis of the cylinder and the cylinder is near the edge of the plane with one segment of the plane sticking out to the side.
d. Use Edit/Duplicate/Duplicate Node(s) to make a copy of the cylinder and position this on the other side of the plane.
e. Create a sphere that is 1.25 cm in diameter with 16 segments and 16 sides. Position it at the upper end of a cylinder with about 7 segments of the cylinder extending above the sphere. This sphere will serve as a helper object.
f. Duplicate the sphere and position one a similar distance from the bottom of the same cylinder. Duplicate each of these spheres and position them over the second cylinder on the other side of the mask.
g. Add a dForce dynamic modifier to the plane. In the Surface pane set Simulation/Density to 40.
h. Add a dForce dynamic modifier to each cylinder. In the Surface pane set Simulation/Collision Offset to 0.05. Set Dynamic Strength to 0.9, Shear Stiffness to 0.47, and Bend Stiffness to 0.2.
i. Setup the timeline so the body moves forward at frame 5 so the plane is running through the middle of the ear.
j. Set the upper spheres to be above and slightly behind the ears at the frame 5. Set the lower spheres so they move horizontally to a positon below the upper spheres. (See image above)
k. At frame 7, tuck the upper sphere behind the ears. Move the lower spheres so they about level with the ear lobes. At frame 9, tuck the lower spheres behind the ears just under the upper spheres.
Frame 7: Frame 9:
l. It helps to X-rotate the spheres at frame 5 and 7 so the cylinders are not being stretched.
m. In the Simulation Settings pane:
n. Run an animated simulation. Hide the spheres at the end to render. You can also adjust the spheres to leave less of a tail of string.
Frame 2: Frame 5:
Frame 7: Frame 9:
Frame 30:
Brilliant! Inspires me to use similar techniques in a lot of other situations.
Thank you!
Thanks Praxis. If you do anything interesting, feel free to post an image of what you accomplished.
Thank you - I'll do that. What I have in mind is quite a complicated scenario so will will probably take me a few weeks...
Well here it is... Animation of lowering/raising the sail of a yacht
I had to use lots of "helper" objects to retain the sail attachments to the mast, and to get the folds sort-of in the right places, and I had to animate those helpers via a script to get the correct behaviour.
But I'm pleased with the result:
0% lowered:
50% lowered:
100% lowered:
Very interesting idea and looks good to my eye. You could spawn morphs at various stages and have an easy way to lower and raise sails for different renders.
Thanks for the feedback and ideas! To get better-looking folds I should have used SubD=2 on the sail instead of 1.
Also : Upgrading this 1968 yacht to a 2022 roller-furling boom would save a lot of modelling and animating angst
...but would be a lot less fun.
I'm not using 4.21 so can't test it. I have found in the past that the wind node's strength setting can be erratic (a low value being like a hurricane wind or a high value hardly moving anything at all). You might try some more extreme values to see if it helps.
Looks like I'm experiencing some issues withe the wind nodes in 4.21 as well. I can't seem to arrive at the right setting for a slight breeze through grass. I'm using Modular Field Environment, modifying Grass 7. The settings I have arrived at so far are:
Gravity 1.79
Air Resistance 0.87
Frames Per Second Multiplier: 1
Collision - Good: Discrete: Swept Vertex
custom animation timeline, 50 frames duration
Wind Parameters
Diameter 8.11
Diameter Falloff 2.98
Falloff Length 2.0
Falloff Start 1.00
Strength (mph) 0.99
After the simulation, the grass still moves too fast. I've also tried extreme mph values as an attempt to hone in on the sweet spot, but can't achieve a light breeze even at less than 0 mph. Also, once I run the simulation, the program crashes when I try to save the scene file. Any suggestions?
@RGcincy: What about a hood like a cloak or hoodie? How would you handle the hair, especially the back.
I might have an example of that, let me look.
I would do it similar to what I did for the pilot's helmet: increase the scale of the hooded item in frame 0 so all the hair is inside, then restore the scale to 100% at frame 10. This will use the hood as a helper object to press the hair down onto the figure as the hood shrinks. You will likely find some stray hair outside the hood and depending on the camera angle you are using, you may want to use meshgrabber to push the hair in (or pull the hood out). You could also use the geometry editor to select and hide the stray hair.
I used the Urban Survivors Hoodie for this example.
Frame 0: Hood scaled to 110%, X-Scale at 140%, Z-scale at 145%. You'll have to select Show Hidden Properties in the Parameters pane submenu to see these controllers.
Frame 10: Hood restored to normal scale.
Frame 10 with hair's weight map highlighted. The red shows stray hair outside the hood.
Frame 10 after use of meshgrabber on right side of hood.
Just for info, in many tutorial where are used, you suggest to hide the polygons for create the object to DForm, as example to hide a cone point for create a gown. But instead of hidden the polygons, isn't better to delete them?
Deleting or hiding polygons give similar results when dForcing. Deleting has the advantage that if you save the scene and reload it, the polygons are still gone whereas if they were only hidden they will be visible again. So yes, it's better to delete polygons if you are making a garment out of primitives. In the case of the hair in my recent example, you'd probably want to hide and not delete the stray hair strands poking through the hood so if you take the hood off you won't have gaps in the hair.
Thank, i've supposed that can be different results from hiding or deleting polygons.
Hey, I loved your tutorials but I was wondering if you know why clothes that have items attached to it like buttons, zippers, threads etc separate and break off during simulation in Marvelous Designer? Is there any solution to it?
Sorry, just saw your question.
I don't know for sure. Is the simulation being done in Marvelous Designer or was it the clothing item was made there and imported into Daz Studio? If the attachments are separate objects, they could come off. You could then use rigid follow nodes to keep them attached. Tutorial
You could also try dForce add-ons to hold things together. Tutorial 1 Tutorial 2
Hi there, i was wondering how it would be possible to create a wrap around type of tape covering the mouth, but also the hair? somewhat similar to the set you did with getting the goggles over the models hair, the tape covering the mouth but also going around the head over the hair as well. somewhat like you did here below, but with tighter wrapped tape and if the model had long hair.
Also, is it possible to have like a plastic bag/clear wrap over the models head, covering their face as well as compressing the hair underneath the bag?
RGcincy said:
73. Blindfold. A forum member asked for help on creating a blindfold. It took more tries than I expected but I figured out a method that is explained here.
a. Load a figure (I used G3M).
b. Create a Y-positive primitive cylinder of diameter 9 inches and length 3 inches. Use 12 segments and 100 sides to give enough divisions for the mesh to transform.
c. Using the Geometry Editor, select all the faces on the top of the cylinder and hide them. Do the same for the bottom of the cylinder. Then delete the hidden faces (these actions can all be accessed by right-clicking in the viewport when the Geometry Editor is active).
d. Position the cylinder over the figure’s face. I used Y-translate of 163.
e. Adjust the scale of the cylinder so the figure’s head is entirely inside (that includes nose and ears). I used 100, 167, and 116% for X, Y, and Z.
f. Set up an animated timeline. Select the cylinder and set a key frame at frame 0. Go to frame 10 and change Y- and Z-scale to 100%.
g. Add the dForce dynamic modifier from the Edit/Object/Geometry menu.
h. Set gravity and air resistance to 0 in the Simulation Settings pane. This will keep the blindfold from falling down while simulating.
i. Select the cylinder and in the Surfaces pane, set Contraction-Expansion Ratio to 75%. This will cause the cylinder to shrink tight against the head.
j. You might experience some skin pokethrough, so add a smoothing modifier from the Edit/Object/Geometry menu. Turn ON smoothing and collision (set Collision Item to be your figure).
k. Run a custom animation simulation. I used 14 frames.
l. Here is the result:
m. For a narrower blindfold, set Y-scale to 125% and Y-translate to 164.5 at frame 0:
n. You can take a similar approach to wrap the band around the wrists. You’ll need to adjust scale, translation, and rotation as needed to keep the band in frame 0 clear of the body parts.
I would think the way I put a hat and a pilots helmet over the head would work for you: Putting a Hat Over Hair Just make sure the cylinder clears the hair as well as the face.
To keep the tape more tightly wrapped, make the cylinder with only one vertical segment, use a density of 2, and increase shear and/or bend stiffness (the latter could cause a crash so follow best practice and save any dForce scene you set up before running the simulation so you can restore it).
Should be possible. You'll have to set up the hair to dForce and that can vary by the hair you use. Follow the same Putting a Hat Over Hair tutorial I mention above For the bag, make a primitive sphere with lots of sides and segments. Scale it to be an ellipsoid larger than the face. Use the geometry editor to get rid of the lower end of the sphere so it is open, Either save a key frame at frame 0 with the bag overly large, then at frame 10 scale it down so it more closely fits the face OR use a Contraction-Expansion Ratio of less than 100% (you'll have to play around with the value to see what works best for you).
awesome, thanks so much for the advice, i really appreciate your tutortials! Ill give these both a try as soon as i can!
Sorry to be a pest, but I had one other item I hope you can help with. Basically how would I have a bed sort of sink in the areas where a model is laying on it? just want it to look more realistic when i have a model laying on a bed, rather than the bed stay completely flat like if she was on a hard floor. many thanks for these wonderful tutorials once again!
Here's a very simple way but with good result for your request. Add a dForce modifier to the Surface of your bed, mattress or sheet (better have more mesh resolution on the surface). Use timeline to make the figure fall down to the surface. Zero Gravity and simulate. If you wanna smooth the surface, add more value to Velocity. I attached the scene file with settings for your ref. If you learn more about params on the dynamic surface and dForce modifier weight node, you can make lots of subtle change with dForce objects.