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I would suggest Disturb's "Sound of silence" for the closing credits.

The issue with creating a sculpting system in a program that is built around the traditional concept of polygons with points, where all that data needs to live on the graphics card, is that you soon hit limitations on the Graphics card itself. To achieve millions of polygons you need to take a fundamentally different approach to how the data is handled... which is what ZBrush did. The limitations of doing that is that you no longer have traditional vertex data, so you can no longer do all the other work that you would normally associate with a 3D animation package. Can't animate moving 3D points if the concept of that XYZ point no longer exists. So for most DCC apps they won't ever reach the "100 million" polygons scale for sculpting unless they effectively break it away from all other systems and has its own separate viewport, tools and workflows. Then to get it back into the DCC app it would need to be baked down to make it usable. The benefit of having a sculpting system in a DCC, even with the limitation of maybe 4 to 6 million polys, is that those same tools can work with everything else in that DCC app as well, even on low polygon models. The tools can be completely integrated because it can use all the exact same data as everything else. This is why the C4D Sculpting tools can work on both high resolution "Sculpt Tag" based model as well as a regular Polygon Object directly in the viewport, or on a Pose Morph. A dedicated sculpting tool like Zbrush will always exist and be the master at sculpting at incredibly high detail. Because they can focus on doing just that and not have to think about any other workflow.

Who is the evil villain in the bottom right :P?

Very interesting to watch, and a great first effort. Some general feedback for you; 1. Those things on a fork are called 'tines' 2. I wouldn't worry too much about having you on screen past the intro. You're too small to really see when you're in the corner, but TBH we don't need to see you there at all once you start modelling ! I know a lot of people do like to remain on screen down small somewhere, but I have always wondered why ! I know you show the mouse later, but I reckon you should appear and go full screen for that. 3. Move the mic a little closer to your mouth (and make sure you are speaking perpendicular to the FRONT of it, not the end), to get less of the sound of the room in the recording (very minor issue - really am nitpicking there ! 🙂 ) 4. Explanations are clear and I didn't struggle to follow anything you said. At times I thought you were speaking very slowly, but I appreciate how difficult it is to think, model and speak a non-native language all at the same time, so all respect there ! Also, for future tutorials, could you please show how Houdini tackles pure poly wrangling - making live path cuts on models, and moving individual points around etc etc - anyway, great job, and looking forward to seeing more of these ! CBR

loot at your own local computer companies. there is clevo is china company that sells own designs as brands. in russia there is DNS computer. in turkey, monster notebook, in europa as i know there is eurocom. all of this companies and similar ones in different countries uses lisenced clevo computers and rebranding by own company. so possibly in your country you can find some of them. in general terms they are cheap and offers better price/performance than bigger brands like asus. so you can check them fore better prices. also check gtx 1650 card notebooks. they are aroun 500-600 dollars. if more cheap you want try to find out used notebooks in localtown. put them cinebench and other benchmark softs and test it. if works and look s clear than buy for low price. cheapes variant of all al this will be used notebook that have gtx 1060 or 1070. better will be 1650 or even better more modern with 3060. so look around for local brands or in own town used notebooks.

I don't consider myself a professional cleaner when I clean my house, no. However, if I spent a couple of years cleaning someone else's workplace, giving updates on Twitter as to how the cleaning is going, giving a half hour presentation at a conference about the cleaning I was doing because everyone thought it was important, and doing all those things because up to that point the workplace in question hadn't been able to get a cleaner to do the cleaning as well as I was able to clean it - I would probably consider myself a cleaner. 'Professional' is your word, not mine, but I'm not sure why you chucked it in there. Was he doing any coding, or wasn't he? This is not a burning issue requiring weeks of back and forth to wring nuance out of each point, but your general argument seems to be, despite doing a lot of coding, Pablo wasn't a coder. And my argument is, Pablo was a coder, and the reason he was a coder, is that he did a lot of coding. This doesn't rule out him doing other things throughout the week, in his spare time, or as a main focus. And I understand he hasn't left Blender to take up some amazing new position somewhere else as a coder. He's an artist. But your comment suggested that an artist who had done a ton of coding over a year or two to general acclaim hadn't done any coding, and I think that he actually did. And maybe it's possible to be both an artist, and a coder. I'm assuming he didn't tidy up the Blender code by drawing a sketch of what he thought was required, or gave a critique of the code quality through interpretive dance. He tidied up the Blender code by coding a bit, and if he did a lot of coding to do that, then I think it's actually alright to call him a coder, and no-one will be hurt, injured, murdered, or generally left in a bad mood if he is given this term.

This is actually not entirely true. You can use Deformers on Sculpt objects. On the tag you have to freeze it and click allow deformations to see the effect of deformers under the object. And if your object is rigged you can even play back the animation on the sculpted object. Then when you want to sculpt again you unfreeze and keep on sculpting. Not being able to use other tools is unfortunately a required limitation. Such as I mentioned in my original post about this, as you move away to allow high polygon workflows you need to give up some freedoms. In the case of the other modelling tools, most of them were designed for low poly modelling operations. And in that case their algorithms may not be able to deal with handling millions of polygons. Undo/Redo also comes into play. Since the sculpting system is optimized to handle undo/redo of only what is touched. But many other tools store a full copy of the object itself in its entirety before doing any operation on it. Could you let me know what kind of tools you would actually want to use on an object using the Sculpt Tag based workflow? Perhaps I can add them for you.

So what was he doing when he was working on the Blender code for a year or two. Gardening? If he can jump into the code of a 3D software app and improve it to pretty much universal acclaim, he's probably more of a coder than most people. That said if he walked because people were bugging him to do more than he was able or wanted to do, that's fair enough. Maxon could tell all their developers to hold regular public meetings about their work, plans, schedule and productivity, and make them go sit in the naughty chair without breakfast if Fred Random from Reddit was unhappy with what he was seeing, but I dunno if it would help to be honest.

Well, I'm back on my shit. Been buried for the last few months, but testing out Redshift 3.0.56 with Cinema 4d R25. Getting a lot of hangs and force quit errors. Gonna try to update video drivers and see if that helps. Still using 23 for client work.

04.22 Interior