clo3D export options
Hi clo users,
Is there a way to export the SeamLinePairGroup objects that I see in the scenetree along with the pattern ?
Thank you
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Yes when you export you have the option under options to export the stitching and internal line. However the actual welding of the sewn patterns together is done using the weld 'toggle' mesh which ensures the UV map vertex is paired between pattern pieces.
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I am unable to locate the option to export stitching and internal lines, I am looking in export -> obj -> options. Is this the correct place to check?
Thank you
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estube llevando un curso de clo 3d y tube un gran problema , NO ME EXPORTA LOS UVS DEL AVATAR AL EXPORTAR EL ALEMBIC , esto exportandolo sin soldar ,pero igual mi avatar pasa enteror sin las particiones de sus UVS.
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You are fundamentally missing a concept to do with an export of a mesh garment model. You cannot export the physical pinning of sewing 'thread' lines [A] between vertex pattern pieces, they are simply an element that appear for physical use within the CLO3D simulation environment and are not available as an export option.
These vertex points between pattern edges however can be technically 'welded' together (assuming matching mesh density on pattern pieces) for an exported mesh model garment, and this is only for a thin mesh export where a 'manifold' (continuous) closed surface can be formed eg: girth .... where two or more pattern pieces get their vertex edge points 'welded' to form a single mesh. See the we;ld thin mesh option on exporting an object model. And these mesh pattern islands (or 2D pattern shapes) then also relate to the texture map atlas UV islands layout you also create in the UV editor mode and can export, so that is another process you also need to include.
In that way (thin mesh export of welded garment model) you can export a thin mesh garment model that has all joining pattern edges (mating sewing lines) welded into one mesh object that has a matching set of UV's and a fabric material (MTL) shader associated to those 2D fabric patterns. Then in your next workflow (external modelling application) you can assign to these fabric materials (eg: mesh ID by material separation) any additional vertex pinning/welding/break apart/ or further modelling relationships. However the sewing 'thread' attributes you see in CLO3D are specific only to that 3D physical simulation environment (to aid visualization assembly) and are not part of any export.
You can change the intensity and thickness of the 3D seam line in the property editor after selecting the sewing line with the Edit sewing tool (keyboard shortcut = B)
B= Show 3D seam lines on pattern edges (see normal export for seam lines in the UV editor ) you may export these texture UV atlas maps with your object mesh model export and can then apply these back to your welded 3D export model and the 3D seamlines will then appear on the 3D garment model as pattern edge normals .
Note you cannot export 'threads' as these are irrelevant to any export model, these are simply mesh vertex ID points that are aligned and welded / or left independent as separate mesh elements on export. See export options for thin mesh garment object/FBX models. The reason you would 'weld' a thin mesh export model together is to prevent the garment from falling apart in pieces in your next workflow if you were to further simulate collision physics in any next software (external from CLO3D) workflow.
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If you want to export a 'topstitch' or the internal line that it relates too, you can export both the 3D stitch (model) or the reference internal line nurb object which it might be offset from. These are export toggle options when you decide to export your garment model.
To export the internal lines as object nurbs you can pickup in your next workflow you need to toggle on that export option.
Hope that helps point you in the right direction.
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Hi ottoline, thanks for such an extensive answer.
“You are fundamentally missing a concept to do with an export of a mesh garment model”
The SeamLinePairGroup belongs actually to the 2D pattern, not 3D mesh. That is why I tried DXF, PLT and PDF.
SeamLinePairGroup are groups of 2D points, that define 3D vertex groups that should be welded. What I need is to export those 2d Panels to a 3D program like Houdini or Maya for ex, and then assign a welding operation to those groups.‘Having accces to the SeamLinePairGroup would automate this process, eliminating the need to manually group 2D,points.
if you have any insights on how I can export the SeamLinePairGroup I really appreciate! : )
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That's really the domain space of Marvelous Designer version 11.In MD v 11 you can use the inbuilt retopography on the garment for quads and bind the matching edge vertex together so they are precisely positioned.This feature & function is not available in CLO3D and is also an extra work step (retopography) but the merits of doing this will generate a better VFX 3D garment model .... so that needs to be factored in to your end user quality mesh model case study.
see >> Marvelous designer v 11 new retopography feature (pinning quad mesh vertex) between pattern pieces.
If you are going to Houdini, you cannot export the edge pairs as ID from CLO3D. so you are faced with manually doing that work, the downside is you also have to deal with mesh that may be less than suitable for a VFX pipeline workflow as the qaud or tri mesh model from CLO3D is not using good surface topography.
Dependent on what you are trying to do in final VFX there are other alternatives, for example you can assign the assembled 3D model and the 2D pattern piece layout and bind flat pattern mesh vertex ID to those assembled 3D shapes as their vertex ID do not change, then you don't need to find the edge pairs (as they are located by pinned vertex proximity).That is then a simple binding exercise followed by a shape morph to a flat 2D pattern (UV) editor map layout. So binding matched edge pairs is done via pattern edge pair vertex tolerance proximity. Far faster no manually doing that work as it can be automated. The other advantage is you can bind higher quality 3D models (2D) onto the 3D MD simulated fabric. Giving you a full range of quality at almost weave density. This is pretty much how I do all my work.
It can be as simple as drag and drop. "Puffy' shirt to illustrate the high poly normal and displacement mapped to the low poly. All the 'high frequency' crease pucker is done on the 2D flat form. This also means you can use your crease texture library to add in multiple layers of texture map atlas high frequency in a totally non-destructive workflow. So I use crease frequency separation, based on low/mid/high creasing detail across every digital garment I create, this is then baked into the textures UV atlas for the 2D patterns or left as a 'low frequency' CLO3D /MD physical drape. I have used this technique for 8 years and have an extensive crease library from real garments and fabric types.
Below a 'crude' puffy shirt example to illustrate how the fine creasing (generated in CLO3D/MD or using the displacement texture brush workspace on flat formed 2D patterns can greatly add to a garment simulation in realtime within CLO3D or MD.) This technique was first used by microsoft in their white paper 8 years ago and is still perhaps the best technique for garment detailing. I simply perfected the process so it was fully automated into assembly. (see how I use it to great effect in Blender 2.93+) better than modo when you include the cloth sculpt brush where you can customize crease brushes in realtime collision - another new technique to get high quality frequency fast.
(below a flat quilt textured model (high - weave detail) is bound to a low frequency MD simulated cloth)
Below I have a micro frequency ripple in this CG fabric, which can be dialed up or down via progressive mip map atlases. In this way I can go for camera close up to a garment or full frame camera view and the optimum texture and crease frequency is selected. Unlike CLO3D this level of VFX texture workflow would not be non-destructive as they only allow one map size.
Above close up (slight undulating low frequency fabric displacement ripple) below a higher frequency crease for full frame standing distance camera views. The texture holds up regardless of camera distance as the texture atlas is done on the fly to the VFX model.
You can go as detailed as you want then externally. I use blender for this as it's actually worked out better than houdini at this specific task as an automated workflow does require some modelling/retopography tweaking. I used to use Modo for it but frankly blender ended up much more capable, and scalable server side as all the tools are in the single software, so it means you can stay in one CG environment after CLO3D/MD.
Just add in the modifier stack and drag and drop and done with full morph to flat form and all matching seams done in a single click.
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Hi ottoline I've tried to understand this whole explanation of 3d seamlines but I just can't seem to get my head wrapped around it. We are trying to set up a pipeline in which the 3d seamlines are automatically fixed in 3ds max or Blender. Is it possible to come in contact with you and setup a meeting?
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