Depth of Options
With the release of modo 301, this software has fully realized the mantle of “Pro”. Professionals want to be able to do everything perfect the first time, under headache-inducing deadlines. modo obliges. I will cover some of the new features of 301 first. You can assume that lesser functions of modeling are handled equally well. Also, as many of our readers come from the headspace of filmmakers first before they come from the perspective of 3D designers, I hope you don’t mind if I don’t speak “3D” when reviewing these features. Like most software companies, Luxology is very impressed with their new feature list. As with most company’s extensive feature lists, the benefits to the user are not always immediately obvious. As such, I will try to make them more obvious by using more readily understood terminology!
3D Sculpting
The first big addition to modo is sculpting - it is exactly like working with clay on a virtual turntable. All pro level 3D packages do a very good job with industrial, manufactured rigid shapes. modo is no exception to that, but creating good organic models (people, animals, tree trunks, etc.) is always a ton of work to do well - until now. modo can now tackle organic shapes using a wide variety of customizable tools with incredible ease. Once the sole domain of a program called Z-Brush, many applications are now adding displacement painting to their toolset, which literally is painting virtually on your object to change the shape - just like shaping real clay with real tools. modo takes it a step further. Well, maybe two or three steps further.
“Ok,” you say, “how much further?” Well, modo has not one, not two, but three different methods of sculpting: 1) Mesh based (works on the actual geometry of the object and is useful for roughing in shapes changes), 2) Standard image based (creates a separate image file that stores the information so that the program can create “fake” geometry while you work, which keeps file sizes small. These images are grayscale and only change the shape perpendicular to the object’s geometry. Most other applications that offer sculpting stop here. But, then, 3) Vector image based. (This creates a color image map to store the displacement, allowing you to change the shape in 3D, not just perpendicular to the mesh). This is all done with a wide set of sculpting tools and brushes, that can be customized as you see fit.
However, wait, that is not all. The image maps can actually be in separate layers like layers in Photoshop. This provides you the flexibility to dynamically change the effect of different displacement image files, by simply adjusting their opacity or even just turning them off altogether. All of these capabilities mean you can create very realistic, hyper-detailed objects, but with very small working file sizes to help your computer breathe more easily.
Oh, and did I mention that there is support for drawing tablets like Wacom? Ooops. Well there is.
Animation
This is a welcome feature. To-date, modo has made a name for itself as an outstanding modeler, but now its rendering capabilities, coupled with the new animation capabilities, make modo a potent tool for creating artificial realities. However, the animation capabilities, while rock solid, are also very basic. You can change the focus of your camera and create geometry changes over time using morphs. You can also fine-tune your animations with a graph editor, which is a great way to have smooth precise control over the action. Final animations can also be exported to movies or image sequences - all the kind of features you would expect from basic animation. There aren’t more advanced options like physics, bones/rigging for character motion, environmental effects and volumetric things like smoke. You’ll need to export modo content to other 3D applications to fulfill those needs.
This is where it gets interesting, however. Currently, as part of the new animation capabilities, you can import animation data in .fbx and .mdd formats (including animated morphing information) and then render the animation in modo. These formats are exported by other 3D software like Maya and Lightwave. Many other 3D packages also export to these formats. Sometimes my crystal ball doesn’t work so well, but it looks like the future is becoming a little clearer. I suspect modo 401 (or if past naming models are any judge, 302 and 303) will continue its maturation and become much more than just a great modeler that does great renders. Therefore, it might be a good time to consider becoming more familiar with this application, if your future might be heading in that direction.
Fluid 3D Painting
Let’s move on to some improvements. modo 301 solves a pet peeve of mine for years with 3D content creation: working on texture maps for my objects. Historically, you work on your texture maps in a program like Photoshop, simultaneously keeping your 3D file open in its program. Then, for each texture change, you do the program-hopping thing and texture reloading ritual. To top it off, programs that do allow 3D painting with the 3D application have been a bit clunky and still left me fighting with the UV mapping issues; the area you could live-paint on would end abruptly, forcing a visit to Photoshop to fix the 3D painting. This is not the case anymore.
modo now works with all the processors on your computer, instead of just one, which helps prevent awkward delays while painting on your object. Here’s the cool part: with a single brush stroke, you can now paint across multiple UV map areas. Would you like to evenly paint two rosy cheeks on your new monster character? Symmetrical painting is now supported. Personally, I love the symmetry feature for adding exhaust aging on flying machines and sprayed mud on vehicles.
