Hi everyone, I hope you’re doing well.I’m just wondering if anyone else is experiencing this — the “Apply for Digital Stamp” button has been missing on my end for a while now.Is this happening to others as well?Thanks in advance!デジタルスタンプの申請ボタンがしばらく表示されないのですが、同じ状況の方はいらっしゃいますか？

Digital stamp

<h2 style="text-align: center">Weta Digital created a large number of clothes that is indistinguishable from the behavior of real clothes with Marvelous Designer</h2><hr><img src="https://storagefiles.clo-set.com/public/community/202501/2b1683e4d8524eab92275eebac39cf4e/images/710f5eb9b2024087aaef2932d14a1dd3md_cases_hobbit_001.jpg" class="custom-image original-size" data-id="710f5eb9b2024087aaef2932d14a1dd3" data-width="1180" data-height="610">by James Moore - Senior Modeller in Weta Digital Weta Digital’s core focus is the creation of top-quality feature film visual effects. From Lord Of The Rings to King Kong it has been responsible for some of cinema’s most recent memorable moments, each achieved by a team of dedicated and highly professional artists.One of the many tasks the studio must complete in such films is the creation of digital double characters. These digital versions of the characters are used in place of real actors in situations where it would be too dangerous to use a real person or it was simply not possible to shoot the scene with a live actor.<img src="https://storagefiles.clo-set.com/public/community/202501/2b1683e4d8524eab92275eebac39cf4e/images/65973d3ffb204f619db6e87fa114016emd_cases_hobbit_002.jpg" class="custom-image original-size" data-id="65973d3ffb204f619db6e87fa114016e" data-width="1180" data-height="610"><img src="https://storagefiles.clo-set.com/public/community/202501/2b1683e4d8524eab92275eebac39cf4e/images/068f1f19cfae4891813216b31ae83f86md_cases_hobbit_003.jpg" class="custom-image original-size" data-id="068f1f19cfae4891813216b31ae83f86" data-width="1180" data-height="610"><img src="https://storagefiles.clo-set.com/public/community/202501/2b1683e4d8524eab92275eebac39cf4e/images/ddfe9efc15e74933805a05f5c41dcde9md_cases_hobbit_004.jpg" class="custom-image original-size" data-id="ddfe9efc15e74933805a05f5c41dcde9" data-width="1180" data-height="610">These digital doubles need to move and act like the live action character, indistinguishable from the real thing. That means their clothes need to move naturally too. As such, Weta Digital must use dynamic simulations on the hair, skin and clothing of each digital double to impart in them a high level of realistic movement. These simulations replicate the effect a real environment would have on an actor and his/her clothing on a live set.For The Hobbit we wanted to create a larger number of clothes that would be indistinguishable from the behaviour of real clothes when simulated. To do this we chose a pattern-based approach at the modelling stage that could accurately create the volume of the real clothing. Marvelous Designer 2 was chosen for this because it had a fast and stable solver for draping the clothes when modelling and a simple, user-friendly interface.The patterns for the live action costumes used-on set were available for us to use as templates for our digital cloth patterns. We then created accurate digital copies of the characters bodies from reference pictures and scans and used these as our model-avatars.<img src="https://storagefiles.clo-set.com/public/community/202501/2b1683e4d8524eab92275eebac39cf4e/images/c6aecc4837b344829e6b42c28385af71md_cases_hobbit_006.jpg" class="custom-image original-size" data-id="c6aecc4837b344829e6b42c28385af71" data-width="1180" data-height="610"><img src="https://storagefiles.clo-set.com/public/community/202501/2b1683e4d8524eab92275eebac39cf4e/images/bb4a80d9b7eb4e97bc2858822fbce936md_cases_hobbit_005.jpg" class="custom-image original-size" data-id="bb4a80d9b7eb4e97bc2858822fbce936" data-width="1180" data-height="610"><img src="https://storagefiles.clo-set.com/public/community/202501/2b1683e4d8524eab92275eebac39cf4e/images/38af5a249d2842d788bf4c569d54ce86md_cases_hobbit_007.jpg" class="custom-image original-size" data-id="38af5a249d2842d788bf4c569d54ce86" data-width="1180" data-height="610">Although we did not render the geometry from Marvelous Designer 2, the wrinkles and draping the software produced were an invaluable starting point. This geometry was used as a template and its topology rebuilt in Maya with seams, buttons and other details added. This was then used as the hero digital costume for our Models Department.The Marvelous Designer 2 geometry was also rebuilt in our Creatures department with topology that fed into their cloth simulation approach. The hero geometry was wrapped or attached to the simulation geometry, which was invisible in the final renders.For The Hobbit we had to produce a digital double of nearly all of the characters seen in the movie. This amounted to hundreds clothing elements - most of which used Marvelous Designer 2 in their creation. The most intensive use was the dwarf costumes, which had up to five layers of clothing. The ability to manage that many layers in Marvelous Designer 2 was a real bonus and made the set up for cloth solves simpler and more stable.Even though Marvelous Designer 2 was created as a tool for the fashion industry it was adaptable enough to meet our needs for filmmaking. We were very happy with the results.

THE HOBBIT

Virtual couture

Roblox

<a target="_blank" rel="noopener noreferrer nofollow" href="https://youtu.be/MXZeSqCOi1Q?t=147">https://youtu.be/MXZeSqCOi1Q?t=147</a>At 2:23She measures the body length of the garment of the avatar’s front surface.Which is curvy area.She’s doing left click while measuring the distance.I want to know when exactly do we have to do this left clicks?While Curves?Beginning of the breast, middle of the breast, end of the breast?Beginning of the waist mid of the waist (which is the most recessed) and end of the waist.Like that?

Measuring The Curvy Areas With Edit Measurement Tool

<h2 style="text-align: center">Explore Diego Conte's creative journey behind The Witness for Love, Death &amp; Robots and the Oscar-winning short film The Windshield Wiper!</h2><hr><div data-youtube-video="" style="padding:56.25% 0 0 0; position:relative;"><iframe src="https://www.youtube-nocookie.com/embed/IM9uSvMdPl8" frameborder="0" allowfullscreen="" width="640" height="480" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" style="position:absolute; top:0; left:0; width:100%; height:100%;"></iframe></div><h1 style="text-align: center">Interview with Diego Conte Peralta | CFX Artist</h1><hr><h1>Could you tell us a bit about yourself?</h1>Hi! My name is Diego Conte, and I'm a CFX artist and 3D generalist working from Madrid, Spain. Because of my interest in computer graphics, I always wanted to work on the entertainment industry, which I'm happy to have been doing for the last 8 years.&nbsp;<h1>Which projects would you like to showcase today?</h1>I would say the most relevant projects are to this day all the short films I worked on for the incredible Spanish director Alberto Mielgo, including “The Witness” for Love Death and Robots and “The Windshield Wiper” (Academy award winner for best animated short film). His vision is still inspiring me today to keep pushing the boundaries of what cloth simulations can achieve in animation, and the part they can play as storytelling devices.<img src="https://storagefiles.clo-set.com/public/community/202412/af515205b1364721a57fe68eaeb4e787/images/20c207c8a2eb41dfbdbcd9a2c45bbcd7WD.png" class="custom-image original-size" data-id="20c207c8a2eb41dfbdbcd9a2c45bbcd7" data-width="1944" data-height="1094"><img src="https://storagefiles.clo-set.com/public/community/202412/af515205b1364721a57fe68eaeb4e787/images/97792d014ee84ba5a2ab4bdd330c083fWD_BTS02.png" class="custom-image original-size" data-id="97792d014ee84ba5a2ab4bdd330c083f" data-width="1742" data-height="908"><img src="https://storagefiles.clo-set.com/public/community/202412/af515205b1364721a57fe68eaeb4e787/images/2c9fbab6e7314b259212808a880d0506WD_BTS01.png" class="custom-image original-size" data-id="2c9fbab6e7314b259212808a880d0506" data-width="1738" data-height="912"><h1>What led you to choose Marvelous Designer, and how did it support your artistic vision?</h1>I came upon Marvelous Designer back in 2018 through my mentor at the time, Ash Thorp, who was using it in all sorts of fun and experimental ways for Motion Graphics. I picked it up, and was hooked from the start by the interactive and real time nature of the software. There is nothing like it really, the way you are directly interacting with the garments makes you forget at times that you are in front of a computer. How it supports my artistic vision is actually very tied to this interactive and realistic nature of the software. The fact that you are manipulating cloth as a tailor would do in real life means there is an added layer of naturalism to the results that can not really be achieved in any other software. And the interactivity means that there are also lots of possibilities for artistic expression that are just not easily available in traditional simulation tools.<img src="https://storagefiles.clo-set.com/public/community/202412/af515205b1364721a57fe68eaeb4e787/images/c77c918657544ff99e21f9be2b00c498sup.png" class="custom-image original-size" data-id="c77c918657544ff99e21f9be2b00c498" data-width="1749" data-height="983"><h1>Can you briefly walk us through the different tools you incorporate in your workflow?</h1>It has evolved quite a bit through the years! The main two areas of Marvelous I'm most familiar with are the pattern-making tools and simulation. I kept things fairly simple on the pattern making front on the first projects, and even now I keep things to just a few tools: drawing, sewing, tacks, pins, and sometimes creative use of internal lines to fold or art direct the patterns better.<img src="https://storagefiles.clo-set.com/public/community/202412/af515205b1364721a57fe68eaeb4e787/images/18d38e08f0da448e84dd7aeb5df1405cWSW_03.png" class="custom-image original-size" data-id="18d38e08f0da448e84dd7aeb5df1405c" data-width="1575" data-height="884"><img src="https://storagefiles.clo-set.com/public/community/202412/af515205b1364721a57fe68eaeb4e787/images/10bdf156fe6c4c67b5e9ef38d86f78e8WSW_02.png" class="custom-image original-size" data-id="10bdf156fe6c4c67b5e9ef38d86f78e8" data-width="1753" data-height="984"><img src="https://storagefiles.clo-set.com/public/community/202412/af515205b1364721a57fe68eaeb4e787/images/b1dea4fd664446e78101abee204e8cafWTN_01.png" class="custom-image original-size" data-id="b1dea4fd664446e78101abee204e8caf" data-width="1749" data-height="876"><h1>What would you consider your most standout project where Marvelous Designer played a key role?</h1>I think "The Witness" is still the most iconic project I've worked on. The patterns for all garments had been created by Paloma Alperi by the time I arrived at the project, and so my task was to see if we could get something better from Marvelous Designer than the results they were getting simulating in Maya. The tests were very successful, so much so that, after I designed a custom workflow to implement Marvelous with the rest of the tools in the pipeline, we ended up simulating all garments for the show with Marvelous only, and I was lucky to supervise the cloth simulation team. I believe at the time it was the biggest production using Marvelous for all CFX shots, and its is probably still in the top of that list.<img src="https://storagefiles.clo-set.com/public/community/202412/af515205b1364721a57fe68eaeb4e787/images/6b2a4f56478f4ac89d6a9a619d46529aWTN_BTS01.png" class="custom-image original-size" data-id="6b2a4f56478f4ac89d6a9a619d46529a" data-width="1753" data-height="982"><img src="https://storagefiles.clo-set.com/public/community/202412/af515205b1364721a57fe68eaeb4e787/images/3425c7f4db2f4003a5c774cc98defd05Thumbnail_02.png" class="custom-image original-size" data-id="3425c7f4db2f4003a5c774cc98defd05" data-width="1920" data-height="1080"><img src="https://storagefiles.clo-set.com/public/community/202412/af515205b1364721a57fe68eaeb4e787/images/251711ecb93a4177816205c7bb3b232eWTN_03.png" class="custom-image original-size" data-id="251711ecb93a4177816205c7bb3b232e" data-width="1746" data-height="870"><img src="https://storagefiles.clo-set.com/public/community/202412/af515205b1364721a57fe68eaeb4e787/images/c37b9dce44ab4b15ab86e4683eaff808WTN_02.png" class="custom-image original-size" data-id="c37b9dce44ab4b15ab86e4683eaff808" data-width="1750" data-height="871"><h1>Are there any upcoming projects where you plan to use Marvelous Designer?</h1>Of course! I will always advocate for integrating Marvelous Designer in any pipeline, big or small. Big projects require automation, but even when using other tools for simulation I believe the quality will always be higher when simulating a Marvelous designer garment compared to a traditional poly-modeling one. And for small projects, if it's possible to simulate in Marvelous designer, I'll always push for that first, as it is the most direct way to move forward<img src="https://storagefiles.clo-set.com/public/community/202412/af515205b1364721a57fe68eaeb4e787/images/b4eb9b3dacd64e8f813066bd429715e5WSW_04.png" class="custom-image original-size" data-id="b4eb9b3dacd64e8f813066bd429715e5" data-width="1154" data-height="648"><img src="https://storagefiles.clo-set.com/public/community/202412/af515205b1364721a57fe68eaeb4e787/images/6ea2e7c265284b5e9331ba261ba0c401WSW_BTS01.png" class="custom-image original-size" data-id="6ea2e7c265284b5e9331ba261ba0c401" data-width="2550" data-height="1344"><h1>What advice would you offer to other artists utilizing Marvelous Designer for CFX work?</h1>I have three important pieces of advice.For artists starting out, thorough research is crucial. Even if you feel well-prepared with reference materials (patterns, drawings, photographs), consider pushing your research further by reading pattern and fashion books, and any other material you can get your hands on.For those familiar with the software, continue learning and thinking creatively. Marvelous offers numerous techniques and tools, so explore how they can work together. For example, you can use tacks, and you can use pins, but you would be amazed at what can be done when combining the two.And finally, for professionals, while traditional studio pipelines seem to be set in stone (for good reason), it's important to reconsider how Marvelous could fit into your workflow. Don't be afraid to challenge established methods; this software operates on different paradigms that can lead to innovative solutions. And the overall pipeline will be better for it.<h1>How would you sum up your overall experience with Marvelous Designer?</h1>There is always a thought that its repeated whenever I show anybody a behind the scenes of how Marvelous works, usually along the lines of "well, that looks like fun". And indeed, it is a lot of fun. And turns out you can be quite productive and get really good results when you have fun (or maybe because you are having fun!), which is why I keep going back to this software I love so much.<h1>by&nbsp;Diego Conte Peralta <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.behance.net/gallery/207444785/Marvelous-Designer-Reel">Behance</a></h1>

Digital stamp

megane

megane