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Very nice work! Glad to see another SU user take full advantage of what SU can actually do.
If you weren't already aware there are some work-a-rounds for SU that will enable you to create vastly more complex models without being slowed down by the file size. It's important that every SU user understands why this happens. SU renders your model in real-time. This is very different then how other modeling programs work. That is the root cause of why it gets bogged down with complex scenes.
I've got a current project running that's in excess of 5 million polys after export to Thea Studio and the SU file size is a whopping 423 mb.
Here's the trick:
First, make sure you are halving your symmetrical objects. Every chair, for example and every object that is symmetrical work in halves. Cut the model in half and make the working half a component. Duplicate it, flip the axis and stick it on the working half then make both halves a group. Once that's done create a new layer for that object and assign it to the new layer. "Chairs" for example. Then when you aren't working on the chairs in your scene you can turn them off. You can take that farther by assigning each half to their own layer, i.e. "right side". Thus you can turn off the half you aren't working in. When you use this technique SU doesn't calculate the "hidden" layer content data in the same way as when its visible. Thus you can get a substantial increase in app performance.
Another issue is textures. Complex textures probably slow down SU more than anything else. There's a couple of things you can do but the kicker is if you are using textures with patterns that need to be mapped such as the fabric on your chairs you may have to leave them be unless you are UV unwrapping your objects and mapping textures in something like Substance Painter, etc.. However there are two things you can do here:
Work in "Monochrome". When you are modeling there's simply no need display textures.
Also, turn off "Use Maximum Texture Size" and "Anti-Aliased Textures". Those two will substantially slow down the workspace.
Lastly, even after all those are applied SU will eventually bog down with a super detailed model. However, the good news is you can still model and work quickly. Here's what you do:
Let's say, in the case of your project here you want to do some detail work on your warp core. Assuming you've made it a component, simply select it, copy it, then open a 2nd SU window, in the new window, paste in place then work on your warp core there. I have a co-file named ("Model Title" Workspace) with every project. In the workspace is where I do my detail work. once I've detailed and UV mapped an object I send it back to the main file. Because in the workspace window there's nothing else but that individual component SU will run like you've just started off.
Hope that helps. If you already knew all of that then apologies. That being said Fusion 360 looks like a good alternative and seems like it's not a hugely different platform to learn. I've got it on my system as well and have the intention to learn it.
Description (Fictional – Part of my original scifi universe):
This is the Charas planetary System located within the Epsilion Indis Minor star system, (Kepler-44 in the Earth catalogue.) The system is home to the moon of Aquella, the homeworld of the Aquellan Republic.
Pictured here is Charas (the primary) a Class VI gas giant and three of its largest moons. Arcathia, Pyros and Aquella. In the foreground is the 4th moon of Charas called Arcathia, the 1st moon Pyros (center right) and the 3rd moon Aquella (top right). There is one other major moon called Nakate out of frame as well as more than 30 other minor moons orbiting farther out. Most less than 20 kilometers across making them barely visible.
While it appears to be a habitable and inviting world, unlike the paradise of its sister moon Aquella, Arcathia’s atmosphere has high levels of methane, and carbon dioxide. Additionally, moderate levels of sulfur dioxide are present making the atmosphere not only toxic to humans but slightly caustic. While gravity, atmospheric pressure and temperature make wearing a full environmental suit unnecessary for short term exposure on Arcathia a full face sealed PBE for respiration is required. Arcathia has a weak magnetosphere thus surface exposure is also limited due to high levels of radiation present its surface. Due to the dangerous environment there is no civilian presence on Arcathia. There are however an undisclosed number of RADF military facilities on the moon.
This is fully 3D. All bodies including the rings are hard surface modeled, scaled appropriately and positioned as they would be IRL. The gas giant is a “tweaked” NASA image of Jupiter. The Arcathia texture map is also a NASA map of our moon I “habitalized.” Too far away to see clearly the Pyros texture is the unedited Moon map and the Aquella textures except for the cloud map were created by me in Gimp 2.0 from scratch.
In general, I’m pretty happy with how this turned out. The one thing I don’t like is that I have not been able to create an atmosphere effect around the planets with Thea Studio that attenuates from the surface up like a real atmosphere does. If you zoom in close to the moon especially, you’ll see the atmosphere band is solid and doesn’t fade out with altitude. This is frankly pissing me off. There HAS to be a way to get that effect but I as of yet have not been able to discover how to pull it off in Thea. I achieved the atmosphere effect by surrounding the sphere with a slightly larger transparent sphere then assigning it as a container for a fog medium that I adjusted to get the right amount of haze. There doesn’t appear to be a way to get that medium to attenuate in a specific direction. There’s probably some way to get an atmosphere effect to come out right so my experimentation will be ongoing. Any suggestions on that front will be appreciated.
Can anyone answer the age old mystery of why all Trek fan film production teams can't ever seem to make uniforms that actually fit the actors? Or why in the name of Roddenberry do they use actors who are far too out of shape to be in any military anywhere, any time who apparently don't know how to use a razor?
Congrats though Eric. This was probably one of the better fan film efforts out there.
Part of the issue too is he's assuming uniform dimensions for each deck.
Deck 24, especially, doesn't need to be a full height deck at all, nor do a couple of the decks on the connecting dorsal. That reduced deck height spread out over the remaining decks along with his scale/length miscalculation gives plenty of room to make it work.
The other issue is recognizing the little known production fact that, with few exceptions such as the transporter pad, TOS sets did not have ceilings. That was a production cost savings measure and if you really pay attention when watching the show, where a ceiling would be is always slightly out of frame. Therefore one really can't use something like the image above to justify a standard deck height as you have to dismiss production limitations out of the equation and go with more sound "hypothetical engineering."
For the image above, you just have to "assume" the compartment's overhead is just an inch or two above the top of the door alcove. Had they made ceilings for the sets, that's about where it would be.
Basing deck height off images of TOS sets is really the most widely mistaken assumption by artists who have attempted to justify the TOS interiors against the outboard design of the Enterprise to make deck plans. It's why it never works out.
So, I've decided to do a full rewatch of all the "Prime" universe Trek TV shows and movies. I've decided to start with Star Trek: Voyager. Below, is my review and thoughts on the pilot episode, "Caretaker". Enjoy!
STAR TREK: VOYAGER - "CARETAKER"
As of the ship's departure from DS9, the Voyager has a crew compliment of 141, and her deck count is established as 15 decks. I love the Mess Hall food replicator wall, and wonder why they got rid of it for Neelix's kitchen, when they easily could have had both at the same time. IMO, dismantling those replicators is a waste of resources.
Actually, the space Neelix took over for his kitchen was the Captain's private dining room just to nitpick.