Single-Slider Morph Transformation Technique

Transformation Test

To transform Katie Ashe from her petite civilian form into that of the superheroine Valkyria, I used single-slider morphs. It’s an easy technique that permits a wide variety of steps in a transformation process, without having to load multiple Vickis into the scene.

If you don’t know what a single-slider morph is, it’s the same thing a content creator like Fred Winkler uses. If you notice to get his Nadine for V7, you simply turn the sliders for Nadine in a G3F all the way up, and there she is.

This technique works for V4/M4, and any of the four Genesis generations. This assumes, of course, that you have a “normal” version of your character, and a superpowered version.

To create a single-slider morph, start with your character tweaked and ready to go. Remove all clothes, hair, geografts, etc. If you use HD morphs and muscularity, turn them off. It’s easier to turn them on when needed. Now, set your character’s resolution to Base Resolution, Subdivision 1. Export her (or him) as an object (obj) file. Save it to an easy to find folder, and just name it for your character. Use the scale DAZ (1 Unit = 1cm). Now, clear the scene and load a base figure; if your character is a V7, load a base G3F, etc. Set the Resolution to Base, SudDiv 1. Use Morph Loader Pro to load the object file to the base figure as a morph. From there, I follow the steps in this guide. It’s tricky at first, but if you make a mistake, just start over. Now, do the same for the other version.

You now have both a normal, secret identity version of your character and a superpowered heroine version, both set as single-slider morphs in the base figure, ready to go whenever you load the base figure.

Here’s how to use them for the character transformation. Or, how I did it.

Katie Ashe is a V6HD. She has four separate morphs total: two for her body (one for “Little Katie” and one for “Big Katie,” or Valkyria) and two for her face (again, one for “Little Katie” and one for “Big Katie”). The separate morphs for the face were necessitated by originally borrowing another character’s face for “Big Katie,” but it sure turned out to be a major boon to this process. It also allows me to give half her face to her sister permitting a family resemblance. Her hair as “Little Katie” is Elite Ponytail for G2F, and for “Big Katie” is Jazmine Hair for G3F.

The formula for the above transformation was:

Left to right:

1.         Katie Little Body = 100 %

Katie Big Body = 0 %

Katie Little Face = 100 %

Katie Big Face = 0 %

Muscle Volumes = 0 %

Scale = 95 %

Elite Ponytail (Opacity) = 100 %

Jazmine Hair (Opacity) = 0 %


2.         Katie Little Body = 75 %

Katie Big Body = 25 %

Katie Little Face = 100 %

Katie Big Face = 0 %

Muscle Volumes = 5 %

Scale = 95 %

Elite Ponytail = 100 %

Jazmine Hair = 0 %


3.         Katie Little Body = 50 %

Katie Big Body = 50 %

Katie Little Face = 75 %

Katie Big Face = 25 %

Muscle Volumes = 10 %

Scale = 96 %

Elite Ponytail = 100 %

Jazmine Hair = 10 %


4.         Katie Little Body = 25 %

Katie Big Body = 75 %

Katie Little Face = 50 %

Katie Big Face = 50 %

Muscle Volumes = 15 %

Scale = 98 %

Elite Ponytail = 100 %

Jazmine Hair = 50 %


5.         Katie Little Face = 0 %

Katie Big Body = 100 %

Katie Little Face = 0 %

Katie Big Face = 100 %

Muscle Volumes = 25 %

Scale = 100 %

Elite Ponytail = 0 %

Jazmine Hair = 100 %


There is absolutely no postwork in the above transformation image, other than to paste the five images onto one background. Little Katie just transformed into Big Katie without the need to bring a second V6 into the scene and hassle with multiple layers in postwork. Big Katie can transform back just as easily. I could conceivably have only one Katie model, fitted with both hair props and glasses (Little Katie is still nearsighted). The only trick is to remember the scale and muscle volumes settings.  Shaping presets for the various levels of transformation would take that pressure off. To get really fancy, I can use different makeup for Little and Big forms, switching the diffuse map in step 3.

As a byproduct, I’ve noticed that single-slider morphs of characters reduce the memory load sent to Iray. That’s helpful for those of us with smaller graphics cards.


Converting the Dynamic Bikini into Conforming Cloth

Yes, this is backwards from what most 3D artists want. Most want more dynamic clothing! Well, dynamic clothing does look good and drape well with the pose. However, it is impractical for any sort of comic related imagery. It’s a pain in the neck as it is to drape for one fine art image. Imagine draping it over and over again for the forty panels required for a mere four page comic. Well, I found a way to convert some dynamic clothing into conforming clothing so that it bends with the figure’s pose every single time.

Aura Lockhaven wears the Dynamic Bikini for V7 by Optitex. I’ve had some issues with it, primarily that it does not wrinkle and it lacks eyelets for the thongs. But it’s the only corseted bikini available in the 3D market, unless I revert to her original Elven Strapped bikini by AerySoul (No Longer Available). That does have wrinkles and eyelets, but it reveals more skin than I wish. The Dynamic Bikini isn’t too much of a hassle to drape for a fine art render, although I can’t move Aura once it’s draped. If I do, it springs back into zero pose.

I’ve wanted to feature Aura in a series of comics that fill in the gaps of her backstory and between the novels. That bikini kept stopping me. The thoughts of redraping for multiple panels of a comic made me think that perhaps it would be better to reveal more of her skin after all.

Not any more!

I converted the Dynamic Bikini to conforming cloth. It now sticks to Aura and follows her everywhere, regardless of the pose.

Here’s how I did it.

This is for converting the Dynamic Bikini for Genesis 3 Female to fit a Genesis 3 Female. It may or may not work for converting a V4 article to G2F, Genesis to G2F, or G2F to G3F because of the boning and draping differences.

I’m using DAZ Studio 4.9 Pro.

1. Load G3F. Do not morph her in any way. If you use any geografted genitals, load them, too.

2. Load the Dynamic Bra and Dynamic Panty.

3. Drape both to the G3F. Bra just needs to collide with upper abdomen, upper chest, lower chest, and pectorals. Panty just needs to collide with pelvis and the geograft genitals. Now is a good time to refit the bikini the way you want. I lowered the bra to cup under the breasts instead of just draping across them. Draping will happen fast.


4. Export Bra as an object. Make sure Write Groups and Write Surfaces are selected. Use DAZ Studio (1 Unit = 1 CM) as size under To. Save it somewhere easy to find and under simple a name like, well, Bra.obj. It can be renamed later.

5. Repeat for Panty.


6. Clear the scene.

7. Load a new G3F, and her lady bits. Do not morph her in any way.

8. Import the Bra and Panty. They will slide right into place.

9. Select Bra. Apply the Morph Transfer to the Bra. This is found under Little Funky Box with Four Lines and an Arrow in Upper Left Hand Corner of Scene Tab. Go to Assets -> Transfer Utility.


10. Source is G3F.

11. Target is Bra.


12. Click Accept. All the available G3F morphs now transfer to the Bra, and buddy, I have a slew of G3F morphs. Fit-to is activated, and will automatically see the G3F figure.

13. Repeat for the Panty.

14. Both are now conforming figures, instead of objects.

15. Apply Mesh Smoothing to both, and set it to Smoothing Iterations 2, Collision Iterations 3. This helps with poke through.


16. Apply Mesh Subdivision to both. Leave it at default. As complex as the mesh is for Dynamic cloth, if this is not done, the geometry will show up under sunlight in both Iray and Reality, giving geometric shadows instead of smooth shadows.


17. Save Bra as Support Asset -> Figure/Prop Asset.


18. Repeat for Panty.

19. You’re done.

For the final touches, I applied Aura’s bikini textures to the Bra and Panty, and saved them as Wearables Presets. Then, I simply applied the Wearables to Aura. As her morphs were already loaded into the bikini, it fit her perfectly. She went skipping away as happy as an enchantress in a room full of men.

The Bra laces don’t bridge the breasts. They bend into the cleavage. Zev0’s Fit Control corrects that. Sickleyield’s Universal Breast Helpers should, too.

Does it work? Here’s Aura modeling her new bikini in several different poses. No changes were made to the bikini between the images. I simply put her in a new pose and rendered away.





Now, Aura and I can get busy making a few comics.

I would like to get fancy and add eyelets and wrinkle morphs to the conforming once-Dynamic Bikini, but that’s for another day.

I have no idea if this method works for other Dynamic entries, like the Century Nightgown. Try it and see. If it does (or does not) let me know.

Aura Lockhaven in Iray and Comics

Yes, you read that right. Aura Lockhaven comics!

I’ve been experimenting with the Iray rendering engine, and the results are beyond what was expected. So, I had to see what Aura looked like.

Usually, I render her in Reality-Luxrender. That texturing system and render engine gives me more control over the look, and has far greater textural fidelity than Iray. It is, however, slow. Luxrender is the Treebeard of the rendering world. It never does anything hasty. A six hour render is just too time consuming for a comic, or even an illustrated short story. A page of a comic per week is reasonable. One panel per week is not.

Iray, however, is lightning in pixels. I can expect a render to complete between 20 minutes and 90. Extremely complicated sets and lighting require more time, but that is usually limited to fine art pieces, not the panels of a comic.

So. Here is the first image of Aura, rendered in Iray.


Aura looks great! Her skin is fantastic, and comparable to Reality. The clothes, however! They’re too orange. I can control the colors better in Reality. She’s the “red enchantress,” not the Orange Bowl Queen. Well, they are three years old, and date from her incarnation as a Victoria 6 figure (she’s a Victoria 7 now). Time to give the lady a new wardrobe.

This scene was … interesting. Iray should have rendered her in 20 minutes or less. It’s just one figure, a few clothes, a simple set, and two lights. She took an hour to reach 15% completion! That is not acceptable. This required some drastic measures. I could only surmise that the issue lay in the fact that Aura is a custom made, slider-by-slider, character. All those morphs had to slow her down. So, I made a single character morph and applied to to a stock G3F. If you don’t know what that means, I essentially turned her into a character I can sell. Instead of ten different morphs for her mouth alone, I have just one that says Aura Lockhaven, and it controls both face and body. That cut load time in half, but did not significantly increase render time.

Oddly enough, I experimented by rendering her in the Beta edition of DAZ Studio 4.9, instead of the public release of 4.9.3. She rendered much faster. At eleven minutes, she had only reached 10% completion. Not great. Not good enough for a comic. Better than 15% after an hour. At that point, I stopped the render to check her pose. Satisfied, I resumed the render. Within four minutes, she shot from 10% to 55%.

What the heck! There is no difference between 4.9 Beta and 4.9.3. They are identical. Why would stopping and resuming the render cause that much of a speed increase? My wife speculates that stopping it freed tied up resources in either the cache or VRAM.

It does matter. I’d like to know the answers so I can correct them. However, this opens the door for Aura Lockhaven illustrated short stories and comics.

I plan a few short comics, as in ten to twelve pages. They will fill in the gaps between novels, and provide a bit of backstory to some of the characters and situations. They will be free, on my website. Why not? Give them away as promotional items, and as fun things to fans.

This also opens the door for the Sarethian Seven to be that series of illustrated short stories I’ve envisioned for three years.

I will leave you with a scene I call “Night of the Wraiths.” Aura seems to be in a wee bit of a predicament.


Computers, Content, and Colds

March has been an interesting month.

It began with a hard drive crash on my trusty Sager laptop. Sigh. I replaced the hard drive, and then reinstalled my DAZ Studio content. One. Item. At. A. Time. That took ten days.

Then, my computer CPU spiked at 98C. Whoa! That’s almost at meltdown temperature. Well, Sager made a mistake with their technical manual. They didn’t say to replace the thermal compound every time I removed the heat sink. With all the brick dust in the air (I live next door to a brick factory), I have to remove the sinks once a month to clean the fins. New thermal compound brought the temperature down to a mere 68C. But the damage had been done. My CPU was wearing out.

Time for a new computer. I bought a new Sager 8156. It comes with an i7 7700 CPU, and 32G RAM, upgradeable to 128G (oh, yes, I will!). Not only that, but it has a geehonking big GTX-1060 graphics card with 6G VRAM. So, I can render in Iray as well as Reality.

Time to reinstall all that DAZ content. Again. This time, however, I popped the hard drive from the old machine into the external dock and ghosted the content folder over. That only took six hours.

My wife inherits my old computer. It will serve her well for several years, as long as she doesn’t render on it. No problem. As our content folders are synced, all she has to do is give me a saved scene on a flash drive, and I’ll render it on the new computer, while we sit back with a bowl of popcorn and some beers. The couple that renders together …

Still, it took close to a week to install all my programs and test out the new system.

As if that wasn’t enough, I caught a bad cold. The song lyric “You change your mind like a girl changes clothes” was written for Texas weather. Hot. Cold. Dry. Wet. Blah!

By Monday, I should be ready to resume writing The Fires of Tallen Hall, the second Aura Lockhaven novel. It is a third of the way done, so catching up won’t take too long.

In the meantime, I will leave you with the first piece of 3D art performed on the new Sager, in Iray. I call it Not That Easy … she just isn’t that easy to bring in, much less take out.

Not that Easy.