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Lux: How long did it take you to learn modo
enough to use it for actual production work?
JP: That's an interesting question. When I'm
working on production projects, I try to stay with software that
is proven, and similar versions being used in the studios I work
for. However, with modo's modeler versions 101-103, I was able
to slowly work it into my workflow. Experimenting at first & using
it quite often as I went from 102 to 103. It integrated nicely
with Lightwave exchanging geometry back and forth.
Lux: What other software were you also familiar
with?
JP: I'm mostly a Lightwave artist, but I've
had to use Maya and XSI on occasion. Most recently I've come to
enjoy the sculpting abilities of Z-brush as well. Coincidentally
going back and forth from modo to Z-brush has worked well.
Lux: How well does modo integrate with the
rest of your production pipeline?
JP: Right now it's pretty much seamless. Various
times, clients are unaware I even use it, because I'm able to export
into which ever formats they require, what matters most to them
is the end-product, not which tool I've used.
Lux: How much work did you have to do to
integrate modo?
JP: At first, it was more a matter of getting
comfortable with the software, and finding were things were. I
approach learning new appications cautiously as I'm from the school
of thought of “If it ain't broke don't fix it”. However,
after working with modo, for a bit, I found that certain workflow
enhancements felt more efficient. In general, a fun environment
to work in.
Lux: What tools did you find most useful
in modo?
JP: Such a good toolset, hard to pick. But,
I would say the edge tools, beveling, and the constraint to background
geometry ability come in very handy. In 201, which I have been
using more and more on production projects lately, I find the UV-unwrap
tool , and the geometry reduction tools are excellent.
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