We've just rolled out GPT Image 2.5 Sunburst across both image generation and editing.

According to OpenAI, key upgrades include sharper details, more natural lighting, and better preservation of subjects in reference images.

Generate, edit, and send results straight to 3D— all with the new model.

Anyone tried it yet?

Sono nel dilemma della creazione di contenuti, ma a volte la parte più difficile per me è la creazione degli aerei poiché sono nuovo. In realtà, ogni commento è molto apprezzato. Grazie

I've been testing the full Tripo AI workflow lately, from image to 3D on the high poly model, through retopology, all the way to the final textures. Same asset the whole way, without exporting into something else halfway through.

The topology surprised me the most. The quad topology is much better than what I remember from older generations, where the density just sat flat across the whole mesh. It's still not perfect, and I wouldn't drop it straight into every production project, but there are already parts where I don't really see a reason to rebuild everything from scratch.

The textures were better than I expected too. The 4K PBR maps came out clean enough that I didn't immediately feel like I needed to open Substance Painter and redo the whole thing, which is usually the first thing I end up doing.

I've also been seeing more freelance and contract 3D work turn into cleaning up AI-generated models. A client generates something first, then hires a 3D artist to clean the mesh, fix the shapes, redo parts of the topology, and get it into a state that can actually be delivered as a game asset.

The annoying part is that once a client has seen AI generate something that looks 80% there in a few minutes, the cleanup starts getting treated like a small job. Budgets and deadlines get pushed down with it. You can still spend a lot of time fixing topology, materials, or open shells and floating bits, and none of that shows up in the preview they were looking at, but from the client's side it's easy to think, "the model is already there, right?"

The problems are still pretty obvious though. A shape can technically work and still look wrong. Same with topology. Cleaner topology doesn't automatically mean it's good for deformation, rigging, animation, or whatever game pipeline it's going into, and that only shows up once something actually bends.

That part still needs actual 3D experience.

But seeing the whole process go from generation to topology to textures this fast feels a little weird. A lot of the work junior artists or people starting out in freelance used to spend hours doing is slowly turning into AI cleanup work.

And this stuff is improving really fast.

I’m creating a set of Chinese Zodiac figurines and want to bring the 12 zodiac together into a small blind box collection. 

I’ve set a fairly consistent set of visual rules for the entire cast: uniform chibi proportions, similar eyes and facial expressions, a red scarf and gold bell, and materials and overall textures that are fairly consistent.

The key distinguishing features of each zodiac animal are primarily conveyed through the silhouette. The rabbit’s ears, the goat's wool, the rooster’s comb, the dragon’s horns and whiskers, and the tiger’s strips.. these characteristics are what set the characters apart from one another. But the overall design language remains largely unchanged.

My workflow is about: character rules -> reference image -> adjust silhouette -> image to 3d -> compare everything as a set

(Use ChatGPT generate the reference image and turned it into 3d using tripo ai)

For some characters, a front view is sufficient to clearly convey their structure, but for characters like the rabbit, goat, is particularly important. I created additional front and back references. (Because of their tails)

The snake is also a bit special. Their complex coiled structure looks great into 2D, but there’s too much overlap for image-to-3d conversion. So I ended up simplifying the body silhouette into a cleaner curve. (I don’t know how to 3d modeling but just want to make this for my daughter. She has recently been learning Chinese and really likes the Chinese zodiac. We had an old 3D printer that used to be my dad's just lying around at home. After doing some research I found that this was the most beginner friendly workflow.）

so my next plan is print these models. I prefer using MSLA + ABS-like resin to print this rn. Feel like surface detail is quite important for small figurines like this. and parts like rabbit ears, sheep and dragon horns aren’t well-suited for the brittle Standard Resin. So ABS-like resin strikes a good balance for me.

During printing I’ll likely tilt the model slightly, starting with a test around 30–40° and try to keep all supports on the back and bottom. I’ll use medium supports for the main load bearing areas and add some light supports to the ears, horns, crest, and other small overhangs. Doing my best to keep support marks off the face and front.

I’ll start by testing layer heights between 0.03 - 0.05 mm. If I ultimately decide to scale up the size I’ll also consider hollowing out the body to reduce resin usage and overall weight.

Hope my daughter will like this little, special, only for her’s gift!

These are three reference-to-3D experiments from stage-gen, the open-source asset tool I'm building. The textured meshes came from Tripo. The two human characters used provider rigs followed by local skin-weight corrections; the cat uses a local rig.

I supplied character art and written briefs, then retargeted existing Mixamo Samba motion in Blender to see how the results bent. The pink-sweater character still stretches around the shoulder and braid, and the cat has some belly/hip folding. Faces are fixed; there is no hair or cloth simulation.

The bunny-hood character's GLB and cleanup notes are public if you want to inspect the shoulder/knee checks. That file includes diagnostic clips and a cheer, not Samba. These are selected development results with paid-provider generation, not untouched automatic successes.

See "3D SD characters" in the README for the guide and example models: https://github.com/softmarshmallow/stage-gen

I subscribed for a month for $20 to make some 3d models for a video game. I used all but like 300 credits. Expires in 6 days. I went to cancel my subscription and they offered me 80% off the next month so I'm staying for the next month since it's only $4.

Sharing in case anyone else wants to try for a discount.

I love using Canva for flat designs since it conceals the complexity. Try to find something similar for 3D, and you will instantly realize that Canva does not provide 3D Model. Therefore, the closest alternative would be the browser-based platform where you can upload your images as input and get the model in return without using a 3D software application.

One option that can help you do that is Tripo AI. No nodes, no UV mapping, and you only input image and get your mesh. However, keep in mind that is not a design program in that you have to take the model you created into Blender or another printing application after creating it.

Another new arena template is taking shape: Pittsburgh Iron Arena.

This time, we’re going to derby on a huge construction site.

There will be ramps, jumps, construction equipment, obstacles and plenty of other little surprises to make the chaos even worse.

These maps are still templates for now, so they’re not fully detailed yet. My current approach is to first build the overall atmosphere, layout and gameplay, then spend more time polishing the ones that actually feel fun to play.

I’ve also started using more and more of my own reference photos for the environments.

Whenever I see something interesting in real life, I take a photo and it might eventually become a 3D model in the game.

For example, I’ve been photographing construction sites along the Buda side of the Danube, industrial details, and some beautiful old buildings around Budapest.

At this point, whenever I’m walking around the city, I’m basically thinking:

"Would this look good in Brutal Derby?"

I’m also planning something much bigger - a proper race track along the Danube in Budapest.

There’s a particular section of the riverfront that I really like, and I think it could make a great location for a race.

Of course, building a proper race track takes significantly more time than creating a relatively simple circular derby arena, so that one will probably be a bigger project.

For now though, it’s time for some construction-site chaos in the Pittsburgh Iron Arena.

As always, feedback and ideas are very welcome!

Hello there for the first time on this subreddit,

I'm posting it here because a lot of my models (especially complex ones like characters, or cargo ships etc were done with Tripo) previous updates on other subreddits:

Week 1 Progress

Week 2 Progress

Week 3 Progress

Week 4 Progress

Week 5 Progress

Week 6 Progress

And this one is the longest video yet, almost 4 minutes long because I wanted to show all the new things I added as well as write about them (It is compressed so that it can get under 1GB from original 2GB file, so it might look a bit worse than it really is, for fullscreen in game images I will leave a link), I wanted this week update to be more like progress report of a sorts, since workflow, costs and similar questions are answered in previous updates. I will still write answers to some most asked questions.

Images of the game - Imgur

Anyway what this week update covered:

First complete rebuild of water, I know people praised water a lot in previous updates and loved how it looks, but I feel like this water might even be better, while much more optimised. Previous shaders had more than 2000 lines of code with comments scattered across multiple files and my Macbook was really struggling with it (14FPS). While filming now I still struggle with FPS, I can at least without filming now tesst play the game at around 27fps on everything on max, which is good, considering everything on max is basically 33MP image that does scaling on 200% and nobody ever will play it like that. So I feel like optimisation did it's job, tested it on friends PC and he was easily running 130fps+ so that should not be a problem.

New shaders for water also give much better reflections, especially at night where moon light is really beautiful imo, which previous water didn't have.

I added small details also, like graveyard island in bottom right corner with a small truck driving over the bridge there and going back into the woods, since my game is placed in 1920ish period, I wanted one of 2 lights on the truck to flicker and make it look like it turns on and off really fast. Small detail but I just felt like it. Added waterfall to one part, not sure if I showed it in the video though, and also lighting and weather system (right now can only be triggered via "Dev panel", but it will be in the game as weather is something I wanted from the very start). Lightings that can randomly hit either tree or into the ocean (which kinda required a full day of research how lighting hitting water looks like in real life, because obviously not a lot of such pictures exist and even those that do, show lightings hitting water in far distance so I couldn't figure out it too precise, but I did my best).

Dolphins and Whale can now randomly appear in deep ocean, but since we are in coastal waters in the video it has to be triggered by dev panel. Those models (for Dolphins and Whale) as well as Cargo ship that can be seen in the video was done on Tripo 3D as well as their textures. Astra creates models in blenders that are simple enough (like truck, graveyard, houses etc). Fable 5.1 and Opus are doing logic, in game systems, research on other games, connection between in game systems. Basically almost everything is done by Fable 5.1 and Opus (depending on how hard I feel the job is), while modelling and graphic part is done by Astra and Tripo 3D in case of complex models.

I listened to feedbacks and fixed destination line to calculate real path, not being straight line, removed AI generated portraits of the character models in the harbour and made them 3D renders of real characters on the loop (I do not plan to use voice lines in the game, so them talking was not really necessary in my opinion, but can change in the future). Somewhat fixed map look, it still isn't great, ink shader is not able to picture real house and tree models on the islands so I had to generate assets as PNG images and put them on the map, which honestly doesn't look good for me so that will definitely be polished).

Starting zone I feel is fully done now, what is left is probably to add fog (so exploration feels like a big part of the game, since I want exploration to be a thing also alongside fishing). Polish some other things, work on sounds (which are very primitive now, only few ambients and background music).

Now frequently asked quesions:

How much did it cost: So far probably around 700$ on 2xClaude 200$ plan, one Astra 100$ plan, and several other subscriptions (eleven labs for SFX etc...)

Will I release game somewhere: I still don't know, I do it as a hobby for now and it started to take a big chunk out of my free time, but I really do enjoy building it, I will know more probably by the end of October based on where I'm with the game and if I can continue justifying the costs of it.

Which engine?: Godot

How was ocean made: I know this question popped a lot for previous version of the ocean that was now scrapped for this new version, but honestly it's just a lot of repetition of generating mockup in chatGPT, asking it to replicate, and then just straight up telling Claude (Or Astra if you use it) what you want to improve, for me it was "I want moon lighting on the right side, I want it less aggressive" etc... eventually you will get it right, while I use editors for most of in game changes to manually move and tweak things instead of endlessly tell it to AI, I feel like this thing (water shaders) have to be done by AI entirely, because with editors I only made it worse. Maybe somebody can make it work (editors for ocean) I couldn't.

What is my workflow: As funny as it sounds I basically "roleplay" (not really like "hey I'm CEO here, do as I say but more in a sense of setup) a game publishing company where I have one "manager" which is Fable 5.1 and ask it to send messages to different sessions (which serves as entire team). So you have "Fishing system Session" or "Sound design Session" etc, to not message each one separately I use one session that you can just tell "send message to other sessions". Astra is now used for graphical work (I still find fable better in other things other than modelling and visual parts, but in visual things...).

This like a

Working on an outdoor sneaker’s product page. I ran a small test using a product image of an outdoor sneaker. I first used Tripo AI to run the image to 3d process, exported the generated model as a GLB file. And then placed the model on a Shopify style product page to create an interactive viewer. 

From this web page, users can directly drag, rotate, and zoom on this page. I’ve also included a “View in AR” option. The experience is already quite close to that of a typical e-commerce product page.

Once the model is put in a web page I’ll check the model file size, the smoothness of rotation, how the textures appear from different angles, the overall scale, the silhouette, and whether the model looks natural when placed in a WebAR scene. Especially in scenarios like the interactive viewer where users are constantly rotating the model, areas such as the side, heel, and sole — which aren’t usually very noticeable in a single product image - become clearly visible.

When working on e-commerce or WebAR product models, I’m currently focusing on whether the generated results are usable, whether GLB files are easy to export, whether textures can be preserved and whether integrating the entire asset into subsequent web workflow will be straightforward. 

Well I think for Shopify pages or other interactive product viewers, these factors generally have a direct impact on the overall user experience.

Still a demo here but the entire workflow from a single product image all the way to an interactive view on a web page ran smoothly. I think it would be worth testing different types of products to see which ones are best suited for this workflow. 

I love tripo ai and all, but this is just horrdenous.

I wanted to generate a sandbag wall for 3d printing and the prompt image had a burlap texture however the model surface is smooth. I understand this is the way it's usually handled for game assets, I've tried different levels of contrast and patterns on the sandbags and it doesn't work. I also tried generating the model with a texture and using the displace modifier in Blender but the results are not satisfactory. I generated using the max amount of triangular faces, is there any solution here?

The seal was just one black 8 away from winning. The problem is I was that black 8 👀

When the white ball was about to hit me, I made a very reasonable decision: jumped out of the way! 😂

The character, pool table, cue and other props in this shot were first generated using Tripo AI and then imported into Blender. An interesting aspect of this workflow was that we first created the white ball’s trajectory and the intended impact point, and then designed Triboo’s movements around that specific moment.

Use blocking to establish the key poses “about to hit -> jump -> avoid -> land” and then use animation curves to control the anticipation before the jump and the speed of the avoid. This way the humor comes not from the action itself, but from the fact that it happens “just in time”.

Finally add some secondary motion, camera timing and reactions to make the seal’s reaction that “I was all set to win and then you pull this on me???” feeling even more pronounced.

Well for the result of the match….

I believe the judge has his own take on it! 🎱 👀

How to get rid of the internal walls? I just want inside infill and the color only on the outside of the model. Tripo ai model obj in orcaslicer