Rodney

Much of this is predicated on current coding practices which are still prompt/text based. It will be interesting to see what future generations bring to the table with visual programming that automates underlying interfaces. Still I don't think we'll be seeing the end of prompt based coding any time soon as there is always a way to optimize something with ones and zeroes. The current trend into immediately being able to test/validate code live, as it's typed in, is very encouraging. A:M itself is an excellent example... perhaps the premiere example... of 'code-less programming' in how it allows the creation of programs (derivatives, utilities, stories, etc. etc.) without needing to expose the user to command prompts and scripts. It's rather amazing. There were several themes that have been recurring to me since reading through some of the USD documentation. The first was that of layering (non-destructive editing) as mentioned in my earlier post. (I didn't use those terms but it's there) The second is that of Articulation/Rigging which PIXAR acknowledges as too 'non-standard' to standardize in USD. Their solution is a logical one... layer the rigging data over the geometry and shading while referencing the data for use in it's intended proprietary system. Yet another is USD's approach to variations. Now this will be a oversimplification but A:M's Action Objects is a clear example of this and a very effective one at that. In A:M we are only a few drag and drops away from referencing multiple model variations based on the same base. Note that I consider this completely distinct from saving out a model as a new model as it then becomes a new derivative base has freed itself of any internal reference to the original base.). I say all this because there is a tendency for some to read about a product and immediately think "Boy, I sure with A:M had that." when in fact it's been available to them in A:M for years. While I'm sure there is a lot of work involved... there surely must also be a lot of fun to be had there. Not to mention the sense of accomplishment when a plan finally comes together.

The latest trend is a bit different in that it doesn't try to convert resources but to introduce and/or leverage open source standards and to promote, to the maximum extent possible, systems that can contain resources of any type (compatible or otherwise)*. Of course there is a limit to this and some standard must be targeted to ensure compatibility. The downside of this is that we are all in our own ways very proprietary creatures and we tend to create resources that are also proprietary. But some of this is necessary to encourage innovation. The prime example of this is where new technology is released broadly but because plugins are specifically developed only for certain platforms. But this also in reasonable because we wouldn't expect anyone to freely develop for a competitor's platform. It is this last development element presents a real challenge to open source interchange as many new propriety states can spring into existence because the developers lack resources and time which prevents full exploration and communication within an open system. But this is also the realm of innovation where folks get to invent things over and over again (hopefully) to the benefit of all. *This compatibility issue includes a critical element of toleration that is counter-intuitive to us because we see anything incompatible, unproven and not in line with our own personal or collective interests as wasteful and bad. This is complicated by the fact that closed systems tend to be well known, optimized, reliable and fast. PIXAR's approach here certainly isn't free of selfish ambition. They would surely prefer a proprietary solution if it was securely owned and licensed by PIXAR. But history has proven that technology is synonymous with evolving standards and rather ironically, PIXAR is too big and proprietary themselves to innovate 'everything' themselves. There is an interesting note two regarding USD that suggests PIXAR is committed to open source solutions at least in this specific case; their identification of the back end of USD being supported by Open Berkeley Database (OBD) which, they state, has potential licensing issues. From my perspective this appears to be a move to exert some pressure on the license holder(s) to release rights that will in turn keep PIXAR's own costs manageable and increase their profit margin. The alternative (and their negotiating leverage) is that they might otherwise be required to move to another more open standard. There are some elements of USD that echo some plans from five or so years ago to enhance A:M's internal interchange and file handling. The move to XML compatible file format was an early move toward that. The primary difference there and with PIXAR's USD is largely a matter of scale. Of importance, the average A:M User already has this basic all-in-one (in-A:M) access to workflow and interchangeability.

This is largely unrelated what is needed by the average A:M Users but I found some of the information about USD interesting for a number of reasons. The site provides insight into where PIXAR is heading and why some popular tech (such as Alembic) currently isn't sufficient to get them where they want to be. For the A:M User with an eye (and patience) for technical explorations much can be gleaned to spice up the ol' workflow or if nothing else to capture the imagination. From the site: http://graphics.pixar.com/usd/

Nice job Jason!

Simon recently posted a link to an animated advertisement called "The Bear and the Hare" and this post relates closely to that... as Aaron Blaise was a key player in the making of that two minute ad. Aaron Blaise has now released #9 in his series of Art Tips and it's a decidedly different and candid one that speaks to the heart of the artist. In Art Tip #9 Persistence, Aaron discusses some of the trials he's gone through, to include the loss of his wife to breast cancer, and how life's interesting twists and turns has brought him to where he is today. The focus of the tip is to persist even when times get tough... "the sun will still come up tomorrow" so "hang in there!" Here is what Aaron had to say about the ad in a recent interview at Cartoon Brew: Note that the last four to five minutes is the playing of 'the making of' and the ad (The Bear and the Hare) itself. Hbcdn8QXcts

Very nice! That's a great way to get realistic reflections! This is a nice example of how traditional animation can be enhanced and modified leveraging modern technology.

Ha! That's a good one. I don't recall seeing that one before. Very nice.

Aaron Blaise is another Disney artist/animator who has resources available online. He considers himself primarily a painter and from what I have seen has some great insight into how the real world informs art (and vice versa). Aaron is perhaps best known for his work in 'Beauty and the Beast' (Mulan, Brother Bear, etc. ) and for some nice behind the scenes insight into his work there see Art Tip#4 on thumbnailing. There are also at least four books/tutorials on drawing and animation (average price around $15 each) available online at his website: http://creatureartteacher.com/ These include: - How to animate a four legged walk cycle - How to animate a trot - How to animate a four legged run Recently Aaron has been posting video tips on drawing and painting. Subject matter of his online tips currently includes: Aaron's Art Tips 7 - The Importance of Good Silhouette You'll find these and more on his site (and on his youtube channel) Here's Tip#1 - Avoiding "evenness" in your work oUmV_gfAbxQ For more check out his blog: http://www.aaronblaiseart.blogspot.com/

There is certainly something to be said for the detailed models/renderers we all love to see but there is also something powerful in the simply things. You've proven that yet again here! Nice model!

You might study the KeeKat (and I believe Rabbit) models that come with A:M. If I'm recalling correctly both of those characters have pupils that slide over the surface of the eyeballs. Somewhat related to your discussion here, note that at least with Keekat the surface sliding effect isn't active in the Model. At least in Keekat's case, the constraint turns on once the character is opened in an Action or Chor.

There is a nice bit of free effects you are gaining from the shadows. It almost looks like the bag drops some dust at the point he stops it's descent. I had to play the animation again to see if you'd added an effect. I'm liking this one even better and feel more of the weight. Right now there is only one thing that distracts me: There doesn't seem to be any motivation behind (or for keeping) that second set of kicks). I know that he's kicked the bag and stubbed his toe (probably even painful) and yet the two kicks still read to me as excess. I suppose we could go back to that old crutch and ask, "What is he thinking" but I suspect you are more interested in focusing on weight. As the point seems to be to emphasize that this guy has dropped the bag as soon as that is happened in are in performance territory. What is the significance, not of kicking the bag, but of dropping the bag. He can react to kicking the bag but perhaps it's more important to deal with the primary activity which is that of dropping the bag. Pure pie in the sky thinking out of hat follows: My thoughts again turn to motivation. After kicking the bag and beginning to react he could first turn and look to see if anyone has seen him drop the bag and THEN, when he thinks the coast is clear, he might again assault the bag. The first assault being an involuntary action but the second one purposeful with intention. (remember to always show the character thinking if you can!) If he were to vocalize his thoughts he might simply be saying, "...stupid bag." And to end the shot (and the whole shebang) he might then begin to crouch down as if to lift up the bag. I'm thinking somewhat in terms of if this were a scene that plays over and over again with different results each time (or as if there will be a subsequent scene where he returns to get a second bag). We don't really care at this point if we'll ever see those scenes as we are already involved with the character here. But regardless, the important thing to remember is that there was a reason he was going to get that bag in the first place. Beyond the pure exercise value of this animating this sequence, it is important to get back to that initial motivation of the character. I'm not exactly sure what his motivation is beyond "Go get a bag."

A black and white test. For toon and line work I tend to prefer the screen capture more than the final rendering and this one is no exception. Note: This is not a toon render. It uses two 10x10 pixel black and white layered patch images. The patch image approach allows me to adjust or change colors outside of A:M (if necessary). Added: Moved things around and added blue, skin, and yellow patch images. A little noise then added to the whole thing in Irfanview. The spotlight is a simple spline ring (assigned as a five point patch). Text created with the Font Wizard. Hmmm.... I'm starting to think Batam needs an exclamation mark...

Here's a test of a Boolean Cutter mouth for the 'Batam' character. Using specified boolean cutters we can cut parts of the model out without effecting other parts (i.e. cut the mouth out of the head but leave the teeth). The Surface property of the cutter then colors the area cut out of the head.

In trying to think of a way to salvage what you have of the attempt to lift and regrip... Bag topple It seems to me that you might be able to get away with a knee coming up to assist with pushing the bag upward as he leans back. When accidentally released then it is the knee/leg that provides resistance that rolls the bag as he loses his grip. I note that you've already got one of these knee lifts just prior in his first effort to lift the bag (nice touch by the way!). A second more powerful knee raise would add progression and continue to emphasize that the bag has weight. I'll have to look at the previous take again because this current one is looking really good with regard to the initial weight as he pulls it off the shelf and it drops/slides all the way down to his knees. The (second) final kick As the first kick of the bag works really well, I'm not sure you need that second. In considering some other options one might be to have him sweep his leg in from the side and topple over/push the bag with his right (kicking) leg. Something has made it much more easy to accept the bag topple as he attempts to get a new grip on the bag. Perhaps it is me just watching the movie over and over again? If you'll pardon the pun, you are getting really close to having this one in the bag.

And just before Batman I doodled the beginnings of yet another generic man.

This guy is from back awhile... before I started modeling the Tinkering Gnome.

...and a five minute cartoon car.

In case you were wondering... this guy ain't got no body... and no mouth. Thought I'd see how far I could push a few setups hinting at the body via the cape and by manipulating the light.

More random doodles... Keeping in mind the idea of simple shapes, first up was a ninjoid. I then started splining a generic face and the next thing you know I was doodling batman. (Hope these aren't too dark for folks)

Very interesting. You've got some nice hints at weight in key places. I'm liking where you are heading with this. The one part that doesn't work for me is the last bit with kicking the bag and it then falling over. Given what we've seen up to that point it doesn't seem to me the bag would tip over with a kick like that. My thought being that the mass of weight in the bag has spread out closer to the floor and therefore the kick would only dent the bag slightly inward. I'm trying to imagine what might make the bag fall over and coming up blank. I sense that you are suggesting the bad is perhaps 1/4 as wide as it is deep. Even then I'm not sure it would topple over with a kick. You've got me curious! Edit: In looking again it seems the bag appears to leap and twist out of the man's arms whereas I believe it should (could?) slump/lower and then when it meets the greatest point of resistance against his body begin to rotate. This would make the turning/twisting/falling of the bag out of his hands happen at least 1 foot lower than where it now is. IF he is attempting to reestablish his grip on the bag by jerking it upward that would motivate the movement currently there. You would probably need an anticipatory lean forward prior to that.

I haven't looked at this... but there is at least one X Wing in the A:M Exchange: X Wing Fighter Note that a second version with landing gear is also posted in that thread. There are quite a few Star Wars models floating around... as I recall there is quite a collection the Extras DVD.

Fun! I see lots of little details despite the ultra simple characters/presentation. Congrats to you for another successful commercial.

Outstanding demonstration of Surface Constraints Robert! Everyone needs to watch and absorb that information. Thanks!

Do you have a Project file you could share that demonstrates the problem? A very wild guess on the second part of the problem: Perhaps you need more geometry/splines in the mesh to allow the constraint to follow the surface?

I like the idea of the sci fi rays more than a freezing ray... the effects like ice rays were difficult to pull off in the B&W days when Flash Gordon was created. If you do go for the ice though, the Tinkering Gnome has a nice example of a character encased in ice: HERE I added an example of it melting away HERE. But I guess that would be the next episode. P.S. I also like the sepia/old school treatment!