Rodney

That's an amazing ride Rodger. Well done!

Based on his efforts in the past to improve and enhance A:M the assumption should be that he approves of any reasonable advancement. The 'more sales' thing is an old theme... More sales mostly equates to an increasing demand for enhancements to the program, to documentation, etc. Be ready to put on your support and development clothes 'cause Steffen might need some help in the kitchen. Little by little we are getting there. Folks have been asking for that one for awhile. That enhancement alone should please quite a few.

Very nice indeed! That'd be quite useful for anime/manga.

With tech like that how can you go wrong? You've convinced me to vote again.

Not yet. It has entered its Alpha cycle of testing. After Alpha Testing comes Beta testing... which usually consists of a public release candidate... then full release for sale!

Hehe! Great stuff! Soulcage still rocks.

Wow. Very impressive Will. I think you are on the right track with rendering in passes. That will allow some options that you won't otherwise be able to take advantage of and that may prove especially advantageous for a one man production. You'll need that flexibility. Another thing separating everything out will allow you to do is the reuse of your imagery in other scenes (say a closeup... or to facilitate special effects), in promotional material, etc etc. ad infinitum. Just in looking at this scene I can see that if you were to render Tar walking separately you'd be able to reposition him on the background (to align him with the curvature of the road as it recedes into the background) and even re-time some of the animation to gain some additional variability or further highlight specific frames in the sequence... all without re-rendering. If you were to go there, that would even allow you to pass the compositing task along to an assistant. You are mining gold here and we are all witnesses to the event.

Whomever has contact with Steve... please send him our best wishes for a Happy Birthday!

Very nice! Thanks for the heads up. I imported a weapon from that site that (with one a minor exception that was corrected quickly via a tweak of spline bias) converted very nicely.

The single image you've shown makes me wonder if we've done enough to explain the process. Keep in mind that a buffer is simply where data is stored within the EXR image that can be manipulated to create many other variations from that one image. A Light Buffer just stores the potential for changes in lighting across the spectrum of available variables. You'd probably have to post an animated movie to demonstrate what the image with the light buffer really looks like. So the buffer represents potential for change and the image displayed is simply one of many that could have been displayed. I assume here that it is the default without altering the percentage of any lights in the scene. Without too much effort you could manipulate it to the point where it looked a whole lot like the second image which you've indicated had no light buffer. Note: I'd have to experiment but A:M has to set each light's buffer to some setting and I'll guess that it picks a mid range intensity versus turned all the way down to zero or all the way up to the highest intensity. This is easy enough to check and perhaps Holmes has already mentioned that default intensity in his tutorial. There are way to do something similar without EXR and without post processes. A quick way to manipulate lights is to create and manipulate them in an Action and then simply drag/drop that action onto a model (the model itself can be empty) in a Choreography. We can even open up several windows at the same time so that we can move the Lights in one window while examining the effect from another window. This second method is generally preferred over post production method of compositing because it is mostly the intensity and color of the light that can be effected in post. It is difficult to manipulate the location of the lighting in post and therefore such manipulations generally must be faked by creating and altering copied layers of the original image and introducing new elements of light 'in between' those layers. Error tends to creep into these images because it is hard to get rid of the original lighting in a scene. Therefore, many who do light their scenes in post tend to work with images that are evenly lit. This is also where such useful tools as Depth Buffers, Ambiance Occlusion (AO), Normal Maps, and other effects are used to further manipulate and enhance scenes.

Looking very good. More info please! Edit: Thanks for the project file Serg!

If you have the time and inclination to experiment you could render out to EXR format with Light Buffers and then use A:M Composite to alter the lighting (of each light) in real time (after you've rendered your scene) to suit your needs. It's da bomb. Here's a good introductory to manipulating lights via A:M Composite and EXR format: http://www.hash.com/forums/index.php?showtopic=15282 Here's an example of practical use with a populated scene (Jim Talbot's 'Leopard Queen'): Light Buffers ...and a Zip file full of the resources needed to experiment with the Leopard Queen scene: http://www.hash.com/forums/index.php?showtopic=19458 There are a few dead links at that location so here is a more direct link (to Noel's Norlok example of Light Buffering): http://www.s1.hashmirror.com/ftp/pub/movie...e/Composite.swf I'm liking the look of what you've got going already!

I wonder who voted for you from Japan...

That's mostly because saving files is never a one-solution-fits-all endeavor. Although we tend to try to make it work that way. I believe the main lesson to be learned is to Save often and Save Incrementally no matter how you choose to save. Another thing to consider is that Saving and Backups are not the same thing. Backups are duplicate copies that you store in a separate/safe place. Something people do tend to forget is that in order for a Backup to be truly effective it must be tested periodically to make sure it will still work as originally intended. Creating a Backup that will not open when you need it is time ill spent. Edit: Robert listed his Rules of Engagement for Saving while I was typing. Great information. If you begin to save often and incrementally (Robert's Rule #1) you'll learn the other rules more quickly. Don't overwrite a file when you can simply add a number to the end of the file's name.

I'm tempted to find some glass cracking and crashing sound effects to go with it. crack... crackacrack.. Crack..k..k.. KARACKKRRAAAAKOOM!

Is Epic Gamin' getting hotter or is it just me. Didn't realize Gwen was so... um... er... nice body!

Oooo! I like that! Very nice John!

If you Right Click in the Modeling window and select Info you'll see your patch count there. You could probably do with fewer patches up toward the ends of the bow and rely more on the bias of the splines. For my part, I would reduce the number to facilitate animation as you'll be able to more naturally bend the bow with fewer sections divided along the curvature of the full length splines. Splines excel at bending and you can take advantage of that. A reason to use more patches would be to maintain the same or similar decal sizes. I should say... if you do adjust this bow to reduce the number of patches save this one to a safe place first! Reducing the patch count you'll lose some of that hand-crafted imperfect curve toward the ends of the bow and that may not be what you want. If the curve is too perfect you may end up wanting to return to the original bow. You can't really do a two point circle... if you are wanting to go minimal, three would work. You'll need three sections to the length of the string at a minimum but I'd go with four... the two sections in the middle to define/animate the pull. If you only have three then there'll be no way to represent the contact with whatever is pulling. You'll want that section to be as wide as whatever is pulling. That's a great looking bow!

Nice update. I like the change you've made in the hair. She's looking better, more relaxed even. I believe I've seen less 'real' looking people in real life! I may be beginning to understand what is playing with my own senses and that is probably the sharp angles and straighter lines throughout. If trying to play up her feminine attributes you may want to soften her up. It's that 'straights versus curves' thing where you give the composition room to breath but not at the expense of contrast. That may be what is making her look a bit aged also. (I'm not sure what age you are targeting for her) I plan to study your rendering more just to learn more about this stuff! Added: Here's a quick manipulation of the softness of her skin and removal of some wrinkles (makeup I guess you could say). I didn't change the silhouette of her face as that seems to define her but a few refined angles there would further soften her as well. facesoftening.mov

I don't know how much time you have to adjust such things and I like the camera angle as it is now. One option might be to have a moving camera that subtly moves from left to right. You might use Jason's Camera Rig to get the simultaneous rotation and side movement. I suspect that the post work done in After Effects will blend these shots enough that most of the areas under consideration will become negligible. In the real world things are not perfect either so take heart! This may just be an opportunity to consider for later projects but I think the element that is missing in the lipsync area is one of exaggeration. Subtlety and precision wont read as well and an exaggerated movement or an emphasis of a word or phrase at exactly the right moment can really sell the shot. I must say... it's fun to imagine refining someone else's scene... a lot harder to actually do it oneself... I'm hoping I can maintain your level of quality in my own efforts! In watching a few more times I do see some considerable progression already there in the repetitious scenes I've mentioned and look forward to seeing the whole video again after the AE treatment.

Wow Gerry that is really coming together. I love the colors and contrasts. Two things that distracted me and spoiled a little of the enjoyment: The major one: Not enough progression in the repeated sequences the repetitive nature of the imagery is fine but I think it's important to show at least a little progression (or alternative camera angle) in repeated imagery... especially if the imagery is repeated three or more times. It's important to return to the previous imagery... I get that... but to give the viewer something new to look at, even if only changed slightly, will carry the audience forward with you. You do this in a lot of places (i.e who is standing under the streetlight) but some of the major ones (cicaks dancing on the wall) we don't get any relief from until near the end when the critters start running across the wall. This may be by design... suggesting we are stuck in some kind of hellish cycle here on earth but even if true some variation applies. Even a slightly tilted or zoomed in/out camera would suggest that we aren't simply seeing the exact same thing twice. If the exact same thing is seen twice there is then a special emphasis placed on it. So, the recommendation: Keep the film progressing, however slightly at all times. Eye each repeated sequence for little opportunities. I should offer so way of proceeding so I'll add this: If you were to take each shot/sequence that repeats and line them up (without the rest of the film) you could find a way to progress each of them. For instance, rotating a little with each repeated sequence (perhaps with the cicak on the wall. The walkers with heart holes might be zoomed in a little tighter each time the sequence is shown (signaling this is in fact a matter of the heart?). The devil's close ups might get a slight rotation combined with zooming in closer and closer throughout the series of repetitions to heighten the tension in that cycle. A minor one: Clarity and Lip sync at the pivotal moment on the roof Note that I am not suggesting we have to see the character clearly here but it is a clearly readable silhouette that syncs with the singing that seems to be lacking. This is further obscured when the character raises his left arm and obscures his face/mouth during a key phrase. If this were a performance on a stage the actor would be taken to task for not using the other hand/arm to reach out so I'm taking your guy to task also. There are about three places where if the character sings out loudly that if you open his mouth widely the objective of clarity will be accomplished. What you've got right now is already great. Plus it up and make it masterful! Disclaimer: This feedback is based on a first view of the video in its current state. The mind tends to fill in these gaps on subsequent viewings and that is the case here too. In subsequent viewings the video is already approaching 'masterful'. I really enjoyed it!

He sure did. Somewhere in the forum is a message from Martin where he thanks Dusan for using A:M on 'Chicory and Coffee'. He recognized that Dusan could have used another program but decided to use A:M. I believe the result speaks for itself.

Perk is a pretty energetic and innovative fellow. He even managed to sneak his way onto the cover of TaoA:M and the A:M CD. If I recall correctly it was way back in 2003. Dusan then went on to create 'Chicory and Coffee' among other things not in general circulation. 'Chicory and Coffee' was quite a hit on the festival circuit.

She's looking great Gerald. My focus fairly quickly went to her eyes (which is a good thing) and I think some refinement there will pay off for you. Adjusting the harsher contrast and black lines (perhaps layering over some additional color should help. Looking at the still image here pupils seem to me to be more animal like than human but that might be an effect of the angle of render? I believe you already know what I'm talking about here but I can circle/indicate more specific areas as necessary. If this were going to be maintained as a lower quality render I'd say most of these details won't be seen and so I'd suggest focusing on the over all shape of the hair... perhaps getting some more natural curvature into the hair. She reminds me of a lady I arrested that looked 45 years old but her ID revealed she was only 28. She had seen better days...

Hey, I forgot those two illustrious talents shared a day. Happy Birthday Victor and Raf! May your journeys to the birthdays of tomorrow all be smooth sailing.