Rodney

Correction: Not really a bug. More of a screen refresh problem (probably due to memory as I'm running several programs at the same time). While the PWS displayed as if there was only 1 image there were in fact 1000 frames imported. I imported again starting from 'image0002.tga' and it successfully imported the 999 frames up to 'image1000.tga'. A Right Click and "Save As Animation' resulted in a MOV file comprised of the 999 frames. This process took about 2 minutes from start to finish. To test my own theories I had renamed 'image1001.tga' as 'break_image1001_break.tga'. As predicted A:M stopped at 'image1000.tga'. No real surprise there but nice to have the validation. I have some more complex theories of compositing I'd like to try but one step at a time. Its important that we answer the questions at each level as much as possible before moving on. Others are welcome to join in so that Phillip has some information to return to. Any Alpha Channel, Compositing experts out there? Are we the only ones that care about Alpha Channels and sequential TGA conversions? Could be but I doubt it.

Very strange. Perhaps there was an image that broke the chain. There appears to be a bug in here somewhere. I seem to have successfully converted a sequence of 1000 images to MOV format but now when I go back I can't import *any* sequential image. A restart of my system is probably in order. But... um... you can. John's video tutorial should have demonstrated that. Thats rather the whole reason to use "Save As Animation". This is a great feature that I need to explore myself. I'm reaquainting myself with Rotoscopes now. Its been awhile. I prefer layers but sometimes the restrictions of rotoscopes help us keep things simple. I'm sorry to hear that. May God Bless you and your family and give you the strength you need for each other. It is my pleasure. I could only hope that when you return I'll be more organized. Take care!

Update: I imported and rendered out 300 sequential Targa images successfully. They were low resolution as I mainly just wanted to make sure the number of images wasn't the problem. Could you be running out of memory? If you get tired of waiting for my responses you can investigate the Composite feature yourself by Right Clicking on the Image container and experimenting there. I'd probably be a good idea to download Noel Pickerings Tech Talk on Compositing to guide you through. It can be found in the Support Area, Tutorials forum pinned at the top of the forum. Look for 'Tech Talks'. You'll really want to use images with Alpha Channels in the Compositor though if you are combining images in a scene.

The simple answer is "You don't". The 'Save As Animation' feature is for conversion... not editing. There is an exception here (isn't there always?). Using A:M's Composite feature you can build animation then Right Click and save out. We'll have to investigate that later. For editing (and our purposes) you'll need to use a Camera Rotoscope or Layers. Strange. I've can't recall ever having too many images in a sequence. I'm sure its possible but it has to be more than 240 images. I don't follow you on the 'multiples'... not sure what that is. This might be a good time to mention that you can break your project down into shots and compile them separately. The easiest way to do it would be to take a file (or files) in the sequence and either move it/them to another folder or rename. When A:M reads the sequence it'll stop when the sequence is interupted and only import those. So... If you put 1-100 in one folder, 101 -200 in another etc you could compile those separately. Note: I'm NOT suggesting this is something you want to do. Its an option that might work in some cases. I'm curious about your 240 frame limitation. I need to investigate that.

I'm just now seeing this for the first time. How the heck did I miss it? Stian... you've outdone yourself again!

Is it possible the renderer is limited to that many frames in the Alpha release? I dunno and don't think so. Are you rendering to still images (TGA, JPG, EXR etc.) or video (AVI or MOV)? Definitely render to still images. (See other topics related to converting from sequential (still) images to movies.)

Run (don't walk) to the nearest mouse click and view JohnL3D's tutorial on converting sequential TGAs to AVI and MOV. Thats not all you can do with 'Save As Animation' but its an important start. http://www.hash.com/forums/index.php?showtopic=20996 The direct link to John's WMV file is: http://johnl.inform.net/images/convert.wmv This 'Save As Animation' functionality replaced the old way of doing thing via camera rotoscope. The downside of this outstanding (but apparently secret) timesaving feature? Knowledge of creating movies via camera rotoscope has been almost entirely lost! Luckily for all of us camera rotoscopes are right along the path to understanding the power of Alpha Channels in A:M where we can get a great view of them too.

You deserve some serious compliments for your work. I don't have time right now to go back through the animation and pick out favorite parts but I encourage animators here in the forum to do just that. Try to spot the gestures and movement that are subtle and smooth. There is a reason I suspected mo cap but what I was seeing defied that paradigm so I had to ask. You've expertly captured the nuances of human gesture in animated form. "Doing this kind of animation for less than a year" says he. "B R A V O !" says me.

I'd suggest again exporting/rendering to TGA (for similar reason as we've discussed above). Then when all is completed convert the TGA sequence to AVI or MOV in A:M. You'll have your TGA images as backup then too. I had considered your Step 3 but didn't think that option would appeal to you. I'd be a quick post processing solution if it meets your needs however. It sounds like something I'd do so that automatically makes it suspect. I use CorelDraw and CorelPhotopaint for that type of quick fix. As epiphanies go... that's a pretty good one. It probably would but... one problem not all the resources on the DVD are compatible with v12. I believe many still are though.

I like him. Great job! Have you rigged him yet?

Wowsa. I'll bet that was a tough thing to cut. I'll have to go back and look but I like where she steps over the railing. My memory says this is something I didn't catch in the other version. Thanks for sharing your cut scene. That gives interesting insight into your work. That has got to be motion capture in most of the character action right? Not that it looks like what we've come to know as mo cap but there is some really sweet subtlety in gestures etc. (I'm trying to say... great job!) This is fun stuff!

Its out! Hash Inc is mailing it with new updates. Those that have missed it should visit a Hash Inc booth at a tradeshow near you and get yours. I'm hoping mine will arrive on monday.

All good points Yves. When it comes to deadlines in this vein (Tutorials and how Tos) my utilimate goal would be the one page tutorial. When you reach the end of the page.... done. Obviously some subjects would be broken down into multiple pages covering various aspects.

Animation Pitstop has been shut down for well over two years now. I believe its operator's bad health was the reason it could no longer be maintained. You'll be glad to know that many (but not all) of the resources once found on the site are now included on the Extra DVD. A few resources I just couldn't track down... the dinosaurs in particular if I recall correctly. I haven't given up though! Lucky for you that you are going to sleep. Here's a post for the technocenti. I admit I haven't read it (just skimmed). I'm told there are actually people out there that understand this stuff! In other words... I don't expect many to be interested at this level but its here for completeness sake. http://grail.cs.washington.edu/theses/ChuangPhd.pdf If I can find it I'll post the link to Ray Alfee and Ed Catmull's documents related to Alpha Channels here later. To keep this in the real of utility here is a use of Alpha Channels for decals. Yves mentioned he using them for that process and in the following tutorial Frank Silas does too. He demonstrates an alternative to rendering hair. http://www.franksilas.com/Hair.htm

I'm revisiting some resources of the past before taking time to create new resources. It's always a good idea to inventory the resources at your disposal before expending time and effort reproducing possibly inferior results. Heres a great tutorial from the past by Darrin Mossor. Thanks to him for keeping it alive on his site! In his tutorials he explores the world of layers (see text on multiplane above) using images painted in a graphics program. For imagery created within A:M the effect can be even more seamless. Layers in A:M by Darrin Mossor

Very nice quality on those two versions. I've got to say I'm really jealous of the talent on display with they sequential shorts. I have a long term project that I'd love to be able to render with the style and quality I see in your work. If only... Color me very impressed. Its amazing to me when projects like this appear (seemingly out of nowhere). Chris should step in here and take a bow. The animation is nice. Very subtle details in a lot of places. The lighting and yes... the sound... really contribute a lot too.

Amen! The trouble I have absorbing this is in finding that moment when we call our effort 'done'. In my experience, this moment almost never occurs (perhaps its when we die?). As such I find I always get to a point where I must finally say, "good enough". At any rate, a little more on Alpha Channels as we haven't quite hit that point of 'good enough'. The following is from the Tech Ref on compositing (multiplane): Note my emphasis added. I smiled when I read the words 'flexibility' and 'power'. Makes me think we are on the right track.

Then mission accomplished I would say. Regarding the sound. I didn't notice anything amiss so I'd say it was just fine on my end.

Yves, This is where we reveal the levels from which we are both operating. I think Phillip can appreciate the full spectrum. I exist at the primordial level. I grasp at just about any solution I can find. You are known to work at a level of excellence honed by your experiece. The results speak for themselves. Your work demonstrates the highest quality, a more thorough understanding and a greater sophistication than I can comfortably aspire to. It takes time, commitment and experience to achieve that level of expertise. This is important distinction and should be considered by new users of A:M. Do we set the standard at perfection? Is good enough ever... good enough? Again I think the answer lies somewhere in the middle. When adding titles or credits to a movie who immediately thinks of Compositing? I know I do. There is a lot to explore in Animation:Master!

To my eye this is very much like a comic book... only animated. As a fan of comics and animation I wanna know more about this story, the characters... and production!

Niels... my general conclusion is that if I could animate like that I'd quit my day job!!! If I could nitpick it would be that I don't fully follow the story. In the larger context it might make more sense.

Yves, What you state (in your post above) is an important consideration in making the decision to use Alpha Channels. I'm surprised to hear that you don't use compositing! There are extremes in all cases. Some A:M Users want to create one really big, gigantic, really huge Choreography that contains everything they need to complete the next feature film/movie. Some break everything down into the most minute pieces they can to get absolute control at every level of production. Somewhere in the middle then is the power of Alpha Channels. The key usage, I'll guess, is in compositing. For those who have no interest in compositing images the Alpha Channel will be of little use. Its all about manipulating imagery in Post Production. Now if we are going to composite images... any images... we must master the use of Alpha Channels. Luckily with Animation:Master this is really straightforward. - Render images (or animation!) with Alpha Channels - Composite - Adjust as needed - Finish the job With the advent of EXR format in A:M even greater options are made available as lighting and effects can be adjusted 'on the fly'. This is especially advantageous when working with other people. When the Art Director says, "That area over there is too dark", or "Lets move him a little farther to the right there" we immediately feel the pain of not using composited imagery. It can take a long time to rerender those scenes. In my estimation compositing is a sophisticated hack. Its a tool providing the means to an end. The question then becomes one of where to use composting to full advantage. It'll remain a hack but one that puts powerful options in the hands of the artist.

Hey Dion, thats pretty cool! I hope you'll keep working on that and submit it for the upcoming Mini Movie contest. Thanks for providing the screenshot and movie. Not only are you animating in A:M... it looks like you are having fun!

Um... WOW! I sure wasn't expecting that. Outstanding! Give everyone a little while to view this and then come back and tell us more about it. (or else!)

While I can't speak for Steve it is entirely possible that your image may have given the impression that it wasn't created in A:M. That's a long shot I admit but looking at your image I can see photo reference but not the tell tale signs of a 3D rendered image. That combined with the new face (yours... as a relative unknown to the A:M Community) might have been enough to make the entry questionable. ALL SPECULATION HERE.