Rodney

Multiplane has been an integral part of A:M for almost as long as I've been using it. It split from being separate with Net Render quite a while ago. Someone else can pinpoint a more speicifc timeframe but I'd say around 2002/v9.5.

Here's a link to the Treeez information to get you started. http://www.hash.com/Treeez/ Check out the Tutorials Forum where there are a few pinned topics that include links and information about A:M Features and Tech Talks. Rodney

Someone had a similar probem and posted information related to it here in the forum. It might have been Nancy G?

Robert makes a very good point here. To someone learning A:M its a subtle difference but important to note. Just because something isn't optimum (in this case Peaking) it doesn't mean it isn't a great tool to use. There was a time when you wouldn't want to use the Bias Tweaking method. There use to be a problem with Bias tweaks causing some serious popping in animation. You may find old references to these problems on the internet but just know that current versions of A:M don't have that problem. There are some keyboard shortcuts that will definitely help to bridge the gap between old methods and new. The same goes for making the transition from old tools to new as well. Some of these methods you can use to move the modeling process forward quickly even if you discard the interim steps later. Getting to the final product is the goal so if somethings works... it just works! Example: Start modeling your splines. Occasionally whack the Slash (/) key followed by Peak (P). This will Group all splines connected to the one you currently have selected and Peak them. It will allow you to see your model in its most simplified view. (Note: Page Up and Page Down works nicely too in many situations. This changes the realtime resolution of your model without changing the actual model. You can continue to work at that lower resolution and bump it up and down at any time.) When finished you would then have a completely Peaked model. Whacking the Slash and O keys will then smooth the whole mesh so you can then go in and tweak to taste with an eye on Bias Manipulation. Of course if what you see in the Peaked model is good enough. As Robert suggests, you can stop there. There is often more than one way to approach things in A:M. Sometimes its just a matter of finding what works best for you.

You'll find much better success with adjusting the Magnatude of the splines Bias than with Peaking. There are several benefits to Bias Adjustment. 1 ) Changing the Magnatude of the spline will create a nice beveled effect that won't be present if you Peak. 2) You can Adjust large groups or entire models Biases with a variety of settings. The idea is to go in and model until finished. Then go back and tweak to taste. Here are a couple nice video tutorials that might help. Creating Edges by Ken Heslip Modeling a Nut (With Bias Manipulation) by Emilio Leroux Nice models!

Heehee! Needs a little finessing but you've got a great character in the works there John. Hope we see a lot more of that little guy.

Dhar, Robert is talking about the Channel Editor. It's the thing that looks like the timeline up and to the right of the Project Workspace. Added: I really hadn't thought that much about it but... I think Robert is right. The Channel Editor just feels right. Seems to conserve space too sometimes. Of course there is nothing that says you can't use them both together.

I probably shouldn't have moved past Cristin McKee's 'Animate!' CDs so quickly. If you haven't downloaded the sample videos... you should. If you didn't care for Jeff Lew's DVD then you are higher maintenance than I first imagined. Not that I've seen the DVD... I don't own it (yet). I did watch his sampler. If you don't want yours maybe I can buy it on the cheap? Jeff's DVD is on my 'buy when you've got the spare cash' list. I really want it... but I also want to keep my money for other things. Concerning Cristin's CD set... its currently #2 on my list... Barry's DVD snuck in and displaced it. Sorry Cristin! The official 'Animate!' site The content page at her site has her sample videos: http://www.cristinmckee.net/content.htm Other than watching others work in the timeline the next best thing to do is just dive in and make a whole lot of mistakes... and discoveries.

For the best indepth coverage of the timeline you'll find a wealth of information out there. Hash Inc has the SIGGRAPH Demo CDs Anzovin has a whole series of Training CDs - Cristin McKee's CDs look like they would be great information (gonna buy them soon myself. She spends a lot of time in the timeline.) Studio 45 use to have some CDs. Not too many on the timeline though as I recall. (These CDs can still be found but are no longer being produced) David Rogers book covers the basics pretty well. Jeff Lew still sells his DVD online. Barry Zundel recently released a DVD (2 more on the way!) *I'm sure I've left out some but these are the A:M-centric ones I know of. Most of these authors seem to fall into the class of both animator and teacher. So you get the best of both worlds. There's nothing quite like watching someone else animate in A:M. Any of the above would be well worth the investment. There are free resources out there (most of the above have free samples videos available). Animation Bootcamp is the most likely place you'll find here in the A:M Forum that takes the basics you are learning through TaoA:M to the next level. If you don't have a lot of extra time to track down resources you'll find it easy to support others who are willing to do it for you. Added: At a very basic level... the timeline is just a dopesheet.

Well... in a way this in the opposite of 'in depth'... it covers the most simple aspects of Bias manipulation. Modeling a Nut (With Bias Manipulation) by Emilio Leroux

Ken, I've only done rudimentary tests with SimCloth but I don't really see the need for 'dropping' the cloth. You might try to just model and place it pretty close to where you want it and simulate from there. A Japanese schoolgirl skirt I created (with pleats) worked really well that way. If I can recreate it I'd like to make the experiment a mini-tutorial for the Extra DVD.

It is quite likely that you've got 'Onion Skin' turned on in the TOOLS/Options panel. Maybe?

No need to be wrong again. Looking forward to your posts. Edit: Sorry that sounded confrontational... not meant to be. Just saying don't blame the reciever for a failed communication. In other words, Relax. You're among friends here TOO! Best, Rodney

Hey... those are some good finds Dhar! The steaming kettle thing... Doh! Why didn't I see that? Must have been because my senses where overloaded by the sound and visuals. Good crits Dhar! Edit: Back in the days of collecting comics Marvel Comics use to give out their 'No Prize' to people that explained away things like this to help keep continuity straight. In that tradition I'll offer the following: - The fog is 'otherworldly'. It doesn't react naturally because its magical/MISTical and only is present when people change into werewolves. - The kettle is a family Bellows' family heirloom. It was modified because Gordon uses it so much he needed a sign for when his water was ready for tea. The addition is inside the spout... no... um... really! Do I get a Ya Know' Prize now?

I have it on good authority that we might see some good information on animating of the eyes yet posted in this topic. I hope the occasional word or two that normally might send people into a frenzy will be easily forgiven so that we all might learn. The day we think we know everything there is to know about animation is the day to move on to another hobby/profession. As Edward Deming was heard to occasionally say, "Can we not learn?" In my opinion: One reason the eye movements don't bother me (and quite the opposite make me think they fit perfectly) is that these are quite obviously cartoon characters. If they were otherwise presented (more realistic?) I might have to look again. As it stands... I really like the eye movement. Thats the reason for my confusion. In my own naive/novice kind of way I'm saying the extreme eye movement hit its mark. It conveyed the message and demonstrated the intent of a 'thinking' character. I'd like to suggest everyone find at least one thing in 'Briar Rose' that they thought was 'outstanding'. There is lots to choose from. Just the credits at the end blow me away... and they are just sitting there... watching... Thats great stuff!

If that image is any clue I'd say that penguin is about to have some very serious fun.

Nice! I guess its safe to say we've passed the point of no return and Yoda won't be just a bust? Woo hoo is right! Great fun seeing a Star Wars character (Yoda even!) come to life in this manner. Really looking forward to the texturing process.

I guess this would be a bad time to bring up the 'Brair Rose' butt criticism eh? Animation is all about forever improving upon a work. But one does not have 'forever' to get the job done. At some point even Pixar has to say 'That'll do.' or 'Good enough'. I like to think of this as 'perfect enough'. That term reminds me that there are decisions to be made but those decisions may not always lead to the best solution. We'll never reach perfection but resources, artistic choices and time constraints will force every artist to finish a piece sooner or later. Its the rare artist that looks at his work and is completely satisfied with it. Most can always say... "If I had a little more time" or "I really would have liked to do 'this'." As a one man show... the eye darting... just doesn't register with me. Now about that butt... I haven't made a study yet of women's butts... this is sure to get me slapped before I learn much more about that. Hmmm.... Yves already hit on the 'appeal to authority' thing. I was thinking about that today at work regarding this very topic. When critiquing a work it's not enough to appeal to authority... examples... references... experiences... that'll speak volumes. It's all well and good to say 'I don't like the eye movements' but its even better to come supplied with something to back things up. A well informed opinion is still just an opinion without that. If its just opinion... no need to say anything further. If its opinion that is backed up by references... then the opinion carries weight with it and will educate all. I'm sure you'll even get serious gratitute for your effort. I'm sure that'd be the case with Stephen. My question was just a simple one concerning the criticisms of the eye movement in 'Briar Rose'. I'm sure Stephen would appreciate any and all information that would help improve his next effort. I know I would. I like to learn some of this animation stuff... it might come in handy one of these days. Mike and Robert have hit on some aspects of the eye criticism. Looks to me like Stephen got to that inevitable point where he pushed the button that said, 'perfect enough'. Best, Rodney P.S. to Yves: Someone saying "I find I usually disagree with him (meaning you)" can be considered a badge of honor too ya know. Especially if you are often right.

Heck no! But they will be the most vocal about it. I think its safe to say that the creator of the work is always right. Its their interpretation the audience will accept or reject... agree or disagree with... mistakes, ommissions and all. I'm thinking the audience is giving 'Briar Rose' a standing ovation at this point. Thousands of thumbs up from the critics is generally a good sign. I still have to watch the trailer with popcorn to get the full effect. Edit: Yves snuck his post in. Just want to say 'Well said'. Thanks for that link. I was hoping to find something that concise instead of the one I posted. I did find a lot of information on the eyes though!

Drvarceto, Even if those expectations may be in error? I realize the answer to this questions is often yes in many cases... frustrating. I admit I know little on the subject but my intuition is telling me the critics may be in error. Of course... I may wrong too. Its still worth looking into it a little as there is much to observe and learn. FACIAL ANIMATION SYSTEM WITH REALISTIC EYE MOVEMENT BASED ON A COGNITIVE MODEL FOR VIRTUAL AGENTS* In the end I'm sure Stephen didn't get everything animated exactly right all of the time. But he sure came close. *All Caps are the authors not mine. Edit: I just thought of something that could easily get confused and look like it works against the darting of the eyes. The eyes do (and should) travel in an arc *with the body* as it moves. If you take the individual frames of an animation/film and place one dot on the eye that dot should travel in an arc as part of the body movement in the shot. If the eye darts around outside of an arc then it won't generally read well in action. While I haven't gone back and looked at 'Briar Rose' with an 'eye' for that I'll bet we'll find nice arcs there.

Would somebody PLEASE explain to me what is wrong with these characters eyes in this animation. Anyone? People have mentioned the darting of the eyes... um... still don't get it. Do these people ever watch real eyes in motion? Maybe people just want something more like Colin Freeman Uber eyes? Am I missing something here? The eye movements seem perfectly suited to the animation and do a wonderful job conveying what is in the mind of Briar Rose. What an awesome job conveying the first part of the story with no dialogue at all. Beautifully animated eyes and all. When watching again the eyes have become a particular favorite. And great job at hinting at the wonderful things to come in 'The Adventures of Briar Rose'. That dragon at the end... bet he's got a story to tell. My daughters Jessica and Julia just watched and they say, "Make More!" hehe

John you've got to be the poster child for 'Economy of Splines'. I've never seen anyone do the things you do with such simple geometry. Its always a treat to see your posts because you never fail to surprise and inspire. This latest piece looks like something out of 'Jason and the Argonauts'. Very cool stop motion look to that rendering.

I don't often bring images/animation out of the New Users Forum but from time to time someone posts something that I can only call inspirational. This is definitely the case with Glen Clarkson's 'Cavalcade of Rabbits'. Not only did it make me laugh but it was presented in such an innovative way, all while demonstrating the basic principles of Exercise 4: 'Move It', that I felt it needed a little promotion. Little touches like this really put the spotlight on what a little time, serious thought and effort can produce. Is this Showcase material? Maybe not. Yet here in its simplicity its great stuff never-the-less. Glen is still refining the basic idea as far as I know. Keep up the great work Glenn. So, I'm proud to place in the showcase this animation. Its simple... its short... its... Glen Clarkson's "Cavalcade of Rabbits" Note: I've uploaded the animation to the Hash Inc site to conserve your bandwidth Glen. Hope that's okay with you.

It took me a second... but... I got it. Martin's lovely wife is quite a penguin lover. As demonstrated at Hash Bash this past spring.

Thanks Ken. I had been wondering.