Rodney

Hehe! Cute little guy. Too short John!

Yes, there is a trick to posting larger animated gif files. The process is to upload the gif file first then go back in and edit the file linking to the initial animated attachment (instead of the generated thumbnail). Unless linked in a separate post this will results in two images displaying in the post one static thumbnail and the original animated attachment. The alternative (as you've seen) is to reduce the size of the file because if the images is small enough not to require a thumbnail the forum will just utilize a link to the original attachment. So for instance, to post the animation from your earlier gif we would Right click and select 'Copy image URL' or whatever equivalent in the browser of your choice. Then past that URL back into the post and submit: https://www.hash.com/forums/uploads/monthly_11_2015/post-3042-0-13788400-1447947855_thumb.gif Note that in order to copy the URL you'll have to have posted the attachment. At this point we want to remove the following text from the URL in order to get the full animation to link into the post rather than point to the static gif thumbnail the forum generates automatically. The text we are looking to remove is: '_thumb'. Thus making the URL posted into the image: https://www.hash.com/forums/uploads/monthly_11_2015/post-3042-0-13788400-1447947855.gif Which displays: Bottom line: URLs with '_thumb' at their end are statically generated in the background via the forums code. This is because the forum has a set limit for size of images shown in via attachment... larger images then get the thumbnail treatment that links to the full size attachment. For gif animation I assume the code grabs the first frame of the animation (as if the gif file consisted of a single image) and uses that as the thumbnail.

Thanks Matt. I agree. And that's why we have a WIP section in the forum in the first place. It's kind of like posting in a personal blog... but more interactive.

Ha! I remember that guy. Great character!

Thanks Robert your thoughts on dialogue align with what I think is important (priority-wise). I keep thinking that where it comes to mouth shapes I'm mostly insterested in a japanese phonetic approach to shaping (primary of the open/close variety). Namely: A (Ah - as in 'Ah, so that's how it's gonna be') I (E - as in the letter E) U (Ooo - long drawn out) E (Eh - as in 'Eh? What was that?) O (Oh - as in 'Oh, Oh, that's gonna leave a mark') Those five shapes are the primary open/close variations. The accents then are the consonents Ka Ki Ku Ke Ko Sa Shi Su Se So Ma Mi Mu Me Mo Ra Ri Ru Re Ro Ha Hi Fu He Ho Pa Pi Pu Pe Po Etc., Etc. M and N are mmmmostly closed (M usually being the initiator and N being the closer) I'd say a lot of personality shots can be pushed by moving the jaw slightly to the side (ala a person who speaks largely out of one side or the other of his mouth). As you well know, the joy of dialogue isn't even in the facial movement but in the accent of the body itself, with hand gestures and poses that convey something other than what is being conveyed in the dialogue. Too often we see dialogue heavy pieces that explain (or reexplain) what the visuals have already sold to the audience. Whereas the dialogue would be better served by revealing through words what is in the mind of the character that the visuals don't show. For instance, a disinterested character that is pretending to pay attention. Or perhaps better yet... as a foreshadowing of something that will be returned to later as we learn more about the character. As you say though, I think the simple open/close of the mouth can serve the job best in many cases. Then it's mostly a matter of tying the facial poses into the intended emotion of the character. This is even further demonstrated by the many shots that have a character talking while the camera is fully focused on the reaction of another person who is (suppose to be) hearing the dialogue. In those instances not only does the sound hit its cue but we get to see the reaction of what another character perceives concerning the dialogue. It is through that secondary character that we (in the audience) are able to assimilate the true intent of the purpose/existence of the dialogue. Time after time after time we see that most dialogue is unnecessary and yet scripts are still packed full of the stuff. I see two primary purposes to dialogue; the first is to intentionally lead someone astray (regarding the plot); i.e. to believe something other than that which needs to be reserved or withheld until later in the plot. The second is to clarify and or resolve such ambiguity so that misunderstandings do not happen. Of course, some dialogue intentionally leads us to believe that we, along with the characters, don't have a clue what has happened (i.e. dangling plots). Added: I do think that something most cg characters lack is ability to really exaggerate mouth shapes. We really need to be able to show those toothy grins, puckered lips and such to gain enough exaggeration to push those personalities. Of course this is mostly for characters whose performance will be highly energetic. One who isn't energetic might have very little mouth movement consisting of mumbling to themselves.

If he isn't he sure could be! His motto: "I may not be the brightest bulb in the box but some day I might be."

Possibly related. I think this is the guy who dares to wake Tinman up from his eternal slumber...

What I've seen of these is really impressive. I've been out of gaming since back in the D&D roleplaying days. I recall using my first computer to throw drawing of (mostly) non player characters encountered up on the screen so players had an idea what they were suppose to be seeing. It's a bit odd that just as computer gaming started to gain major traction I had lost interest in playing. The difference seems to be that I was more interested in creating the worlds than playing in them, especially those games that it seemed you had to study how the game was made in order to 'win' rather than just play it for the sake of playing. I wonder where I might have done differently if I'd had more interest in actually playing games. The thing that impresses me most about games these days is that they are increasingly worlds that are big enough to explore and not feel that you are being forced into a particular area of the game (more often than not because the other areas have not yet been created). One of the last trailers I saw for and Old Republic Star Wars game was really intriguing because it put a lot of time and thought into the storytelling. It's the one where the twin brothers share traits of good/evil and the twists and turns keep you guessing all the way to the end. So, as for what I think... I'd say what they've got going is 'Impressive'! With cinematic quality graphics running in real time... the entry level for game creation is really tough these days. Aside: Not long ago I had some interested parties approach me that wanted to create a mobile game. I can't talk about much of it because I agreed not to but the short of it is that almost from the outset it seemed that I was going to have to be the one that keep interest high and motivated folks to create the game. This is an all too familiar scenario and what can I say... if I have to be the most motivated person on someone else's project... that project is very likely going nowhere. Where the rubber hits the road, you've really got to be the champion of your own idea.

Decals work well with 5 point caps. Patch images... not so much.

Copy pasting almost always retains the 5 point caps/patches... Useful for speedily duplicating objects that are closed/capped. That way we don't have to go in to each object and close or cap. I mention this because this wasn't always the case in earlier releases.

Here's a cyclinder lathed with 5 cross sections and capped to make it look like it is filled with water. For objects that just need to be tossed in the background this approach can lower spline/patch counts considerably because not only are we limiting the number of splines/patches but we are reutilizing a part of them by capping them as 5 point patches. Worth noting: a downside of lathing with 5 cross sections is that the center of the model isn't always where you think it might be (i.e .when looking at the object from the cardinal directions; front, left, right and back.

Just when I thought I knew the limits of 5 point patches along came Malo and demonstrated that I didn't. Here's a single spline with 4 - 5 point patches. At the outset I mostly used 5 pointers as a quick and easy way to cap the ends of stuff. Lathe things with 5 sections and you can always turn the ends into 5 point patches. This is especially useful when the objects are small and the ends don't need anything fancy... just need to be capped.

I've been trying to convince folks otherwise for years... many years. I believe I first stubbled upon the capability when I was trying to close shapes for use with boolean cutters. The secret (usually) is to use the comma key to select the entire spline rather than another method to grab the whole thing. ALTHOUGH in current releases we often don't even need to do that. Here's a shot of some quickly splined/copy pasted flower petals... all are created via 5 point patches.

Thought I'd try to get the nose and ears mirroring the general style of the eyes... Tinman v4a is attached. Edit: Fixed the jaw/jaw bone and uploaded again. Added upper teeth as well. Tinman004a.mdl

Now with patent pending rivets...

With regard to the eyes/eyesockets perhaps a fitting something like this... (maybe even with a few tiny rivets)... Edit: Thanks William! The Tinman I'd really like to create would be short/tiny... cute even. But I have no plans to go there anytime soon.

Here's a slightly updated Tinman. Changes include: - Got rid of the 'Average Normals' - Named most of the groups - Modeled a slightly more proper jaw - the previous one wouldn't work mechanically - it was just there for looks The new one still needs a lot of work - Eye Sockets adjusted - A few other things I've forgotten To Do: - Place bone to be better aligned to proper pivot points - Figure out why reflectivity shows only when normals are inverted and disappears when pointing out (this is odd) - Eyebrows - Termination of neck and refinement of (inner) mouth - at that point I obviously just stopped modeling - Probably need a spline ring on the outside (facial surface) of the eye sockets - Possibly even a separate piece to suggest joining of real metal Perhaps this is a WIP after all... so all suggestions for improvement appreciated! For folks that wonder where this guy might fit into Oz continuity, I'd say this guy is a part of the Tin Army (from a very short and short lived story by Baum). As such we'll probably have to exchange the tin hat for some kind of helmet. Tinman004.mdl

I belive one of those groups has 'Average Normals' set to on. My memory tells me that it's best if that group is the first one in the entire listing of groups... and it is not. Maybe that relates to what we are seeing? When I toggle that Average Normals setting to 'Off' a lot of artifacts go bye-bye. For what it's worth I see a lot of named groups are in the wrong order too. For example the black surfaced groups for the eye sockets don't appear because they are overwritten later by the 'reflect' group. This is another area where learning occurs... if these groups were all named it'd be much easier to know at a glance what their role is suppose to be. Added: I note that the eye sockets should have another ring just inside to limit the extensive curvature at that location. Peaking those splines that enter into the eye socket removes a lot of unwanted orientation.

Stressed Out 5 Point Patches... it's a feature. ... like on the tip of Tinman's nose.

For those that are following... A MOX/NOX update was posted that incorporates the DIrac codec which reportedly shaves files sizes down dramatically. According to one source they went from a 178MB uncompressed NOX file to 178KB dirac compressed NOX file. As such, for those that use Adobe's AE, Premiere or Media Encoder downloading these alpha plugins may be well worth your while. Operational/Installation Note (should be stated in the readme file): The Premiere plugin goes in the common plugins folder (where it can be use by other Adobe applications) whereas the AE plugin must go into the AE plugins folder. You can operate without the AE plugin by launching the Premiere plugin (for instance to render through Media Encoder) through the AE UI. http://www.moxfiles.com/downloads/ According to Brendan he's set his focus as follows: "Next steps are to get multiple layers/channels working and make a Nuke plug-in."

Yes, that's what appears to be giving the render the discoloration (black detail) around the eyes. Although some of that is mixed in with the reflection.

Right after Tinman I doodled Froghead. Um... I have no idea why I splined him either. I think I just wanted to model a mouth with teeth. This uses a combination of A:M's sharpen and blur GPU post effects. I kinda like that color outline that sharpen creates.

Thanks Robert! I realized pretty quickly that I was going to need some eyebrows to really sell any emotion but haven't moved to that stage. As much as I've been thinking about faces of late it's almost enough to make me suspect I'm trying to build up my courage to get into rigging of a face. Yikes... am I really thinking that??? Could I be laying aside my laziness and moving toward those things that I really need to have in my toolset in order to be successful??? I have had the itch to work with some dialogue but not just for the dialogue's sake... more to better understand how to rig for expressive dialogue as well as to gain the experience. This is the second tinman face I doodled today. The first one having boolean eyesockets cut out of the face. I then realized that would never work as good as actual geometry for the eyesockets so shook off my laziness and dove into creating the 'real' thing. I've attached the actual model to demonstrate just how lazy I am. Please excuse the bones... as they are just quickly thrown into place. This may be the one with normals of the main head facing the wrong way... Tinman000.mdl

This is more of a spline doodle than a WiP. I started splining without any goal in mind and the next thing I knew I was modeling Tin Woodman. For the animation portion (if you can really call it that) I was focused on two primary things; what expression could I make with solid shapes that don't articulate (i.e. how much squash and stretch could I get with shapes that don't change) and could I get a part of his neck design to double as a hint of lower teeth when his mouth opened to a full extent. The basic splining followed an attempt to distill Tin Woodman down to the fewest lines possible for easy of drawing (primarily for storyboarding) that I never ended up using except for my own entertainment. Added: This model started having enough 5 point patches that I found myself wanting a shortcut key to activate that so... I've assigned 'Control 5' as my new shortcut keys for creating a 5 point patch. This is often invoked immediately after the period key is hit twice to allow for those pesky 5 pointers that don't want to activate. tinman revisited.mov

Easily accessible/transferable resources for the community (probably using SVN although initial tests were github). 'assets in the cloud' is a likely extrapolation of that although I have a long way to go to warm up to the idea of that.. With the added emphasis on access to optimal resources (for A:M).