MJL

I was going to post with a problem, then I had a thought, went back, found out the cause and fixed it. Now I'm dancin in the street like I had two scoops of raisins! It's a newbie thing.

Good lookin' Bug. I think I saw a couple of those down by the creek, carrying off some small mammal.

That's the way it usually goes here too. When I go fishin I end up getting more bites from the insects than the fish.

Any articles about prehistoric fish?

Please don't stop looking. And please also, let us know when you find it. Nice work in this vid and nice chicks in the other post.

Okie Dokie, I'll figure it out. thank you Robcat and Nancy for your faithful replies. I shall overcome.

You would only see the movement in the reflection in the ball. the camera is already "aim at" constrained to a null which is centered on the ball. The camera is also constrained to a path ready to begin a "sweeping dolly pan" which takes place after Nigel takes a closer look at the ball. Nigel holds pose form frame 0 to frame 10 Only the camera moves. Between frames 10 & 1:10 only the ball & hand are in frame. During these frames, I wish to be seen Nigel's reflection leaning in for a closer look, then moving back to his starting point, just as the sweeping dolly pan begins. His movements will only be seen in the reflection of the ball. 0:00:00 Begin Pan 0:00:10 End Pan Camera still until 0:01:10 0:01:10 Begins sweeping dolly pan

I'm working on a pass my PTB entry. I have Nigel in this pose. I've successfully stretched out the keyframe sequence to give me a two second pause, during which I want Nigel to hold the ball steady (camera"Aim At Constrained to Ball) while in the reflection we see Nigel lean forward for a closer look, then move back to his original position. How do I get His hand and the ball to freeze in position when the rest of the body moves? Thanks

Happy Birthday! Thanks for the cake. Enjoy your Antiquity!

So who's the handsome actor you hired for the film?

Nancy, Gene prefers to render to AVI for posting to u-tube. He sent me the AVI and I used "AVS Video Converter 6" to convert it to QT format, then sent it back to him. I don't know why but the QT vid played a little darker than the AVI for me on my computer as well. I believe Gene is experimenting with lighting as we speak. I also noted that the file size is quite different. AVI> 14.3 Megs, QT>2.04 Megs

You guy's are havin' just tooo much fun with those BVH files.

Sorry Steffen

Rob, As I said in my 'Camera Actions In Chor' post. Your keyframing tutes helped me over a major hurdle in getting control. Having two tutes did give more perspective. When I first got A:M I was expecting a more linear learning curve and step by step instructions, but Animation Master is such a deep, comprehensive, and profound program that it has to be learned in it's own way. It took a while for me, as a newbie, to understand that. All of your tutes communicate information clearly and concisely. Nancy's right, a person just has to mess with stuff to make progress. Your tutes give us a basic starting point. Because of A:M's complexity if you were to make comprehensive tutes they would be ponderous instead of simple (Which is what us newbies need) and not nearly as penetrating. Don't get frustrated with us. Just make more. Thank You Robcat, Myron

File a report and maybe Stian can fix that in 15f. Now you have to give him helmet hair, put the vine on Xanax, and let us see what you had in mind.

Robcat, Nancy, Thanks again for your help. I watched your keyframe tutes and if you are a newbie reading this post, WATCH THOSE TUTES. After a couple of days of fighting things. It all came together. On one key keyframe I needed to switch to the "in all filtered channels" and then everything worked. Its just the opening, with no background, but I made tha camera do what I wanted!!! :D Next up lighting and environs. PTB_Opening.mov

Very Cool, Gene! Builds intrigue!

With a little examination of the proj file, Rob, the color coding of the lines are apparent. I'll play around with things. I could probably try to copy and modify those actions and constraints. But I wanna learn how to do it from scratch, myself. Unfortunately I gotta quit for now, and get ready to go play a gig. I'm anxious to get back to this and will post results. :D Thanks Again

You nailed it, Robcat. I'll use that technique to graphically capture and display my falling on my knees in blubbering gratitude, thanking you profusely, . . . I'll forev . . . . wait . . .I'd have to animate that first . .. wouldn't I? I'll examine that project file and implement the proper incantations Robcat, Nancy, Thank You Sincerely, Myron Here, have a cookie, there's a couple left and they're not even stale.

Believe it or not I almost think I understood you. For the first time ever I'm beginning to dabble with the "Graph Looking Window Thingee" in the PWS. I had it almost working, but things weren't happening at the frames they were supposed to, and the camera was jumping along the path. But as my golf instructor use to tell me: "I can tell you're getting better, your're missing the ball closer than you used to!" Am I right in thinking that I may need to refine some things in the timeline and the PWS Graph Looking Window Thingee?

When I got to step 3 and constrained the camera to the path it jumped to the second CP node on the path. How do I stop that? Also, do I constrain the Camera or the shortcut to the camera? Edit: Idiot me, it won't let me constrain the camera, only the shortcut. Thanks for gazing down from Mount Olympus. In the immortal words of Valentine Michael Smith: "I am only an egg."

Thanks again, Nancy. I'm getting in over my head trying to do a Pass The Ball, I have the vision in my head, trying to get it to come out my monitor. Those hot key moves are great to know, but my level of sophistication isn't quite there yet. Do I just key frame the camera (at frame 10), constrain it to the path, then keyframe it to point B at 30 frames?(along with the Aim At constraint) I'm after a continuous sweep.

Thanks for your response and help, Nancy. At point A there is a stationary rotate pan for 10 frames, then for the next 20 frames, I wish the camera move, following the path, { "aim at" constrained to the stationary null } ending at point B. *Null Purchased Separately LOL you edited while I was figuring out my screen capture software

I have two moves I need the camera to make. The first is a mere rotation pan done with key framing. But on the second I want the camera to follow a curved path starting at point A and ending at point B, using (I'm assuming) an aim at constraint. Is this done in the chor or in an action? Or is there some obvious "other" thing I'm missing? Thanks, Myron

What Baseball Team does he play for?