Dearmad
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Posts posted by Dearmad
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The grain density makes it look like the photograph is about 4x4 centimeters in size- or shot with REALLY FAST film- which lacks verisimilitude considering the amount of light in the shot. I think it may be losing some detail at this point, but maybe that's the look you're going for.
Color balance is really pretty, and the rocks look- well, dang, like ROCKS!
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What does "suck eggs" mean here- I'm assuming it's figurative language.
John:
Wow... Hash has certainly improved the organization of the PWS, it sounds like. Amazingly good, and lots of them, improvements all around.
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My comments weren't aimed at someone already 20 minutes into production - it was about how to set up a project. The point being that you only set up only what you need for each shot and not necessarily and entire set.
Whatif's can go on forever. Whatif I now want a window in a wall and be able to see a beautiful vista outside....... Do I 'struggle' throughout a project for all the 'just in case' situations?
If you are rendering reflections then you only need an image of the set behind you - not all the set items themselves.
Designing a shot - Thats what your storeyboards are for. Note that I am not condeming anyone for buidling and using an entire set - I'm just making suggestions for simplifying things through preplanning!
Cheers
Luckbat:
AGH! That is SWEET- don't have that in 8.5. Grrr....
Higgins:
You need more than the set as an image behind you if there are actors in the reflections.
I think Luckbat in his project, and I in mine, are well beyond the point of what ifs. And in my experience, the advice I gave was sound.
I think I made it clear about setting up only what you need, but, in a rather complete set that can be a lot, nonetheless. Luckbat's (and alot of my sets) have a lot of elements to them, I guess.
I have storyboards. But when I hit the actuals of the set, sometimes the drawings aren't up to what I end up wanting and things change- in fact a lot of the time they change- sometimes small changes, sometimes so large I have to restoryboard.
I preplanned for 6 months, I preproduced for a year and a half. I'm well aware of the need to make only what I need and manage efficiently what I have made. I have many shots where if the camera moves even a pixel to one side it'll expose the edge of the set, for example.
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I thought about that, but decided I simply didn't have time to live my mortal life to not be efficient enough to generally edit in camera.
Since I have instant access to "dailies" (quick renders) and am editing together the film as it is shot (to see rhythm) I can go back and re-edit an animated sequence to stretch it out a bit right then, add something here, a beat there... the analogy to film didn't hold up for me- my actors are digital puppets at my total mercy and control, not actors; I can film them anytime I need to- I can even have multiple iterations of them (which I do) for various purposes. And I certainly don't pay them, so they work looooong hours... Also lighting conditions are static until I make them dynamic (losing light? Never!), things can blow up again and again until it's just as I want it, etc... it's a very different world of filming from reality.
I don't bother with another angle unless I think I want it while I'm editing- and even then I set it up from the originating shot but treat it as a completely seperate shot- meaning lighting will change if I need to get the right look, etc... I have a few cuts in my film like this, where I went back and needed another angle to intersperse. To look right even some animation had to change... I'm glad they're seperate "shots."
However, having said that, don't let me step on your toes as you move ahead- each person's method of approach will profoundly set the mood and tone for their work, and that is important to respect in art. Well, at leats I think so.
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Yeah, then I see the reason for your organiziation.
Whatever- selecting groups of shortcuts and being able to activate/deactivate them all is a reasonable feature IMO.
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Just some stray thoughts:
I keep "sets" stripped of lights and cameras in stock, as choreographies.
I pull one out when I begin a sequence, and light it for that use, decide camera angles (in accordance with storyboards, etc).
I don't light a set and consider that set "solved" ever. I will change lights from cut to cut within a set in the same scene, if it suits the scene. So I tend to not need a lot of lights in any shot I'm animating.
What this has done is built up a LOT of different lighting solutions as I've moved on- each shot has one, so I sometimes go back to how I solved it in one shot and reuse that in another by stripping out characters/actions and beginning from that other shot's point.
I've been operating in my film with chors as the main unit for filming- I don't use "projects." I don't understand why I would need to, since the chor loads up everything- models, lights, actions, etc... Don't need multiple chors going at once either, which is the only thing a project could do for me.
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I dunno... speaking from the perspective of about 20 minutes worth of completed animation in my own short, that's somewhat dangerous advice with a cost that can be more than it's worth.
Example. Say I've gone through a sequence, say 0101 to 0120, so 20 shots. By the time I get to shot 20 (0120) I realize I want a different angle on 0110 (shot 10). It's a simple change, really, but will show a totally different angle to the set (but within design limitations)... OOPS! NO props there, OOPS, no wall, damnit...
I find retaining flexibility between sequences can help me unify a shot sequence more than sticking to a rigid story-board plan can- well worth it, IMO. (Obviously, though, I began with the storyboard sequence to lay it out!)
Also, if you're going to be rendering reflections- most likely a lot of the props "off" camera, are actually still "on" camera.
It's much easier to just include the whole freakin set for any given shot sequence, since I'm not an arthouse with enough people in it to labor at will over things- need the software to labor. It doesn't slow down anything in the computer much at all, if you can toggle certain ones on/off while you work and then turn em back on when you're done.
Designing a shot is not as simple as one imagines when it comes to actually doing it for a film sequence.
'cept I don't understand the 10 cameras thing, I divide my sequences into units that only ever involve 1 camera, even if there's a cut/edit inside one of those units, a simple step interpolation solves that problem. The only time I have more than one camera is during set-ups where I *rarely* use a second one attached to some character to assist in animating, but it is VERY rare I do that, I tend to animate in in 2-4-6 or top views then check my shot camera, when in a chor, otherwise it's in an action.
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I don't use that many cameras, so I can't speak to that.
But I sorta thought they'd have the on/off and controlling props in groups bit down by the latest version. Hm. It's one of my pet peeves during set-ups and tests for really large sets too.
Looks, from the screenshot, like you may have it easier than me though- you can go down that list and click-click-click, I have CLICK on the item, click on active in the properties box, then go back up to PWS and click the next item, then back to properties... FECK!
I think it's good that Hash will be making another, larger film, so these types of improvements will have more meaning to them and impetus for them to add them into the latest versions than what just a few wacko crazies occasionally sending them an email about, "Hey could you add in...?" can do...
-a wacko crazy
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-ahem- are there going to be superheroes involved in this landscape at all?
heh heh...
I just love your style, man- it really is nice.
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Good visualization stuff, IMHO. Will help the "unimagintive" money holders see what you're talking about...
Gotta say that the colony bit is clearly inspired by Zoic style... you could whip the camera and DOF even faster if you're trying to capture that look.
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What could be quite funny would be a sort of show that the palace staff do to illustrate the story (because it's told so many times). They could bring on the props like a puppet show.
Edit: It could even be delivered in song or a spirited poem!
wow, I missed this idea- I like this a lot. This could be really funny and fun to animate. WOuld entail some creativity too.
However, at some point there needs to be a clear presentation of Nimee, I think... but then maybe not, maybe she is not revealed in the whole film until wee finally see her and the tinman meet again, would add to the suspense of the moment of finally meeting her, because the *audience* would not have met her "for real" yet until that moment.
The more I think about your idea, the more I like it; I would develop it along this path if it were my script. Although I'd still be open to some other approach revelaing itself to be even better.
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You could do both... which would up the ante- he tells the story and begins miming the characters, acting them out, and the image crossfades into the character, with him matched up as that character in that moment.
Make sense?
Heh, if the bone rigs are similar enough... reusable actions might be a place to start and save some animating time when blending between the characters.
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Mr. Jage:
Thank you. It's been a lot of hard work, and I appreciate that people like it. It was my intention from the beginning to squeeze out the purtiest pictures I can get from AM as far as I can with my skills.
Ken:
Yeah that's frame 0 after the preroll, a few frames into the shot and there's a force and an action to vary them that break it up considerably. That's when the scene actually will start. Also a few sparks fly up from the chimneys on occasion. You're good at picking out things that bug me too.
Ok, back to animating.
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Just listened to two pieces. Yup, Martin made a good choice. Great stuff.
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Sounds like a perfect belnd of influences! Checking out your pages now.
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I did, but maybe it's not reading strongly enough. I'll push the pinks and ambers a bit more in the morning light one.
Oh waitaminute, I forgot the red/pink tones completely, now that I look at the chor: good call! (And thankfully an easy thing to fix, because I'm an idiot. Thanks!
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Robcat: Thanks. Fixed.
Fishman: Yup, I was laughing at his watching those nullls too- like curious mosquitos or something.... And hey, when I post animations, I take what you all say seriously, so being a part of this film in that way is easy!
Hash Forum gonna be getting a credit, no doubt.Anyway, here's an update. Hope these aren't too frequent for you guys, but when I make progress, I like to share a little bit of it. So here's some stills from a montage-like sequence of Ravel driving to and from the front at various times of day. It's during this sequence that he almost kills someone (the 1916 road rage animation I posted).
Night, Afternoon, Morning times from top to bottom.
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Very cool. I love the cape- the thickness is nice. Like the style I'm seeing here a lot.
Where's this going? Is there a short you're planning? Did I miss a thread on that?
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I wonder. Those look like classic antennae. I used to always end up bending one... and then it would snap sorta and hang there...
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Yeah... patience... years of patience is what it's taken me...
Anyway, have fun when it arrives!
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Looking nice.
"Ran out of sky"
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Very cool. Interesting sense of framing, I like it. Going to use some DOF in the final renders? Is that even possible in toon render?
The burgeoning water drop made me poised to listen for the drop.
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Incredible stuff. Left sorta speechless...
Other Hero Rigged
in Work In Progress / Sweatbox
Posted
Burger related powers? LOL... Man of Mayonnaise causing weight gain in people who demand their food NOW, Lacuner Lass- girl of despair, causing strokes... can Between the Buns Man handle them?? Can Between the Buns Man overcome the stench of their nasty ways?
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Gasp! As Between the Buns Man pries open the buns of evil and FORCES his way IN to that evil lair....
Swallow! The drama down with a soda from Burger Fiend! (sotto voce) Available now from your local Burger Fiend franchise in small, medium, large, and just-too-damned-much sizes...