dblhelix

it's a little bit devastating how good these tutorials are. mountains of gratitude! thanks Roger for sharing your problem and for a fun char to learn with. these tuts are perfect for non-tech intuitive newbies they're like an implant in your visual cortex; information comes in comparative before/after chunks, letting you continue working by eyes alone knowing the numbers will simply just be there.

that's coming along fine! i find it helpful to slow down things that are supposed to be fast, and feel in the dynamics in the slower version then make strategic adjustments in the fast one. my first reaction here is expecting incidents; but it's so short maybe you're just getting there. danger would enter the fight if there was contact. from here, either her sword could be weightless which would show in her wielding it with extra wrist movements, giving more movement to the sword. at the end of a blow it would not stop then retrace it's last "steps" and then start a new blow. instead the energy would never stop, just change direction (in a large-ish rounded motion). or you could go a bit more newtonian, slow down beginnings and endings of movement and emphasize the blow by blow staccato. regardless the weight of the sword, it would show in her shoulders/upper back a little more. bit of rotation, that has follow through at endings, then leads the beginnings of blows. it looks so good you could benefit from just slowing down the pace in the expected=newtonian places - sword starting to move in new direction, heavy guy prepairing to change direction of movement? a little can go a long way. generally, dunno how long it will be? her hips demand a bit of worship: once finished with the major choreography, give her minute soft motion in lower back->upward in appropriate direction so her movement becomes as fluid as her shape. itty-bitty rotations would fit even a caricatyrized movement. her stance is from the newtonian world, her maintaining balance would be an ongoing miniature "wobble" of the hips countering armshoulder balancing placement. (that was edited so heavily read it again i see you're here)

this was helpful, thought about it and now know what happened: an extreme refresh problem. had trouble with ctrl+s not getting rid of the asterisks as well - and was listening to a cd in the laptop at the same time. since hair is so fast to preview, didn't even consider this, it felt like an anomaly. thank you everybody!

announcing "tidy" as my new favourite word. this might even threaten my biannual vacuuming thank you! second, hair=particles was on. i deletd the hair mat, saved model, saved project as, rebooted, made new hair and am not touching cull no more.

this is so weird i'm almost excited. 15j+ (no that's not the weird part); Tools>Customize>Toolbars> clicking the box for "Grooming" brings a tool set in view immediately. clicking OK makes it disappear. going back clicking the box brings it back, but only till i click OK. seriously! anybody? makes me want to write a camp fire song. second, slightly less exciting incident; hairing up an ostrich feather all's well, tweakin'&learnin'. wanted to test "cull hairs" what it does and turned it to 100%, hairs disappeared. changed it back to 50%, they did not return. rebooted a:m, hair's gone. hmm? any thoughts?

just, wow. took forever to examine all the detail at the edge of the light, how objects reveal themselves. really good lighting, couldn't get enough! if this is your ending, do let the camera linger, maybe with a near undetected sideways trolleying. that would also help bring depth. what a moment!

you sharp you, thanks so much! one extra param called "Elm", and the search gave results.

hi! this is a bit outrageous, but i'm wondering whether you remember writing about your bus stop project and feathers? someone complimented you on your materials in particular, you answered in generous detail, and then there was talk about the way feather "hairs" cling together; of every hair having more "hairs". i seem to remember an image of a white feather, but all of this could be faulty - i could be connecting details here that were not connected. on a couple of occasions i've done searches for this, coming up with nothing, so this is a bit of a last resort. have to ask.

stretchy bones and rigged skin. ok, i'm game. the piece of cheek would need to become narrower when Eugene -Osiris- opens his mouth and the piece stretches. guessing this would be a pose?

http://ariskolokontesart.blogspot.com/ someone alert del Toro. transcendental still life. the Eugene would be Osiris, based on a real mummy but with the green skin, the Ateph w ostrich feathers but no other props. aiming for immeadiate visual of death; he's the first character seen, rest are "run of the mill" skeletons whose timeless symbolic, emblematic value is not quite dead enough.

yup, late as well but happy new year!

considering a final addition to project; maybe making one Eugene a mummy. for the most part the skin would just sit there, but have a couple of large holes and not cover hands but end in a hard crusty formation. like a long sleeve. however on the face the skin should have prominent tearing at the mouth, with both hard and flexible behaviour - there'd be a nice, disgusting piece over the molars between a hole in the cheek and his mouth. this piece would stretch when he opens his mouth and have hardened crusts at top&bottom angles. the Eugene will be sporting the gentlemen's classic cloak with no sleeves. i've no idea how to plan, what to plan, or weigh pros&cons. is the solution some kind of model/cloth/smartskin soup?

perfect! thanks!

not the right forum but you've made my sky, http://www.hash.com/forums/index.php?s=&am...st&p=352938 i've this meteor crashing down, followed by a "time lapse"ish sequence where the entire sky is cast over, lightning strikes, clouds move left->right. while my resources are pathetic and by no means just, it's clear this is one of them Coincidences and i want it, just don't know where to e-mail!

already sang on another thread, adding a thank you for surreal inspiration!

#happy birthday to youuuu#

this is the anticipation part? page me for follow through.

select one cp in the model and the bird's eye will rotate around that cp.

robcat, if you have the time, i'd be curious to hear a little bit about your general workflow here. just broad strokes, planning, and how the shortness/bulk played out? good work!

wishing you many happy returns!

think of the ragged mass of criss-crossing lines that is Eugene's hand in a close-up, turning, trying to pinpoint the right roll handle then turning again to control the curl. all the while i could've selected the finger in PWS, hit r and used the blue ring...

lika a charm! seems timing was everything. that ol' poser. a rare tutorial, should be pinned or otherwise prominently placed. thanks so much!

and the link appears broken? tried brilliantisland, could not find this tut, tried the Ward shader but could not dl that either? is it just me again?

one cage, rattled, check! you're giving me ideas about how to direct fire. thank you!

hey i've got that one! thanks guys! i was wondering about x/y/z and spline behavior - in the tut it says mesh should preferably consist of squares, but i can make a half moon shaped cloak that'll still have somewhat square patches (by varying the density) but the splines modeled x-wise will hang in y when i drop the cloak on. am i crazy just thinking this or are you curious whether this might actually work?