martin

Don't use booleans... Too many caveats. This model looks great.

Okay, go here and sign up: http://www.hash.com/forums/index.php?showtopic=23554

For Gareth's benefit, I decided to research the WIPO treaty concerning "copy protection." In the U.S. this is controlled by the "Digital Millennium Copyright Act" (DMCA), Title 17 Section 1201. "No person shall circumvent a technological measure that effectively controls access to a protected work." It goes on at length to plug almost all loop holes, including "fair use." As this applies to the U.K., see Cyberlaw 2nd Ed., Bellia, Berman, Post, page 285, "The DMCA's anti-circumvention and anti-trafficking provisions were ostensibly intended to bring the U.S. into compliance with the 1996 WIPO Treaty, which requires contracting parties to 'provide adequate legal protection and effective legal remedies against the circumvention of effective technological measures that are used by authors in connection with the exercise of their rights' under international copyright agreements. WIPO Treaty, Apr. 12, 1997, art. 11, S. Treaty Doc. No. 105-17 (1997)."

Unless you're an Intellectual Property (IP) lawyer, Gareth, please keep your legal opinion to yourself. U.K. IP laws are hardly different from U.S. IP laws, and both countries are members of WIPO (World Intellectual Property Organization). In your defense, in the U.S., circumventing copy protection is a federal offense and can result in jail time. The laws in the U.K. aren't quite that restrictive but "software licenses" have plenty of supporting case law that restricts "fair use" copying in the case of copy protection. You already get A:M at a ridiculously low price, you should be more than willing to pay for the convenience of a dongle.

That's awesome for a journeyman piece: good work, good followthrough. There's glimmers of genius in there. You should animate a scene or two on TWO and see if you like it.

Russel (Russel Nash) Nash for modeling and texturing. Carl (cehenderson) Henderson for prop modeling. Joakim (Mr. Jage) Tobiasson for prop modeling. Jesus (Shazam3D) Marino for modeling and texturing. James (Neu_Type) Glover There's plenty of modeling to do in Mrs. Yoop's Castle. Go to this thread: http://www.hash.com/forums/index.php?showtopic=23554 and read all the messages, but especially the first message, which contains two links: one is Alain's designs, and the other you should really watch - the animatic, and it is filled with models that need to be built. Pick one, post that it's yours, and post your work to the thread.

Okay, all of you volunteers, we're rolling now. Please go to the following thread and pick out an assignment. http://www.hash.com/forums/index.php?showtopic=23554

I'm a Judge Dredd fan; I even liked the movie, (shush, don't tell anyone). Good start on the bike.

Well.. originally the hippogyraf was Ozma (in disquise). I didn't imagine that did I? The Hippogyraf is the "Eyes and Ears" of Ozma, and teleports Ozma - but he is not Ozma.

YEOW-ZA!!!

Russel (Russel Nash) Nash for modeling and texturing. Carl (cehenderson) Henderson for prop modeling. Joakim (Mr. Jage) Tobiasson for prop modeling.

Russel (Russel Nash) Nash for modeling and texturing. Carl (cehenderson) Henderson for prop modeling.

Okay, I've got: Scott (Scottj3d) Holt for modeling and texturing. Charlie (oakschas) Oakley for modeling. Gareth (Gorf) Hardy for prop modeling. You guys will be contacted soon.

Don't worry about the feet slipping, (you really should track down what the problem is though... Could be the "stride" you built; could be the "stride length" you set; could be you don't have "use stride length" turned on; could be you didn't use the "stride" feature). The character is so simple and unadorned, and the action so perfunctory, that a little foot slipping is excusable. I got the gist of the storyline, and that's all that counts. However, when (and if) you do want to start going down that route of increasing artistic complexity, then you'll want to redress the feet slipping issue. I believe that animation comes first (that's why this program is called "Animation:Master"), and you're satisfying my visual needs but other people might be more critical of the art. That's a decision you need to make for yourself. If you are tempted to try and improve the draftsmanship of your images, I recommend trying only one or two new (and more difficult techniques) per animation. That way, the animations keep rolling out (the important thing), while you're learning. Some people get so caught up in the "look" that they never animate a d**n thing. That's okay on it's own level but like I said, this program is called "Animation:Master."

Press a couple times... Does that fix it? If so, don't worry yourself, it's just the coarse real-time subdivision that's allowing the eye to poke through the lid.

D**n! (can you say that in this forum?)

cirque del soleil

This is a very fine dragon. He needs to be hooked to the proverbial "Make Dragon" button: I hope you plan on donating him to the Extras DVD.

Right now we have the exercises in "The art of Animation:Master" (TaoA:M) which is what this area is for! Please complete those exercises before distracting everyone with your premature questions. When you have your TaoA:M certificate, then move into the "Students" area and complete "Animation Boot Camp" (ABC) to get certified there. When you have completed the basic introductory A:M training materials, then take your questions to the "Animation:Master" area or one of the specialized topics of this forum. If you have a problem with these recommendations, please contact me personally. I have been through the excercises in the book, and it didn't cover internal patches, the brick material, texturing (other than decal and basic colors), the included shader plugins, etc... I didn't realize asking questions in a New User forum was considered distracting... I'll try to keep my questions to myself... Thanx to everyone who did help me out so much tho... Is this contacting me personally? Please, let me see your TaoA:M exercises. I watch this area religiously, and I enjoy everybody's attempts: I did not see yours?

Right now we have the exercises in "The art of Animation:Master" (TaoA:M) which is what this area is for! Please complete those exercises before distracting everyone with your premature questions. When you have your TaoA:M certificate, then move into the "Students" area and complete "Animation Boot Camp" (ABC) to get certified there. When you have completed the basic introductory A:M training materials, then take your questions to the "Animation:Master" area or one of the specialized topics of this forum. If you have a problem with these recommendations, please contact me personally.

Uhhhh... When this guy starts moving, he's going to be stunning!

Mike, it sounds to me like you just volunteered to write a new "Grass" tutorial when you figure this thing out.

Making grass with Hair has some serious drawbacks. How much grass are we talking about? 1,000,000... 10,000,000... blades? Calculations and rendering on those kinds of numbers don't come cheap. You'd have 99% of your computer's horsepower doing something that probably only has secondary interest in your scene. For grass, lower the density (a lot!), and try to use a grass image that is wider (to fill in the "spareness" resulting from lowering the density). The grass image should have multiple blades of grass; a clump of grass. Also, grass isn't like someone's front lawn in the suburbs. Have a couple (3 maybe?) Hair systems of varying grass types: i.e. dandelions, short grass, tall grass, (and keep their densities down!)

Fame is good.

We disagree but that's art. You forgot to mention Glenn Fabry?! He also does the hyper-real look using real people. In fact, he paints himself! (That's why I mentioned you doing yourself - it would work). I don't think the animation depends on rather it's hyper-real or PJCesque - but BVH motions are "real," in the sense of the word that they are captured from real people. The reason I was suggesting "hyper-real" is because I could pitch that look to DC. Alex Ross and Glenn Fabry are the most prestigious looks in comics.