Stuart Rogers
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Posts posted by Stuart Rogers
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That's a lot better!
The background hills look quite bright where seen through the front and rear windscreens. I'm sure this must be due to bright sky reflections adding to the transmitted light. I'm not sure what to suggest to fix that - as it is I'm feeling guilty for picking holes in your work when I know I wouldn't have the patience to get it looking this good myself.
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Those clouds have a nice style to them. The real moon wouldn't have such contrast through fairly clear air, but that's a minor point. Nice clouds.
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Where you're data's concerned, never ever ever rely on anything! Take back-ups all the time, and then take another.please tell me if i can ever retrieve my weeks of work! -
Yes. If you single-step through it then you'll see that on odd frames where a wing overlaps an arm or a leg, the semi-obscured part of the arm or leg goes very bright and uniform. It also appears on some frames of wing-over-wing. It's not on every such frame - it looks as if it happens when the offending wing is square-on to the camera.I can't review the clip at the moment but if you are refering to the tip of the wings, bending and becoming more opaque, that is caused by 3-point patches. I will be replacing the wings and will avoid 3-point patches unless they are very discrete and flat. If you are refering to the effect created when the wings overlap in the view I agree that it needs some work. It looks like it might be an additive effect. -
<grin!> Mostly when our government agency spending gets like that it's only an aspect of internal accounting, and not real.When the US gvt. spends $18,000 for a toilet seat, what's a Mylar for gift wrao? -
It's 'Mylar'. We used to have a stock of it in our lab - our remote sensing department used to use on occasion as they were involved in satellite instrument calibration. When our branch secretary retired we wrapped her leaving presents in Mylar (we were in a hurry and couldn't find any wrapping paper in time) making the wrapping far more costly than the contents.The gold reflective mat is called meylar (i think). -
The clouds moov a bit on the fast side (but hey, this is only a test). If the clouds are actually moving with any appreciable speed, it might look more convincing if you have some morphing of the clouds as they pass by, as what happens with differential wind speeds (wind often varies in both speed and direction at different altitudes). However, if the plan is to move the clouds relative to the moon to get a parallax effect, then don't bother.
The moon gets appreciably brighter when passin behind the clouds, which looks wrong to me. In general the ice crsytals in the cloud will act to scatter light, which would reduce the direct illumination.
Otherwise... I do like those clouds - they're nice an wispy around the edges.
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You think that's bad? I'll be no help too *and* I'll risk sending the thread off-topic by pointing out that there's also some weirdness going on with wing transparency about two thirds the way though...Wow, I was absolutely no help at all...not yet at least. -
I like the more saturated colours - it makes much more of an impact. Excellent.
The front windscreen still looks too clean. How about adding a dirt map outlining where the wipers have wiped? You'll probably need transparency, diffuse, reflection, and specularity maps for that (that soundds a lot but you can derive them all from one master map).
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Welcome back. It's a bit quiet here at the moment, but the Hash3D chat is getting under way at the moment.Will I am back I had a great time and the 3 weeks went way to fast. -
I've seen this. It usually crops up when I'm reworking splines that have been previously joined together with the shift key held down (so that smooth flow from one side of the CP to the other doesn't occur (on purpose, I might add)). It's as if the CP retains that mode even when detached from that connection and reattached to another spline. Or something like that - it's one of those things that hasn't happened often enough for me to clearly understand the problem, so I've yet to file a report on it. (I last saw it on v12.0 but I haven't done enough modelling in v13.0 to see it again.)This makes it so that it's impossible to connect another spline to them and have the two merge into one spline. -
That's a nice running-in-water action. The ripples and water droplets look good - hopefully you'll be able to get them together, along with lots of much smaller ripples for the drops that hit the surface.
I think you have too rapid variability in the mist at the bottom of the waterfall, though.
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Oh we can do better than that... The car's going fast enough to kick up stones yet there's no motion blur on the wheels... The front windscreen is spotless.... And... there's no driver! <grin!>I think I got a crit.....the windows appear to be too frosty. -
I like the mud along the bottom sill. Are all those stones on the ground modelled? If so - wow!
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The visibility control in the chor is a convenience to reduce clutter while you're working in the chor. Have you tried setting the emitter's transparency to 100% in its surface properties?I could not get the emitter itself to not render. It is turned off and does not show in the Chor but no matter how I rendered it, it would always be there. -
With those greying temples, Jim's looks more like Superman's dad! I like the bodywork you've done - those cloth wrinkles on the hips are quite convincing. Not sure about the mouth - I preferred Jim's.
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Try holding down the shift key while you're attaching splines. If you don't then A:M assumes the two splines are to become one continuous spline.Instead of getting a nice squared off spline, like I have in the other areas, I get this curved goofiness -
You're obviously confusing me with a Stuart who has some talent. Time constraints also stopped me from adding all the grime to my robot too. No matter - he's due for a service complete rebuild.
Hey Stuart .... You are one of my heroes in A:M... and i agree whit all your comments I should dirt scene before send it .... to redo the texture and render again would take another looooooooooooooooooooooooooooooong time ........ but they all look far too "showroom clean" for the location. A few dents, scratches and scuff marks would have worked very well. -
Indeed. They're expected to be announce at the WWDC on August 7th, but when they'll start shipping is anyone's guess.Now's not the best time to get a Mac tower, as the towers do not yet have Intel chips. -
That wouldn't surprise me - I've heard so many bad things about Norton on the Mac.This problem occured for me when I had Norton Antivirus installed- I uninstalled Norton, and the problem went away- -
Wow! None of my animated movies have taken this long to render, let alone a single frame.render time = 98h 22m
I'm a bad loser, so I'll pick a few holes...!comments are welcome as usual ....I really liked the brickwork. Even though the wall was square on to the camera, it still looks like it has some depth to it. I like the way you added some variation in the shapes and textures of the planks. The rusty pipework looks good too, although the rust effect was a little too uniform. The robots and their equipment didn't really work for me - the soft reflections are very, very nice, but they all look far too "showroom clean" for the location. A few dents, scratches and scuff marks would have worked very well.
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There are several possibilities. You could put a step change in your camera's position to do thte cut, which would allow you to render the entire animation, cut included, in one session. A variation on this is to set up various cameras, one for each shot, and then constrain a master camera to each shot camera in turn. Or you could set up one camera for each shot, render each of these out separately, and then stitch them together in an editor of your choice (A:M can be used for this too). The latter is my preference as it means I can decide the actual moment of the cut at the edit stage, with the flexxibility of being able to fade from one shot to another over several frames.
So it comes down to: do it how you want to do it!
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I haven't installed V13.0c yet, so this is a random stab in the dark... Compare the spelling of the MasterPrefs.ini filename on disc with the spelling in the dialogue box, and correct it if necessary. Not so long ago I came across a similar message (not sure if it was A:M or not) and the the file differed in that it used a different mix of upper and lower case characters.Whenever I exit the program I get the following error:/Applications/Animation Master 13.0/MasterPrefs.ini was not found
I've checked and the MasterPrefs.ini file is definitely there, i've got read+write permissions on it and i've even done a repair permissions on the disc.
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So far so good. You've kept the patches nice and square and regular, which usually helps keeping your surface smooth. You probably have more splines than you really need - I'm thinking in particular of those along the length of the upper beak - but I certainly wouldn't suggest you re-do what you've done so far. High spline density can be awkward to keep smooth when animated, but as beaks are rigid you have no problems here. And a coating of feathers will cover up a multitude of sins!I am kind of new to animating, so here are a couple of shaded wireframes.Keep it up - this is a good start.
"Ebon: chapter 2, scene 4" - anime-style two-minute short
in Showcase
Posted
EDIT: I see you've just addressed that in reply to KenH.
It looks good!Things I like:
* The new 'acting'.
* The detail of the scar in the palm of his hand.
* The design of the room - the interaction of light and shade is particularly apparent in this shot.
Things I'm not so sure about:
* The sudden movement of the camera at the end. I realise you're trying to give a sense of sudden surprise from an "almost POV" shot, but I found it jarring. I wonder if keeping it moving slightly during the head shot might be better - I find accelerating from a slowly moving shot easier on the eye than from a static shot. YMMV of course!
One question: how long are those strides? He does seem to take a lot of steps to cover that distance.
This is really excellent work, and I look forward to the next clip.