Stuart Rogers
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Posts posted by Stuart Rogers
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Nice design - it should look good fully feathered. If you're new to A:M and you're planning on animating this bird, it might be in your interest to occasionally post wireframe or shaded-wireframe images. That way the experienced old-timers here can point out any splining that might give problems when animating. It's better to get it right first time than to go back and fix so much hard work.
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Giraffes have legs and bodies. Ooh look! The manual has a tutorial on making a giraffe!can someone tell me how to attatch objects together? ex: leg to body -
The Tardis is Dr Who's spaceship/timeship. It's supposed to blend in with it's surroundings, but its chameleon circuits don't work properly which it looks like an ancient police phone box.i have no clue what the tardis is but its still cool -
I was disappointed when Christopher Eccleston pulled out after doing just one series, but his replacement (David Tennant) has been doing a fine job.The season finale here in the US ended with the Doctor changing to a younger version (different actor.) I hope that's just temporary, cause I like the character that carried the season. -
And for an encore do we get the Cybermen or the Daleks?
Last Saturday's episode (in the UK) had both!
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Looking good! I particularly like the way you keep Ebon moving in the background while we're focussing on Monk getting to his feet.As tediously simple as this half-shot may appear, setting it up was no picnic.I have two suggestions you may wish to utterly ignore...
1. It might be more dramatic if the umbrella ends up closer to the camera. Make the viewer recoil from the impending impact and he'll feel more involved. Don't worry if Monk can only reach the tip of the umbrella from where he stands - a lot of people won't pick such things up directly but will grab the tip end and slide it closer before taking a firmer grip.
2. When he stands up, have you considered letting him stagger back slightly, to rest his weight against the wall for a moment? The previous action would have played havoc with his blood pressure, and getting to his feet after such exertions could leave him momentarily dizzy. (Well, it would leave this out-of-shape critic very dizzy!))
I look forward to it!Anyway, be sure to stay tuned for the next riveting installment, in which someone bends down and picks up an umbrella! You won't want to miss it. -
That one would actually make me less sympathetic to the driver of the green car. She appears to veer sharp left *after* the truck is back on the right side of the road, such that she increases the chance of an impact. Maybe that's how it really happened...
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Unless a modification is deemed critical, perhaps it should be simply noted. Sometime towards the end of the project they can be revisited. This way all the accrued modification requests can be done at once. This would minimise disturbance to all the people using those models during production.With this, I agree. There should be a stop point. -
That's because we all thought it was a time travelling truck similar to the car in Back To The Future. Hey, that could be a great defence:I was surprised no one noticed the truck not touching the road in the begining of the clip.....Defendent: I was just coming back from 1953 and it's not easy to keep on the road as the earth's rotation has a slight random wobble that accumulates over all these years.
Prosecution: You have a time travel machine in a truck? Why d'you build it in a truck?
Defendent: Cuz DeLoreans are hard to get a-hold of these days!
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Good! We can discuss the subtleties until the cows come home and still be able to pick holes in each other's work, but the bottom line is whether or not the customer's happy.I spoke to the Accident Reconstructionist this morning..... he is initially pleased with what he has seen. -
How about having the door swing shut somwhat in the moments leading up to this clip? (Doors attached to moving objects do have a tendancy to swing shut sometimes.) It would mitigate the breaking of the silhouette rule, and it would give the right hand something to do in opening the door again.The right hand does need something to do. I don't know if it would be possible to use the right hand to put the heart in with where the door is. -
'/'In the cloth-video-tutorial from hash, I saw and heard about a function called: "select everything attached"...What key is that? I only know the ',' key for the whole spline, but what do i have to push, if I want everything attached?
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For planar decals I would suggest a flattening in a pose would be better than flattening in an action. That way the flattening stays with the model (it shouldn't inflate the model size by very much at all), and if the mesh is modified then it will be easy to position any new CPs/splines in respect of the decal (i.e. in UV-space).Flatten pose?
So *that's* what you were doing during your hiatus from the forum!?just paint a clown face on the queen and laugh and laugh... uh... sorry.
Surely you have a copy of Jim Talbot's excellent tutorial on your hard drive? There's a link to it on the ARM. Watch it a few times, then try it out. It truly is an excellent tutorial, and you'll end up wondering why you found it all so difficult before!I find often that the flattening and decaling process is WAY harder than actually creating the darn decals.
Yes, but you do it so well.I am rambling... -
A little too much...? [sFX: Stuart slinking away]- "squirt" of the green car crossing the center line has been mitigated -
Every now and again I find myself commenting upon aspects of TWO that crop up. As I do so I am very much aware that I'm not actually a member of the TWO project, and I'm concerned that I'm gatecrashing someone else's party. Who am I to pass comment on TWO development if I'm not actually a part of it?
What do TWOers think of non-contributor contributions? Should I butt out or are my two cents welcome?
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I like it except for the snappy turn. The dialogue, nose sneer, and finger roll suggest (to me) that permission is being given grudgingly, and I think the snappy turn doesn't fit into that. If I was in that position I would take the time to look directly at Woot with such a look as to make it obvious it was a reluctant "very well".I like it - love the nose sneer, finger roll, snappy turn -
If you haven't yet created a choreography, do so by double-clicking the choreographies folder in the Project Work Space (PWS). This should open a window showing the camera's view of the choreography.
To place your model into the choreography, drag and drop it from the models folder (in the PWS) to either the open choreography (in the PWS) or onto the choreography window.
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If there's a way, I don't know it. Maybe it can be done with materials, but materials are a bit of a black art to me.Can I just add film grain to the vehicles without compositing? -
None of that looks horribly wrong to me. The only part that I find doesn't ring true is the veering of the green car before the impact - it seems to accelerate once its front wheels have crossed the yellow lines. (But then, maybe it really did that.)There are a bunch of things to fix on it.- the spin of the green car
- how the truck sits wonky on the side of the road
- green car noses too far
Nice lighting - a touch of film grain and blurring (on the vehicles, not the real-world imagery) would really make them blend into the scene.
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Or make the Action as short as possible, insert it into frame 0 of your choreography and set "Hold Last Frame" to ON. That should survive any changes in choreography length without maintainance. (I haven't tried this with the TWO models, but it's the approach I've used in my own work.)The background is disappearing because the throne room assembly action only goes to a certain frame range... up the ending frame number to one beyond the choreography end and it will be fine. -
I find this kind of thing really hard to believe. I can understand the idea of looking away from straight-on as a mechanism to avoid looking at others for whatever reason, but the idea that people naturally look in specific directions depending upon specific states of mind is laughable. I reckon the most likely determinant of where someone looks is by far and away context, their surroundings.Edit: Here's an eye direction graphic. -
Make sure you have the 'advanced properties' option set, so that when you click on a chor object in the PWS you get a little triangle. Clciking the triangle reveals various properties for that object. One of those properties is the 'Active' flag. Add keyframes for that - an active object gets rendered, and inactive one doesn't. Add magic fairy dust to hide the transition...2. Animating a prop that pops up in one area and then disappears and something else pops up in the same location, like magic. For instance, a frog breakdancing and then instantly disappears and a prince pops up in the same spot. -
Good! This is why I as a non-TWOer took the liberty to vote for Heck Yeah! Apart from the casual interest I have in watching this project, I would vote for anything that focussed Hash on improving A:M's usability. Flashy features are one thing, but software that 'just works' counts for a lot in my book.In case anyone's wondering - I'm having a great time working on the movie. This is what writing Animation:Master was all about! -
I'm a stationary engineer too - so stationary my colleagues often think I'm asleep at my desk.(I'm a stationary building engineer)
How do water smears affect efficiency? If it's noticeable you could always guide the waste water down the wheel channels. (Maybe you do and chose not to animate this.) If there's a water shortage you could also collect that used water and filter it before pumping it up for re-use.Cleaning the dust from such a massive solar farm proved to be difficult, so, I devised this hi-pressure water sprayer that guides itself on the panel and the operator simply pushes the pressure line up and down the panels.
How do you safely move the trolley ffrom one column to the next? Given some clever animatronics and the budget of NASA you could design a system that hops from column to column all by itself.Yes I did, the problem is it gets hard to control after 10 feet. Those panels are 30 feet up.
Fun project needs some crits/help
in Work In Progress / Sweatbox
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