ZachBG
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Posts posted by ZachBG
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Erm... no, I think that would be more trouble than it's worth; one more camera to deal with cycling through in a chor. window, and more clutter while animating unless it were made invisible.
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Wow. I had no idea we're so far along! That last image is now my desktop wallpaper.
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All the varieties of Final Cut are HD-ready. I still think we should go for it. Even if it means that the editor uses--gasp!--a Mac.
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Excellent!
People have already pointed out the ambulance issues. I would add that his hands trouble me. It seems like they should be locked down when he's holding onto the truck... it'll make things seem more 'solid.'
You're one of the best CGI lighters I know, BTW. That scene looks gorgeous. I hope, if you finish this year, you'll consider doing some lighting for TWO. (And animation, too, of course!)
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Hey:
Have you fooled with the motion graphs of the feet (translation especially)?
Because stride length and path constraints work in a linear fashion, you need the interpolation method on the feet to be linear while they're on the ground; otherwise they'll appear to slip.
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Do my eyes deceive but is that a shadow of the hypogyraphs wing? That's only made with one patch thickness. Didn't that used to render as transparent? Are cape shadows now possible? If so, cool!
Ken, it depends on the lighting--raytraced shadows always work with single patch thickness. It's only Z-buffer shadows that don't.
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There was one in the Stereoscopic Anijam. It's A:M 2001, but you could copy/rotoscope it.
Actually, it occurs to me that since I'm using my TSM-rigged Shaggy, I could probably just swap him out for the AM2001 Shaggy. Did you animate that run, Robert?
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Hey folks--
Anyone got a spare run cycle for the TSM1 rig lying around? If so, and you're willing to share it, please email it to me at zach AT brewstergeisz DOT cjb DOT net.
Or, just post it here if you prefer.
It's for my vodcast and you'll get credit. Muchas gracias!
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I'm always afraid to look at your stuff, Shaun, because it reminds me how much better I need to get!
Stellar work.
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Because I can't leave well enough alone, I hacked together some face controls.
Scarecrow tells a joke.
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Hey there:
Nice work. The daylight sequence and the water are fantastic (although I think the bird flying animation could use some work).
But I can't read those words at the bottom of the sea! You could add a light or two from different angles and that would help a lot.
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I don't understand the nulls fetish. Could you elaborate, Frank?
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Here's an hour-ish of work, as Scarecrow gets ready to warm the crowd up for Tin Woodman...
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Hi all:
I finally got around to compressing the final version of Soap Opera. For those who don't know, it's a five-minute slice of Mozart's Don Giovanni performed by the denizens of a bathroom. "You'll never look at Pert Plus the same way again!"
This version premiered at the D.C. Shorts Festival in September 2005. (I think, technically, it was first shown at the Hash SIGGRAPH party, but I won't tell D.C. Shorts if you don't.) Its next appearance will be at the Cleveland Film Festival this March.
I wrote and animated it, Jeff Lee produced the music, and we both modeled it. Special thanks to David Rogers for an exhaustive lighting critique (which I tried to implement and probably messed up royally). You can check the film out at:
http://amfilms.hash.com/search/entry.php?entry=1027
Enjoy...
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Well, I really should attempt something more useful, but my kids gave me a cold and I'm feeling completely uninspired, so the best I could come up with was Squetchy Thom on an acid trip. Insert your favorite late-sixties music here...
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That's really your first lip sync ever? How'd you get out of it during Duck Sauce?
Nice job... but you knew that.
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Very entertaining. One thing though....isn't the head in the cupboard meant to be Nick Chopper's(aka Tinwoodman) real "meat" head? Or am I confused again...
In the original story it was; but since Chopfyt has Nick Chopper's head in our version, it can't be.
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Zach, I noticed that "punkin' head" seems a bit baggy... in his skin... while "Sqetchy thom" (in the last tumble mov) didn't seem to have that problem.
I'll have you know that punkin' head tells me he's VERY comfortable in his own skin... oh wait... that wasn't what you meant?
Yeah, I don't know why that is--all I did was bring the arm and leg squetch controllers down to their most squashed level. Maybe it's inherent in the way the squashing is achieved? I don't know. But they're both the same model, just one is orange (and has an extra decal).
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Here's my latest test animation, using the 28th version.
http://www.hash.com/users/zachbg/MonsterMash_mp4.mov
I noticed some weirdness with IK/FK blending of hands under extreme squash conditions (watch when the little guy grabs the liftgate), but that may not be an issue with the new switch controls.
It's a lot of fun to fool with the stretchiness.
Does the baseball cap have a control? (I know that's not an issue with the rig, just the model, but the baseball cap bone that I found doesn't seem to do anything.)
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I figure I should add at least one more spine segment as well, how many segments do you want the standard to be?
/me defers to someone who actually knows something about rigging
Please understand, I'm not trying to turn your rig into something it isn't... just offering ideas and so on.
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Yeah, I was talking about how things work in the Squtech rig [sic]. There's a pose slider to control stretch in TSM2.
You could use manipulator options to have bones like "hips lower controller" that don't usually translate not be able to translate. left_toes_IK_manual_pointer is another one I noticed.The "hips_lower_controller" does allow for the squetching of the lower torso...I could put a "rotate only" on that and put another null that can be exposed when squetching that. I'll do that.
No, no, no! Why have two controllers for a function that is currently taken care of by one?
Here's a character with the kind of spine which Robert is talking about, where the hips and the torso can move indepedently (translation as well as rotation).
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Thanks, David!
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I think implementing this with our models is important. Especially if we want to have snappy cartoony animation. To have an entire model wieghted like this it needs to happen before all the phonemes are created and as part of the rig installation. It's amazing on a character's body and it saves the facial animator a lot of work.
All that crazy stuff they were doing with the characters in Madagascar and The Incredibles...we can do that.
I just wanted to add that not only can we do that--I would argue that we must do that. I was watching Toy Story again the other day; the story and characters are as wonderful as ever, but what was amazing was how much the visual vocabulary in CG has changed. Some of the movement and rendering in Toy Story looked like it was made with--dare I say it?--POVRay.
Frank is right on here--the more organic, smooth, and stretchy our rigging is, the better the animation will be.
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Here's a test. This guy got too much coffee.
First impressions:
It's really hard to get a round O with this pose set.
I had trouble remembering which control was which, even at the end of the session. (I was especially prone to grabbing the tongue control when I didn't want to.)
More extreme poses, please! Especially the brows.
Dragging the nulls around past their "area," even though they're translate-limited, does create channel motion beyond the limits. This isn't a big deal until it comes time to do interpolation and you get bizarre "snaps" as the null moves back into its allowed area. It's an easy fix, fortunately (just grab the null at its keyframe and nudge it a bit to get the channel to acknowledge its actual location), but I think if we had visible boxes to show the limits, this would be less of a problem (since people wouldn't be inclined to grab the null and pull it beyond the limits).
Dedication
in TWO: General Discussion
Posted
I second the motion.