NancyGormezano

I think Vern might get some pointers to help solve his little neighbor "problem" next door. Or perhaps he might hire you as a consultant. Hysterically funny. Are you an old person? Only old people are that twisted. One crit: the title might be a give-away. Enjoyed it immensely anyway of course. And stay away from my cat. He has no sense of humor.

Manipulator on all the time? - if you mean when you select it - that would be nice - (note the arm manipulator just shows the z rotation) I also notice that the scale to reach gets in a funny state (both for arm and legs) - where it stops responding - for example in the image it shows rotation is set to 0 - yet it is still scaling to reach - even when I manually put in values for z rotation

yes I did download new version - testing in 15b

That can be easily done. I vote for that as well (assuming you're talking about the current bones prefixed with interface - could be z_interface_). I notice that the ARM scale to reach switches are limited to rotation only about the z axis, whereas the LEG scale to reach are able to rotate on all axis. Should they be limited to only the z as well? It does not appear that rotating about the other axis'es do anything useful. Except maybe screw something up as I seemed to get the left leg in a funny state that didn't clear up by zeroing values when I didn't realize that it was the z axis rotation that was required. Also might be nice if the Face Interface folder was moved to the topish of animation folder under the switch setup on/off (before hand gizmo?). But not a big deal.

That's an easy rule - I like it. However the leg scale bone switches also seem to translate - so it was confusing when translating them didn't do anything. As for turning switches on/off - of course I know that I can change the default to be off for myself. I was suggesting that perhaps the default for everyone should be off. Just like the face interface default is off. (and of course some will feel differently) I would assume most people animate with the face interface off (at least I do) and turn it on only when needing to animate the face. It's a lot of visual clutter. So similarly, I would think most people would want to turn the switches off to reduce visual clutter as they are animating the body. And when they want to change modes they would want the switch pose in the PWS to be readily accessible. Putting the switch setup folder at the top of the animation control folder - or even getting rid of that folder and just having the switch on/off pose at the top of the animation folder would make it more obvious, accessible - currently it's at the bottom. These are simple cosmetic interface changes that IMO could help reduce clutter and confusion and help facilitate a more fluid experience. I know I kept inadvertently grabbing the wrong switches/bones while trying to animate with the switches on. If the naming gets changed so that the switches appear at the end of the list in the channel data - as David suggested, helps the experience enormously as well. And turning the switches on and off would be easy, if the switch pose for switching on the switches appears at the top of the animation folder. Please don't take these tiny observations as negative criticism. You guys have done amazing work. I am noticing that the IK/FK switching stuff seems to work beautifully smooth among other things. Loving the options for arm, shoulder steadying as well. Love the stomach and chest controls - lots of goooood gooood stuff.

It's been a long time since I've looked at the 2001. It's not that the rig has problems really. It's a great place to start. It's an easy rig to learn. I personally did not like all the balance and steady options in the 2001 rig - so I turned them all off. For my own characters I made a modified 2001 (long time ago) and didn't implement balance, steady stuff as I found it it interfered with animating. When I look at your project, I notice that your bone skeleton for buggy appears correct - from a quick glance - but your relationships appear to be referencing the wrong bones. For example where you might have a bone labeled leftarmbone in the skeleton, the relationship is referencing leftarmbone2. I'm not sure how that happened - but you may have to go thru all the relationship folders and change the names to be correct or way more likely redo the constraints with in the relationships. It might be easier to start over with a clean project with only the boned buggy boy. No relationships. Then drag (use to be able to do that - haven't tried it lately) the relationships from an already setup thom? But don't listen to me - it's been a long time. That part of my brain has atrophied. But I'm wanting to reawaken it as I don't like not being able to install a rig like I use to quite easily. For now, we're being spoiled by the Squetch rig. So far the squetch rig appears complicated to install (I haven't tried). It has many more options, way more flexiblity and has wonderful advanced features for animating. It also is in a state of change.

I gathered that was what they were supposed to do - but it wasn't happening - I was doing a lot of on/off stuff and eventually when I first noticed them (under the foot) - they didn't seem to affect the scaling of the legs in any way - at any time - in any position. I will see again today if it it was just that I got things into a funny state - I will also re-review the videos. Scratch that - I just tried the leg scale switches again - and they require rotating instead of translating in order for them to affect the legs - makes more sense now - perhaps you should prohibit their translation ? as they work differently then the other switches ? Or maybe the other switches should be manipulated with rotation ? for consistency? (not sure if its worth the bother) I think renaming the switches is an excellent idea so that they fall at the end of the list - perhaps adding a simple prefix such as "x_" ?. Maybe even other types of channel data that is due to other mode switching should also be prefixed in some way to be out of the stream of those bones, nulls used primarily for animating ? I had found the switch control on/off yesterday, which is how I noticed alll those new channels - I would suggest that the default could be off eventually - since turning them off (from the default on) creates lots of channels - if one wants to use the switches - which is a very, very inventive idea - then one would be willing to work with all the channels. And if they are at the end - it would not be as difficult to wade thru the list. And I LOVE the IK squetch position (2%?) for the spine - TERRIFIC. And I agree - one doesn't have to use every knife - and its great to have choices. It's an amazing amount of great work youse guys. Thanks for your efforts.

interesting changes - love the big foot and the torso spine squetching choice (among other things) I have not been able to figure out what the leg & right leg scale to reach switches do? Are they supposed to be showing? I must say it takes a bit of getting use to with all those switches creating channel data. My guess is that simple minded people such as myself could decide before hand which way one wants to animate (torso/spine 1,2,3,4%, switch setup on/off) in order to avoid having that brain muddling long list of channels created. Very Nice work.

Perhaps you changed the size of your cps or made them the same color as your background? Go to Tools/Customize/appearance/control points EDIT: I see ken beat me to it.

I haven't looked at the 2001 rig (in a long time) - but I'll guess that you didn't either set up the ik leg constraints or turn them on, or set them up improperly ?

Thanks Ken. I am at the stage where each model requires me to re-think how best to approach it, and I'm hoping it might become more instinctive for me, if I gain insight into your speed methodology. So I will dig a little more for detail, and try to leave some blood (for the next round). As I said before, it seems as if you don't need to even think about how you approach a new model. When you say you get the basic shape of one side/profile of the face, What is your preferred way of working ?: 1) Which splines do you usually lay down first for a basic shape. For example: Do you prefer to create a rough half shape like a half egg, or cylinder that you mold into shape and then cut holes ? Or do you start with the center profile spline, and add features or do something else ? 2) In what order do you prefer to create the features: eg nose, eyes, mouth ? or ?? 3) What is your technique for checking with cfa ? IE, Do you save model first ?, and a) do cfa, undo the cfa, & then make changes to half the face, or b)do you make mirrored changes, then copy paste half into a new model? or c) ?? Thanks again ...(I know there's more blood in there... )

Thanks Ken for posting this. Very interesting. I was wondering if you might post a QT mov so that one could step slowly thru the buildup? I really would love to understand your approach to modeling for animation, and I would love to understand why you make certain choices. In other words, I would love to turn this thread into more detail about "Ken's methodology to modeling stylized human characters for animation" I have the book Stop Staring, and other modeling references, tutorials..I've studied the TWO models (spline densities, layout topologies are all over the place). They seem to favor dense models. I want to know how you approach it...I like your economic style. It seems to me that you now know instinctively all the answers, as witnessed by your super speed modeling skills, as well as understanding which choices are good for animating. I'm also studying your new models. I want to go with the least amount patches. I find it easier to modify. And I'm lazy. But I always worry that my skimpy approach is too sparse for good rigging, animating. I will try and formulate more specific questions in a more structured way ...so as to better pick your bones completely dry... Here's the first questions: (I have zillions more - but don't want to freak you out) 1) How do you usually approach a head/face from scratch (given a rotoscope): ie in what order do YOU usually go in order to model the head/face. 2) I also would like to know your preferred techniques (eg Ken's way of using mirror mode, cfa, magnet mode, etc) to modifying existing face topologies into a new character and still maintain smoothness Thanks again for posting this.

If the model is out of the field of view I'm guessing it won't matter (significantly) in the render times, as I believe there is some quick preliminary culling (visibility testing) that is done before computing the frame's imagery. I would guess this based on the fact that frame computation times change based on what's in view. But if models are Active it will affect the real-time response. Rather than animate the Active status - you will probably want to change the real-time draw mode to not visible (red line thru circle) for the model. (I haven't actually tested the first statement)

Great concept ! love the character. Will be fun to see it animated

No slam at all. ..I LOVE LOOPY. It feels familiar. Now as for Vern...it's almost like looking in a mirror.

Nice. What appears a bit funny to me is the depth of field. I don't think the chalk (foreground) should be so out of focus, I would expect a closer/greater range for depth of field, given how crispy looking the balls are - the background out of focus looks good. What would add more interest for me would be a reflection of pool player(s) in the balls - current reflection image is ok - but something that has subject matter would create a story for the image. Something like a player's face (eg a loopy John Pool-Hall-Afficionado Bigboote type) leaning over to inspect the precise racking alignment of the balls. I agree about adding grunge. Perhaps some pool hall smoke? for atmosphere. And maybe some beer hall smells. A realism artist's work is never done. But you're close.

Complicated materials will take much longer to render than decals. But with the new bake materials (which I haven't tried) - it may not be an issue anymore - I believe it would then make a decal of the material

This problem is looking familiar, and sorry, no I don't remember the solution - Have you tried a simpler emitter image ? and are you rendering with multipass? ie does same problem happen without multipass or no jitter and multipass? AND Very cute lamb and nice animation

looks very very good - Your animations are always in my list to be studied. I love how the birds are animated, great choices and execution in acting. Lots of life, comedy, smoothedy. One thing that disturbs me is the "illusion" that the birds penetrate the woman's hair/head at the end. They may not in reality, but the first time thru my attention was drawn to it. I had to play the clip over and over to see if it was an illusion or not - and I'm still not sure. And yes I know you haven't animated the woman yet, but given the current relative sizes, it may be hard to combat that illusion.

Cute project - but I am curious: What was the assignment ? and What grade did you get ?

What Yves said. The chosen sound track didn't work well with the animation, as it conflicted with Michel's beats. It's like watching someone dance or clap to music who has no sense of rhythm. My feeling is it could benefit from some well placed comical or otherwise foley type stuff. Doesn't need music. But sound is not necessary for me to enjoy what Michel has done. Yes. That works better.

ummm...I liked it better without the music - I think it might not be the best choice of a soundtrack - it seems to distract from your timing. My guess is that ambient comical sounds might/could work better ? - unless you can find music that fits better (personal opinion).

nope - doesn't work for me - I'm using firefox - don't know if that makes a difference

it doesn't play for me - I just get the first frame

I like it very much. I think it's wonderful how you communicated exactly what was going on without language, or facial expressions - except for eyes of course - very well done. A tweak for me might be in the very last action when she grabs the guy - would like to see more of the guy's body have a jerking re-action in response to her pulling him down for the smooch - he goes from standing to lying down without any in-between action. Like I said - very well done. (yes I too am curious as to what rig you are using)