NancyGormezano

Very nice! well done - worth watching multiple times.

cute! Works well. Not quite understanding how you got the forces to work. Is each force "blowing" on each puck, and you vary the angle and amount of the force, and then eventually hand key the pucks into their final position? Very clever whatever you did. One crit: would like to see more acceleration and de-acceleration of the pucks as they bounce off the walls. As it is, it feels like they are being pushed around, rather than being energized and de-energized by the collisions. I repeat: cute & clever!

Great looking trees! They look terrific the way they are. Do you have any plans for building different versions (for more variation in the forest), or perhaps that's not needed for the look you are going after?

HAH! Verrrry entertaining! Great fun. I'll bet your family loves these.

Ah yes...it's muhair settings that don't have face camera. I have seen this before: where I've set the "face camera" and then it disappears, because I switched to muhair

i still see it under the hair emitter - ver 17a PC.

I particularly like keeping it simple, ie using a spreadsheet type table/list. I like what Holmes did for Scarecrow of Oz. It works for having lots of people working on the project, or just 1. (The following assumes you have your script/storyboard fleshed out to a reasonable amount so that you can analyze and itemize what's needed to be done). Holmes had a separate spread sheet (or table) for each phase of the Project: 1) Production, 2) Animation, 3) Lighting, 4) Rendering, 5) Edit & Foley For production, he divided it up into sub-phases: 1) Design, 2) Model, 3) Rig, 4) Texture, 5) Voice Dialog, songs, music if required for animating For each phase of production he categorized the models needed by TYPE (characters, sets, props) and listed each model under the appropriate type. He maintained who was assigned to that model in that phase, and the status of completion for that sub-phase For the animation phase, he listed each scene, and maintained who was assigned and the status For lighting phase, he had 2 separate tables 1) Lighting by set (lighting was the same whenever the set was used) and 2) lighting by scene (lighting was changed or made specific to the scene) For rendering phase: listed by scene, and the status with notes as to what needed to be fixed for re re re re re re re...rendering. Edit phase was primarily for Foley and Background music work and integrating everything together in Premiere, Aftereffects and presumably there was also more re re re re re re re...rendering. EDIT: I would post the final pdf's which reflect the organization/itemization/tracking so that you could see exactly what was done - but I'm not sure if that would be kosher, since it was Holmes' work product.

ELLIPSIS !!! ... so that's what it's called. (had to google that one)

In bones mode (PC): ctrl key + TRANSLATE manipulator (or rotate or scale). The standard manipulator doesn't do it in combo with the ctrl key.

Aside from the points made by Robert, the thing that really stands out to me is how unfeminine this walk looks. Here is Richard Williams describing the difference between men and women (exaggerated of course for Toon style): Perhaps you should use a male character to start?

Yes it's the ray-traced shadows. I always do z-buffered, so I never noticed that! That'll teach me....nah.

Happy Happy & Many many more !

More fascinating for me: Love the different colored "shadows/caustics" for each cube. Or is it reflections? How is that being done? Fascinating maybe..but for me, when something is not repeatable, it becomes too frustrating, time consuming to control, tweak. Perhaps something is not being re-initialized correctly?

Nice!

And a mighty fine stealthy looking SpaceRay vehicle at that!

Has a terrific look, nice sound work. How are you doing the water?

He's a cutey! Very personable for a robot.

Registered nurse. I believe he might actually be a surgical nurse?

My problem with any procedural material is the obvious regularity of the pattern. It specifically shows up in your image in the red weathered material. I think it needs more "layering" to break it up. Any weathering/deterioration on any vehicle will be more obvious around the areas that water or dirt collects. For more believeable weathering, you could also paint a more specific indication of grunge/rust around the seams, bolts, openings, etc to decal over the material. This junked simca is just an exaggerated example of a specific weathering pattern. Perhaps you intended to later also decal more specific grunge?

Steve is now a practising RN in the Vancouver Washington area. Also on facebook. He literally has 1000's of FB friends. I assume most of them are Mafia Wars buddies (he tried to hook me, it almost worked). He was on FB constantly while going to nursing school...not so much anymore. Happy Belated Steve!

hoo hoo hoooooo! Those fabrics look mighty familiar. That there green jobby pants stuff IS a real world fabric (left-over quilt remnant from my stash). Yes - a loud real world fabric at that! Also used specifically on Brautigan (Scarecrow of Oz), who was known for his questionable fashion sense. The other fabrics (shirt, gold trim) look like they were taken from King krewel? or Gloria? Glad to see them being reused. Gravedigger guy is a neat character.

I'd say: Brute force wins! - simplest, quickest, directest, terrificest!

Fabulous look! terrific models! Very interesting with your render style. How did you do the spider web? Excellent.

Fabulous character!

I'm duly impressed that I could understand it and don't speak any German!. (btw, at first, I thought Robert was doing an old rerun of )