NancyGormezano

You will probably have to play with the settings for the Muhair specular render shader (rather than in the surface properties for emitter) - try lowering the primary strength - not sure if you will also have to revert suface properties for specular back to default (leave color set) - In this case I left everything as default except changing the properties of the Muhair specular primary strength - brightness was also default 100%. Muhair can be tricky, sometimes - I have found that I sometimes need to start from scratch with settings. (haven't fooled with it in a long time)

Ah yes, but of course...Perhaps it is because you might remember the unfortunate fate of a John Lemke person? Well - there seems to be a plethora of Myron Models cropping up - who knows what might happen? it's probably just a matter of time ... (Take care of your liver ...please!)

Myron le Liver & Gene le Spleen were making fun of me - so in the interest of getting even - I present "Le Liver et Le Spleen fait un Pas de Deux"

that's terrific - love the whimsical design (a window or two would be nice)

Perhaps your monitor is not calibrated? - How do other people's images look to you? Too bright ? Too blown out?

Ummmm...probably because the lighting/contrast didn't work? - it was not contrasted enough with surroundings, not lit very well - I had to now replay the video to see where it was used - I missed it before. And I still could barely make it out - even with looking for it. (it went by pretty fast as well for something not lit well) The lighting/contrast is very important for most everything - if ya can't see it - it don't matter how good it's animated, modeled, textured, etc But I meant to say before - loved the blue-jay as well - And what was that hopping creature thing at the end - kangaroo? (also potentially very cute - but hard also to make out due to lighting). Simple trick for you to try is to use expand property triangle for chor - choose Global Ambiance type=Global color=white - just try it! - it's so simple - play with the Ambiance intensity (AI) to 50-75% (if you leave your other lights in) and leave Ambiance Occlusion = 0%. Play with the color, play with using an image instead for lighting (eg use a blue image for night time) . Another trick for just isolating characters from their background is to create a "fake rim light" material - a gradient material that has an ambiance color, set in the second attribute only - drop this material on your character (whole character) - and see how it gets highlighted...(this trick courtesy of Holmes , courtesy of Matt Campbell) - play with the edge threshold, and ambiant color, intensity. Try it on your mouse - it was not well contrasted with the background of the train - so it could use something to bring it out. All this is info for you to try for your NEXT animation (or this one if you are inclined to re-render)

No holds barred - that's just plain fist clenching, blood-curdling terrific, Stian ... I'm glad you said that - because that's exactly what occurred to me...but I didn't want to be a ghouly gurl.

Nice - and a great use for a Material effector - so I thank you ! I've always wanted to do a "3D paint stroke" type animation - and this would be a good technique to use for some aspects - I had been thinking of manipulating CPs instead - but this would work better for some situations ... Thanks for the inspiration. Neat!

That's an excellent, endearing character ... Are the feet lost in the mail ? or shall he remain feetless ?

Jake - I have never really played with material effectors - but what I just did was make a simple test case: 1) create a material that the only attribute set is transparency = 100% 2) create new material effect 3) drag material onto material effect 4) create chor with model to be made transparent 5) add material effect to chor, moved it so it partially covered model 6) played with size, fall-off and type (cone, sphere, box, cylindar) of material effect (in the object - not the instance) to see how different params affected the effect. Each type behaved differently (so you will have to play with params) - In the image the cone shape made the model transparent where it intersected the model. (Cone doesn't really look like a cone to me) The material effect will impact everything that it touches (intersects) - so you will have to play with size, shape, etc. I deleted ground plane in this case. What problem did you run into? transparentmaterialEffect.prj

oooooooo....EXCELLENT! The clips are terrific ! Matt - You did a fabulous job on sequencing & stringing the clips together, the music track is perfect & the sound effects are absolutely FUN FUN FUN - Super Wondeful! Bravo all!

Love the boogie music - very fun animation - love the surprise elements - Ya jes' keep gettin' bettah-n-mo-bettah.

wow - looks terrific - very professional, great job.

Like Jesse said - it depends on what mood, effect, statement you are going for - I prefer the lighting on the grim one (2nd) better - but in both - I think the grunge on the lockers, etc looks a little too regular. Jake- I agree it's hard to assemble sets in actions, I also prefer to assemble in chors. And for a one person project - that works. However, when dealing with a project with many people, many chors - and people are using the same sets, in different chors - the chors get automatically updated when the assembly action changes. It's easier logistically than having to manually seek out an assembly chor, and re-integrate it into many different chors.

top-notch - the animation clearly illustrates the process and it looks terrific - especially the water/fluids. I'm having a good time filling in for the sounds as I watch your animation - first the whoosh-gushing sound of water coming from the tap, then the slogging/dripping thru the filter, and then being totally bihzzzit bug-zapped into sterility.

One other thing that I forgot to mention with respect to this particular model - it is probably not necessary to flatten the sides at all for decaling with a vertically striped image. try it Isolate the sides - go into a side view (4 or 6) in the model window. apply decal, find the undecaled patches and apply again. And after the apply - again - you can change the repeat pattern, and/or manipulate the mapping in UV editor In this example I decaled without flattening, then changed the repeat, and scaled, translated the cps in the uv editor Matt - in previous versions of A:M - I had noticed that there was a very, very big render hit for using patch images extensively - ie lots n lots of patches - I'm glad to hear that's no longer true...I will go back to using it more. EDIT: 2nd image illustrates more clearly the difference between decaled (without flattening) versus patch image - and using the same image for both

Jake - you can add additional models to an action and they will show up as action objects - you can position them - This is how complicated sets for TWO & SO & other projects have gotten assembled. Nice scary school halls - gives me the shivers...

Right click on a group of cps - choose add image/wood - the entire image will be mapped to each patch in the group. Very simple, quick, very nice. But has some drawbacks. I believe it makes for longer render times (or it use to). And you will probably find you will have to rotate the images on some patches. Each patch will look the same, and you will then see the "patch sizes". You may also need to manipulate the repeat(s) per patch.

The way to "flatten" is to do it in an action - therefore not destroying your model. One also does the decaling in the action as well. I'm going to suggest a different approach than A:M flatten - so I won't be describing that procedure. In this case I would do a pseudo-flatten for the sides - ie in the action manually move the cps, and apply the decal in the action. The real A:M "flatten" is more trouble than it's worth (for this case). The objective in moving the cps in the action is to get the shape in a form such that applying a vertically striped wood pattern from the side view can be applied using a planar method, and have it be continuous. 1) in the model: group the sides, and hide everything else. 2) open a new action 3) in action window - switch to muscle mode 4) from front view in action - select cps and move them so that they sorta resemble a stretched cylindar 5) While the action window is open, and you are viewing the distorted model from the side - right click on the model (not action) in the PWS (very important) and choose new decal, image. The image will appear in the action window, make sure method is planar - choose "apply". 6) While still with action window open, right click on decals container (in the guitar model - and choose group undecaled - then select hide. double click on the decal container that was created for the wood decaled sides - and choose apply again- inorder to get those patches not decaled in the first place. 7) if you don't like the scale of the grain or image, you can manipulate the repeat pattern in the x direction for the decal image - or you can work in the uv editor to scale the mapping 8) if the above isn't clear - then please ask more questions.

another terrific clip - love the gag - (Looks like Yosemite in background?)

terrific! absolutely terrific!

FUNNNNEEEEEEE! Only thing is that in the beginning - it wasn't totally obvious (to me) that Pirate catches the ball - perhaps - he needs some recoiling action? I had to replay to understand what the connection was between first and 2nd cuts. BUT I love the final gag - very very funny, clever

more details here: http://www.hash.com/forums/index.php?s=&am...st&p=297113

Hmmm...it's more than a pixel or 2 - I see banding across the whole thin strip - I'm putting my nose up to the pattern and I definitely see banding, striping - However, it's perfectly acceptable to me. This just says to me that the algorithym for multi-pass averaging works well for AAing, and in some cases better than the regular. 16 pass? - I don't go over 5 usually - and most cases 4 is good enough. I only did 256 passes to see if there really was a difference in going with higher passes. I had never believed there was. But I proved to myself - yes there is a difference. But not worth the extra render time for a sloth like me, but might be for those who are doing higher quality still imagery. And yes - no MP (regular) is definitely speedy quick, good enough, in this case in comparison. I don't know if it got reported - I know that it's a known problem. Don't know if it will be fixed. My reports seemed to turn into the kiss of death for a fix, especially when there's a very simple work-around. I've given up on reporting. I can live with this.