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Everything posted by Julian

  1. You could create a copy of the character's model with no decals and add a transparent glowing material to it, put it in the same pose as the character when he starts his move, then animate the transparency.
  2. I made a revised version of the star sphere a couple of years later in this topic: http://www.hash.com/forums/index.php?showtopic=23594
  3. Julian


    You could fire out a small 8-patch sphere set to 100% transparency, which would be a sprite emitter. The emitter would produce two kinds of sprites: a small dot, which would be the trail of sparks behind the projectile, and the electrical arcs that look like lightning (making the sprite an animated image sequence would be a plus), which would have a very short life expectancy so it wouldn't leave a trail. The sprite system should not be influenced by gravity. Constrain a light with a lens flare to the projectile to produce the blue glow.
  4. Julian


    You could try something like a material with Perlin turbulence, but it would help if you told us what kind of object you're creating: a projectile, a containment field, a Star Trek-style warp core?
  5. Can you use muscle animation to deform the tiles?
  6. Julian


    You can add turbulence to volumetric effects like dust. The tutorial in TAoA:M explains how to do it.
  7. If the glow shows up over the planet model, the Halo Starts % value is too small. The important thing is to keep track of exactly how much bigger the glow object is compared to the planet object, then set Halo Starts % to the reciprocal of the scaling factor. For example, if you created the glow by scaling up the planet mesh by 120%, then if you set Halo Starts to 83.33%, the glow will touch the surface exactly. BTW, I misremembered in my earlier post -- the maximum value for transparency on a group with PlanetGlow is 99.5%, not 95%. You can set transparency to 99.49% and it'll be OK. I don't think you should use that page on Yves' site as a guide to using the modern PlanetGlow shader, because he created the page back in version 8.5, and PlanetGlow works differently after Yves rewrote it to work in version 12. Putting PlanetGlow inside a material isn't necessary. Also, if you use PlanetGlow on an object with Receive Shadows turned off, the glow will show up even on the nightside of the planet, which isn't strictly realistic and may not be the kind of effect you want. However, if you have Receive Shadows turned on, the planet will cast a hard-edged shadow on the PlanetGlow object. I've discovered a way of softening the transition on PlanetGlow from the dayside to the nightside, but it's pretty complicated to explain: it involves a gradient material with a huge increase in diffuse falloff, whose rotation is linked with an expression to a bone constrained to orient like the sun. This is kind of thing I'd want to write a tutorial for.
  8. First of all, when using any shaders, you have to turn on Plugin Shaders in your render options. Second, the larger sphere has to be less than 95% transparent, otherwise the shader disappears. For the last year, I've been meaning to write a tutorial about using PlanetGlow, but I haven't gotten around to it.
  9. I see the lines shooting out problem only when I PageUp to set the number of realtime polys per patch to 16 (the second-highest setting), or if I enter Bones mode. The lines are shooting out of the CPs under his fingernails, which seem to be modeled in a peculiar way. Deleting those CPs may solve the problem.
  10. In shaded mode, if the normal is turned inward it looks like a tiny yellow dot.
  11. On the A:M CD, it's in Data\Materials\Geometry\Porcelain.mat. When you open it, it looks just like a regular material with one attribute, except that at the very bottom of the Surface properties there's an extra value called "Normal Weight". Usually, you want to set it to 100%, unless you find that this amount of smoothing is obscuring some detail you want to keep.
  12. When you extend a spline with the intention of making a hook, press Shift-A instead of A. (A lot of longtime A:M users will forget to tell you do that, because this behavior was introduced with the stitch feature back in version 10.)
  13. Do you have porcelain turned on? I can see from your screenshot that the patches with dark corners have their normals flipped inward. Select a patch with inward-pointing normals using the patch selection tool (Shift-P) and flip the normal by pressing F. At least, that's what I have the shortcuts set to, but I don't remember if they're the defaults.
  14. I see that with the release of 14.0, the A:M for OS X forum was moved into the 2007 archives. Shouldn't it stay inside the Animation:Master forum so that we can discuss the current OS X version?
  15. This is normal when you add a light inside a model. The light in the model overrides the light that usually comes from the camera, so the light in the model is now the only light source. To see how the model looks when lit, you could add another light outside the model and delete it when you're done modeling, or you could put the model into a choreography and look at it there.
  16. Are you running Vista? Did it look like the screenshots provided in this thread?
  17. Uh... in that case, aren't you saying the resolution of the image DOES matter? EDIT: OK, I see what you mean... resolution in terms of pixels per inch doesn't matter, but the density of the mesh does depend on the image size in pixels, which can also be called resolution.
  18. Press Shift+A and then click and drag on a CP to extend the spline. When you weld the CP you're dragging to another spline, it'll form a hook instead of stitching in as another control point.
  19. I've just created three variations of this model with lower patch counts: 152, 296 and 488 patches. It looks as though Porcelain helps make the meshes smoother at these resolutions, so all of the spheres included here have Porcelain embedded. [attachmentid=21336] [attachmentid=21337] UniformSpheres_152_296_488.zip
  20. No, as I mentioned in the old thread, I'm still using the Spherize plugin from Emilio Le Roux. Oh, I thought of something else this can be used for: optics -- minimizing distortion in the image when the model is used as a spherical lens or mirror. I haven't tried this myself, though. Conceivably, this type of sphere can also be used as the cornea of an eyeball, but the "basketball" topology would probably be simpler.
  21. Last year, I posted in this thread about making a sphere with a uniform CP density. I've been able to improve upon the "volleyball" sphere by using beveled edges to eliminate the dead-end splines at the corners. Here's a more or less uniform sphere with 1,352 patches (i.e., 60 CPs around the equator): [attachmentid=20008] [attachmentid=20009] This primitive can be used in applications such as cloth simulation, or it can be used in conjunction with Marcel's Conform plugin (US$15.00) to simplify the geometry of an irregularly-shaped polygon model such as an asteroid or small moon. UniformSphere_1352patch.zip
  22. After you delete the pose from User Properties, you may also want to open the model's Relationships folder in the Project Workspace and delete the empty folder associated with that pose.
  23. In response to the "Math algorithm for distance between 2 CP ?" thread in the SDK forum, here is a PDF file of this 1995 paper printable on one landscape letter-size page. ApproximatingSplineLength.pdf
  24. The Animation:Master wiki is here: http://www.zack3d.com/wiki/index.php?title=Main_Page It just needs people to contribute to it.
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