Julian
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Posts posted by Julian
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That's a great design for the head, and I'd like to see it get approved. (But I have to say that the nose, the chin and the round cranium make him look a little like Bob Hope.) I like the idea of the cleft in his chin being a dent, and his neck being a ball and socket joint. I wouldn't mind seeing more of a welded or riveted seam between the shaft and the ball in the neck. How does his neck join to the back of his head?
From the way you rendered the shading, it looks like you intend for the Woodman's "skin" areas to have more of a matte finish than his "clothing" areas. Has any thought been given to what kind of materials are going to be used on the Woodman and his tin castle from the opening scene? Would you want to use soft reflections, or would they take too long to render? Regular specularity or the anisotropic shader?
What color should the Tin Woodman's eyes be -- something that blends in with his metallic finish, like blue or gray, or something that really contrasts with it, like green or brown?
The big question about the Tin Woodman, though, is what his limbs are going to look like -- long and spindly, the way Neill drew them, or something stronger-looking? And should the torso be cylindrical or more organic/sculptural? Just keep one thing in mind: if Martin wants to start a whole franchise of Oz films, then Tik-Tok may be introduced as a character in the future, and you want to keep the designs of the Tin Woodman and Tik-Tok distinct from each other.
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Are you rendering with Multipass turned on?
I assume yes here... and if yes that might provide the answer to your question.
That's the thing, I'm not using multipass, and the render settings are exactly the same in both versions.
Have you tried playing with the focal length to give the view a bit more depth?This camera has a 30 mm lens, so it's pretty wide angle already.
Also, I think you can make your renders go by a lot quicker if you composite everything in the shot i.e. render the stars as a background plate as well as the planet and then finally the ship. But definately the stars & planet.I'd do that if I were animating the shot, but right now it's taking me 3 hours just to render one frame, and I think the total amount of time to render the layers separately is going to work out about the same.
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How would I add a texture to the bump? Say if I were to write ABC on the sword and wanted it to look like it was glowing molten lava, while keeping the rest of the sword grey and shiny.
You would need to add a decal containing three images: a bump map with black text on a white background to make the text look recessed, an ambiance map with white text on a black background to make it glow, and a color map with text in a lava pattern and an alpha channel that makes its background transparent.
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For comparison, here's the rendering from 11.1i. The 12.0e rendering shows much sharper markings on the ship's hull, and the projection map for the cloud patterns on Jupiter is properly antialiased, but like I said, it takes over six times as long to render, and I don't know why.
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This is an improved, higher resolution version of my 2nd place winning entry for the July 2004 Sci-Fi/Fantasy image contest. The original version can be seen here on A:M Stills.
I've tried rendering this scene in both A:M version 11.1i and 12.0e. The rendering done in 12.0e, shown in this post, has much better quality image maps, but it took me over three hours to render it in 12.0e as opposed to 22 minutes in 11.1i. Can anything be done about that?
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The TWO record came out two years after Disney died. The late 60s was a time when the mainstream entertainment industry kept trying to imitate the hipness of the counterculture and failed miserably -- Leonard Nimoy's "The Ballad of Bilbo Baggins" music video is a good example, and Mrs. Yoop's song from this record is another.
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Are the animatics being made with proxy models or animated storyboards?
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I think it's interesting that both the Little Golden Book version and the Disney record chose to represent Ozma's magic picture as a TV set.
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I'm glad people are still interested in this! Would this have something to do with the Mars image contest?
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What is occurring to me as I view these images is that I'm very disappointed to see that the story was changed and Dizzney-ized from the original.
Between the original book, in which nobody gets the girl, and this Disney version, where everybody gets the girl, we have our current script, where the biggest deviation from the book is allowing the Tin Woodman to get the girl. Is the idea of a Tin Nimmie Amee any more contrived than Ozma creating a female Scarecrow out of nowhere?
P.S. Polychrome looks like she just stepped off the set of American Bandstand.
That costume design is so '60s. -
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Are you using any Fresnel reflectivity on the paintwork? It might need some to sell the car paint look. You could also do what professional car photographers do and set up some light panels behind the camera to provide something to reflect. These would just be single rectangular patches with a gradient that goes from white at the top to black at the bottom.
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Colin, what kind of material settings did you use for the paint job? Is there some kind of light box behind the camera that the body can reflect off of? Also, did you do anything special for the headlamps, or is it just chrome and refractions?
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It looks like he switched to using raytraced shadows instead of Z-buffered.
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Just haven't been able to get the smoke to just ome out of the nozzle only. It also seems to go in the opposite direction when the aircraft is hovering downward.
If you want to avoid the particles falling upward as the plane descends, you have to make sure the velocity of the particles that make up the exhaust is greater than the downward velocity of the plane. (The units of particle velocity aren't labeled in the settings, but they're actually measured in cm/sec.) And if you're not using sprites, you should.
Also is there a way to increse the amount of thrust say smoke using a pose slider ?You can use a pose slider to control the particle emission rate.
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The moon seems to be receding away from the camera very slowly. Is this deliberate, or did you put in an extra keyframe?
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You can render the scene normally, and then open the render in Photoshop and change the color mode to Indexed Color.
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Are you sure you're in modeling mode?
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The keyframe mode buttons on the left end of the Frame toolbar are often called key filters. Which book are you using? If it's David Rogers' Animation:Master 2002: A Complete Guide, this is discussed on p. 99.
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One disadvantage of these videos is that they're recordings of demonstrations that Bob and Randy performed in front of an audience. Sometimes members of the audience will ask questions, but they aren't picked up by the mike.
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You can find the files here in the Showcase forum.
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Here you can download the star sphere model and associated files that I discussed in this thread in the WIP forum. Please read the README.htm file included in the archive.
For the download, please see the Version 2 star sphere thread.
(Earth not included.)
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I've done one more animation test in which the camera zooms in and the stars shrink at the same rate. To try to save time, I rendered the stars with multipass and the TIE fighter with A-buffer antialiasing, and composited them together in After Effects.
Here's one frame as the camera is zooming and panning simultaneously:
(video removed)
Immediately after this post, I'm going to make the star sphere model available to download in the Showcase forum.
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Are you using 8-patch spheres or something denser to make the atoms? I'm not trying to toot my own horn here, but I once tried making a spacefilling model of a DNA molecule using 8-patch spheres for the atoms, and you can see looking at the hydrogens that the spheres aren't perfectly round:
the talented newton mushrooms
in Work In Progress / Sweatbox
Posted
Why does the alignment fall apart like that after a couple of bounces? Rounding errors?