frosteternal

The green lockers are definitely more eye-catching, but the second version is more grim. Which look are you going for?

Wow. That was gripping. I especially liked the fog effect as the camera dollied through - Kat, this is looking fantastic.

My first guess (without looking at the project) would be that your wheel turning action does not extend over the same number of frames as the path action. Are you using stride length to control action repetition? Check the turning action, make sure it is set to repeat. Last idea, are the wheels turning (by some enormous coincidence) 1/8 turn each frame, thus masking the motion in wireframe. (This one is a long shot.)

Here's the "Rude Cube" pressed into service for 2 billboard designs.

Nice start, what is the song?

Okay, final test. Cube character all rigged. The the eyes and mouth are accomplished with distortion boxes. Distortion boxes were the "save-the-day" feature here - allowing for squash-and-stretch (it is subtle but there) regardless of cube orientation. (Which leads me to believe that they would have been the key to a fully functioning rigging of a non-anthropomorphic Rubik's Cube.) But this guy, nicknamed "Rude Cube" is my take on the new mascot for Rubik's Cube. (For my Advertising Design class, anyhow. He demands "solve me!" at the end of the clip. rcubetest4.mov Now that I have the base character, I'm prepared for the next four weeks of projects =) Thanks, Hash!

Wow - I should address that in an email to the company. I'm interested to know if they've changed it back. My old one (circa 1982) was nigh indestructible...I'd be disappointed if they had cheapened the product.

Yep. Just a test of motion.

Okay, here's the eyes added to the model. rcubetest2.mov

Thanks, I chose to keep it simple because it needed bones as it is going to be "alive" and animated. (Muscle motion will over-complicate things.) I'm rendering out a test with the eyes right now =)

I need to anthropomorphize the Rubik's Cube for a school project. rcubetest1.mov Here's a motion test. It will have a face.

Congrats on your Big Decision. That was what I did when we started on "The Mountain" 3 years ago. (There were other factors as well.) Best of luck, work hard, and you will be fine!

EDIT - yay! 50% filter, 50% blend seems to reduce bright reflections - falloff still 0" - anything else made reflection go away. Tried soft reflection - didn't like Awesome - the muted reflections really help your Moose..er...Mouse stand out more clearly!

Nice lighting, good pacing. Just a few jerky bits in the stopping of the waiter, and Lady Goodbody's grabbing is a little robotic. But I love the concept, and the dejected look he has when she tosses the ball.

Floaty could be hair springy-ness. Also, use the "reflection blend" property to get less "bright" reflections. The balls themselves are not floaty =) Cleaning up tail movement to be more expressive will help immensely. You work always has a dreamy quality to it, very dance-like and choreographed. (In a good way) I still love your work even if I am quick to give helpful critiques, sorry if I'm being too Virgo for you I sometimes do that.

I like the design of the character, but still some spline continuity issues, it would appear (from all the creases.) Shaded wireframe?

Nice mouse, creepy ball invasion. A word for when you tweak - I recommend looking at your holds/timing to get more "snap" to your movements. It feels just a bit on the floaty side. Did I mention I love the mouse?

Add a "tail." The point you want to attach to simply tack an extra line on. If it mis-connects, then move the tail off to the side. Now attach the points you want, and delete the tail. If the tail picks the proper spline, then simple run another tail from the other point to the tail tip, and then delete the extra point.

I never auto-CFA. I'm a control freak like that. That being said, excellent improvement, especially around the mouth.

Start with the "holes" and profile first. I always do the side profile, then the eyes, mouth, nose, in that order. But everything is refined simultaneously 'cause spline curves all play together. =) Concentric around the eyes, mouth; everything else grows from these.

I use the Y key OBSESSIVELY. It is invaluable.

Looking forward to seein' your modeling advance. ( & Nancy - thanks for articulating my advice so clearly!)

Seems a bit patch heavy...seriously, I used to make the same mistake - don't just distort a lathe. If you must, start with low res and work up, add splines/patches as needed. You will notice a positive difference!

I dig the new voice. Although, (fresh out of my editing course) I'd tighten up the dialogue. Less dead "air". Also, some cutaways to the other charactes could jazz this clip up. =) Otherwise - rocking, as always, Kat.