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About strato

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  • Name
    Rolf Kestermann

Previous Fields

  • A:M version
  • Hardware Platform
  • System Description
  • Short Term Goals
    be good
  • Mid Term Goals
    be better
  • Long Term Goals
    be dead
  • Self Assessment: Animation Skill
  • Self Assessment: Modeling Skill
  • Self Assessment: Rigging Skill
  1. Thanks Robert, That was indeed the problem, probably in all the previous years as well. I am not online most of the time, and my main desktop doesn't even know there is an internet, so it may be in Denmark or outer space for that matter. But I m actually in LA
  2. Every time I purchase a subscription, it seems impossible to do so without emailing Jason. I pay, I get an activation number, but what then. I download the last version and try to open it I get 'RLM error-3, Please email support@hash.com to actitvate via email'. This or similar happens ever since the darned subscription thing is in place. The purchase site is hopeless, with outdated options etc. and not once could I upgrade without support. Seems to me a waste of Jasons' time
  3. Porcelain works really good in Version 12 and allows a smooth render for 3 point and 5 point patches at 100%. It changed in V 13 with the model format change. From V13 on 50% of Porcelain, like the Average Normals option at 50%, produces the smoothest surface in my experience, but not as good as V12.
  4. The problem with ATI cards are the drivers. I have a saphire 8100 card on the shelf because I could not find a driver that works with Hash, XSI and Resolve at the same time. Went back to a Nvidia card.
  5. I bring this up again, but I am very much opposed to the subscription model which was introduced some years ago. It is not the monetary outlay, but the principle of dependency which irks me to no end. I also find this protectionist attitude to be the greatest hindrance of proliferating this software and its qualities, and it will be the ultimate cause of its demise. I do have a couple of subscriptions and I will let them expire with no plans to renew in spite of my great affinity to this program. I also find that most improvements since V12 are simple window dressing, or entirely useless i
  6. Thanks everybody for the input, I think I finally got the general idea to start thinking outside that boundary box I guess. That monkey video is great and really makes one think how to set up an interaction between the moving branches and the different body constraints.
  7. Hi Robert That was really helpful, the concept of constraining his model bone to something in world space just eluded me some how. Really appreciate You took the time to create that video.
  8. Hi Rodney, This makes all good sense in a theoretic way. But what I am still not quite finding an answer to, probably because I am not stating it correctly, is how to animate the pivot of the character (model) to the different places within its own hierarchy like feet, hands and tails, which are also moving about. I understand I can add additional bones at the root level to rotate the entire model, and outside the model in the choreography I can constrain it to a null, or a number of them. But just assuming a character jumps to a vine and I add a translate/orient constraint of the hands to a
  9. Thanks for Your insights.
  10. Thanks Robert, a lot of good info throughout the above referenced thread. One last question. I noticed that IK switching had become available after V13 and is used in the 2008, the lite and the Squetch rig. Previous to that time, how was IK switching or blending done since the constraints within a IK relationship didn't create the mutual exclusive enforcement values. I heard of the use of separate Ik and FK rigs and blending the geometry between them, although I have never seen it anywhere other than in an old Jeff Lew tutorial. Is this even a valid choice?
  11. Thanks for the response. Just as an example, a monkey which flies and twirls from branch to branch, holding on and releasing with his feet, tail and hands, than flies freely through the air to the next attachment, would this all be done with extra nulls in the choreography and translate constraints of the monkeys IK goals to those, or should there be some other bones or nulls above the root level in the monkey model to animate mid air twirls?
  12. I am starting to delve into rigging (after many Years in modeling) and looking at all the different rigs from the 2001 to the incredible Masterpiece of the Squetch. My question is rather simple, how do You animate a Monkey, and or, how do You move the pivots of your master bone in the model within a Choreography or action. Or is it a separate master bone to set up that can move to the different hands, feet and tail to pivot the body? Just wondering what would be the correct or most sensilble approach?
  13. You can group the different parts or selections, than turn on the rotator and change the pivot location and rotation of the group. Once You reselect the group AM remembers the Pivot.
  14. Hi, I get the same missing module message. Downloaded dependencywalker, but the help file seems empty and I can't figure how to run the search. Any help is appreciated.
  15. Does it exist? Why is AM increasingly unknown by the upcoming kids that should use it? Everybody knows Blender by now, and of course its free, but for Character animation its still a big pain to learn. Looking at the Hash forum, it tops at 300 viewers. AM community has reduced to a club of a few contributors, and I believe its a political issue. First, it is not opening itself to new talent, it barely offered a trial version (way too late). It left all the public forums, or their moderators had a falling out. It presents itself as a basic intro to character animation but misses to convey i
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