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strato

*A:M User*
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About strato

  • Rank
    Apprentice

Profile Information

  • Name
    Rolf Kestermann

Previous Fields

  • A:M version
    v18
  • Hardware Platform
    Windows
  • System Description
    Supermicro
  • Short Term Goals (Private)
    be good
  • Mid Term Goals (Private)
    be better
  • Long Term Goals (Private)
    be dead
  • Self Assessment: Animation Skill
    Knowledgeable
  • Self Assessment: Modeling Skill
    Knowledgeable
  • Self Assessment: Rigging Skill
    Knowledgeable
  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 The purchase site is hopeless, with outdated options etc.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 inclusions of open source libraries for fluids and cloth etc., but coupled to a hopelessly decrepit render engine. Why would one spend the time waiting when a perfect solution is a click away on Your desktop? AM completely missed its target by not changing the render engine in the last 10 years or before, keeping its animation and deformation tools the way they are. Currently I work with V13 since it has the ability of switching IK, but the best renders are still only available on V12 which may be a good thing since I still have a net render dongle for it which was about $600 at the time. On the other hand I doubt I will ever render anything out of AM since it is much easier to do a MDD export within the newer versions or with Watanabe"s plug-in out of V10-13. Of course all newer versions will now expire with my subscription and I may just have to learn how to live with it, and may be this will be a new dawn, and may be I am not the only one to experience it, or maybe Martin wakes up or may be I move on...
  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 point on the vine. Some how the whole model needs to follow the vines animation as it swings, so keeping the hands attached to it, how can the body's pivot be constraint to a point of my choosing to follow. Or as a different example, I animate a character to stand on its toes in an action, but to twirl the whole body would require to follow up with all the isolated groups above the ankle. but if I had a pivot of the model translated to the exact point I could easily complete as many rotations as needed. I understand that I can set it up as a singular event in the choreography but the relationship between the models interior IK targets to exterior nulls and the relationship of the whole model and its pivot within the choreography needs to be animatable, but I cant find a set up or example of how to accomplish this.
  9. 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?
  10. 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?
  11. 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?
  12. 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.
  13. 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.
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