dingo
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Posts posted by dingo
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Or you can create your OWN studio and use A:M for that and get just as good results.
AMEN!
edit- I don't think you will go wrong with getting a Mac.
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Regarding Linux, I used to work for Red Hat up until about 3 years ago(Senior Creative Strategist, crazy title I know).
Most of the shops that are running Linux are using tools that have been ported to Linux, or they are using custom tools created in-house. Linux will not help you with A:M currently there are no plans to ever port A:M to Linux.
If you want to become familiar with some Linux type attributes, get the Mac. Because OSX will allow you to open a console and do some shell scripting from a command line. But you would still be in a familiar interface with the OSX windowing system.
I would say get both
Get a PC to animate on, and a Mac for Post production. I use a Windows XP machine for A:M, and have a Mac also. -
Is the contest only for owners of TSM2?
Can you use a TSM2 rigged model, that someone else rigged?
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Good work Doug. Like the 2d rendering.
In regards the landing, I like the way you have the ship "slow in" to touch down. But I would add more smoke as the ship gets closer to the ground, and decrease it's death rate. So let the smoke continue until the ship is fully resting on the ground, and maybe even a second after that til you 'shut the engine off' sort of speak. It would actually take more thrust to slow the ship down like that, so showing more thrust may enhance the animation of the ship.
Peace,
dingo
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Hey Colin, cool thread.
In regards to having a model morph from one to the other. Why not just make multiple models? That way a person can manipulate it how they wish.
What if your morphs aren't exactly what they need? You might end of fielding requests for custom shapes.
Seems a library of models would be better than a single model trying to be everything for everyone.
Definitely, would be cool to see how much customization you could get out of the model with pose sliders.
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blobbies for water?
You mean we can get the white part of the wave out from the blue? That is really what I'm checking is how they got the surf to come up
It can't be done automatically. Whether you make the surf out of blobbies or you actually build a spline object in the shape of the wave crests, you're going to have to put the white part of the wave under the blue part and then push it through.
Never say can't
Actually, what you could do is have a model that is simply a group of patches that flank your ship. That group of patches can be invisible, but above the surface of the 'water'. Constrain those model/group of patches to 'translate'/move with your ship. You could also have a constraint for those objects to be constrained to the surface of the water.
At certain intervals, have those objects emitt blobbies in the path/ direction of the ship. Turn the Blobbies collision settings "ON". That way the blobbies can collide with both the ship and the water "surface". By adjusting the "die rate" of the Blobbies they can appear to melt back into the water or on the ship.
Also, play with the "Bounce" property and you could adjust how far those blobbies create a crest as they collide with the front of the ship.
(Not in the Zelda image but, you could even animate the decals on the bottom of the ship to give the impression that certain parts of the hull are wet or dry.)
Would be a cool little excersize.
peace,
dingo
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Of note the Zelda image actually has no lines drawn on the edges. It's very noticeable during game play.(not in this promo image). So basically it's just a two-tone shade with zero set for line width(no lines). That's the best way to get the zelda effect above. Same thing for that wave.
Use blobbies, two-tone toon shaded, no lines. Very easy. Blobbies used in that way are also really really good for anime-style "puffy smoke".
peace,
dingo
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I don't want my computer to become too sluguish in the process of animating the sucker.
You don't have to worry too much about the sluggishness, because you can turn off the "fur" rendering while animating, and only turn it on for final rendering. Just remember that the fur will make your character "poofier" when animating your naked model.(guess that depends on how "flat" you make the hair).
I think it would be cool to see the bird animated with some of the new fur features.
Peace,
dingo
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The dumbest question is the one you don't ask. If you can't find it in your search most everyone here will try to help out. Never be afraid of asking for help.
peace,
dingo
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Hey, that looks pretty good! Keep going and put the "coin slot" in there. Would make a good rapid prototype.
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niiiiiice!
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Bruce Del Porte's answer #2 is the best answer to your problem. It lies in creating a zero slope.
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I like WITH toon lines.
The way you have done the toon lines are very nice and subtle, not gratuitous. I think they add a little flavor. Like adding a little salt to a meal.
In this case I say keep the lines, they look good to me.
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Good Luck, and remember if you are confident it will show in your pitch.
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Great work Raf. I have only one critique.
I think you could push the squash and stretch of his whole form a lot more. I see the anticipation and follow thru on his actions. I think his character would dictate you could do a lot squash and stretch. Maybe even using distortion boxes.
I think adding that would make his form seem more fluid. Again, just a critique.
In regards movie one where he flips the sword. One big thing that I notice is there is not much time to register it. Maybe have him hold for a second after he jumps up onto the pedestal so we can "read" that, then let him do the "sword flip/toss".
On the second one, I can't "read" that he actually cuts the rope, maybe some type of anticipation shot or movement. That cut seems to happen too fast.
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Niceness. I am definitely getting one of these in the next couple of weeks.
Very nice indeed. The 20inch widescreen version is an awesome price, especially since it includes the screen.
Here's the link:
Been waiting for that. Nice.
dingo
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Sorry, but gotta say this.
The giving spirit of the AM community and these forums is very unique on the web today. Someone is always ready to give a word of advice, and you don't see the condescending that is found on almost every other forum out there. I know this may sound like a really hokey post. But it's really refreshing to be in this forum, and see the spirit of people helping each other out. Seriously most forums are not like this. In other forums you ask a question and there are plenty of people there to let you know how dumb you are for asking a question. Pretty sad. Anyways, sorry for the sappy post.
peace,
dingo
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I lowered the file size of the source image down to something reasonable (It was pretty hefty before) This alleviates the problem in some places, but a lot of the patches still render with really blurry looking texture mapping. Any sugestions?
Can you explain what you mean when you say you "lowered the file size of the source image down"?
If you lowered the file size of the texture you lowered it's resolution?
If you put in a low resolution image, you will get low resolution output.
An easy rule of thumb would be that the texture should be the size of the resolution of the output.
For example, if your final output is gonna be 320x240. If your texture is lower than that you are gonna get "blurriness". Another thing that will show up that low resolution texture is how close that surface is to the camera.
Again, Lowering the file size of the texture will not make it look better but in most cases will make it look worse.
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Best Wishes, Get well soon Steve.
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I would be interested. I would buy it, that's a cheap price too.
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The stock answer is fine! thanks. Hopefully this can be more fuel to get a game section started.
Let me ask a different question, don't know if the Avalanche guys will jump in an answer, but here goes.
How many actions were there for the main character Tak?
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Hello, this is a question is open for all of those with game development experience. Particularly with platformers, your wisdom with these questions would be great.
How did you determine how many actions your main character would have?
What is the minimum number of animations your main character would need?
For example: idle, running, walking, jumping, climbing, etc.
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I gotta agree with Bill in regards to Chicken Little. The best animation at all of Siggraph in my opinion.
I had spent an hour at the Disney booth listening to the supervising animator, was great.
They used Maya running on a RedHat Linux HP machine.
In regards the animation, it really was it really was like watching a classically animated film. Basically there were NO constraints on the rigs, per se. So you could do some really incredible squash and stretch stuff.
The real power was not necessarily in the rigs they were using but in the interface to the rig. Think of the game "HangMan" where each part of the hang man selected the different parts of the body. I'll go into further detail on that later, as I am gonna try and build an interface like that in AM.(FYI- briefly got a chance to mention to Noel Pickering, that it would be awesome if we could have pose sliders that could move in total freedom, rather than just left to right. Or buttons to add and create character interfaces).
If you are wondering their interface was NOT coded in mel script(maya scripting language) but was done as a separate app. interfacing with Maya. They said mel script was too slow in updating the character. I know an interface like that can be built in AM as per this thread ( http://www.hash.com/forums/index.php?showtopic=4114 ), but may be easier with a couple more interface tools within AM.
For you production guys, they used the same character interface for every character in the whole movie. I asked the animation supervisor how that worked out. He said basically once they got the interface from the TD's, he handed it off to an experienced animator to test it, only for one hour. That's it. Then they had to give a list of things they wanted. If anything was broke it was fixed, but any other features he decided from their notes what to implement. After that they locked the interface (interface may have new features on next movie but for Chicken Little they locked the tech). Once everyone got familiar with the interface they were off running.
On a different note many of the features that Disney was proud about are fully implemented in AM. For example, the ability for the animator to actually get in and grab a group of vertices that is controlled by a null point. In AM speak this is called "Muscle" mode. Also, that different vertices could influence other vertices in a gradient fashion. Again in AM speak, this is weighted cp's.
A cool thing was that Disney was showing how they do things, even down to the details. Which in the past they have been very secretive. The Disney guys attributed that to knew management, and the thought to really support "artistry". The openness had a really good vibe.
I was one of the people who thought Disney was crazy to let the Pixar deal go sour. After seeing more footage of Chicken Little, I think Pixar better step up their animation skills, cause Disney is "back". I think it will be a big film.
Anyways, Chicken Little made me get really excited about what's coming, and seeing the animation worked on right in front of me made me feel happy I know AM.
It's like all these other trying to catch-up to AM in animation tools. But AM has them now, and anyone can afford it.
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What is happening is the edges in photoshop are anti aliasing, you actually want your edges to be aliased and just let AM correct the aliasing. I beleive there is a tutorial of this somewhere, maybe even in the book that came with AM.
Rigging an Articulated Joint
in (2003-2004)
Posted
Do these lames overlap like fish scales? Is that what you mean?