Jump to content
Hash, Inc. Forums

JohnArtbox

Hash Fellow
  • Content Count

    1,303
  • Joined

  • Last visited

Community Reputation

0 Neutral

2 Followers

About JohnArtbox

  • Rank
    Creator of Stuff

Contact Methods

  • Website URL
    http://www.artboxanimation.com
  • ICQ
    0

Profile Information

  • Name
    John Henderson
  • Location
    Scotland Island, Australia

Previous Fields

  • Hardware Platform
    Windows
  • Contests Won
    *
  1. Rodney, thanks for that very useful link. Matt, I thought the same, although maybe it was the cloth solver. The hair salon proved useful, but do far the most useful solution seems to be to use keyframes to judiciously pull the hair back into position, and to use styles that minimise the issues. I'm going to pull apart the project you posted to see what else I can learn.
  2. Thanks guys Robert, I tried baking particles without success, I'll try rendering in 17 to see if it makes a difference. the a-buffer motion blur is significantly worse than the AE option as it only operates on the model patches and ignores the hair. As for the interpolation I think the hair points are stagnant but the points that are attached to the patches move with them, hence the stretching. Matt, tried your settings without success. Increasing the two values didn't seem to affect it, and there seems to be no sub-frame interpolation on the hair. I'm having reasonable success with various settings on non-motion blur renders, now I'm just working my way through all the different options to try and work out what they all do, and which ones work. Is there a comprehensive outline of hair settings anywhere?
  3. JohnArtbox

    Hair

    I've played with Hair a few times and then put it back in the box because i could never get it to work. So I tried again today and it worked perfectly, until I turned motionblur on. The first subframe renders perfectly but then the geometry moves while the hair stays static on individual frames, causing it to intersect the geometry. I ran some tests by rendering without motion blur, with motion blur, with motion blur added in post(the best option), and lastly by rendering at 120fps without motion blur and then combining frames to create motion blur manually. The last option works but seems to add extraneous jitter to the hair, although this may just be my settings. So does anyone have any advice on hair, or can you confirm that my surmises are correct. The movie shows all of the tests labelled HairTest.avi.mp4
  4. As fuchur said, it probably isn't the best option for games but you can use a hash obj mdd to blender to fbx export if you are not concerned about file sizes. The resulting fbx is huge though.
  5. l used 16 Poly export for some tests, but it basically came down to running tests quickly. The same reason I used an existing animation rather than create something new. Using jittered lights in the opengl render has given me soft shadows, and I think I might be able to generate a light dome as well. Ive added bump and specular decals, a slight fog, film bloom and grain, and render times are sitting at around 5 seconds at full hd. Potentially I guess Blender's openGI/Game engine could do the same?
  6. Hi Jake, by decal driven I mean that most of my models have decals set up for colour, bump, specular and diffuse so that it's relatively ease to translate them. For me AM's main strength is its character tools. That's my understanding of cycles too. It appears to be quite powerful and fast. Admittedly it means taking on the headspace of other software, but I think the positives outway the negatives.
  7. For texturing I tend to use decal driven materials a lot, and these are easily translated col to col, bump to bump etc. For lighting i'd set it up in the final renderer anyway. For anyone using 3d in a compositor with a 3d environment like fusion, this adds a huge amount of functionality, relight, reposition, rerender and reuse AM assets with animation.
  8. Robcat: I exported the roman character as an mdd. The blocks are blender primitives. The render is different, it's the nature of the beast. The main advantage is that cycles is a gpu renderer and, if you have a good graphics card, much faster than AM's renderer. It simulates radiousity by bouncing lightrays, which is something that makes lighting setup simpler and it's similar to AM's Progressive viewport in that it can be turned on while you are fine tuning materials and lighting. On top of that Blender provides integration with a whole bunch of new capabilities, without having to give up AM's sterling character tools. Mr Bigboote: I don't know that Cycles is a faster renderer...my gpu is just a hell of a lot faster than my cpu. My gut feeling is that cycles is also natively faster, but the other major factor is the ability to have far more complex geometry in the scene and to play nice with other software. Using the same process I've put the same animation into Fusion and rendered it out in almost realtime. I think it averaged 8 fps with multipass motion blur and depth of field. It's not AM quality in that the obj files are only a 4 poly subdivision, but without the mulitpass settings it was outputting hd in realtime. FusionRTSmall.mov
  9. After seeing Soulcage's wonderful renders and lusting after GPU rendering speeds, as well as some of the non-character tools in other packages I finally spent a couple of days on the export and render pipeline from AM to Blender and it's cycles GPU renderer. Bearing in mind that my knowledge of blender is minimal at best, it was surprisingly easy. I exported the model as an obj file and then exported the matching mdd. In Blender I imported the same. turned on the cycles renderer and pressed go. RomanJump.mov
  10. Robert, Rodney and David: Thanks guys that helps a lot. I tend to use the setup machine because it's easy, but I have a fair bit of customisation floating around so the idea that I can create my own installrig is intriguing....
  11. I just noticed the install rig plugin but it doesn't seem to do anything and I can't find any reference to it in the forum. Do I have to have bones setup in the model prior to running the plugin?
  12. You apply a decal in the model window and then use the choreography to animate the image sequence. from memory you have to open up your advanced properties, under tools >>options. I did an animation several years ago where I created cut-out characters using planes decalled with image sequences By animating the sequences I could change the mouth image, hands, eyes et al. Unfortunately I lost the animation in a hard drive crash Always meant to revisit the technique.
  13. I'll try to be more explicit.... If you press alt 2 the timeline should appear along the bottom of your window. This shows the keys of your animation along a timeline for the items that are selected. Select your first character in the chor and then press the pin in the top left of the timeline to keep the keyframes visual. Now select the keyframes by dragging a rectangle around a group and drag them into the new position. if you select a group of keyframes on different frames you can drag the handles to scale the time factor but beware this leaving your keyframes on half frames and softening your animation. Alternatively go to the last keyframe on your animation select cut and the go to the frame you want it to be on and select paste. Then go to the second last keyframe and so on. The play controls on the bottom will make finding the keyframes easy.
  14. You'll find more details in the zbrush threads, but basically you export an obj files from an AM file with UV's setup. Once you're in zbrush, you reload the texture and then flip it verticallly. Paint and enjoy.
×
×
  • Create New...