zandoriastudios

You CAN select one of the splines of the street model as your path...

Another approach, which is similar but might be better, would be to create a sprite particle emitter model. Constrain it to each foot in the same way that you do the dust effect, animating the rate of emission at the foot fall.

You can render with buffers. Then load the .exr sequence, and export the buffers individually.

Check your NORMALS direction SHIFT+1 That shading is caused when the adjacent patches are not all facing the same direction. use the PATCH SELECT button to select the offending patch, then type F to flip the normal direction.

Outstanding work!!! the force is strong with this one...

gee Largento, Thank you very much for all the testimonials--I'm happy that the AM:Technique CDs were helpful for you!

I use the edit CP weight dialog to assign bones to the geometry. I generally know what bones need to control what part of the mesh, and I just pick them out of the list. Then I weight the joints. A lot of the time I'll do all of this in an action window, where I can test the deformations as I go... Then where where weighting doesn't do the whole job, I add smartskin keyframes to reshape the mesh.

You "stitch" in details, one spline at a time. Or you paint a grayscale decal and use it to "displace" the surface based on the light and dark values of the image.

export from illustrator as illustrator legacy, then choose V8 as the file type. After that you shouldn't have any problems

When positioning the decal, right-click and change projection type to CYLINDRICAL from the context menu. then apply.

You can also use a color decal to drive the colors of the hair across your surface--a little noise in the color map should be enough to give you variety in the hairs.

You need to give yourself enough geometry to shape your face in all of it's poses. The mistake that I see often is being so obsessed with low patch count, that you don't have enough geometry to create the shapes beyond just a neutral position. whether you call it an edge loop or a spline ring, it serves the same purpose. Look at an arm--notice how you will typically have an extra ring around each side of a joint? that is so you have enough geometry to shape the joint when it bends. When you look at the eye or mouth, usually you have a couple of rings of splines extruded out from the opening. These give you the CPs that you need to shape the eyes and especially the mouth at the extreme shapes. Take a look at any of Jim Talbot's models (on the extra's CD) and you will see mastery of this principle.

Since the plug-in returns CP position keyframes ("muscle mode"), your cloth might be interpolating from frame 0.

Materials CAN take longer--if you have dozens of combiners within combiners, or a really complex darktree material. So it isn't a given.... For simple colors and surface attributes, I usually just set the surface properties of the group directly.

$19.95 is a good price for a video tutorial

Nicely done!!! Hope you made enough to start your render farm!

You render "FRAME RANGE" from each camera and edit the clips together afterwards. To make one camera render the whole sequence as an .avi from A:M, you would have to have one master camera that is constrained to all of the others with TRANSLATE TWO and ORIENT LIKE contraints, with the ENFORCEMENT percentage set to 0 on all cameras except the one you want to be filming (the Enforcement for it should be 100%). That way your master camera will jump to each position for your cuts.

Hit "1" on your numberpad to cycle between camera views in one choreography.

Where I have marked your image in RED, you are dead-ending a spline (thats a nono...). Where I marked in BLUE, you should HOOK instead. Where I marked in GREEN, consider alternate flow of the splines... May I recommend this tutorial:

Keep at it! I agree with Mike--Your thread title implies that the limit is A:Ms... There have been a lot of really cool VFX done in A:M--just look at some of them on AM:Films.

Excellent !!! Great work!

Since every character's rig might be unique, and also the .bvh files also have different bone names, depending on the source; You must create a constraints pose for the capture device. After that, you can load new .bvh files for the character without having to redo the constraints. Motion capture experiments thread: http://www.hash.com/forums/index.php?s=&am...st&p=237092

You can export as .3ds or .dxf by right-clicking in the model window and exporting from the context menu...

Click on the "Thickness" property of the hair emitter (in the material) in the Project Work Space. When highlighted the timeline channel will show %

Try this