zandoriastudios
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Posts posted by zandoriastudios
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Don,
I sent you a quote as a private message.
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maybe copy and paste the CP positions from the 60º position to the later positions.
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[quote name=Rhett
' date='Oct 29 2003, 11:58 PM]Please forgive my confusion, everyone. It's the shadow buffer that renders a separate file, not the alpha buffer. My apologies to anyone
whose life was made worse by my mistake.
The Shadow buffer doesn't make a separate file either. If you render your main animation, and then turn on shadow buffer and render again. You will overwrite your first group of files...
I usually render my animation as a targa sequence to a folder and then render a shadow pass to a different folder. Then I can load them into after effects to composite into a scene.
When you render with alpha buffer on, you will get your object on a black background with an alpha channel. In after effects in the interpret footage dialog, choose "premultiplied" with black for the alpha channel and it will interpret it perfectly.
On the shadow pass, you don't have to enable alpha too. Just check shadow buffer and you will get an entirely black image with an alpha channel that defines the shadow.
In after effects, just put this shadow pass under your main animation with the layer mode set to multiply. The layer order will have your main object on the top layer. The shadow next. And your background footage beneath.
Rhett, I'm sorry if I came across harshly.
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The alpha channel is an extra 8bits of transparency information added to the .tga file--making it a 32bit image. It is not an extra file.
The buffers are in the render options.
If you don't KNOW the answer, someone else may answer it. misinformation is worser than ignorance, so try to be patient.
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WOW!!!I just watched the entire DVD, it is great! I think that this is the best animation tutorial that I've ever seen! I highly recommend it!!!! Thank you Jeff Lew!
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If you are adjusting the pose sliders in the choreography or action, then you will see a user properties section in your actions. when you select that, you will be able to see the curves for your sliders. There you can change interpolation and adjust the curves.
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Nice mini tutorial, Jim!
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In your constraints pose, you can scale a parent bone of each eye to distort the shape of the eye, and also translate it into place. that bone can be hidden and you will only see the child bones when you animate. The pose should be set to always on, and except in the modeling window the eyes will always be where you put them in that constraint pose.
This works best for cartoony type characters that might have an eyelid separate from the face mesh. Otherwise, you could set up a system that uses distortion boxes to shape the eyeball...
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Thanks for the link! I just placed my order--I've been waiting on this!
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That's nice modeling!
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You didn't "flatten".
Flatten is a command from the context (right-click) menu. It will literally flatten the area, and then you would apply a planer decal to the flat geometry. That is why you do it in an action--to keep from messing up your mesh permanently.
To change the orientation of the "cylinder" in applying a cylindrical decal, I'm not sure. I would try orienting the view so that you are looking at the area longitudinally in the viewport and then dragging the image into the viewport to make a decal. I don't know that this will work (it's just a hunch...)
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http://www.zandoria.com/castaway/x200.mov
The landing rendered. There are still foreground elements to put in.
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I once saw a tutorial on "drool" in 3DWorld, which used a thin geometry tube stretched between some monster teeth. The drool geometry's surface properties were given the requisite transparency for the effect. You might be able to do something similar to achieve the result you're after.
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Select the group and hide everything else. Switch to the Rotate manipulator to bring up the pivot. You can rotate the pivot to change the orientation of the coordinate system of the selection prior to flattening.
Do this in an action to avoid doing anything permanent to your geometry. Clear or delete the action when you are done. You don't need to do this in a pose because you can always edit the UV coordinates directly later. and there is no need to keep a permanent relationship with the model.
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For bullet hits. you could use clips that are shot against black and use a luma key to composite in after effects. www.artbeats.com sells clips like that... A cheap way is to just render a little clip like that with particles, and then bring that into your AfterEffects composition.
If your gravity defying character is CG, then just animate him to ignore gravity--since he only has what gravity you give him. You could use front projection mapping to project the background onto some simple geometry to catch shadows.
If you cannot do some of the effects, say so. The producers can find other freelancers, but don't commit to more than you are certain you can accomplish in the time alloted.
Get a contract in writing.
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Do you have "additive" color checked?
black adds nothing to the luminosity, which would make it invisible. Use additive only when creating effects like fire...
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The orange and blue lights are just an animated ambience map. I didn't know how to make the animated decal loop, so I just made a sequence long enough to cover all of the shots that have the saucer in them.
I still have to put some foreground vegetation, that I'm still waiting on the tapes... won't be using particles, but maybe a lense flare
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http://www.zandoria.com/castaway/X202.mov
This is the take-off from the beach, after everyone has boarded. I will post some other clips too.
Here is the shaded wireframe of the UFO landing:
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It's the keying from the bluescreen. I will do some touch up to the matte before the final version, but probably not till the end. You can see a couple of spots in the face shadows too if you step it frame by frame...
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OK heres another go of it:
http://www.zandoria.com/castaway/X156.mov
The director had me change the attack so that the swinosaur comes in suddenly from the side. There is a temporary background of the ark (but I will have to still composite some palm trees into the plate.)
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I just finished reading your introduction to the update, and I'm really impressed with your commitment to this endeavor.
I heartily endorse your book. I hope that when the rights revert back to you, you will be able to publish this new edition yourself.
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Reminds me of Babylon5, which is probably the kind of look you're going for.
I wonder if a hyperspace tunnel needs some refractive effects, since it is supposed to distrort space/time...
A "streak" particle emitter can make a pretty nice "star trek" streaking stars effect too, that might look good with your tunnel. keep going!
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Sounds like you need to increase the multipass, and add motion blur.
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The overall shape of the face is nice. the nose and mouth look good--though you'll need to add maybe another "ring" of splines outside of the lips to give you more flexibility in animating mouth shapes.
The area of the eyes seems to be lacking enough geometry to shape the eyelids, make blinks,etc. Are you making the eyelid separately? If you are going for more realism, you'll have to add some splines to the eye socket area.
collision detection on a path
in (2003-2004)
Posted
Model your path to go around the object, model the arc for the bounce in the path. Use the ease to control the timing along the path.