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Everything posted by mouseman

  1. The results look quite good! For a previous effort, see here. Rodger: You make numerous references to the "steering bone". There are bones named "aim steering" and "steering wheel". Do you mean the "aim steering" bone?
  2. Wikified, and linked from the Plugins page.
  3. Code-wise, having more than one option show up should be quite easy - a single property that takes 10 seconds to change. Did you report a bug?
  4. Wow, what a set of fixes! Thanks especially for 6571: Net Render slaves cannot load camera from Technocrane! I'm sure Jason Hampton will appreciate it, as well.
  5. The license system will work indefinitely for older versions, right? So XP users could still use 18.x but no later.
  6. I see where you're coming from with exporting a bunch of the same object as a single model (i.e. a single mesh). However, as a programmer, having multiple copies of the mesh seems kind of wrong. There are heuristics/guidelines that say "Don't repeat yourself" and "once and only once". We were thinking that the pose action approach would allow us to easily turn on the set for rendering the background and then turn on the characters for foreground. But we'd need to come up with a new way of doing that once we come up with a new idea for composing the sets. The characters will need to interact with parts of the set and with props (e.g. with the coffee machine, the fridge under the counter, coffee cups, the milk pitcher, etc.), so thought will have to go into what is part of the fixed/umovable set and what is a prop that the actors interact with. That sounds like a promising idea. We'll give that a go and let you know how it works. Thanks, Robert!
  7. Steve and I have been using poses in models to compose larger models -- even whole sets -- from smaller models. This is very useful to avoid creating multiple copies of mesh, as well as allowing an easy way of turning on and off various parts of the model. Here are the requirements that we had when the pose idea came up: Avoid having multiple copies of the same mesh. If there are 18 chairs in the set, there should not be 18 copies of the mesh in some model. Ideally, they need to be configurable for different situations. For example, we don't want a separate set for the coffee shop before it opens (less clutter) and after (more supplies, etc. laying around and on shelves). You need to be able to turn things on and off. The sets and large models need to be reusable. That is, you can create a new choreography, drag in a model, maybe change a couple of pose values, and be ready to animation. However, we have run into two show stoppers for this technique, which we outlined in this post. Because of that, we may need to resort to a plan B. Which we don't have! So I wanted to ask everyone: How do you create large sets or large models? Agep mentioned he did the Nidaros Cathedral by doing it "in an action (action objects), so when in the chor I simply drag and drop the action onto the basemodel", and "I sometimes merges two or more models when they are finished, so they are total ends at 30-60K". John Bigboote said of his SOCCER STADIUM: "it is assembled in an action... many parts are reused dozens of times- [ ... ]. I keep my splining real minimal, I keep expecting A:M to 'hit a wall' and be unable to accept any more, but it keeps allowing more and more models to be added via the action." However, on his MANHATTAN post, he said: "No duplicator wizard used, just good old copy and paste and heavy usage of action objects." Any other ideas, or clarifications on those existing ideas? Or problems you've run into? Thanks! Chris
  8. Hey, jakerupert, The rig was made in v18. I'm not sure how much the file format has changed since v15, but I think the rig is just straight bones and constraints and maybe a few expressions which I suspect haven't changed since then. It wouldn't hurt to load in the rig (or a sample rigged character) and see what you get.
  9. Not that they were excited to share. The most likely reasons I could think of are: Not enough registrations. Scheduling conflict with either the presenter or the venue.
  10. Blech! I got word today that the seminar has been cancelled. C'est la vie. Hopefully Air Canada will be kind with a credit to my account.
  11. Perhaps the dog thinks the same of us.
  12. I only pop into the 32 bit version when I need Quicktime. Otherwise, I work entirely in the 64-bit to get the faster render times. I usually render either individual frames or render to an AVI with uncompressed frames and then re-encode it in Handbrake, so I don't usually have a direct need for Quicktime from within A:M.
  13. Thanks, everyone. I'm sure a lot of these things depend on what you put into it. I'm expecting a lot of what I hear will already be familiar thanks to my experiences on the forum and in other places. But there are places I know I'm quite weak (esp. facial animation) that I hope will help. Plus who knows who I will meet. Yes, and yes! I'm wondering if I should take a laptop, or do the old fashioned notes in a bound notebook. No one part of the trip is going to be really expensive, but all together it will be. Seminar $500. Airfare $440. Hotel $330 + taxes. Meals and transportation. Redoing the math, it looks more like $1350. I'm at a hotel that is supposed to be a 40 minute walk away from the Improv Centre. I plan on walking to and from the seminar, except perhaps for the after-seminar hang-out mixer thing on Saturday night where I might take a cab.
  14. I decided to pony up and go to an animation seminar put on by Animation Mentor for November 3 + 4 in Vancouver, BC. The seminar cost is non-trivial. The airfare is high. And the hotel is non-trivial. But the deed is done, and my credit card is smoking in my wallet to the tune of probably CAD $1200 (well, hotel won't be charged until I check out). I'll let you all know how it goes. Shawn Kelly (one of the Animation Mentor founders) is teaching. It will be neat to meet other attendees, and whatever staff Animation Mentor sends along. The topics I am most interested in are: Planning and Blocking a Shot Dialogue & Lip Sync Eyes & Blinks Demo Reel Guidelines
  15. One of the issues with animation is that it's hard. For me, it's something I enjoy having done but don't enjoy as much the doing. A lot of knowledge and work goes in to making something even relatively small. It's hard to do on your own. And if you want to go out and do it as a profession, there are a lot of people learning how to do it, so the competition for jobs in it is big. Do it to have fun. Focus on smaller projects until you can do bigger ones. Find someone to work with. Life is too short to do anything else.
  16. Whoops. I'm not sure what I would have clicked on that would have done an edit but made it look like a quote reply. I will keep an eye out and be careful! Sorry for any confusion, and especially apologies to Roger.
  17. When I go to the Just A Wooden Sword forum (#143), it appears with the header but no messages. Is it just me? http://www.hash.com/forums/index.php?showforum=143
  18. mouseman


    If you lathe a circle with 4 points, the magnitude of the bias handles is often about 167%, 122.25% for 6, 111% for 8, 105% for 16. That might get you close if there are the corresponding number of points and they are roughly equidistant (circular). But it sounds like you want better than a one-off with manual editing, so you are probably best off looking at the others' suggestions. Also, I believe your CPs are actually moving, not just changing the bias handles.
  19. Malo ... excellent analysis on the 3-point patches. I agree they could look better. One question ... how did you get the line outline of the polygon breakdown in post 25? Did you export to OBJ and re-import it as a prop?
  20. I used to buy COMPUTE! and COMPUTE!'s Gazette. They both improved my typing! Sometimes I would try to type in one of the BASIC programs for one of the other computer brands and then "port" it over to the Commodore VIC-20 or Commodore 64. I was quite happy when they added a checksum to the program for entering in binary data. My typing got very good because of those magazines. That's bizarre. I (mouseman/Chris D) just typed this and it got posted as Roger. I wonder if that will happen again. EDIT: Nope, came out as me that time. Bizarre.
  21. I tried out an old version in a virtual machine a while back. The biggest problem is Direct3D. The only VM technology that seemed close at the time to it was Oracle's VirtualBox. I don't remember much about A:M ... I think there were problems with rubber-band selecting things, and it was slow. Just klunky and not worth trying it. (Plus the older version of A:M is buggier than newer versions.) Things may have changed since then, either for better or worse. I've never tried it out under Wine.
  22. Anyone used the "memory palaces" technique? That's supposedly the main trick for people that can remember the sorted order of a deck of cards or a whole room-ful of peoples' names. I've read a few times how great of a good idea they are and read about trivial examples, but I can't really figure out how to use such a thing effectively, and haven't seen a serious real-world example.
  23. Some things are different in person.
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