Jump to content
Hash, Inc. Forums


  • Posts

  • Joined

  • Last visited

  • Days Won


cribbidaj last won the day on March 30 2019

cribbidaj had the most liked content!

1 Follower

Contact Methods

  • AIM
  • ICQ

Profile Information

  • Name
    Chris Walters
  • Location
    Nashville, TN

Previous Fields

  • A:M version
  • Hardware Platform
    OS X Mavericks
  • System Description
    mid-2014 Macbook Pro 15" 2.8GHz i7; 16GB RAM
  • Short Term Goals
    Learn more about lighting and cameras
  • Long Term Goals
    I'm hoping to animate a short (20min) opera that I am composing
  • Self Assessment: Animation Skill
  • Self Assessment: Modeling Skill
  • Self Assessment: Rigging Skill

Recent Profile Visitors

1,056 profile views

cribbidaj's Achievements


Craftsman (5/10)



  1. I haven't bought a new computer yet. I can ask the company that is selling if they can install Mac OS 10.13. I think its an 8-core i9
  2. Thank you both! Much to consider. I'm running A:M v.19 on a mid-2014 Macbook Pro running OS 10.11.6 (El Capitan) now, and the software is running flawlessly on this older system. Obviously render times can be daunting, and it's time to upgrade. I appreciate the info.
  3. I'm considering buying an Intel Mac computer with Mojave installed (last Mac OS to allow 32-bit apps). The computer will have an Intel i9 CPU and an AMD rx590 GPU (8GB) and 64GB of RAM. Will I see some decent rendering times with A:M v19 on this setup? I don't quite understand what aspect of the computer A:M utilizes for rendering - the GPU or the CPU. Which makes the biggest difference in render times in A:M? Thanks.
  4. Ah - thanks Robert! I have always just rendered in camera view . . . not a day goes by where I don't learn something
  5. Is there a way to achieve the "perspective" view of a model or scene in a choreography like one achieves by pressing the number pad 9 key in the modeling window?
  6. Hi Chris - thank you for your insights! Yes, giving a character proper weight in animation is an aspect of the process that I have studied and continue to study, but my knowledge and results are limited. There are so many factors in this regard - knowing anatomy and movement, creating a workable model, and utilizing inverse kinematics. I normally gravitate to David Rogers method of rigging the legs: http://am-guide.com/SetUp/, which I found years ago and utilize to some success. I've got books on anatomy by Hogarth which I study, and am currently fascinated with David Simmon's "Squetch Rig" - in part because his modeling of the "Squetch Sam" character is exquisite - clean, precise, and highly animatable. I also agree that the battery scene and the ending in my short could be fleshed out to provide a more cohesive story. Hope to soon address these and other fixable issues suggested in the earlier responses. Thanks! Chris
  7. Robert! I like that comparison regarding the hair style being like a porcelain figure's!
  8. Roger - thank you for your thorough thoughts and response. I believe part of my difficulty in storytelling is that I'm drawn to abstract ideas that do not necessarily translate into a specific outcome or genre. That said, obviously I am lacking in the storytelling department, illustrated by the fact that all of you guy's responses are similar in discussing that you're not sure what is happening and what the "spirit" of the animation is about. I will take these observations to heart and try to figure it out. I'm not a scriptwriter, so perhaps some study in storytelling, script writing, and storyboarding are in order. For my part, with this animated short I was trying to tell a creepy, abstract story in a whimsical way that accomplishes something different than a typical music video. The idea "let the audience interpret as they may" perhaps in this case is a cop-out and doesn't work without me having a deeper understanding of storytelling. Your comment "figure out which story your telling and commit to it fully" does not fall on deaf ears. I truly appreciate and will have these comments in mind as I either try to better this specific story and animation, or continue with other ideas.
  9. Man - this is really helpful. Thanks Robert! I'll dig in
  10. Hi Dan - thank you for your thoughts. Your suggestions are spot on - the hair on little girl was not something I addressed in depth. I'm running A:M on a 2014 Macbook Pro, and some load/render times give me anxiety - hahahaha! - no one to blame but myself! I created the particles with Particle Illusion and imported into A:M. A:Ms particle creation/rendering is very cool, and I've gone through "The Art of A:M" several times since first diving in, but I'm impatient/lazy, and, like all of us, am juggling multiple things all the time, so . . . I really hope to complete a short all in A:M sometime. Also, yes the grass is both a texture decal and hair. Due to running on my older system, I am dealing with load/render times that are difficult at times. You're right, the hair/grass density should be higher. I'm not ready to dive back into this particular story, though I should at some point go back and try to make it better - we'll see. That's why I've posted with my invitation to critique. Either way, your's and Robert's suggestions will be invaluable tackling this or any other creations I decide to move forward on. The music accompanying this particular animation is my own composition, entitled "Frabjous Day", though it really doesn't have anything to do with Lewis Carroll's poem. I just like the sound and enthusiasm of the phrase. I'm a musician - pianist/singer/composer - by trade, so . . . the song is from my latest album, "Whisper & Howl". It's an album of all instrumental music, though my previous albums are more singer/songwriter endeavors. Thanks man!
  11. Robert - thank you for taking the time to address this. Your suggestion to have girl leaning back instead of forward pulling the table is spot on - your storyboard frame example amazingly gets the point across so well, and that will breathe life into that scene. Should've been obvious to me, but . . . yeah, so much better - and funny! A friend who is not a graphic artist or animator also said that the scenes look “flat”, so that aspect of lighting is obviously something I don’t have a handle on. I’ll have to dive into the lighting subforums to gain some knowledge. As far as the meaning of the ending, there’s really not much to say except that it was my intention for the reveal that the little girl is also a machine to be shocking in a “Twilight Zone” sort of way & that the TV Head is building companions in a lab. Sort of a “meta” ending - it’s really not that clever, and it’s kind of a story trope at this juncture. Perhaps I didn’t articulate it well enough in my storytelling. Thank you, as always, for your help & input!
  12. How do I "unhide" the geometry bones in the "squetch sam" model? BTW David - the model and rig is extraordinary! I'm exploring it within an action in v.19.0g and am fascinated with not only the vast amount of poses you've created but also the results of the render. I'm accustomed to rendering in v.18, but it seems to me that rendering in v.19 is much quicker and the depth in the render is of a much better quality. Is that due to changes in v.19? Or is it also because the default in the "advanced rendering" window has 5 passes assigned in the "progressive render passes"?
  13. I'm using v.18p, but sometimes when I click on the alias it opens in v.19. In general, I'm working in 18p
  • Create New...