robcat2075

That tree is gong to be making leaves all winter!

I've looked at this briefly and will look at it more. One problem I notice is that the AO intensity is only 20% and it's getting drowned out by the level of the other light. So you're paying for AO with long render times but not getting the AO look because the other lights are much stronger. I will look at this more.

Steffen describes this as experimental. My tests with four cores take about half the simulation time of one core. If you find cases that work with one setting but not another those would be useful to save and report.

Explanation: It is often useful to leave a Progressive render running onscreen while making lighting or material changes to a project as a sort of live preview of what a final render will look like. Progressive Render normally make 5 passes of increasing resolution but restarts when a visible change is made to the scene. However, it is difficult to make some changes in the PWS, like dragging materials onto groups, until all passes are done or you manually abort the progressive render. Often, just one pass is enough to discern if a change to a light or material gets the desired result. Setting the Progressive Render Limit lower can get the PWS unfrozen for your use sooner than if you had to wait for 5 passes to finish. Although this option also appear in the Render Settings when you go to render to a file, it has no meaning there. It only applies to live, onscreen renders.

I'm sorry I'm taking so long. All prizes will be awarded!

Explain to me again how these two work together.

Can you also save a "preset" of the render settings you are using? Make your render settings and then press "Save as Preset" (May just say "Save" on earlier versions) to save a .pre file If you are using different render settings for each version save a preset for each.

Something is wrong. Something is very wrong. I'd have to see the Project to know more. But you are getting no visible AO in that render. Something is not set right. Ambiant Occlusion in a shot like that should be absolutely, unmistakably visible, but it's not. Something is not set right. You're having long render times for AO with out getting AO. Something is not set right. I'd have to see the Project and the render settings saved in a Preset to know more.

The code has to be copied EXACTLY. No short URL , no extra spaces, no extra characters. The only part you can change is xxxxxxxxxxx <iframe allowfullscreen="" frameborder="0" height="480" src="https://www.youtube.com/embed/xxxxxxxxxxx" width="640"></iframe>

That looks great! It's not easy but it's possible... https://www.hash.com/forums/index.php?showtopic=47143

What does the R represent?

I'm not sure what I'm looking at here. What is the white part? Is there some reason you need an alpha channel in the finished render? Unrelated... are you trying to use AO on this shot?

Here is a possible work-around solution... clip4118RandomControl.mp4

I think the most underwhelming Halloween treat I ever got was a page from a book of children's Bible stories.

Here is a thread on saving a random value

Part of the answer may be to use the time function to sample to random numbers only at larger intervals, like every 30 frames

That's very impressive!. Make sure to mention A:M in the credits or people will never know!

The T-shirt is a cloth simulation. I started with the most basic mesh I could spline to approximately form it to the character, then I used the SplitPatch plugin to subdivide it for cloth. There were several cycles of that where I'd run a simulation, decide it was too tight or too lose in places and go back to the low-spline version to make alterations, subdivide and test again. Since the shirt was made in a T-pose, the character needs to start out that way, too. I also made a pose slider for the character to squish him so that none of him was touching the cloth on the first frame. This GIF shows the complete simulation starting from the T-pose, expanding the body, and then moving into position for the planned image (click to animate)

As time was running out I decided to try helmet hair instead of particle hair. I started by using "snap to surface" to draw a spline where the part in the hair would go and then extruded that up and across the head one section at a time to make "the big flip." Then I did that again in the other direction to do the small side of the part. I didn't worry about the back too much since that wasn't going to show in my still image. Turns out, I do my hair pretty much the same way our President does his! (click to animate)

I just tried that link and it took me to the thread. Ask again if you still have trouble. 3D painter is program for painting directly on A:M models. I recall it was $99 in the Hash Store although it is not actually a Hash Product

I have received the results and I can reveal that... I have the results. I will endeavor to get the results video put together soon.

My first attempt at painting the map in Photoshop got me something that had a profile more like pimples than folds of skin... The standard brush and blur tools weren't getting me what I wanted so I modeled the shape in splines, put a white-to-black gradient on it and shot it with an overhead orthogonal camera. However, if I'm going to model the shape to create a map for it, why not just model it on the model? Hmmm... It's possible that a custom brush in PS might do the job but I don't know much about making those.

Last day to vote!

For v11 and other CD-keyed versions the only route i know is the two methods detailed in that Microsoft Bulletin. I did a lot with v11 when it was current including all my Animation Mentor classwork. However, the current versions are way more stable and faster. I don't think there will be much missed if you upgrade. But if you have to run v11, the two methods detailed in that Microsoft Bulletin are all I know of except to reinstall Windows 7 from one of the original disks that is not yet upgraded to omit support for the CD-keying software.

If you had a surface feature that didn't just squish and become more obvious when bones moved but had to change shape, then that would be an occasion for using an image sequence so you could put up different forms at different bone angles. Painting those would be a specialized skill, however.