robcat2075

Welcome back! That is indeed a big head.

That might make for an AMReport.

It's some sort of multidimensional portal! that's very cool-looking, serg!

With proper settings radiosity can do very realistic lighting effects but the render times can be many hours. It's generally for stills only.

The speckled look hints that perhaps radiosity has been turned on.

My tactic when i get a weird render problem is to slowly delete things from the shot until the problem goes away. Then I go back to the original chor and delete just that one thing and see if that was really it. If it was then i figure out what's wrong with it or what changed from a previous version.

Hey, Sebastian, I'm just catching up with this. That looks great. I really like the way your non-CG looking CG looks.

Maker of impressive 3D prints with A:M. Happy Birthday!

I couldn't believe it was real and I couldn't believe it was CG. I'm very impressed.

That cake is amazing!

Happy birthday! May you continue to be fresh!

I think "nicht wahr" is something I picked up from my dad, but he grew up speaking Swedish and only learned German in college so he probably wasn't a great source on that. I do get a dialog with SHIFT but it only offers "Maximum distance" and "Offset"

Hey, Arthur, good to see you peeking back here! I have no answers to your questions except to say that questions about FBX comes up from time to time here and there is interest in that conversion.

Snap Group to surface is "view dependent" which I take to mean that it will move the CPs in what ever direction you are viewing from, right? However, i can only get it to move in one direction. I filed this as an A:M report which is why it's in German but maybe someone here has an answer before Steffen gets to it... SnapGroupToSurfaceQuestion.mov SimpleSnapTest02.prj

Of the sampler set you have in 005 I think the third one is most effective in suggesting that he is moving his mass with effort. Pursuing Nancy's suggestion about using the arms to help push up as in 003, the hands need to pick one spot to push and stay there rather than wander up the leg. Probably about mid-thigh would be a typical spot. IF they are sliding they don't look like force is getting done. They should also stay there as long as the arms can reach. Pushing the hand against the thigh is what keeps it on the leg. If the hand is leaving the leg prematurely then it appears not to have been pushing much.

You are right. There was a five second limit on the assignment and I was trying to squeeze too much into it I think we spent two weeks on that. I'm afraid my patience for that sort of time frame is gone.

Here's something I did once that involves getting up off the ground... http://www.hash.com/forums/index.php?showtopic=45683

From a long time ago, an assignment from animation school. The assignment was to show a change of emotion. wakeupH500.mov

I definitely like the snappier pacing of that. A good opportunity for overlapping motion is to have the head lag the torso when the torso starts rising up. You could go wither way on the head. It could lead the torso, as if he is flicking it to help get his torso started, or you coudl lag it as if it's getting left behind by the torso's motion. Leaving it as a rigid extension of the spine will look... rigid.

Hi Simon, here are some notes... SimonHeavyliftH400.mov

I like that! Especially the sea creature!

And don't use those wall paper clouds.

Another way to do camera jiggle might be to make a loopy, tangled path in front of the camera and aim the camera at a Null that was on the path on a path constraint.

Several solutions in this thread, mine is in Post #9

Start with one light. One non-lighting fix I'd suggest is to vary the height and width of the trees so they don't look all the same and make them more pine green than bright green.