robcat2075

I think it works better in wireframe because we have a visible chin spline and no shadow line wandering around. If you really want the chin to be so motionless maybe the simplest thing would be to move the light so that the shadow line is always below his chin and not on the front of it. As the mouth moves around that seems to be shifting the shadow and the moving shadow implies a contour that is moving when really there isn't one there. Or... also... he could have a tiny hipster goatee on his chin to make it obvious that the chin isn't moving even though the mouth is.

Cat looks great! Can you show a wireframe render of that same chewing animation?

I wonder how many times someone had to get bonked on the head before they fixed that?

the overhead luggage compartment on this old plane looks unsafe to me. I wonder if there was really a plane like this or if the artists just figured it must be like on a train. ("Yankee Doodle Daffy" 1943)

The viewmaster thing would be an interesting give-away for very high dollar contributors to your next kickstarter.

There's something about the way the chin is shaped and the shading that is making it appear to be not moving the way the mouth is moving.

It might be funny if his jaw had a visible circular movement to it as he chewed, like how a cow chews.

There's something odd about the shadowing on his chin... it makes it look like his jaw is going down while his mouth goes up.

I've never seen "The Ducksters" before. One of the lesser entries, I must say.

Th image sequence will work but you need to explicitly import it to be that. onthe images folder>Import>Animation or Image Sequence Once it's there you can make it take the place of your already applied decal by dragging it from the images folder down to your model>Decals folder then dropping it on the Images folder and deleting the image that was there before.

That would do it. If you have another situation like that in the future, I'll note that it is possible to Bake a Material on a model to convert it to decal, That would likely speed things up.

I'm surprised the texture is a time problem in toon rendering. Maybe there's an unnecessary light situation? Oh well. looks like you got the scene together! Do you know what is causing the flickering on the witches face in the first shot?

Basically , you need enough splines on one side to match the other side.... hingeV2_11c.prj Bridging_a_gap.mov

Somewhere in all this is the issue of "gatekeepers", the entrenched media forces that decide if they want to put their weight behind you.

In A:M the efficient way is also the easy way and the best way! This is a fine demonstration of that.

Excellent work, Mark!

A:M doesn't write "spline" into each new keyframe, it writes "default" and the default for "default" is "spline". When you do the workflow I described above you're telling A:M to interpret that "default" as your preferred interpolation, in your case "hold". This is different than hard-coding a specific interpolation into each new keyframe by default and it gives the animator more power for working with the animation down the line. You still have the option of hard coding any keyframes you want by selecting them and setting them. (this is how you were setting keyframe interpolation before). These keyframres will not be changed by any future change to the curve's default. these are not addressing your needs, these are addressing the needs of other animators who want to work in a different fashion than you or will work in different fashions for different projects or will need to trade projects with other animators who work in different fashions. Here's what I'd say ,Tore... you've been doing animation with A:M and getting it done by setting each keyframe "hold" interpolation manually, right? Now, I've shown you how to do it so all the keyframes you make will be "hold", even the ones you haven't made yet, and you don't have to set them each manually. You wanted new keyframes to be "hold" without having to select them later and set them manually. Now you can do that. It's just one thing you do at the start of your scene. I can't see this is a burden when it is reasonably quick to do and doesn't need to be done very often. It is NOT as fast as something you set once globally but it is still quick and it is also less limiting for everyone who works differently. A global default is not useful for everyone, particularly people who want different defaults for different bones. It is not impossible to make that work, but... Right now "spline" is the default default and that is true for every A:M that anyone has installed. That helps to make animation we trade with other users behave the same for all of them. If someone wants a different default in their work, they can set it as I have shown and that choice will be explicitly saved with their work and work in exactly the same manner on someone else's computer when they load that animation file. If your default default was "hold" and set at the global level and mine is "spline" set at the global level and neither choice is saved as part of the animation, what happens when we trade animation files that have "default" noted at each keyframe? In the current system A:M knows the default default is "spline" unless the animator has explicitly changed it in the animation file. In the current system i can set different defaults for different curves if I want and that would be preserved correctly if I traded files with someone. Yes, it is a choice you need to make at the start of each animation, but that is a small step that preserves flexibility for everyone. It is a middle ground that is a way to reasonably accommodate all the different ways that animators like to work and not make any way extraordinarily awkward either.

Screenwriter William Goldman famously said "No one knows anything."

I'll also note that if it is tedious to CTRL-select all the relevant bones in a character at the start of every animation, you can make a draggable pose for that character that forces those keyframes. Do that once and drag it onto the character every time you start a new animation. http://www.hash.com/forums/index.php?showt...mp;hl=draggable

Welcome to the A:M forum, Mr. Bump!

It's not more cumbersome with more bones because you're going to make a first keyframe anyway on what ever number of bones you have ... whether you can set a default before hand or not. It's something you are going to do anyway so it's not extra work that is created by this workflow for setting the default interpolation. You have to touch each of those bones eventually or you couldn't animate them. This workflow isn't forcing you to work with any bone that you wren't going to work with anyway. CTRL-select the bones at the start, Force keyframe, set the Interpolation. It's done. Even if I could set the default beforehand, I'm still going to do those first two steps... CTRL-select the bones at the start, Force keyframe, ...because I need to establish the channels for those bones so the Force Keyframe button will be able to work on them later. The normal operation of the Force Keyframe button is to only create keyframes in channels that already exist. The difference is only whether we set the interpolation before we make the first keyframe or after. It's true you need to do this procedure for every chor you start but it only takes a minute to do and we don't start new chors ever minute. With this system you are not required to have the default the same across the whole scene. i can make my character default to "Hold" but a spinning top in the scene can default to "spline" if that is the best way for me to do my scene. This system also lets me have different defaults working in different chors and they won't be overridden by a global setting I might change tomorrow or that someone I send a chor to might have set differently. Also, i can progressively change the default on specific curves as I refine the animation. I don't have to change the whole character from Hold to Spline all together. This A:M system is a powerful implementation that lets you have any defaults you want across any scope of the scene, even different defaults for different bones within the same scene. It IS more involved than a single global setting, but just slightly more involved at the start and has the potential to save work time later.

Can you show this happening? I'm not sure what you mean.

I'm pasting this again for emphasis... After you have done that one thing, it's automatic. You don't need to keep selecting keys and changing their interpolation. All the new keys you make will get the new interpolation automatically.

That's a real good effort on the head. Those legs look like they have way more spline rings that you would need for those shapes and more than you would want when you set out to rig them.

Can you tell us a bit about what you are doing to overclock it? Hardware? Software?