robcat2075

AVI will be huge and Photo-JPG will be semi huge. Like Xtaz, I render to TGAs and recompress with Quicktime Pro if it's something I need to post on the web, but for a quick look going straight to QT or AVI can work.

Oh no, not that clip! For AVI you will need to select "uncompressed" as the codec For Quicktime try something primitive like Photo-JPG Then tell me what happens.

Sorry, i missed this. I'm not sure what you mean by animate one and copy paste the others... are all the doors supposed to move in unison?

Looks great. Looks a bit Egyptian even, maybe it's the T-pose that does it.

If you ever get a chance to go see silent films with live accompanist or live musicians, that's the real experience. DVD is nice but I've decided that half the fun is the live performer aspect. There were a number of scenes in Napoleon that made me wonder, how do you do that without getting someone killed? In the 1925 "Ben Hur" there's a shot I've never been able to figure out. The shadow of Jesus passes over some lepers and the black spots on their face disappear. It wasn't a dissolve between two shots, it was one continuous take and i can't imagine how they did that.

I ask that because I tried loading the model. A:M asked me to refind every single image which is somewhat odd, but after all the loading was done none of them appeared on the model. the images were in the Images folder, but the place where the filenames would appear in the model all said "none" Where is this Dex model from? Is it something I could find on a CD? When you load the original, the version before you deleted all but the head, what appears next to the red and white star icons? (There should be image names there)

It's part of the NLE functionality that came in during... TWO? Click on the WAV in the chor timeline and use the handles at each end to crop it.

You can put several copies of the same WAV in the chor and use the crop handles to limit each to a certain portion.

Silent film fans will enjoy Kevin Brownlow's account of silent film "The Parade's Gone By". It's not so much a linear history as a look at the pieces of the pie. Directors, producers, actors, cameramen, stuntmen, even inter-title writers. He notes that acting was all over the map, good and bad, from the start and that audiences and critics noticed it. There were many complaints about bad acting in silent films even during the silent era. Simon, I don't know how mobile you are, but it is rumored that Abel Gance's "Napoleon" will be playing in London in 2013 and you must get to see it if you can. I went to California to see it in March and there are not superlatives to describe the way it overwhelms you. Kevin Brownlow and Carl Davis have put together a first-class presentation with live orchestra and the biggest screen you will ever see.

This Robot Walk post shows "blocking" for a continuous motion. No pairs... but teh essential poses are done first and then you go back to refine... http://www.hash.com/forums/index.php?s=&am...st&p=345735

What exactly is it you are looking for again?

that's the mechanics of it in A:M. I'll note that not all motion is blocked with pairs of keys. A continuous motion where the character never lingers in one pose, like a walk, will be blocked as a series of single, not paired, keys. Beyond that the "art" of it is a matter of making good posing choices that read well to the camera and tell your story. Then comes the whole long slog of polishing and refining.

Go ahead

Welcome to the A:M forum! It seems Lens Flare can't be turned ON in the Chor directly. Turn it ON in the original version of the light in the Objects folder first, then you can set parameters for the Lens Flare back in the choreography.

When you open your project and look in the Objects>hairlessdexhdnbrain>Decals folder are there any names besides the red and white star icons?

One of the methods Nancy demonstrates is often called "paired keys" which is my own preference Here's a tut to add to the pile... http://www.hash.com/forums/index.php?showtopic=43472

Blocking is the early step in the animation process where you get your essential storytelling poses on camera with minimal attention to the transitions between them. It lets you test out the essential look and timing of your scene before you put a lot of time into refining the motion I prefer to block with "paired keys" because it's easy to edit and experiment with and gives me a bit of automatic transition between my poses and not the sudden pop that strictly"held" poses would have. BlockingPairedKeysH300.mov

I'll guess that Bill W feels only he can properly manage those characters and knows that in animation he wouldn't have that control to himself. And... he's tired of the whole thing anyway. He does strike me as a bit ornery. What could a few T-shirts or coffee mugs hurt? I suppose they don't communicate the stories he was presenting, only fragments of the artwork.

Sure, where? Do a Project>Embedd All and save under a new filename and zip it up with any needed bitmaps and send it to me: theguy (at) brilliantisland (dot) com

For an example of "show it", with no dialog at all there is Frank Tashlin's "Van Boring (He Never Says a Word)" comic that he did in the 1930's Almost all of it has been posted on the facebook page. https://www.facebook.com/vanboring

Yeah, Bill Watterson is famously anti-exploitation. Ostensibly there are no authorized C&H products other than the compilation books. I think an animated C&H sounds like a bad idea. Other than "Peanuts" i can't think of any hugely successful transitions from comic strip to animation and the Christmas and Halloween specials are the only ones we really remember fondly.

Is this something you can send me the PRJ with the models?

When I started at Nortel our media team was very big on "estimates". If we met our estimate of how long something would take that was good for a metric of some sort. However, you couldn't just give a sky-high estimate either, that was bad for the metric. I guess our manager was trying to get us to think in business-like terms. But in the first five years I worked there the estimates were meaningless for me. Every project I had was a completely different thing from any prior ones so there was really no way to make predictions. How do you estimate something that you haven't done before? And there's no one around who's done it either? Regarding a movie... somehow independent movies are made on budgets but they don't reveal much about how they do it or what goes where. On the rare occasions an ACTUAL line-item film budget has been leaked it's like a Hollywood scandal.

He looks cute..