robcat2075

Being able to change the color along the length is useful for things like blonde hair that starts out with dark roots and certain animal hair that has very complicated color transitions on a single hair. Perhaps useful for some bird feathers too.

I think you could go with even shaggier hair.

Yes. Yes, I tried it in v15 also. I've submitted it as a bug for v17.

I would expect color change along the hair length to be gradual but it's not. Am I doing something wrong?

slow that down and you'd have a lava lamp. I wonder if bobbies would work for a lava lamp?

I am indeed working on it.

Yes, it lets A:M use more than one core for certain things, none of them "rendering" I'm afraid. Cloth simulations speed up quite a bit with OpenMP enabled.

Make sure "Resizable File dialogs" is checked in Options>Global And then you should be able to make the name field visible.

Are they not alphabetical? In any event, the order they appear in the chor or action can not be changed. However... the Enhanced Selection Filters feature lets you define any arbitrary set of bones for display as a group. So you could have a finger set and a spine set and a face set or any combination of those. Yes, it is easier to animate if you can get related bones to appear near each other. Some smarty pants has made a video demonstrating Enhanced Selection Filters in this post.

To be honest I'm not sure what I'd do with "Happy Birthday" either. That's really a long clip for one character to hold. At Animation Mentor they wouldn't even let you do a clip more than 12 seconds or so. But it's fun to try, none-the-less. Have you watched my "Keyframing Basics" video in the link in my signature? I think you would benefit from understanding that functionality more. A good exercise for the aspiring animation actor is to come up with single poses that clearly convey some emotion. curious tired bored eager fear and so on... Some are harder than others. I'm not sure how I'd do "eager" Chaplin claimed he could show any emotion in silhouette. Mouth shapes are over rated. On a minimal level you need closed, open, "oo" and "ee". Muppets get away with just open and closed. Effective body language is what carries most dialog performance. Pose sliders can be retained if you "import" a model into another model.

Pretty good. There should be lots of room for comedy in transporter malfunctions.

I actually had that happen to me before. I was resplining a face and had broken and reconnected so many splines that i ended up with an empty four-point space in the cheek that sure looked like it should be a patch and I couldn't figure out why it wasn't. D'oh!

how about something like this: hairtestV11_BearHair.prj

Even though Polar Bear hair is ostensibly not colored at all, you might try a slight dark-to-light color gradient along the length of the hairto give it a bit more depth.

Is that front knee backwards or is it just an odd angle?

I think there will be a bouncing ball chapter in New TAoA:M... if I ever get around to it.

Not more patches. Set "Adaptive subdivisions" higher. Try 8.

Hi David, My main crit would be that I prefer much less stretch prior to impact. There is a tendency for the top of the ball to look like it has caught on something when the ball is moving so slowly. (Some animators teach to leave descending stretch out entirely.) Stretch as "motion blur" was probably more important when they were animating on twos and if the ball was moving much faster. During the time on the ground I've found i like to do the squetch asymmetrically... most of the time is spent squashing down and just a frame or two is spent stretching back up so that the upward leaping motion is as fast as possible in the available distance. I want to get the ball's mass moving upward as fast as possible so a gradual stretch up won't do. Here's a small experiment I did to see how long i could keep the ball on the ground. This is verging on too long, the ball is starting to look stuck to the ground. But if you frame through the first bounce you can see the asymmetrical timing in action. Lots of time spent squashing down as the ball has slammed into the ground, then a fast leap up. SquetchyBounc000.mov However, I think you have the fundamentals of Bouncing Ball going well and should graduate on to the next exercise which would be a ball bouncing in an obstacle course. This involves proper handling horizontal motion and bounces off of angled surfaces.

Better living with better dirt!

Nope.

Is that cloth? I think if you set the simcloth subdivisions level higher ( a chor property), the shapes will survive the impact better.

In the course of looking at one user's splining efforts, the video in this post takes a moment to explain "spline continuity" and how that can affect connecting spines.

I've been recording with (free) Hypercam 2 and recompressing the raw file with Quicktime Pro. Btw, I've begun revising TAoA:M and have all of one lesson in rough form. You are probably beyond its level but you may find it useful none-the-less.

The installer won't even run? What happens?

It turns out both problems are the same problem... Connecting_Corner_Splines.mov Connecting Corner Splines Spline Continuity