robcat2075

Best wishes for a happy birthday!

I can't find a cloth deflector material on the arm in your model. I don't know how that worked at all. Try this set up. This is stiffer cloth with much more damping. I tried a less dense cloth too, but it took longer to simulate than the dense one. The denser looks better in this case. SpleenCloth05.prj Since you're going to be pointing that arm down, you'll probably need to take one CP at the shoulder end of the cloth out of the cloth group and attach it to a bone so you can pull the cloth up with the bone to keep it from sliding off the arm.

How did you model that sleeve? I couldn't make those triangles if I tried. I can't figure out how they are there. I just extruded the first loop repeatedly but in very short increments. Extruding only goes in one direction. Something else has been done to make the diagonals.

Those are adorable. Rig those and animate them!

How did you model that sleeve? I couldn't make those triangles if I tried. I can't figure out how they are there.

Great thread idea. Good to see fine modelers work!

One of the "rules" of cutting in dialog shots is to either 1 -cut right after a sentence is finished (most common), 2 -on a pause in the middle of a sentence, or 3 -on very strongly accented syllable with a hard consonant on the front (least common). These are the moments where the cut will be least noticed by the audience. It's a way to get the audience the new view without distracting their attention from the real object of the scene. It's very rare that a mainstream movie will break this rule and very rare that breaking it works, mainstream or not. So your third cut feels much better than your first. The first one also feels awkward because it looks like we are catching the sheep's anticipation move twice, once going into the cut and once again right after it. The second cut is a hair late too. That could be moved up a few frames to be at the beginning of that brief pause between their lines. You've got some good expressions and poses there. The ears on the sheep bother me because they don't seem to be passively following the movement of the head nor do they seem to be animated as part of the expression. It's possible to switch between the two, but I'm never sure which one they are doing most times. Too late to change now, but i think sheep's reaction to the chickens first line is too soon

They both look white to me. I like the guy standing up at the end. That's a better acting choice. He needs to get his weight over his feet before he pushes up however. Right now it looks like someone is pushing him up by his butt.

If it works, it works.

The darktree aka darksim materials has a nice one. I dread typing out all the steps to get there. Oh good, there's a thread for it.

I ask about QT pro because that has an option to save something you've imported as not "self-contained" and just save a "reference" file which is not the actual movie. It's remotely conceivable that that is the problem. But if you didn't use QTPro, I can't imagine how it happened. Tell us the workflow from A:M... You rendered a movie in A:M... and then what?

I think you could. You would want to make the neck/head controls and bones to be children of that first "spine" rather than being children of spine5. It's is possible to do this maneuver wrong and make it appear to not work. It's possible some custom solution using the parts tab would serve you better, but I'd have to see the character.

I'm going to guess that's a non "self-contained" quicktime file that is referencing the actual movie on Walters HD. How did you put this together? Was Quicktime Pro in any step?

That's much improved. You can grab all your keyframes in the PWS and stretch them out over 24 or any number of frames you want.

A long time ago I did this clip which shows a wet edge appearance to the sand http://www.brilliantisland.com/am/saveme20.mov

true. But a gradient combiner would be the A:M way to darken the waterline.

Are those triangular patches in that mesh? It looks like triangular patches. Triangles in an A:M model? Something is criss crossing those squares. That's clue #1. Look at my Punch mesh again. 100% squares. 2... there's no cloth material on that group. I don't see one. You HAVE to put a cloth material on it. New Material... ChangeType to>plugin>hash>simcloth. 3... that arm isn't normal size. the 2cm rule was for normal sized stuff. you can make them bigger.

it depends on what you are "wetting" with that map. I'd just expect the wetness to reach up a few inches not all the way to the top. Right now the whole slope looks about the same. Here's a quick bit of added wetness (bottom half) The wetness on the far side of the sand might actually be bright, it's in a position to be reflecting the sunlight.

I like the self jittering lights. There's an issue when the "width" is greater than 0, the shadows cast by a z-buffered kleig light don't reach into that extra width. So an object moving across the light cone would not cast a shadow near the edge. The larger the width, the greater the non-shadowed space. I've AMreported it as a bug. V11.1 kleig lights didn't do that. V11.1 lights had a instant jitter if you turned on "penumbra" that worked without multipass, but it was only about 5 jitters.

The edge doesn't look wet yet. How about painting that darker, fading into the regular color as it goes up on the sand.

looks like good topology. Very pointy nose!

how about this muybridgeRunNotes.zip

right-click>save-as?

Here's the shot of the mesh on my Punch doll. http://www.hash.com/forums/index.php?s=&am...st&p=318269 That's a case where less worked better. But my "less" mesh is probably still denser than what you started with on your sleeve.

Look at the path the foot is tracing. run_5notes.mov Her path is like a crescent with the highest points at the front and back. But that can't be. Big masses can not make sudden sharp corners like that. Look at the Muybridge run again. His path is like a loop with the front end squashed. The highest point isn't the front or back. After that foot reaches it's peak it is swooping down to make a landing and drops vertically just at the last moment.