robcat2075

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.

I'm a bit doubtful about what look like specular highlights facing us on the big rocks. How would the sun light those from that angle?

Sorry, didn't know there was a cloth question in this thread from the topic title. My limited experience tells me that cloth needs to be fairly dense... meaning quite a few patches, as Nancy showed. For real world scaled objects about 2cmx2cm patch size is a place to start. Deflectors, on the other hand don't need to be terribly dense. Less dense cloth has the advantage of simulating faster, so you don't want it any denser than necessary. A:M cloth is much more powerful than I thought but you have to be willing to do lots of tweaking and re trying with settings.

Looking more closely at your image, are those minnows under the water?

I like the shot. A real challenging arrangement to pull off. I agree with the others that water/sand transition is the most troublesome. The reflectivity of the water surface seems to be uniform throughout, but in nature water seen at a more oblique angle (down near the bottom of the image) is less reflective than water seen at a glancing angle (out near the horizon). This is true of almost all reflective surfaces except mirrors. The gradiant combiner (with start and end set to 0 and "edge threshold" set to anything other than 0 or 100) can make surface vary from one attribute to another as the angle it presents to the camera changes. This would be one way of making your water reflection behave more naturally. Of course there would need to be some details under the water to see. Also possible would be to bump map some ripples emanating form the waterline to sell the idea that there is some interaction.

Ogre came out corrupted for me too.

whoops.

ok, maybe I've detected a few. There are still a lot of rigid stops though. When the guy on the right gestures with his arm on "you stole form my kin" that would be a great place for overlap on the whole arm motion. I'd also not make both gestures not the same size. First large, second small or first small, second large... it could go either way. There's room for overlaps on just about every body motion, really. If you have "The Animator's Survival Kit" he start into that on pg. 222