robcat2075

just to try... switch OpenGLGlobal tab Of course, you did try just closing and reopening, right? Or rebooting? Or loading a different project? If all else fails try Help>reset settings.

Nice looking model! I'm not sure what you mean by that.

that's glossy black plastic with a reflection map around it, with a bit of soft focus to show the halo on the very brightest parts. All easy to do when you know how to use the program, seemingly impossible if you don't. I realize tht's not a "how-to" answer". But to answer your question, yes, it can be done in A:M!

That works surprisingly well!

In France that would be like free food. Like the Smoos in L'il Abner who would turn them selves into food.

The plague of frogs always seemed like the least alarming of the set. What can they really do to you?

That's a weird amount of RAM to have. It tends to come in in .5, 1, 2, 4... gigabyte increments On the PC Start>Programs>accessories>system tools>system information will tell you "Total Physical Memory" and lots of other stuff.

one possible hang up is that BVH files seem to depict all their motion as FK, even for legs. So, for example, if you've constrained a characters FK leg controls to the BVH object but left the character set to IK legs it will appear to not work.

I f you could make the butterflies flap more leisurely and move more lazily they might be a nice element.

She's from a high gravity planet.

It would look fine if it weren't for those flashing white lines. Get rid of those and you'll be set!

Great Pharoh! Dreamworks should have had him for Prince of Egypt.

Silly Earthman, still thinking in 3 dimensions!

I see dark purple on very dark purple on dark bluish-green.

Very nice looking!

How about a shot that concentrates on the character. Have him leaning out of the car window.

I don't see any patch lines on that

Proper Normal maps are quite festive looking things like the top image in Holmes' post here

Wow, that looks sharp!

Yes. A normal map is a color image with different color channels storing the angle of the "normal" at each pixel. Almost impossible to paint one by hand. I'm surprised the gray map did anything! There was a tut found on here a while back that showed how to extract a normal map from photos of real object but it depended on the objects being all white.

Great looking characters as always! But you're never going to animate them?

How much ram do you have now? What's the most your mother board will take?

Even though it looks stiff in this blocking stage, this is an important step to do because this is where you can judge how your main poses work in sequence, if they work themselves at all, if they can be improved. This is where you can test out the main milestones of the action. At this stage it's easy to make big changes to your performance without losing a lot of polishing work. The hard part is showing it to someone who doesn't have your vision of what it might look like when it's finished. It's very difficult for them to see the potential. But if you start out at the beginning and try to progressively do each moment perfect you are investing a lot of time into your first guess at the performance which may not be your best idea.

Nice model. When I was little "the LEM" was my favorite thing to make a paper model of.

I think the #1 rigging issue is the shoulder area. It looks rather awkward when the upper arms rotate on their Z and when the shoudler raise up and down. The #1 animation problem is what i call the "everything at the same time" syndrome. This is when the character moves the body parts all start at the same instant, move all together to their destination and then stop together. It makes for a very rigid look. For example: the arm fling gesture she does from 93 (body, arms and hands all begin moving) to 101 (head, body , arms and hands all bounce off their pose then immediately reverse course) to 124 (everyting halts). You may still be in blocking and that's ok, that's what blocking looks like. but moving forward I'd be thinking "how can I loosen up this motion from pose to pose?" The head turn from about 138 to 160 suits my taste much better. Even though the head and shoulder have to turn the same way you've got some contrary motion and overlap going when the head begins by anticipating away from the camera even as the shoulder have started turning toward it. That looks so much better! As far as the performance I think these choices can work, but there will be many using this gambit of a character gesturing with his arms as he speaks. I'd say 90% of 11 sec club entries do just that which may be the least effective acting choice. What else could the character be doing in her life, that fits her character, while she's talking about this problem in her life? That's "secondary action" (not to be confused with overlapping action), action that supports the character's situation, but isn't trying to depict the dialog. This is your chance to imply more backstory for the character than is revealed in just the audio. Easy technique... give her a prop to hold in one hand. A mop, a coffee cup, a book, a gun, a coconut... anything. Each one of those would precipitate a different performance from her because each is handled differently and there's a different reason to have each one. And it forces you to not animate those arms as if they have to be mirror partners of each other. Great looking character, Nancy! You are the Queen of non-cliché CG characters.