robcat2075

It's possible to use an image in a projection map material and animate the material placement parameters. Projection maps only allow spherical, cyl and planar application so this may not be useful.

(I don't see a picture.) the cloth simulator in V13 and later is not the same as the one in V10.5 There are tech talks you can watch on dynamic constraints and cloth. I've had good success with the new cloth simulator. I don't agree that it is inferior to the one in v10.5. Physical simulations like cloth ARE time consuming to get right because there are so many options that must be set right of specific situations

That prj includes neither the movie for the decal nor the TV model.

I had never thought of it that manner and I'm doubtful it is meant to work that way. Anyone? I think if you find cloth wizard settings that work well in one instance... remember them ( to paper?) and use them as a starting point with the cloth wizard for your next outing. I suppose so, but supposing you make your own spring system, like for a fat guy's stomach? Typically, people have been doing that sort of thing with dynamic constraints. See the "Hunter" vid on AMFilms I'm very unsure of what you mean by this description. You may need to show an explicit example of what you are trying to do. I'm thinking maybe you are using the wrong tool for the wrong effect. Thanks for responding. If I can't go with reusing spring systems, I'll just go with your suggestion of writing down the cloth settings. PS: it occurs to me that you dont' need to write down cloth settings on paper because cloth setting are something you set in a cloth "Material" which is saveable as a file and re-useable. Right?

save. restart. reload.

You mean the white area with the frame/time numbers on it? No way to change that I know of. They are quite distinct on my monitor, so i'm going to go out on a limb and guess that you inadvertently have either the brightness and/or contrast and/or gamma set wrong on your monitor. I can make the white and grey very similar by using odd settingsr.

I had never thought of it that manner and I'm doubtful it is meant to work that way. Anyone? I think if you find cloth wizard settings that work well in one instance... remember them ( to paper?) and use them as a starting point with the cloth wizard for your next outing.

Ok, I laughed! I actually remember him doing that on SNL a looooong time ago. You should Youtube that.

You got my curiosity going so I did a simple test In this animation, it starts at 0:00 with the near and far focus enclosing the just the depth of the closest box. from 0:00 - 1:00 the far focus moves back to include the distant box. from 1:00 - 2:00 the main focus distance moves from the closest box to the distant box. from 2:00 - 3:00 the near focus leaves the close box and moves back to just in front of the distant box. first with no multi-pass dofNormal000.mov now with 25 multi-pass dofMP000.mov I think either of these are usable in certain situations, but for the most control I think you'd want to render a depth map and do your DOF blurring in a compositing app. 16 pass is equivalent in anti-aliasing of a regular render. DOF and motion blur are quite different issues.

There are people who have done long coats. Scour the forum for their accumulated wisdom and give it a try. I know it can be done, but testing, revising and tweaking simulations is for the exceptionally determined.

Generally, for cloth to even begin to behave usefully, it probably needs to be mostly pretty square patches. the long tall ones look unlikely. On the other hand I've never tried it that way, so who knows? Cloth is an advanced topic that requires enormous diligence and a love of experimentation.

well, you have something that you don't want anything poking thru... hide that something so you can see what is moving underneath it, if anything.

You dont' need to repost them, I've got them now. But Sorenson3 or Mpeg4 are good choices for small file size. and 640x480 is more than big enough for most tests. ok, i see a little bit of flickering on the face. I'm not sure why simulating the dread locks would be the cause of that. Hide the face and see what part of the body is moving around.

Tip... don't use the "animation" codec. that's why it's taking up 20 megabytes for just one second of animation. That one second should take up maybe 300K at most. Also, don't render at 1600x1200 for tests like these, there's no computer that can play that smoothly. I don't see the face going crazy. What do you mean by that?

You might consider rigging before texturing. Rigging sometimes shows a need to change/move splines which would undo some of your texturing.

You're designing lots of cool characters! The splining may even be getting better too. I don't know who that is.

With no motion blur both of the above examples would appear stationary and unchanging, since the ball is keyed exactly the same on each whole frame. here is motion on an object that actually moves from frame to frame: BlurInMotion_10_20_40_66_100.mov The same 1 second motion repeated at 0%, 10%, 20%, 40%, 66% and 100% with 25 passes and again with non multipass blur at 0%, 10%, 20%, 40%, 66% and 100%.

Is the material on the hands a different one than the material on the face?

Are you sure it isn't tooned? Black toon lines on a black shape won't be very visible

You can keyframe and vary certain camera properties like motion blur % For demonstration this clip shows a ball that repeatedly moves in an arc over one frame. If there were no motion blur the ball would appear to stay in the lower left corner a it is always keyed there at the beginning of the frame. As the motion blur % is increased from 0 to 100, the blur covers a greater portion of the path the ball travels during the frame. This shows motion blur with 16, 25 and 49 passes and then the non-multipass motion blur. BlurVarying_16_25_49_Post.mov Multipass blur is more accurate if you use enough passes, but nonMultipass blur is way faster. In most situations (settings around 20% or less) the nonMultipass motion blur will work fine. Notice also that nonMultipass blur is appropriately centered around the location of the object at the keyframed position, while Multipass blur actually stretches forward from the keyframed position. This could be detrimental when an object needs to exactly be in contact with something on a certain frame, such as in a bouncing ball situation. You could make Multipass blur be appropriately centered by offsetting your keyframes by a fraction of a frame. Tricky, but doable. On the other hand nonMulti blur seems to have a limit to how far it can stretch; Multipass blur can stretch the full 100%, although there aren't many situations that you would want 100% NonMultipass Blur can sometimes create weird results in complex motion situations, particularly on objects that are rotating more than they are moving linearly. This clip shows 16 pass, 49 pass and nonMultiPass motion blur increasing from 0 to 100% on a spinning sphere that has been keyed to rotate 360° per frame. BlurSpinning_16_49_Non.mov But again, the nonMultipass blur will usually look fine at typical low % settings PRJ: MotionBlurKeying.zip Q: How is A:M's renderer more powerful than Pixar's? A: A:M's renderer can accurately create arcs in motion blur In interviews Brad Bird has expressed disappointment with the lack of arcs in their CG motion blur.

That's much better than a Cease and Desist order. A hopeful sign.

I feel bad for the troll. He had the best toonlines.

--> QUOTE(Jeff B @ Nov 20 2008, 01:53 PM) 287163[/snapback] Hi All Thank you all so much I will have to look into the NLE editer. How do i get into that can anyone tell me. http://www.hash.com/forums/index.php?s=&am...st&p=244717

--> QUOTE(Jeff B @ Nov 20 2008, 11:54 AM) 287143[/snapback] Sorry, very newbie question here. I am trying to make a short film with two different camera shots, but I'm having trouble. Can anyone tell me how to get two cameras to work and how to render them at different points of the film. I would like to have the first camera slowly zoom in one my actor then change to the next camera that is in a different place and continue the shot. Then may be go back to the first camera again. you can keyframe the camera to change position like you can any other bone. Keyframe it to do the move you want in the first "shot", then keyframe it to the new spot for your next shot. All in the same Chor. Another option is to do your two shots in different chors, render them separately, and edit them together with A:Ms editing (NLE) ability.

Here's the third one, squetchy bouncing ball... with anticipation! anticbounce0001MP4.mov Actually I've been meaning to do a tut on bouncing ball because I have yet to see one that made good sense in terms of what we do in CG. So much to do... so little enthusiasm to do it.