robcat2075

If it's all one continuous shot, I dont' know how you're going to do it without moving everything over. If you need the space you need the space. You can group select everything and move it all at once.

First you need to set a widescreen resolution. What are you setting? the .9 and 1.2 you are mentioning sound like you are adjusting the aspect ratio. the "aspect" ratio has mostly to do with correcting for the fattness or skinniness of pixels of PAL or NTSC television displays. Most modern HD displays will need the aspect to be left at 1.

That looks like a real movie going on there. I hope there is one someday!

In the chor there is a listing for every object. To the right of each object are some icons. Mouse over them to find "show more than driver" Do a search in the Help on "Show more than drivers" and a topic will come up that shows it.

That turned out well and was very effective.

-Use sweeper to make a complete model. -Give each segment a group name -Apply a transparent material to hide the whole model -In the chor Enable "Show more than drivers", progressively apply a visible material to more and more groups over time until the whole model is revealed

Keith Lango

That looks wonderful. How about some slight ripples or something to break up that water reflection? What are the three inverted tombstone shapes that appear reflected inthe water but don't appear on the shore above?

If pics show up as white when you are trying to apply them as a rotoscope or decal, that may be a video card memory problem. -try rebooting -try getting the latest drivers for your video carad -try a smaller image file.

The new AM13 should have overwritten your old V13 so you should only have one V13 on your computer now. If you uninstall you'll be getting rid of the one you have.

Pretty good looking dust. I have one idea... It looks like the dust is coming from an area under the body of the buffalo like it's growing from the ground. How about if the dust emitter was on the back or bottom of their hooves? You could animate the emitter to be off when the feet were in the air and back on when they strike the ground.

Hey, that's a charming character, dying to be animated.

BTW, I've found it useful to save a copy of every installer I download. So, for example, whe TSM2 stopped working in v13o I could still go back to v13n if I needed to use it. Of course, you have to rename it to include a version number before you save it.

Yes, however from V13 on files are saved in a new format, so don't resave over your original files if you want to reopen them in pre V13 versions The interface hasn't changed much at all. I recall there was some change in the PWS timeline functionality around V9 but I doubt that would be a showstopper for you. Stability is dramatically better now. Hugely better. Many fundamental concepts are just as they were. Some specific keypresses may be different. Ans if a feature didn't exist yet in 2002 then a current tut on it won't do much fo ryou. If money is no object, I'd prefer a CD. but $50 for the 1-year online verison is pretty cheap.

If you select the bone that controls your rotor and hit "r" you get the rotate manipulator which allows you to rotate a bone on one axis at time. You don't need a constraint at all just to rotate something on one axis.

import the second bottle in to your objects folder. then in the chor, set "Shortcut to" in the properties for the bottle to your new choice for the model

A peaked CP will do this even if it is a continuous spline. Sometimes a copy/pastemirror will do this. A model converted from a polygon mesh may do it. I'm presuming this is happening at a spline intersection? Detach both spline ends from the intersection and attach them in space then attach that connection back to the model.

It's not clear what you are trying to do. You'll need to explain more.

It's called "Compute all CP weights". It aint' great but neither is computer inbetweening. If you want great animation, you have to adjust a whole lot of keyframes yourself. If you want great CPweighting, you have to adjust a lot of weights yourself. In the polygon world they have "Weight maps", but those don't paint themselves either.

I think if bone falloffs had an onscreen adjustment GUI (instead of typing in numbers into a box) they'd be more accessible. but even some defaults would at least get your character to where he can walk around and turn his head and scratch his butt. It would be quick gratification. "Compute All CP weights " seems to recognize which bones and CPS are visible so I can sort of imagine creating a few mega groups that isolate CPS by their function. Say "regular bones" and "fan bones" and do the COmpute in a separate pass for each and tha t would eliminate a lot of slop that a one pass compute would have. But still, not a finely done job. And Faces are still a complex mess.

I like that you have some definite poses in mind and the blocking gives a clear idea of your performance. Too much of the "W" pose though. What you have staked out is very ambitious, it will be tough to get all the body mechanics going right in just the seven days remaining to do it. But worth a try.

I don't know why it's not there. They sell a 1 year license to v15 for $50 whether you own a current version or not so there isn't really an "upgrade price" anymore. your old projects should load fine in it. the last update to V13 was v13t which you can download and use if you are already using v13. that's all i recall of my answer.

I can imagine a program that would look at specially named groups you had created and look at the location of the CPs in them and then weight them semi-correctly, but it would presume a substantial similarity in function and appearance to an "ideal". And the specially named groups would be so elaborate that you might as well just weight the CPs instead. I think well done bone fall-offs might be the best quick and dirty CP weighting compromise. I agree. If you took the time to put all the CPs in the right place to make your character you can take the time to weight them.

I'd keep the music sheet out of frame until he gets to "torn up a huge section". Then lift it up to reveal a big hole torn out of the middle. 34- slap to forehead seems too soft. It's probably slowing in. The fingers are probably taking too long to finish their overlap also. I see some head squetch on the impact, but I dont' think that's the right motion to convey impact. 138-160 when the head drops in despair, some anticipation and/or overlap onthe way down would help give that weight. in general- too many jaw motions per word, I think.

You can group select a whole bunch of keyframes in the timeline (it's onthe right side of the Project Workspace, ALT-1 to make it appear) and stretch them out to make them happen over more time.