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robcat2075

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Everything posted by robcat2075

  1. How odd! Next try progressively deleting chunks of the sub model until the problem disappears. Or try copying the geometry of the sub into a new model, swap it, and see if the problem is still there.
  2. All-in-all I thought it was an amusing clip. I had never actually heard the Howard Dean speech before, i had only read about it. I suppose there are many things you might tweak about the animation, but 22 seconds is really alot of animation. Quite an ambitous piece. The "snap" the Keith Lango talks about has alot to do with "overlapping motion", an important element of all animation, cartoony or not. I see hints of it in your animation, but other times I see the hand and arm moving as a single unit which looks stiff. That would be the first thing you might investigate if you want to tweak this further. Funny Piece!
  3. Is that the style they call "Queen Anne"? I wonder if she had clawed feet too. Nice furniture!
  4. Both of you! Get thee to Keith Lango's world-class tut on SNAP. go to Tutorials then "Quick Tip: Snappy Cartoon Motion."
  5. A distortion box takes the CPs with it when it moves, so how would you change the angle of the squetch without changing the angle of the mesh? Is there an example of a ball rigged with a distortion box for this purpose?
  6. Here's a ball that achieves the same effect by doing the opposite: the mesh can be rotated without changing the angle of the S&S It has two bones: -mesh controls the orientation of the geometry only. -Pivot is the parent of mesh and has a S&S pose made for it. The ball has two pose sliders (set them both to 0 to start): -Pivot Point moves the origin of the Squetch between the top and bottom of the original confines of the ball. If you wanted to bounce off a ceiling, for instance, you might migrate the pivot point to the top of the ball. -Squetch does the S&S in the direction of the Pivot bone Point Pivot in the direction you want the S&S to run. Then rotate Mesh to orient the ball without changing the direction of the S&S. I reverse engineered this from an Animation Mentor-supplied ball that operated in the same way. BallWithStripe2.mdl
  7. Hard to comment on the walks seen from the front because it's hard to coment on walks seen from the front. I quite like sidestep 7. Squash and stretch seems mistimed on hipwalk. For example the squash is starting before the contact pose (the impact is what would trigger squash). On bouncing ball with legs there are several instances where the squash has happened before the ball contacted the ground and/or it remained squashed after leaving the ground. In general the ball is on the ground too long at each bounce. 180 turn ends well, but the weight doesn't appear to be shifting right at the beginning. But those are fine tests. Keep doing more short bits like this that incorporate the same principles.
  8. I'm sure that table will bounce off an awning or catch on a flag pole before it hurts anyone!
  9. And it even has a compass! Enter that in the next "Mechanical" contest.
  10. It looks generally good. I like the relative simplicity of it My only reservation is that the joint where the upper arm rotates at the shoulder appears unnaturally located... too far out. Would this scheme still work if that joint were moved farther in?
  11. Don't stop now. Not when you've almost got it.
  12. It's getting closer, but if we frame thru it we see that he actually jumps backward, then reverses direction to fly forward and then reverses direction again to move backwards into the landing. Not possible in a free jump. A parabolic trajectory will never change direction like that. From the moment he leaves the ground until he contacts it, his forward progress has to be rock steady. That would be the progress of his center of gravity. We could debate about exactly where his is, but I'm judging it to be about at his hips.
  13. an observation of your animation, not of your comments. Not yet an arc.
  14. A fine first project! I'll be looking forward to the next one!
  15. V4 is quite improved over V2. A few things to make it even better: -The last pose with the feet still on the ground should be a straight leg pose. -a jumping character has to travel in an arc. (technically a parabola) Right now he's flying straight up to the apex then straight down to the landing. - you are correct that his vertical travel will decelerate on the way up and accelerate on the way down, however, his forward velocity can't decelerate and accelerate while he's on that ballistic path (unless he's somehow altering his path with some unseen rockets, which doesn't seem to be the case here.) His forward velocity will remain constant over a brief jump like this. You can actually fix both the arc and velocity issues in the curve editor without adding new keys. -as in the take off, the first frame where he contacts the ground for landing should be a straight leg pose. Have the back leg hit first, as Mr Jage suggests, then bend to allow the front one to hit (also straight). The timing of your landing follow thru is working well. -Are those middle legs really "arms"? Have them trail in the air as he's falling and you'll have an opportunity for even more follow thru action when he lands. Keep tuning this one. This would be a good shot for your "demo" reel when Oz starts looking for animators.
  16. Oh I gotta disagree with that. The good ones were expertly paced. I just watched "It" (1926) and even though it's almost all about reactions (and had a fair number of title cards) I never felt anything was lingered on too long. Sure there are bad silent films, but don't use those as models.
  17. I know this isn't "radiosity" you're using , but since there isn't a "lighting" forum you might put a post there and see if you can get Yves to weigh in on this.
  18. Hey, that looks like a Delahaye! Put one of the showgirls on the turntable with the car. Have her gesture to the car like she's pointing to the grand prize on a game show. Or she could actually be in the car. And give her a dress other than red. White or yellow might be good with the red car.
  19. Good looking character. When he looks up, don't just move the head, straighten his back up some with it.
  20. Only talking about the spine. Not the arms and legs.
  21. How do people feel about FK spines? I'm beginning to think they aren't such a bad idea. More tedious to pose but better to animate with. How do people feel about FK spines?
  22. Pretty good timing. The walk is a bit hard to judge with no ground. Add an anticipation to all the head turns.
  23. Now, why can't we have folders for bones in a model in a chor?
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