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robcat2075

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Everything posted by robcat2075

  1. not sure of whole list. Many things that are "plugins" in other programs are regular features in A:M. yes. It must be a well laid out quad poly model for good results, however. Most OBJs are pretty poor. www.sgross.com has many no.
  2. Looks good. Booleans might have saved you time on the disc.
  3. Here's the painful answer: Yes, just reload the version of the model you saved before you made that error. You didn't save a previous version? Then you'll have to go thru and reset them individually. A:M has no way of knowing what the previous intended visibility of a bone would have been. btw, it is possible to make an on/off pose that toggles certain bones' visibility, but again , this is something that is manually crafted.
  4. If you are not mathematically or expression inclined you can animate the thickness manually with keyframes. Either way, it is a "Show more than drivers" situation. toon render with thickness scaled: toonlinescaling.mov (dont' ask me why the shadow pops out.) PRJ for above: toonlinescale.zip
  5. of course the 1 yr is cheaper initially. If you get the Disc you can carry it around to any computer and run A:M on it, the one-year keeps you on one computer. And if you need to wipe your computer or upgrade to a new one it's easy to re-install from a disc. And the disc doesn't expire, you can keep using that version in perpetuity.
  6. Toon lines don't scale by themselves (perhaps because real hand-drawn toonlines don't get thinner as the object is drawn smaller) but I recall one of the first examples for the use of "expressions" was to use it to scale toon-line thickness. I don't recall the exact details but it can be done.
  7. robcat2075

    Forces

    You really do want to complete the exercises in TAoA:M. You'll find that #16 and #18 introduce you to using forces.
  8. CD emulation software will cause a problem. You don't have CD emulation software? That's what this guy thought but he did. check this thread http://www.hash.com/forums/index.php?s=&am...st&p=270840
  9. "The Industry" is a lot of different things. much depends onthe job you are trying to get. an entry-level character animator needs to show quickly that he can do essential body mechanics and acting. He's not going to be asked to do any directing anytime soon anyway. Short clips no music, and maybe a "complete piece" at the end. Shawn Kelly had some good tips for reels near the end of his book A motion graphics animator for corporate media ( i used to do that) might want to show complete short pieces since "message" is a big deal there. This is a very nebulous field in which rules are hard to come by. The people doing the hiring often have no art experience.
  10. Well, that's backwards. You put the sound into your project before you animate so you can match the lip movements to the sound. What you'd have to do now is record someone trying to speak the lines as they watch the clip play. Convert that to a wav file an import it to your animation and re render.
  11. If you have some sounds in wav format, you can import a wav file by right clicking on Sounds in the Project Workspace. from there you can drag it into your chor (in the Project Workspace.)
  12. Welcome to A:M! "Duel" might have taken less than a year but is the product of a whole group of people at Anzovin Studio all with several years of experience. I'm sure that helps. Stephen Millingen spent several years on "Briar Rose" in his spare time. The fine artists' good work you mentioned is daunting sometimes, but it helps to remember that none of those were their first (or second or third...) attempts at A:M. They built up the skills that made those possible over a number of earlier projects. Along the way they may have shortened their learning time by learning from other people's successes and studying them. The thing I found most difficult about A:M at first was trying to connect the flat image on my monitor with the 3D thing inside I was trying to make. I found that (T)urning my model often helped give me a better sense of it's shape. That and frequent changing to front/side/top views to remind myself where things were. Dont' start your dream project at first. Start with little things you are not so invested in, then the initial failures wont' be terribly disappointing. Ask specific questions on the forum and someone will probably jump in with an answer. "The Art of A:M" manual is something you should definitely work thru first as it has many of those little things you will eventually want to know about. Good starting point: http://www.hash.com/2007web/newuser.htm
  13. merge and purge www.sgross.com
  14. I think a radiosity render rather than an AO render would be your better bet for an indoor scene. AO is more about outdoorsy looks. Looking good tho.
  15. Look's like a nice theater! (I hope the remote control has an button to hoist up those red ropes that would get in the way of my view.)
  16. If you are looking at your model in a choreography, it is also remotely possible you have changed the "Object Draw Mode" setting for your model. in the PWS, to the right of your model's listing in the chor is an icon that sets that. Set it to circle for roundness.
  17. Looks good. btw, TSM2 does have the option of either kind of legs on both the front and the back legs. It's on the "quadruped" tab.
  18. That looks fabulous, Roger! I'm glad you finished that. You're absolutely correct and I did consider it. But some rough calculations suggested that you'd have to have something like 36 radial cross sections to have a moving bulge as the wheel rotated that didn't "pulse" from cross-section to cross section and it would probably still be a bias tweaking nightmare to get it to look realistic in motion. I couldn't justify this type of patch overhead on just a car. a distortion box would simplify animating that. However an easier solution might be to deform your eight-rib wheel once and then just rotate the texture on it. I think that would be visually indistinguishable from actually animating the mesh.
  19. Much depends on where A, B, and C actually are. -it may just be the interpolation of the splines in the channels as they try to reach all three keyframes. -it may be that the CPs at one or more keyframes have acquired an exaggerated bias magnitude. This happens sometimes if keyframes have been moved on the timeline or a keyframe has been created between two preexisting keyframes. go to your PWS. select the bone. select the channel view of the timeline. select all the CPs. Hit keyboard 9, then 0 to knock some sense back into the CPs and set them to zero-slope.
  20. And you'll want to animate those monsters carefully too. No one likes a stiff floaty monster! Photorealism is an advanced topic in CG. Don't be discouraged if your initial attempts fall short of your expectations.
  21. Use an aimat constraint on the middel links to make then tend to some target. Much like the knee targert on leg rigs (also a kinematic constraint situation) does. http://www.hash.com/forums/index.php?s=&am...ost&p=43005
  22. If you want the rippling distortion the heat causes you could model a bumpy cylinder, make it all trasparent with a slight refraction of about 1.05 and aniamted that underneath your rocket nozzle.n
  23. A kinematic constraint is what will keep the end of the chain tracking the body part. Just apply the constraint to the last bone in the chain and target it to the body part it is supposed to attach to.
  24. Those are cute. "Angry Walk" is something I've been trying to do for one of my TWO shots also. Part of it, i think, is not to shove the hands forward quickly, but rather to pull them back quickly to accent the downward stomp. And then there is a certain timing to it that I'm finding very elusive to capture.
  25. After you drop the action on your character in the chor its gets a properties window that lets you set the crop range. Check that.
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