robcat2075

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.

an observation of your animation, not of your comments. Not yet an arc.

A fine first project! I'll be looking forward to the next one!

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.

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.

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.

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.

Hey, those are cute!

Good looking character. When he looks up, don't just move the head, straighten his back up some with it.

I think it should be "Dr. Hash"

Pretty good timing. The walk is a bit hard to judge with no ground. Add an anticipation to all the head turns.

Now, why can't we have folders for bones in a model in a chor?

Stop the presses... You can CTRL-select any arbitrary set of items in your chor in the PWS and then turn Active On/Off inthe properties window to affect them all simultaneously.

right-click in chor window>view>cameraX If your lights were all in one "model" rather than separate objects inthe chor you could make a "pose" that would turn Active On/Off for any arbitrary set. Even if you made a pose for each light, at least they would be easily accessed in one window. Lights are treated as bones in a model so they would still be animatable.

Those look real good. I especially like the first one because it doesn't have that "boiling" look that most of the water animations seem to have.

It's awkward to crtique a first movie, even a "mini" movie. Theres' just too much work that goes into one to dismiss it. But you're asking for fault finding, right? Begging even? I'll try to oblige... -The titles and credits take too long to write out. Keep the blackboard motif, but in cartoon time the writing can happen WAY faster (perhaps with a broken rhythm) without confusing anyone. -The male voice was unexpected and added an element of confusion. It looked female to me at first. -You manuvered the character thru the door rather well, but the walk cycle seemed mechanical and out of place. And there didn't seem to be a reason for him pacing the front of the class. - Since your character is a biped like yourself, you can easily analyze motions before animating them. For example, the sideways shuffle while writing. Would you be able to balance your weight on both feet and then move one to the side, without first shifting all weight to the other foot? Nope. Maybe if the floor were greased, or if you had casters instead of feet. Not the case here, however. -The pose of the hand makes it look like he's rubbing his fingertips on the blackboard rather than scratching it with his nails. -The dust effect on the hands is nice but dissipates too quickly I think. -You might have done more with the paper airplanes, perhaps having one narrowly miss the teacher. - The set and lighting are very well done. They leave no doubt that we are in a school setting. -Seeing the teacher outside the class first being nervous is a good story "beginning". Good visual story telling. - Zed? Zed?? hmmm, let's try that out... I think that I shall never see, A letter as lovely as a Zed. But all-in all, a successful mini-movie. I hope you will make more of them.

One element missing from this run is a truly extended leg at the end of the stride, pushing him forward. I think that's part of what gives me the sense that his legs are just keeping time below his body rather than supporting and propelling him. However, it's not that you haven't communicated "Run" with this animation. No one's going to mistake it for a walk or a sneak. I just think you're missing the opportunity make him more substantial by giving him weight, inertia and momentum.

Ben, I'm really glad you said that! That's exactly why I did not add the hip motion other than the twist. Lets see some reference footage in which someone is able to run at the pace this character is running without their hips ever changing distance from the ground. Can't be done. Even in the fastest run, it would be impossible to hold the hips at a constant height.

Looks real good!! Suggestion: Leave the left hand on the brake handle while he's shaking his right fist. Then move it to the horn. The wandering in the middle is distracting us from the fist motion. And if you can, move the shaking fist so it isn't so obscured by his head. Someone watching it once probably won't catch it amidst all the car rocking

You've got an IK Arm thing happening at the end. Her hand stays locked in space while her body leans forward. It looks like "mime leaning against invisible wall".

I am so dying to see the Ravel Epic! You've got nice rounded edges almost everywhere; is there anything you can do to about where the pavement meets the steps. The intersection looks unnaturally sharp. This shot has alot of head turns in it. You can make them less robotic by dipping the head slightly in the middle. Especially the last one. You could also loosen him up by slightly turning his torso with his head on some of the back and forth. Just a degree or two would really help. Lag the torso behind the head a few frames. What section has the lightsabre dual with Stravinsky?

One thing I notice, objects flying near the camera appear to move slower than objects far away. The reverse should be true in flyby situations like you are presenting in this movie

The first thing that struck me is how fuzzy the shadows are for sunlight. The sun is a rather narrow source of light; it would take a very wide source of light to cast the shadows we see in this pic. But as Peter noted it's great that you want to improve in your lighting skills. Let's see what v2.0 looks like!

Make that an A:M Report. Include the movie and the chor that makes the movie.

Looks beautiful! Is there any way to get rid of the reflections in the window of the overhead light housings? The seem to draw an undue amount of attention to themselves.