robcat2075
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Posts posted by robcat2075
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right-click in chor window>view>cameraXThe only way I know of switching camera views is by hitting the '1' key,
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.Or I may need to flip all the lights off so I can add in another light.Lights are treated as bones in a model so they would still be animatable.
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Someone might get Frank to weigh in on this flashback/no flashback idea since he's the one who has to direct it.
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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.
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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.
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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.
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when someone runs fast enough, the motion carries them through and the hips don't move up or down.
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.
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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
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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".
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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?
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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
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While we're thinking of cartoon music, here's a jaunty little bit from an old Ub Iwerks cartoon.
Just offered as a thought provoker, not an exact solution.
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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!
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I'll have a fix for this shortly
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In TSM2 the FK forearm and FK hand bones "grow" out of the elbow as the FK/IK slider is moved from 100% to 0% rather than simply appear regular size during the transition as in TSM 1.
It would seem to make it impossible to match the FK pose to the IK Pose at the start or end of an FK/IK switch.
It also introduces undesired motion as the geometry tries to track the shrinking FK bones in the middle of the switch.
What is the intended advantage of this?
edit: BTW, this behavior is different that what is described inthe online TSM2 manual which suggests the fuctionality will be the same as in TSM1:
"When the slider gets to 100% it will blend the arms over to a completely different setup just for IK, which will suddenly become visible, and the normal control bones will disappear. "
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I'm using the heirarchy that's in the "model for import". The manual doesn't say to change that.
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90 minutes is too long for an animated feature. That is a relevant fundamental of animation we must recognize at the outset. Especially our first time out.
If the script isn't 90 minutes long, great. One less problem to solve.
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a 90 minutes movie
Is that an alarm I hear going off at the Animation Police Station?
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Make that an A:M Report.
Include the movie and the chor that makes the movie.
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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.
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Works for me, although Robert will have to take the lead at first. (All my computers are rendering 24-7 to try to beat the Nicktoons FF deadline of June 17th; after that, I'll be more available.)
June 17th? Great! You'll be available before me. I've started a thread in "Rigging".
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Small but cute.
At first I thought she was being mercenary, but then I decided she was waiting for a marriage proposal. I hope that's what it was about.
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Since we haven't staked out a quality target, I'm going to suggest that Madagascar is aiming too high.
But we need something more than the AM2001 rig. The fact that it can't raise it's heels is probably responsible for a lot of clunky walk cycles.
I really like TSM. I understand the business case against it. But if we came up with a super rig that was "free" how many A:M buyers would be able to install it on their own? A free rig that they can't install on their own isn't an improvement over a $70 rig that they can install.
Maybe we should go with something simple like Jeff Lew's DVD rig just to show that it can be done. (Yes, i know that won't happen)
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Great looking beast!
I think a yeti needs longer, shaggier hair to stay warm in the Himalayas
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I've got opinions on all the above, but first let me just pose something...
What are people envisioning as the quality level of this?
I sort of see Boids of a Feather as a benchmark. It looks real good, the animation is working well, everyone who sees it thinks there's a real movie behind it. A successful collaborative project.
Of course, Boids wasn't about "training" anybody. AKAIK, everyone on it pretty much knew what they were doing.
Are we shooting for less because this is a mass learning experience?
Are we aiming higher because we want to compete with theatrical releases?
I ask because I haven't been able to discern a definite direction yet.
Are there tricks to managing a huge choreography?
in Work In Progress / Sweatbox
Posted
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.