robcat2075
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Posts posted by robcat2075
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well once you say you're being impractical... anything goes, right? ;) is this a rear engine car? that would explain the lack of air intake on the front. a rear bumper and exhaust pipes would add some detail to the back. Or a rocket engine! And a rocket engine covered over with a continental kit would be the height of impractical :D Maybe add some side rear-view mirrors too. Cadillac once did a show-car with a genuine leopard-skin interior. that would be spiffy. if this car belongs to a real poser, it needs to have one of those XM antenna shark fins on top. :lol:
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someone will probably come along and say that the mesh around the eyes isn't according to current wisdom, but for just two hours... that's a decent head!
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[/QUOTE]It helps to visualize what all is happening at times.[quote] [quote]You can adjust the acceleration of bones and properties.[/quote] But those are things that one can do in either the PWS window or the "timeline" window, they aren't things do-able in one but not the other. The GUIs are identical as far as I can see. Right? The only differences I see are that "tacking" is not available in the PWS and the scope of the "Timeline" is dynamic, including only what is selected in the PWS and it's sub items (unless something has been "tacked") whereas the scope of the PWS is always "the whole project".
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[quote]Here are the maps[/quote] Very impressive results. The map reminds me of the face on the Shroud of Turin. Gee, you don't suppose...
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What does one do in the "timeline" window that one can not do in the "Project Workspace"?
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A fine looking model! Are the textures procedural ones? perhaps changing to decals might speed the render up? And maybe a non-reflective ocean would help too? FYI: [url="http://www.talklikeapirate.com/howto.html"]http://www.talklikeapirate.com/howto.html[/url] :D
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[quote]but I think you only have to constrain the last bone.[/quote] yup, that was it. thanks!
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Can anyone explain this? The antenna on the top of this guy's head has three bones in it and they each are "dynamically" constrained (enforcement 5% stiffness 50%). I would expect that when his head moves the antenna would trail it. Instead the antenna is actually leading the motion: [url="http://www.brilliantisland.com/am/antenna.mov"]antenna.mov[/url] If you scrub through the frames backwards the motion almost looks correct. :lol:
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Clever process. I'm surprised it yields effective bump maps, but obviously it does.
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[quote]3.9) Are fonts copyrighted? First, let's [b]distinguish between a font and a typeface.[/b] A typeface is the scheme of letterforms (which is really what you're probably talking about), and the font is the computer file or program (or for that matter, a chunk of metal) which physically embodies the typeface. A font may be the proper subject of copyright, but the generally accepted rule is that a typeface embodied in the font is not ... The letterforms themselves are not copyrightable under U.S. law as a typeface. 37 CFR 202.1(e). A [b]font is copyrightable if it adds some level of protectable expression to the typeface,[/b] but that protection does not extend to the underlying uncopyrightable typeface itself (see 17 U.S.C. 102(B)). In essence, a font will be protectable only if it rises to the level of a computer program. [b]Truetype and other scalable fonts will therefore be protected as computer programs,[/b] a particular species of literary works. Bitmapped fonts are not copyrightable, because in the opinion of the Copyright Office, the bitmap does not add the requisite level of originality to satisfy the requirement for copyright. [i]So, to summarize this point, a typeface is not copyrightable. While a scalable font might be copyrightable as a program, merely copied [b](sic)[/b] the uncopyrightable typeface, and creating your own font, either scalable or bitmapped, is probably not an infringement, [b]assuming you did not copy any of the scalable font's code.[/b][/i] Two warnings: First, [b]even if typefaces can't be copyrighted, they can be patented under existing design patent laws.[/b] 35 U.S.C. 171. Copying a typeface and distributing such a font, while not a violation of copyright, might be an infringement of the patent. Second, Congress has been considering design protection legislation for many years... which, if passed, would protect typeface design... [/quote] the above is from [url="http://www.faqs.org/faqs/law/copyright/faq/part1/"]http://www.faqs.org/faqs/law/copyright/faq/part1/[/url], the bold, italics, sic, and ellipses are mine. The paragraph in italics suggests that the act of creating a 3D object from a computer font (copyrighted or not) and using the object in your animation won't be a violation of the current law. It also suggests that the Bladerunner look-alike font is not a violation, presuming the author created it from scratch and didn't merely alter and retitle an existing computer font. The warning regarding "patent" makes both of the above suggestions less certain. :D
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Very impressive. How much of the drapery is mapping and how much is geometry? Either way looks challenging.
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If you mean keep
limbs locked in place when switching from FK to IK and back, we don't have a
solution for that given A:M's current implementations of constraints and
expressions (maybe we'll figure something out for v2).
I've started using the setup machine rig. Is the above because, if I've been animating in IK, for example, the FK controls are no longer in a matching position when I switch to FK?
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Fine looking models. Which one plays the violin?
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[quote]"Boy, never let better be the enemy of good enough".[/quote] Useful philosophy for assembly lines and accounting firms. :D Less so for experimental creative endeavors. ;)
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ok, here's something that bothers me... ;) his hand strikes the table, and although it dips with the table for one frame, after that it hangs frozen above the surface, while the table continues to vibrate. A temporary "translate to" constraint with an offset would make an easy fix.
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What a lot of wonderful looking assets you have created for your project! They look fabulous! They really do. And i love the idea that it's about Ravel!
To me, the bits of animations you have up look too... "over smooth"? Perhaps the poses aren't extreme enough? perhaps they aren't held long enough? perhaps they have too many inbetweens? perhaps there isn't enough "anticipation" to the moves? I'm not sure.
But when he closes the briefcase, it's a very slight move and the case closes without any feeling that it stopped because the two halves have met each other.
Ok, this is Ravel, he's a dreamy "impressionist" , but i think a lot of CG floats in the "dreamy" mode a bit too long.
On the other hand, I've only seen a few seconds. You may very well intend to balance out this with different animation in other parts of the film.
I'm looking forward to seeing more!
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even with subtitles it's hard to judge, but perhaps he's moving a bit too mercurially for a weak, old man? Or is that "irony"? it's an interesting look, it's got that east european stop-motion look going on. The modeling of only four fingers per hand on such a human character bothers me but that's outside the lipsynch issue.
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Charming work! I wonder if those characters ever suspected all the adventures they would be cast in?
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[quote]AM still looks better in shaded mode on my wife's old machine(ATI RIVA TNT2 16mb).[/quote] Before you buy anything, first you might try swapping the video card* with your wife's, just to confirm that the video card is the difference. If it works, i'm sure she'd make you a good deal on it. *uninstalling old drivers and installing new drivers required
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brief example of distortion glass technique:
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here's another all A:M notion... why not just model a distortion glass and pass it in front of the space ship. it would be wavy on one side and flat on the other. make it refractive like glass, but 100% transparent, and with no specularity and no reflectivity. It ought to be invisible then but would make wavy distortions of anything seen through it.
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[quote]However...y do it the easy way[/quote] The hardest way i can think of to do it, all in AM, would be to render a frame of your klingon ship (with an an alpha channel). then decal that frame to a dense grid and apply an animated displacement map of ripples to the grid to get the wavy thing going on. That would be the hard way to do it. ;)
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Would anyone care to suggest a good workflow for animating a character walking without using walk cycles? In other words, I want to animate every step individually (for variety's sake), not repeat a walk cycle on a character constrained to a path. There are probably good ways to do this and bad ways to do this. I'm thinking of issues like: roughing it out... avoiding unnecessary keyframes... making clever use of the animating power available in A:M... anything else... thanks
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i have a vague recolection of a "Martin's minute" talking about this sort of thing. It has something to do with either: the software having to decided when to stop bouncing instead of continuing infintely on in an ever smaller series of bounces or the "resolution" with which the collisions are sensed or something else entirely. couldn't you tweak the last keyframe after the dynamics are simulated to level out the die?
So little traffic, so few completed projects?
in WIP (Archives)
Posted
[quote][url="http://www.zandoria.com/castaway/sinking.mov"]http://www.zandoria.com/castaway/sinking.mov[/url] [url="http://www.zandoria.com/castaway/177.mov"]http://www.zandoria.com/castaway/177.mov[/url][/quote] fabulous texturing of the swinosaur. Is that Elvis going down with the ship?