robcat2075
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Posts posted by robcat2075
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So each one of those 36 models is like what we'd get after we moved some pose sliders on a regularly snazzied up A:M model right...?
hmmmm...
1- you could use the addditional models as rotoscopes for making new mesh poses on the main original head.
2 - (farther out) ( and presuming that each of those 36 models has an identical CP layout) write a program that would compare the position of the original CPs to the modified ones and convert that into smartskin movements.
3- I wonder if there's any way to copy and paste the extra heads into new poses for the first head in some fashion?
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but most of the others aren't doing it for me at all yet.
There's always the Filmation solution... cut to a reaction shot of someone blinking while otherwise motionlessly listening.
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Neat character. Geez, he is thin!
I think it's working best during "the timeless worlds of space"; there the poses really work with the voice.
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It was an action, offset each time so the beginning and end would match up. Everything was an action, really. Arranged like this:Was that an action that you dropped in, or just you just cut & paste keys?(BTW has anybody noticed that no matter how far you scroll down in the PWS, you can never see the keyframes on the last item in the window.)
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So who's taking up the most clock cycles... the updating render information display or Petey&Jaydee?
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Hey, Grubber, that's a fearsome critter! If you continue to be bored you should try the modeling showdown on sundays at digitalrendering.com
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You have got it back wards.
no, if that were the problem then artificially forcing the key frames by nudging wouldn't work either. But it does. I still think this is a problem with the Force KeyFrame mechanism.
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I never use multiple windows so I can't say that that is the problem but I think I've had this happen when I've just switched from one view to another which might be a similar point of confusion.
But the CP is easily corralled back into place by picking a third view (say, the top) and moving it back into the general neighborhood of where you wanted it.
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Nope... still stuck
Turning the first chor action blend down to 0 causes alot of model bone position problems (in my particular project), anyway. And I didn't have to do that if i set keyframes by nudging.
I can get what I want by nudging, but i can't use the Force Keyframe button to do what the nudging is doing.
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I believe it has to do with the program needing to guess where in 3D space you want the new point when all you're really working on is a 2D screen. The "guess" also seems to have a lot to do with where you have last modeled some points.When I'm adding splines with the Add tool, It goes wonky off to the side away, FAR away from my pointer.Having two views open simultaneously may increase the confusion.
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Wild stab I would try...
Do a "save as" on each object and then load them one at a time into a new blank project.
See if any particular one causes the slowdown to re-occur.
Compare that one in a text editor with one that doesn't cause the problem.
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Making those settings is not the problem.
The problem is that a bone can not be moved if I have used the Force Keyframe button on it on any other frame. it becomes locked in place and undraggable.
However, if I "force" a keyframe by using the cursor keys to nudge the bone out and back one pixel then I can make adjustments to the bone on any other frame.
I can make do with that work-around, but having to pre-nudge every bone that I'll want to animate would be tedious on a large rig. I ought to be able to use the Force Keyframe button to quickly nail things down at the beginnig and end of the transitional action.
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The problem I'm having with the second Choreography method is that when i use Force Keyframe to nail down the position of a bone at the beginning or end of the action the bone can no longer be moved. i can click on it and drag but the bone doesn't follow.
The channels for the bone have keyframes that indicate the bone has been moved but when I scrub the timeline the bone does not move!
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If the harmonica will be seen this close in your movie, you might consider redoing the central parts with a tiny, tiny bevel on the edges to help define them better.
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Thanks for all your comments!
I expect that good character animation isn't enough to win these contests.Zach pretty well explained the focus of the Showdown, but I understand what Rodney is getting at. There should be more to animation than just a character moving well, there should be a reason for the movement. A non-animator audience will demand that.
5-10 seconds screen time is enough time to tell a story, but getting all the acting done in four work hours to tell it ... hoooeee...I'm not that fast.
I try approach every showdown like this:
#1 - accomplish the stated goal. Climb a pole? Ok, if nothing else, my character is going climb that pole with the best animation I can do. Just getting that action to work took most of my time.
#2 - Find some way to do it that no one else will. So I didn't do a "sneak" when we had to "steal something." Not much wiggle room on "climb a pole" though.
#3 fit a gag/story in. With more time I might have had him skid in, look around in a panic, then climb up the pole just in time to elude the police running in.
That's the plan, anyway
I'm lucky to just get the guy up the pole in four hours. 
Fortunately, there are no prizes in this thing except bragging rights for a day or two.
Voting irregularities? Doesn't matter. No one appreciated the originality of what i did? Doesn't matter.
I'm not deluding myself that somehow I'll get "discovered" if I win.
I'm free to try anything I want and fail. And hearing other animators explain why they didn't like mine has been useful. -
well, that's not bad for no smartskin. I think fat characters are hard to do because they have so many potentially overlapping masses around their joints. That must be why there are so many thin, bony characters walking around.
PS. Tell the bear I said "Rubenesque", not "fat"
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Hey wait, I think I'm getting it... It seems to involve making a new Choreography action that spans only the time between your first action and your second action (It starts at the end of the first action, ends at the beginning of the second action and "hold last frame" is OFF.
still tinkering with this premise though...
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I don't see a way to add keys in the chor action just in the transition without messing up the other actions
I'm sure there must be a way to add some ad lib key frames in the chor between actions(without affecting neighboring actions)... but i haven't figured out how yet either.
In the meantime, I've been creating yet another action to make the transition.
Make a copy of your first action, delete all the keys in it except for the end, then slide those to the beginning of this new transition action. Then copy the first key from your second action to the end of the transition action. Then animate something appropriate to get you through that transistion.
In your time line put them in order like this:
first action>transistion action>second action
But, there's got to be a better way, and I'm eager to hear it.
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That is just too charming and adorable! I'm impressed by the wide scope of the mouth.
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Pole Climber was the topic in wednesday's four hour Animation Showdown.
An' it were a tough one! This is my entry re-rendered for better lighting and with a few animation tweaks suggested by other contestants, including ZachBG.
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hmmm. I downloaded it but it only showed white, which is odd since it's in "animation" codec and that's a standard quicktime codec.
But actually "Animation" codec is usually not a good choice for animations you might post on the internet. It doesn't compress very much. If you redid it in Sorenson 3 you would almost certainly get a larger image size with a smaller file.
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Is there really a TSM forum somewhere? If not, that would be a cool one to have here. It seems to surface as a topic fairly often.I believe that each of these plug-ins has their own forum -
It was like a real Star Wars movie, but without the bad haircuts
A few rough (compositing) edges
but quite spiffy none-the-less and a substantial production since it seemed like every shot was an effects shot of some sort.You could probably submit a clip of one of the all-A:M sequences to the "Space" contest this month. And win.
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Look's like a lot of nice models, but I think Delgo was able to fit more cliches into their trailer.
Did you see some of the other movies at that site? I've never heard of any of them!
Consider "William Shatner's SPPLAT ATTACK"
Just the idea of that tells me that stardom and celebrity are dangerously addictive things.
Animation exercise
in Work In Progress / Sweatbox
Posted
How about if he sort of subtley shook his head "no" (to himself more than for the audience's benefit) when he said "no would have believed..."
How about for the "scrutinizing" stuff if he had both his hands in front of him as if they were gripping some small imaginary sphere that he was studying?
(warning: danger of overacting in both of the above suggestions)
Gonna add some brow movements? I think the face is a bit static without them.
But I'm just guessing here. The most facial animation I've tried so far is pointing eyeballs in different directions. My character doesn't even have a mouth.