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williamgaylord

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Everything posted by williamgaylord

  1. This may not look like much change, but most of his face rigging is done. Just have to add the main mouth controls now that I have all the low level controls done. Before long he should be talking, if not singing and dancing! Need to add some teeth. I have enough low level controls that I can get a wide range of mouth movements. I'll probably do a fairly realistic setup and a cartoony one similar to Justin Barrett's "Veggie Tales" mouth poses. Anybody know how to get bias handles to work in a pose? I want to adjust the curvature of the lips as they move in or out, but I can't s
  2. How very generous of you! I would love to animate this guy! Really look forward to it's availability. Thanks in advance. The UV map picture does look pretty cool. Bill Gaylord
  3. That's pretty cool! I would suggest on the return the tentacles should start bending where they join the body, keeping the ends together at first as the tentacles curl outward...sort of make a curve traveling from the inside out in a smooth motion...like the curve of a whipping motion, but slower. It should also be slower than the push motion. You probably already had that in mind. Anyway, it's a pretty darn cool idea for a ship! I like it! Might be cool to send a glowing pulse of light down each tentacle as it pushes, shooting out as a combined pulse of light at the end, or somet
  4. Yes, indeed! Looking great! Looking forward to seeing your work on his fur. Will there be a Fay Wray to match? Or will it be Godzilla? Bill Gaylord
  5. John, that was the view as you exited the wormhole...it's caused by the immense gravitational gradients... This has got to be one of your most elegant mistakes! May not have been what you intended, but visually it is really cool! I'd call it a happy accident. It would be interesting to figure out how to do this sort of thing on purpose. I love your experiments. Bill Gaylord
  6. Just tried it again and it worked fine. The key does seem to be to select only one side and then the other for the copy and paste mirrored. Worked just fine with .1cm tolerance and could probably work with a smaller tolerance. Phil Leavens explained it in more detail and it finally clicked in this rusty cog mind of mine. Thanks!
  7. Still not getting it right somehow. Perhaps a simple step-by-step example ("micro" tutorial) would help. I haven't found much info on how to use it properly. It's got to be something simple I'm missing. I agree about the eyes needing more reflectivity and specularity. Have been focusing more on the mechanics of making them move. I think teeth would add a lot as well. I was thinking along the lines of using "jimmies" (those little "capsule" shaped candy sprinkles) for teeth. It might be interesting to animate one marshmallow adding teeth to another--multicolored teeth from a small pi
  8. I've got the eyes rigged and have started working on the mouth. To save some time and perhaps even get symmetrical controls, I've been trying to copy in one pose and then "paste mirrored" in another. Can't seem to get it to work. Copy and Paste work, but not "paste mirrored". I've tried tolerances all the way up to 5cm, which is larger than the mouth, but still no response. Any ideas what I am doing wrong? I select the mouth area in the source pose (which simultaneously highlights the same area in the destination pose) and copy. Then I click on the destination pose window and click "past
  9. I love the design! Sort of like an alien Homer Simpson and a Dr. Seuss character rolled into one. This looks like it will be a fun character to animate! Bill Gaylord
  10. Here is another eye test. This is a test of the full rig, based on Raf Anzovin's approach with the "lid line" control, and my own rig for controlling the size of the pupil. This is a rough cut that is runs by a bit too fast and lacks some refinements I would have added for a more important test. Marshmallow Eyes 2 I'm pretty pleased with the controls. I've tried to express puzzlement (Huh?), shock (OMG!), and abject horror (Aaaahhh!!) in rapid succession using just simple eyelids and "black dot" pupils. The idea is to get more expression with less anatomy. Let me know what you thi
  11. Me too!! These guys have a lot of appeal. Any maidens or damsels? (Oh, yah...now I remember...you do have a damsel in the mix...) Interesting asymmetry in his armored footwear. Is this second-hand armor? Nice style. I plan to experiment a bit with your face rig approach this week. Pretty darn clever, that! Bill Gaylord
  12. That is pretty cool! Look forward to learning more about it. Most of the scripts I have lined up for the Marshmallows do not involve much dialog, if any, with one exception of a talkative french marshmallow. Most depend more on sight gags, so a simple means of lip sync like this would be great. I like the background designs. Using discarded barrels, tea pots, etc., for buildings is a nice touch. Kind of shifts the sense of scale in a humorous kind of way. Sort of like the giant Lego blocks in the evil castle of "Time Bandits". Bill Gaylord
  13. How did you do the facial rigging and animation for the mouth movements? The Kapsules are very similar to my Marshmallows (especially since I recently simplified the mouth to match the approach on your Kapsules ). Bill Gaylord
  14. This is your Marshmallow...This is your Marshmallow on drugs! This is a simple test of the Marshmallow's adjustable pupils. Any comments or criticisms welcome. This is an abstract way to get more expression out of very simple eyes. Marshmallow Eyes Bill Gaylord
  15. Any opinions out there about whether or not I should give the marshmallow teeth? It might make the lip sync look more natural for certain sounds. I could perhaps use multicolored "jimmies" for teeth... Bill Gaylord
  16. simplified the mouth following John Henderson's "Kapsules" as a guide. Much better behaved mouth mesh! Threw in a tongue. The eyes will have simple pupils that will be adjustable in size as explained in my cartoon eye tutorial. Cartoon Eye Tutorial Any comments/suggestions are welcome. Bill Gaylord
  17. Thanks, Robert! John's Kapsule mouths are much simpler than mine and look like they behave quite well. Think I'll try something very similar. Thanks, Bill Gaylord
  18. Need some help with the mouth. Since the mouth is a big factor in the expressiveness of the face, I want to make it one of the more "high performance" parts of the model. Here are pictures of how I've integrated the mouth. This may limit how much I can manipulate the mouth before I start getting serious kinks and creases (at least unatural creases I don't want...). If anybody has any good suggestions on how to improve the mesh in and around the mouth to improve it's smoothness when stretched and manipulated, I would greatly appreciate it! These pics should give you an idea of wh
  19. Sounds like a good way to get an example posted...might try that. Bill Gaylord
  20. Look forward to learning about special effects on this project. Lot's of potential for interesting sight gags! Any suggestions, recommendations, pointers, tutorials for special effects applications will be much appreciated. Bill Gaylord
  21. Yet another project to keep me from getting enough sleep...but lot's of fun nonetheless. This idea for a series was one I suggested as a project for the Atlanta AM User's Group. The idea was to use marshmallows as the characters and have all sorts of horrible and hilariously funny things happen to them "by accident". We would call the series the "Marshmallow Safety Films". Being such vulnerable creations, accidents are pretty easy to come by. Colin Freeman took a first crack at modeling one of the characters while I developed several story boards. Shortly thereafter Colin had to focus th
  22. I love this character! Good job on the expressions! I noticed just a tiny flaw you might have already noticed: the lower left eyelid passes through the eyeball surface briefly during the "embarrassed" and "angry" expressions. Wonderfull expressiveness! Bill Gaylord
  23. Yes, indeed the Euler constraint works! Here is a simple, unrefined animation of the elbow and wrist joints in action: Arm Joint Test Now I'll just have to get down to business figuring out the rest. Thanks again, Luckbat. Bill Gaylord
  24. Euler, Euler, he's our man! Yes! Euler constraints do exactly what I wanted. Thanks, Luckbat. Are there some simple techniques for precision alignment of bones? Similar to using the "scale" function to align control points along a plane by setting the scale perpendicular to the plane to zero percent? Can you set the rotation of a bone in both global and local coordinates? Guess I should do a bit of homework and experimantation. Bill Gaylord
  25. OK. Now it's time to rig up these guys for animation... Have you tried this with a mix of more traditional manipulation? Oddly enough, I don't want mechanical looking (linear) motion so much as just a limitation of joint movement. I want to be able to pose these guys for the most part like I would characters of a more organic ilk. I'll experiment with this technique, though. It might do the trick. Otherwise, does anybody know how to restrict the rotation of one bone relative to another to a single local axis without using a pose slider? Especially in the case of arms, I
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