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Everything posted by williamgaylord

  1. Boy, you'll have used up quite a few drill bits by the time you are done. I did re-roof my own house (nailing by hand), but that was only about 20,000 nails. I think Disney just glued M&Ms onto the original and painted over them. That is a tremendous amount of detail, but what a beautiful model. Perhaps you should use it to create a virtual tour. You could charge admission, or maybe sell it on an interactive DVD. Nice work!
  2. OK, experimenting with surface constraints it looks like by default (at least in 15.0) the constrained bone is oriented such that it's roll handle and z-axis stay in a tangent plane to the surface. The direction of the bone in that plane will rotate with the roll of the pointer bone. (I didn't check to see if it automatically orients opposite the roll handle or not. Need to check that.) Is this the default behavior? I'll set the leg bones to be children of this bone, so this should be a very simple rig!
  3. When I had the ears made it was $50 per cubic inch, so a 4' long Nautilus might be a tad expensive. Their 3D printer has a size limit of 1 square foot--anything that will fit in a cube 1' on a side, they can make. They use ABS plastic, which makes for a very durable prototype.
  4. Eric, I happened upon this web site that might interest you: The SubCommittee I was looking for pictures of this 18' "manned" model of the Nautilus: Pat Regan's Nautilus Not as authentic a replica of the Disney Nautilus as your model, though (the pasta bit is missing). And the interior is not what I would call "lavish". I'll be really interested in how you fabricate the brass model when you do.
  5. I've had ear models made of tough ABS plastic using a 3D printing service by a company called Design Research & Development Corp: DRD Here is the thread: Ear Rapid Prototyping You might remember this thread, Eric, since we talked about your Nautilus model. William Sutton used a service called "3D Art-To-Part": 3D Art-To-Part Here is a photo of the ears I had made:
  6. I'd say you did a great job at modeling and rigging. Looks very natural...if you can say that about a disembodied hand.
  7. Interesting to examine the splinage of your work. Interesting how you intersected two loops at some of the joints. Judging from the renders it works well. Thanks for showing the splines!
  8. This is an interesting diversion from your usual brilliantly crafted mechanical modeling. Looking quite good. About thumbs: The thumb has the only metacarpal bone that moves freely. It only has two "phalanges" (finger) bones sitting on top of that metacarpal. The other fingers have three "phalanges" bones each sitting on a metacarpal that does not move freely. The thumb and its moveable metacarpal sit on a carpal bone that juts out from the plane of the palm--like a little shelf that sticks out at a right angle to the palm. If you feel where the metacarpal of the thumb joins this
  9. Added two more rings. I think with some tweaking this will look smooth. I'll add scaling of the rings later. I think walking and running will be pretty easy with this. I should be able to just vary the curl of the overall "s" shape with a simple pose slider; point the leg with one target bone (and rotate it with the roll handle of the parent bone that orients the leg); and direct the surface constraint pointer bone with another pointer. Very simple rig! Maybe even use only one target. PotHeadLegs02.mov
  10. Used fewer spline rings, assigned "spline ring bones" to intermediate rings, and fan bones to the rings at the leg joints. Then adjusted the position and rotation of the intermediate spline ring bones with Smartskins on the Shin and Foot bones. This should also allow me to scale the size of each ring with a pose slider for each intermediate and fan bone associated with the ring. Easy to set up and does the trick! Thanks for the help so far, folks!
  11. Actually, I think if I get close to the same silhouette it will work fine--doesn't have to be exact. There will be enough action to provide some sleight of hand if I time the transition to the 2D logo right. I'm thinking that Smartkinning it with a straighforward three bone leg structure would probably be best. If I can control child bone position and orientation in a Smartskin I'll use that to control individual spline ring bones. In separate pose sliders I'll scale each spline ring bone and hence the ring itself. Then I can match the silhouette to figure out what the scale of the rings
  12. This original position is likely to be one extreme. The other would be almost straight. I'm thinking I may not neen conventional leg bones even. Just a control to straighten/stretch the leg or bend it into a tighter "s" shape. I doubt I'll need to wiggle the "toe" separately. I do want to be able to scale the spline rings so I can match the silhouette of the logo in the "freeze frame".
  13. Fewer rings is something I am considering. More rings gave me some more control over the outer contour, but I'm sure fewer can get the same result. Fewer longitudinal splines, too.
  14. Heres what I'd like to accomplish with the most efficient setup I can manage to get the desired result. Any suggestions? In the animation I'll have to match the final profile of the logo itself in a "freeze frame"--running pot, snap shot, transition to actual logo. I figure I'll need to tweek the actual shape of the legs to match that profile. The 3D leg shapes will have to be tweaked to account for camera view settings, the angle of the leg relative to the camera view, etc. Looks simple, but I have a sneaking suspision that it will take a fair amount of planning and work. I think it
  15. Thanks for the diagram. I found it so helpful I printed it BEFORE adding a post to this thread! A lot of this stuff won't be obvious even after a few rounds of looking at it. It takes time to get enough of the pieces floating around inside your head to be able to start seeing how they relate to each other. Diagrams like this sure help, though. Sometimes it takes a few episodes of dreaming about this stuff after staying up waaaaaay too late working on it. "Thanks Shaggy! I never would have seen it that way on my own. And the way you used Vernon Zehr's Terminato to demonstrate dy
  16. Now I need to sort out the legs themselves. I'll experiment a bit. You can see the basic shape of the "legs". I want to avoid an obvious joint. I think a simple stretch and compress type of action would work best, where the "S" shape straightens out or curves tighter, or each curve independently.
  17. Here is a very crude animation. It shows the gist of what I want to do. Need to add refinements to how the surface constrained bone is controlled. I need to learn better what determines the surface constrained bone's orientation and how I can better control it. PotHeadLegs01.mov
  18. I could have seen it at the Atlanta Film Festival! Sorry I missed it! In fact, this year I missed the whole thing. I have to say though, your film would have been plenty of motivation to make a special effort to attend the festival this year. I should have checked the schedule on your website earlier. I'll be kicking myself for quite a while. (Thump!...Ow!...Thump!...Ow!...) Congratulations on your success so far!
  19. Yes, that's what I'm after. I forgot to open the pose slider view to turn on the constraint pose. Obvious booboo. Now I need help making sure the bone is constrained to point either normal to the surface or at least some predictable direction. When I apply the constraint, the bone acts like a bit of iron stuck to a magnet, but doesn't necessarily point the way I want it to. I'd like it to keep the leg facing forward unless I deliberately want the knee to rotate outward, so I suppose I need to control the roll of the hip bone. Most of the time I'll just want the legs to follow arcs in
  20. Actually I don't want the legs to be jointed to the body. The original logo should give you an idea of what I mean. It's a lot like the thigh bone of a hampster being almost completely hidden in the fat and skin around it--makes the knee look like the pivot point even though it isn't. In this abstract case I wan't the "leg" to float the same distance from the pot, yet I want it to swing along the radius of the pot, as though it were the knee joint of a hamster. The pot is not actually spherical, so a bone rotation won't keep the leg floating the same distance from the pots surface--hence th
  21. Anybody out there have experience using a surface constraint? I thought I understood how to set it up, but apparently not. In this coffee pot character I wan't the "legs" to follow the surface of the bottom of the pot, though with a visible gap. Since the bottom is not exactly spherical I'm thinking the surface constraint will do the trick. I just can't seem to get it working. The picture bellow shows the gist of what I'd like to do, simplified a tad until I get the surface constraint figured out. The bone constrained to the surface will be the one used as the "hip joint" for the leg--so
  22. I'm animating a logo for a friend. The original logo consists of simple pen or brush strokes. The "arms" are the handle and spout and the "legs" are just two zig-zag strokes. This should be easy to rig and plenty of squash-and-stretch is spot on for this type of character. A picture of the logo is attached. I'd like to use the TSM2 rig, but the challenge here is that the "hips" and "shoulders" will be offset by 90 degrees (hips side to side like normal characters, but "arms" fore and aft like the coffee pot it is). Since the the various parts are abstract and not actually connected, I
  23. If we can ever fix the rendering glitches I might finish the film. There will be two children, a little girl and her older brother planting seeds along the row of brownstones. The trees will grow magically as they work their way down the street. The project has been stalled as we try to figure out why the rendering glitches up when the leaves start growing (and while I work overtime on my "real" job). Trees are made of simple parts, by there are an awful lot of them!
  24. Looks familiar. You can also use this technique to animate plants that branch. Set up a set of control path splines that provide the branch structure of the plant as it would be fully grown. Each branch will be set up essentially like Robert described above. Basically a tube with each spline ring assigned to a separate bone and constrained to the particular control path spline in a percentage pose. In addition, scale the spline ring bones very small at the zero percent end of the pose slider. At the other end scale them to 100%. That way the branch grows in thickness as it grows in
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