phatso
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Posts posted by phatso
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Gawd that Woody Allen thing was funny.
I think pipe organs in churches should spout fire and brimstone.
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Chest bounce: wrong phrase. Struggling little shrug? Anyway, you get the idea, a lot of people shift the weight once they get it shoulder high so they can raise it higher.
The first part of the animation is really good, it gets the whole weight and balance thing across. When it's right, you just know it.
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Robcat likes Bruckner, he would appreciate a good brass instrument.
I was going to make the comment Robcat made. I can't imagine a band anywhere without trumpets - and that's such a good one, dang ya! - but this is Oz, shouldn't there be a few fantasy instruments in amongst the real-world ones?
Suggestion: you can let your imagination run wild with a steam calliope. Yeah, I know, "So model it, phatso." Sorry. Gotta so do work that pays the bills.
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Decal if you can, material if you have to. Only a render test will tell you for sure.
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Durn good until he gets it up off his chest. Hands way too high on the ball, and for part of it the left middle finger disappears.
Try this. When it's up on his chest, have him do a little chest bounce to momentarily take the weight off his hands, and have the hands slip down under it further. Then when he gets it up in the air, after a moment have him stagger around and lose the balance.
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Which leads to the impatient animator's golden rule: if an image (applied as a decal) will give passable results, don't even think of doing a material.
Just for future reference.
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You can get a strong suggestion of sunlight by having one light yellow light overhead and all other lighting very light blue. Also experiment with light yellow specular reflections off hard surfaces (eyes, wing covers).
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A stopwatch (or firm sense of how long a second is) is a great tool. Act it out and note where the keyframes need to be. (There's a tool here somewhere for keeping track of timing, which I intend to download when I get to seriously animating my project.)
Specific hints: hmm... How bout having the rear thom react to the poke faster and more violently, like he'd been punched in the stomach. And maybe have him shake his fists longer, until that moment, instead of standing there and waiting for the next indignity.
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Stewie - welcome home. Major problems making a scale work right? Post the project here, and the family will give you all the advice you could need to solve the problem.
And your mom says to eat your vegetables.
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Yup, the resemblance to your work is pretty clear...
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Just a question, Mel - how much is your time worth? Unless it's only about a buck an hour, you are going to burn up enough time dinking around with this that you could have just as easily upgraded... and when you're done, you will still have an old version of A:M.
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Depends on how realistic you want the animation (says the "master" who hasn't yet got anywhere near dealing with this problem himself).
If you look at most of the models on the Extras disc, you'll find there isn't any body at all beneath the clothes. That solves the problem pretty neatly.
The cloth system with its sophisticated collision detection makes for amazingly realistic movement. But I speak from observation, not experience. If someone speaking from a position of equal non-experience may venture a suggestion - master the easy way first. If your project requires a real cloth system, maybe it would be better to choose another project.
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I assume you are just going to use the image sitting in one place, at one angle to the camera. If you're going to turn it, you're going to have to model it. But you needn't go overboard. Decals are magic. A featureless model like Thom with a decal can be amazingly convincing if you don't turn it too far or let the camera get too close.
I once did something for a museum where we took a white plaster bust of Ben Franklin and projected on it a video of an actor in costume. The actor stayed in one place, of course, but talked and made facial gestures. The angles were chosen such that it looked like Franklin in a dark room with just a key light coming down from about 60 degrees. You could walk all around the bust and it really looked like a living Franklin.
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Here's a suggestion that wouldn't work in most any other case: Why not create a second instance of the model and delete almost everything except the arms? Resize the second model so it can "live" inside the first. That way whatever rigging complexities may be in the model will still be there. You won't have to worry about losing them when you transfer.
Admittedly, this is the "wrong" way to solve the problem. It's a quick and dirty workaround and you wouldn't use it if you were building a model you were going to use again and again. But given the stylized form and movements here, it might be a quick shortcut that will get you through this project.
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Yep. You just know instinctively when you get that "yeah, that's the way it should look" feeling.
(I think it was Renoir, the painter, who was asked how he knew when he got a girl's cheek right. He replied, "When I get the urge to pinch.")
Now you need to add lamppost flexing. And then, the actor should have arms and legs flailing when flying, and bounce off the pole a little, and realize he's falling and wrap arms and legs around it.
I know, nitpick nitpick nitpick. But yer gonna have a really nice animation when yer done. God is in the details.
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I think the default light is pretty much omnidirectional, and it shows up in shaded mode so you can move it around and judge the effect in real time. I'd start with one overhead and in front of the model (toward the camera).
Might I also suggest that you play with the surface properties of the dress so it looks less like she's been encased in chewing gum.
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Almost right already. Nice follow-thru on landing, but the actor leans so far forward he/she would almost certainly fall over unless the feet had velcro on them. Model either needs to come in at a more acute angle or step/stumble forward after landing.
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Yes - and I should have clarified that the technique I mentioned also results in 3-point patches, but larger ones - thus less curved - thus less likely to crease. Also, with fewer patches, fewer creases.
The other technique is to create a sphere with as many splines as needed, both longitudinal and latitudinal. This will create a point at the pole which can never be completely closed. Then rotate the sphere so the part sticking out is the side. This results in a hemispherical protuberance whose surface, at least the part that is visible, is a standard easy-to-model 4-point mesh grid.
First time in my life I've been able to use the phrase "hemispherical protuberance" in a reference that was not scatalogical.
"Eschew sesquipedalianism."
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Another way is to model this kind of thing using only 4 splines. Then you can splice opposite splines to make 2, and splice the CPs on the 2 splines to make a standard crossing with a patch in each quadrant.
When I'm lathing an object and I know I'm going to be bringing one end to a point, I set the number of lathe sections to 4 so I can do this.
One possible issue with the method Ken shows is that it results in four 3-point patches, which may crease a bit. If you need real smoothness, say you're modeling a chrome bumper hitch, this could cause a problem.
The 8-patch sphere in the primitives library shows how good modeling a round object with crossing splines.
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Atchully, you'd get a fabulous improvement if you added a nice yellow-white light to warm things up. Better than any modification you could make to the model.
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I haven't seen stuff like that since the 70's.
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He say he dunno how to model, and then he comes up with something good like that...
I'd suggest that the vest looks too much like a straitjacket; needs more texture to look like cloth. Then again, if it's going to be tooned, that won't matter.Penguin had a cigarette holder. I think they're just called "cigarette holders" unless there's a name in some other language.
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At the risk of completely perverting this thread - but then I think of that alien and say to myself, "How can you pervert what's already risque?" - educated speculation seems to be that, because it takes so long for human children to reach maturity, strong pair bonding of parents is advantageous. Pair bonding is enhanced by face to face sex (as opposed to doggie/ape style). Face to face sex is encouraged by big knockers.
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Who modeled the "boy" model on the new Extras CD? I've been trying to make a 14-year-old by "youngifying" Jimmy, but I'm getting better results by "oldifying" the boy. Now I wanna talk to a pro. I could probably track this down, but it's easier just to ask.
Buying Animation Master
in New Users
Posted
They have a syllabus? That would be interesting for everybody to look at. (When I'm on the forum it says I'm a master but when I'm modeling I feel like a newbie.)