C-grid

Here another attribute I am working on. Niels

Here's an other attribute for my website, it's a 5 multi-pass. Niels

The hips are usually wider than the shoulder-measurement. The bottom is part of the leg-flow, a girl has wider and fuller bum-cheeks than a male. The bottom of a female is also higher than a male one, not because of the longer legs but the total bottom in height. Niels. [EDIT] I prefer clips from musicstations over anatomy-books, those books usally don't show let's say a 'Beyonce Knowles', 'Josh Stone' or 'Marisa Tomei'-alike.

I thought about it last night, if it isn't the render-method, you probably have inner-patches in the transparent-object.

I like to keep the habit of a certain filenaming concept: The first save of a model is Modelv1_1.mdl For backup saving during creationtime I use the _1-part, when the model changes while or after modeling I set the v1-part. Is the model done, I save it to Model.mdl, this make the Model.mdl the same as the last ModelvX_X.mdl When I start rigging, I first save the model as Model_B_v1_1.mdl, were B stand for bones. Is the rig done, I save it again as Model.mdl, again the last Model_B is the same as the current Model_B_vX_X.mdl file. The same principle with texturing, _T. In some cases depending on the stage, r1 is added to the filename, were r stands for revision. Niels. ps. Leo73 has a good dir-structure, I would add a dir called, finished models or work models. [EDIT] I also have a dir called originals in the Model-dir, there I put high-resolution originals, e.g. paint-, photoshop- or gimpfiles.

You probably used render-method final, try a 5 multi-pass, see if it's still happening.

The placement of ControlPoints should make the connected spline have a regular flow, when there's a crossroad at a middle CP between 2 splines do mind keeping the flow, with organic modelling, a spline followthrough should take every crossroad straight ahead, e.g. NOT like 2 cars that both turn left on a crossroad. Places where the density of CPs on a spline is close and next to eachother, beware that they still need to line-up like an on-going flow, like unconnected points in space that are placed in an arc-like-shape which will make them look already as if they were connected. Niels

one pose-slider A for left wing, up, neutral and down. one pose-slider B for right wing, up, neutral and down. one pose-slider C 'clench' wing using A and B. A,B and C can be animated seperatly. I personally think animating with NULLs 'steering' the wings would be a better more free-er approach.

A pose-slider from left to right with the setting -100 to 100 will probably do better.

I agree, if it takes too long for me to make time for decent facial-expressions, I will use smartskin to make him smile and express 'welcome/tadaa/enjoy' The webpage backup I still have to make/generate... for starters it will be my online-contact-find-page(I don't even have telephone...) and a place where I can add stuff. I am testing a program now to (eventually) bake a flashstyle-site. Niels ps. The 'sentence' CONTACT-MUSIC-ANIMATION-OTHER didn't felt right (psychology).

Updated the first post with the version I will be using for the time being.

Most of people nowadays drive with a blinded shield, they can't get focus in zenith, don't really care much for the signs and they believe the point one is, has got to be the right perspective to go on 'their' way but one missed the fundamental startingpoint behind one and the one in zenith. Learning, understanding, adapting and execute with scheduled retrace and zenith-perspective, although the schedule must stay the update time will grow. Niels. ps. Would it be wise and is it time for a human-machine?

I am working on a webpage, this will be the startpoint. Niels. I made a two-leg version, I raised the density of the model a bit to make it somewhat animatable instead of my first intention as decor-prop-doll..., no finished rig yet. [attachmentid=23243]

If you think you've deleted part(s) of the 2001-rig, 'save as' your project-embedded, with your that project open, import the 2001-skeleton and re-copy the relations. 'The Art of Animation:Master' has a description for implementing such a rig, this if you don't know what I mean with re-copy relationships. Niels

Did you check [ALT+4] if the constrain-relations are ON?

Wisdom hath say nothing and a prophet hath known. Who will decide such a thing, will there be an extra icon(s) who judged the usefulness at what time. I could advise you the search-engine, that gives a line-up. The forum isn't a book, and the realtime catalog capabilities are way-off, as the catalog-rules are mostly too. We could talk e.g. assembly if you want, but that would be real off-topic. Maybe this could be your idea for an animation-film. Depends on the cause what took me waiting to finally take one. Sad, very sad, 'drama' you called it earlier, you also must be having far more wisdom than GOD. Niels

Only if the answer isn't been transported It does make a difference from whom an answer is coming but yet telling truth could reside in all. Niels

Thanks for the substitute; 'e.g.' it will be. Niels. ps. Paul? Cycle length can be "Perhaps Anotherwayof sayingthisis..." 13.39 in order to keep things on timetrack.

Is there a more clearer expression to use instead of 'p.a.', that you know of?

As I learned this once, 'p.a.' should mean 'for example'. Niels In relation to music it could meant pre-amplifier

I will post tomorrow all BPM's of all songs. There's a way to calculate the BPM taking the number of samples between two beats and using a formula with the appropriate samplerate. 24fps does equals a constant tempo X, tempo's that could be used would stuck at X*multiplier. Of course there's little room, working with 12th frames. One has several options though: - Make a repetitive dummy-action,p.a. beat=13.39, ActionFrames=13, setting the cyclelength to 13.39 gives a sort of music-bar-timeline ergo where to start on the beat. - An other option is don't change tempo, change the framerate and render with the right step. Niels. I remember the existence of such automated beat-calculation but it will function best with loud beat or beat-samples, the more standard way is having the wave displayed, make 2 markers or the right selection and tell the software to do a beat-calculation. I am not familiar with Acid. Niels A metronome wav-file can be helpful, maybe something for the f(e)uture to implement a (midi/audio) metronome...

If anyone wonders what formula to use when it comes to calculating BPM(Beats-per-minute) to FPS(Frames-per-second) 60:BPM*FPS=NumberOfFramesPerBeat Niels ps. Cycle length can be p.a. 13.39 in order to keep things on timetrack

I am not saying it is but check: enforcement time-based not constant interpolation-method (choose a no sawtooth-figure)

Al, As I remember Mr.Suttons tutorial telling such area need more(exaggerated) decal-space. One way is keeping this in mind before, flattening and decal then afterwards 'fool' the decal-calculator-function giving the specific area alot of .tga-decal space in de uv-editor, it will lessen the distortion alot. Of course I hope too, to have 3D-painter someday... Niels.

If your goal is mostly the warp-trail: Setting up your cam with 100% Motionblur before building the scene is the large part of the trick. Now you can exactly determine the amount of trail you want through shifting the keyframes on the timeline. Make sure your scene has relative-depth(how large is one matchbox on-screen) and relative-speed(if (a=this speed && b=faster) wow what a (natural)speed). Niels