Jeetman
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Posts posted by Jeetman
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Please don't change the camera resolution at all as it'll need to be corrected by someone. Also, any changes made to the root camera resolution (for preview rendering) won't be reflected in the instance camera in this shot.
In fact the only things that should be changed in the camera, if required, are the position/rotation and focal point. Even then, it's at a push.
I made no changes to the camera except the position.
George
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Hey George ... Nice take ..
I suggest you to rotate his forearm while he walks.. an example can be seen HERE. I also noticed the SC's feet sliding. And try to use the correct frame size 720x405...
Thanks Xtaz,
I'm only in blocking stage. The details will be ironed out in the next stage or stages (not sure how it works). The feet sliding thing I saw too but I didn't make the sneek cycle and I can never seem to get the feet to work perfectly with paths so that will be something that a pathing expert will have to figure out.
The render is only a quick thing to show the shot but in the future I'll create the proper resolution.
George
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Sean,
That looks so cool!!!
I wondered how cool the table would look after it was textured. Now I know!
It's looking GREAT!
George
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Chris,
As all have said but I wanted to chime in too...
That house looks awesome!!!!
George
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Excellent help here!!!
Thank you Rodney and Luuk. This is really good to know!
George
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OK made the adjustment to the shot. I added another crow (it's actually the same crow). The first one gives a reason for tin to peek around the corner and the second one catches his eye. I also added a back view camera angle of Tin seeing one of the crows enter SC's room. Oh and I opened SC's door as requested.
Here's a mov of the changes. Remember this is only the keyframes in hold. The path animation has no hold.
Just let me know if it's OK to move on.
Oh and the lighting is going to have to be adjusted. I turned on the front light so I could see the shot better.
George
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Hi all,
Can anyone tell me what determines the start of a path? I'm working on a SO shot and I have a crow constrained to a path that I had to modify by adding a few splines and now It's starting at the end of the path. I know I could use ease to make it work but I just want to understand how it works.
So what controls where the start of a path for a model is. I need to get the crow on the other end of the path spline.
George
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I took a bit of a break from animating to make a white water surf for the bottom of the rowboat. It's a sprite material and renders fast. I think it's like a shadow for a character and helps to anchor the boat to the sea.....oh the puns!
(The ocean waves look just a tad bit fast. I had to turn off reflections too because there was funky things happening.)
Looks cool Ken! Are they in a motor boat or just rowing? If they are in a motor boat then it should work pretty nicely. If they are rowing though, you wouldn't see so much surf.
George
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Each new shot is a new camera cut, so you can do what you like. There's a default pose I'm putting in all the models that closes their eyes down to their irises but this also does other things such as curl the fingers abit.....just stuff for a more natural pose.
This would be perfect. Thanks!
George
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Trot
in SO:Modeling
I'm doing the lipsync for trot and expressions. Her smile control isn't working. Could someone please fix that?
Thanks,
George
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I'm getting ready to do the lipsync and facial expressions. I thought about a potential issue. I think the starting face of Trot has her eyes too wide open. I'd like to close her lids a little but I don't want to lose continuity with previous shots. Is the face that she starts with her normal relaxed look or can I close her eye lids a touch so she doesn't look like shes a zombie hehe?
George
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Raising the bottom might do it actually, but it could make their knees go up to their faces.
George's Boolean solution would work well if the water plane and the boat were in the same model - I'm pretty sure boolean cutters only work within a single model and do not interact between different models in a chor. Since the boat and the water plane are different models, and we do not know yet how a diaplacement map will affect the water's contour, I don't think a boolean cutter would work well in this case. But George if you want to make some storm waves and give it a shot (using different models for the boat and the water plane), I would be interested in seeing the results.
The only thing that needs to be with the water model is the cutout boolean. The boat does not need to be part of the model. All you need to do is keep a cutout in the water, Translate and orient the boat to the cutout. When you don't need the cutout, you just move it out of camera.
The only down side is that the boat cutout doesn't effect the water. It essentially cuts a hole in the water. It may not look too good. Animating the water would look better. I just don't understand how Nancy's idea works completely.
George
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Nancy's idea is cool but why not just have a boolean cut out of the boat in the water model. Then "translate to" and "orient like" the boat control bone to the cutout? Then you move and animate the cutout bone in the water.
Here's a quick thing I threw together as an example.
Here's the prj file.
George
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I have the annual download version of v15 on both my work PC and my home Mac. But the PC version has the full library, with all the geometric solids, primitives, etc. but the Mac version has only a brief version with six character models (and items in other categories, I mainly mention the models library just as an example).
I also wanted to add materials (or other items) to the library, or start my own I guess, but looking around in the app folder I can't seem to locate either the existing libraries or a place to put additions. The Library item in the Data folder is only 4kb so I know that ain't it!
While poking around in there I also became curious about the existence of the dictionary. What function does it serve?
I could be wrong but I believe the dictionary is for the dopesheet.
George
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Actually, I'd like to see the facial expressions in the lipsync Action, (at least the ones that go along with the dialog).
I'll be doing mine in a separate action in the chor. The logic being that a character doesn't only show expressions when he's talking (that's all you have when there's silence).
Otherwise there's all sorts of fun trying to blend the expressions in the chor with the expressions in the lip sync action.
This is a very good point. I never had this problem because I always did lipsync as a choreography action. All lipsync and facial expressions) were done in the same chor.
I got an idea....
lipsync the dialogue (with expressions for the dialogue) in an action. Create all main poses (excluding the face) in its own chor action and for all silent facial expressions, and create a 3rd chor action for inbetween facial expressions (without dialogue.
George
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Actually, I'd like to see the facial expressions in the lipsync Action, (at least the ones that go along with the dialog).
I agree. As I said, I had a hard time blending expressions with lipsync. If we treat the face as a whole, I think it will be a lot easier. Everytime I've done lipsync, I added expressions and eye movements.
George
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1) Lip sync is basically a transition between key poses already so, we might as well go all the way and get that done at this stage. That's what I'm doing anyway.
2) Lips sync separate actions. Only lip movement in each action. No eye movements or expressions.
3) The lip sync actions should be all set up for you. My actions are embedded within the chor. I'm having no problems with that.
4) No. Eye movements usually need a subject to look at.....which is in the chor. So there's going to be alot of cleaning up to get the character looking at what he's meant to be looking at. Much easier to do it in the chor from the start. Just use move the master target null to the subject and it's done.
Expressions also don't just occur when the character is talking so blending between an expression in the chor and an expression in the lip sync action is problematic. When all the expressions are in the chor, there's much more freedom.
By eye movement, I mean slight movement to show thinking (not aimed at anyone).
I'd like to include the expressions because the lipsync shapes are affected by the expressions. On one of the sequences I worked on in TWO, I had a hard time combining facial expressions with the lipsync because some of the controls to create the lipsync are used to create expressions. I tried to blend them but it didn't look right. I just think it would be easier to treat the face as a whole instead of trying to blend just mouth and jaw poses with the something like a smile or a frown.
George
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Nothing daunting, you are 90% there. The prj plays better than on the video, but you'll get the idea.
Hi Bruce,
Nice tut on showing how to manipulate the scaling to show how to squash and stretch but you left out a very important part that should have been addressed. When showing "squash and stretch", the volume needs to be maintained. That is if you squish rabbit in the "Y" 50%, you must stretch him out in the "X" approx. 50% for it to look right. If all you do is squish in the "Y", then the illusion looks more like he's shrinking.
George
Here's a crude example
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Hi all,
I just want to completely understand the lipsync process for "SO". I have a few questions.....
1) During the keyposing stage, are we suppose to be doing the entire lipsync, or just key poses for the lipsync as well?
2) Are we creating all lipsync as separate actions or can we create choreography actions?
3) If lipsync's are all going to be separate actions, are the lipsync actions kept with the actor folder or with the sequence folder?
4) When I do lipsync'ing using the 2008 rig, I only use the null controls. It looks better and is much faster to use IMO. I also normally do all the facial expressions, eye movement, frowns, etc. Is it OK to combine all facial expressions with the lipsync?
Thanks,
George
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The script that is linked here is out of date or something. I came here a couple of times to read the script and was surprised to see that the links were not linking to the lastest version.
Here's where the latest version in txt format is:
http://project1.hash.com/movie/so/active/d...ript/Script.txt
George
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WOW!! That's really good. Yeah the walk cycles need to be polished a bit but the camera work, your voice acting is really quite good. I really feel that it's definitely good enough for TV. (maybe cartoon network).
Knowing the amount of work it requires to put out a production like this, I'm very impressed with your work. The story drew me in completely.
A VERY good job IMO!!!
George
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I like the march towards the rabbit. And the animation looks good!
The thing that did jumped out at me is when knight reaches for the rabbit, there's popping in the arms or a rotation issue. If it's popping, that's easily fixed by putting a little more of a bend in the elbow. To determine if it's a rotational issue, go into spline mode for the key frames and look at the rotation keys. I had one with a monkey animation I made before. His arm was rotating to the next pose. It drove me crazy till I realized to look at the splines and sure enough I saw a long drop in my "x" rotation. I adjusted the spline and all was good.
Definitely a good start!
George
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OK. I'm done. I have all the chor action poses set to hold. I couldn't find a way to set the actions to hold without actually modifying them so I left the path action as is.
I also got the "walk to peer" action to work with the original Tin Woodman shortcut (I deleted the second one). All I did was I saved the "peer" choreography action as an action, imported it and set the blended.
If approved, the key framing should be done.
George
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2_01_69
in TWO Animating
Posted
Hi Robert,
I finally got a chance to add the extra ground keeping Winkies. I also created a constant raking action for the extras. The original one has the guy looking up to watch Woot. It's all committed to the svn.
Here's a mov.
2_01_69_take3.mov
George