sprockets The Snowman is coming! Realistic head model by Dan Skelton Vintage character and mo-cap animation by Joe Williamsen Character animation exercise by Steve Shelton an Animated Puppet Parody by Mark R. Largent Sprite Explosion Effect with PRJ included from johnL3D New Radiosity render of 2004 animation with PRJ. Will Sutton's TAR knocks some heads!
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Hash, Inc. - Animation:Master

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Ignoring the dynamics for the moment - not just the hair but the breats as well - unless we are in zero gravity of course), there are some serious issues with hair coverage..... But other than this its nicely modelled.

 

Cheers

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not just the hair but ....- unless we are in zero gravity of course), there are some serious issues with hair coverage.....

I suppose in zero gravity the hair has NO direction or ALL directions!

Perhaps NO serious issue?

Having NO gravity the hair cells do not know ANY direction - growing also inwards...

Meditate on that!

:D

http://freeweb.supereva.com/malilla/Pages/...ards/itc.html?p

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If gravity was the determining factor in hair growth then we humans would be in strife now wouldn't we - but hair does in fact (in most cases - except for those festering ingrown hairs) grow outward.

 

Cheers

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Thanks, everyone!

 

Yeah, I agree that the feet need to be rounded out more on the sides. Other than that, for the 'floating' images, I imagine the figure having longer hair that swirls around through most of the compositions. However, that will have to wait until I have more freetime. Her face could use some more work in these images, too. I may want to go back later and add some specular highlights to the mirrors.

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Lovely work!!!

 

Excellent characterm great body...

 

Didn't like the nose though ... seems that it doesn't belong to that face... but having in mind your modelig... it seems that you wanted it tht way!

 

GREAT!!!

 

Keep on good work and keep community informed!

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BASED on a photo? That IS a photo...! My gosh!

 

The only nitpick is that it looks like some of the hair might be interpenetrating the pillows. But geez! What incredible work!

 

That smile...!

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Although I'm going to fix a few more things on Figure 14 after I write this, mainly what I fixed so far was adding cast shadows and a bump texture to the background, and improving the lighting and compositing on the figure.

 

In the past, I used to just airbrush out the parts of the render that I didn't like, but that's time consuming and doesn't always look the best. Recently I've found that I can get much better results simply by making two duplicate layers from the render, and setting them to "screen" and "luminosity" in Photoshop.

 

First, the "screen" layer will smooth out (but also lighten) the tones of your image if you delete an inversed selection of the render from the screen layer. To do this, simply go to the RGB channel in the channels window, control click the RGB thumbnail (a selection appears), inverse the selection, and delete it from the screen layer. (You can use a layer mask first if you would like to have more control over the threshold)

 

Then use a "luminousity" layer (also an exact duplicate of the original render) as a top layer.

 

If you're familiar with layer masks, add them to both the screen layer and the luminousity layer. Now you can very quickly paint the layer masks to achieve smoothness (screen layer) or sharpness (lumiousity layer) anywhere you want without blurring the image or losing much fidelity.

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  • 3 weeks later...

The animation will be looking fairly decent by mid-August, at which time I'm going to start sending it out to companies as a demo-reel. I will have some new animation clips on my website before that in late June or early July. As far as it being completely finished, I will be tweaking it into next year for sure.

 

As far as donating models to the A:M CD... Sure, after the BGC animation is finished.

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Not only, that these modells are superpe in terms of anatomic correct modelling and a great ligthening and so on... (blabla, u heard it 1000 times) but I am although amazed, how smooth the surface is... I mean, it seems as u dont use any 5-Pointer or 3-Point-Patches or as u could tell me a lot about using Porcelain...

 

How the hell do u get the surface to smooth?

 

You know the babes of other 3d-Packetes, of which they are thinking, they are that cool, like the one of Lig... aeh, u know which I mean? I think your girls are much better... ( I really like the kokubu-pictures =) )

 

*Fuchur*

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  • 2 weeks later...

Thanks, guys!

 

I've been working on the modeling of this character on and off since I started using A:M five years ago. Its funny to look back at my first human model and see how bad it was!

 

As far as smoothness, I avoid 3-point patches as much as possible. I think that I have one on each side just under where the shoulder and clavicle meet. When I have to use 5-point patches, I try to keep all five points as consistent to their incoming curves as possible. This means rotating the view of your model a lot to see the shape of the curves very closely. Sometimes you can only do so much. Finally, I use porcelain over most of the body (making sure all normals face out). I like to set the porcelain to a lower setting than the default, so that it doesn't smooth the surface too much. I also exclude points on the model from the porcelain group that I want to stay very sharp (like just around the nostrils, eyes, and ears). Finally, there is the photoshop technique that I outlined earlier in this thread, if you are just making still images.

 

Another way of cheating in animation if you have a compositing program (and no other choice) is to use ambiance maps as masks on parts of the body that you want to smooth. After you've already rendered an animation, make a copy of the project and delete all of the lights. Also, add a ambiance decal to your character; Dark on the areas that you want to stay sharp, and light on the areas that you want to smooth. Render the animation again from the same camera, and you should get a nice mask animation, and the only thing that you should see are the areas that you want to smooth. Then, in your compositing program, blur a copy of the original animation on a top layer, and set its alpha or transparency to the mask animation. However, this technique is not completely perfect all of the time...

 

Alright, I've got a lot of animation to get finished in the next month, so I better get back to work now.

 

-Noah

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