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Hash, Inc. - Animation:Master

Cupid's Sick Day


Shelton

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I have tried to get rid of the white spot in the corner of the mouth. I have not been able to rid of all of it. It has to do with sss and the sharp angle of the patch going into the corner of the mouth.

 

Steve

bodyside0.jpg

bodyback0.jpg

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  • 2 weeks later...
  • 2 weeks later...
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Sorry about the last post. I tried to post from mobile phone and things got left off. What I was saying is that the artists are either 2d artists that have been trained to draw Disney characters. Or they are artists drawing 2d figures but have an interest in 3d. Most have never used a 3d software program and really not interested in learning. Only a handful are actual animators using 2d or 3d techniques. I guess I was suprised by these statistics

 

Steve

 

Heading back to cold in a couple of days.

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Sorry about the last post. I tried to post from mobile phone and things got left off. What I was saying is that the artists are either 2d artists that have been trained to draw Disney characters. Or they are artists drawing 2d figures but have an interest in 3d. Most have never used a 3d software program and really not interested in learning. Only a handful are actual animators using 2d or 3d techniques. I guess I was suprised by these statistics

 

Steve

 

Heading back to cold in a couple of days.

People fight change sometimes

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Well after a month of work and the installation of couple of new networks, I can finally start working on AM and Cupid's Sick Day again. I want to explore how Robert's sock puppet and the cloth setup. Some new tutorials have been added over the last month. You guys have been busy.

 

Steve

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I have had about a month off from the project due to work and the scary task of rigging characters. I started this last week and with the huge help of Mark and help of Steve and David, I have the first character rigged. I lost some of the settings of the hair and decals but should have those back shortly.

 

Here he is in his first pose, PM!

 

Steve :rolleyes:

riggedpose0.jpg

riggedposewhite0.jpg

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Thanks for all the comments. He is based on a generic character that advertised for drug companies on tv. Of course in the short he is an out work super hero.

 

Thanks David and Robert I will work on those areas.

 

Steve

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ok started smark skinning. and had a question.

 

If you apply the skinning by selecting the bone then smart skin but how do you mirror the skinning to the other side? For example, bending the arm and smart skinning the elbow bend on the right. how do you get the same settings to the left arm?

 

Here is another questions. No settings were changed just two of the character in the chor, one has sss applied the other is not rendering. I reversed the action pose and no matter what I do the second version of the character the sss settings are not recognized.

 

Edit: I tested with two different characters and the sss settings worked just fine, but two of the same characters caused the issue

 

Steve

pmeyesssstry0.jpg

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Help. this one should be easy for you rigging masters.

 

I have a quiver with a belt and about 10 arrows in the quiver. I want to rig the quiver and arrows as one, first off; each arrow must be rigged to move out of the quiver and will be shot from the bow. (the arrow will bend with the force of being shot out of the bow) The belt must be rigged so our hero can put it over his shoulder.

 

Here are the questions for a beginner like me. Would using a null be the easiest way to keep the quiver from being congested with bones?

 

Ease of use I want to use a null to move the quiver so do I use a translate and orient like constraint to the null from the quiver bone?

 

Once again I would like to use a null (to hide all the bones in the arrows). The arrows will be in the quiver, each one will have to be drawn, what constraints would I use to tie to a null?

 

Finally, each arrow will have to move with the quiver so will each arrow have to orient like the quiver?

 

oh yea the belt? Not sure how to go there.

 

thanks

 

Steve

 

edit

When you set a constrant and want it be on all the time with out having to remember, how do you do that. I have to turn it on each action

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As I am working on bones and rigging I thought I would explore the transistion between action files. Had a foot sliding but other than that it turned out ok. The two actions were poses I created as arms crossed and muscle. I then let the computer complete the transistion.

 

Steve

pm.mov

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The easiest thing for the strap would be for the character to just have it on all the time...you could make the quiver the parent of a chain of bones that are the strap or use cloth. With the character always wearing the quiver, I would probably use cloth.

 

If the quiver isn't going to be on the character all the time, I would a separate model and use "translate to" and "orient like" constraints with the chest bone as the target with an offset. The strap could be a chain of bones with a dynamic constraint applied to them...which is the direction I would lean if the character doesn't always wear the quiver.

 

For the arrows, I would make a single arrow and then add them to the quiver with multiple instances in the Choreography using "translate to" and "orient like" constraints with the quiver as the target. Then, you could turn off the constraints on an arrow that you want to use with the bow.

 

Hope that helps, Steve.

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Steve you need to use the channel editor when animating ,Robert has a good tut on this ,heres an image of keeping the foot from sliding.To keep a pose on you need to set it on the settings ,when you edit the pose RMB on the red line and choose settings then you should see a window with default ,max and minimum just set the default to on

channels.jpg

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Thanks Steve.

 

I evidently moved the foot before I was ready to animate. I did not catch it until after the rendering. So once I corrected this I was able to stop the slide on the leg. But now that I am learning to animate again this tutorial will come in handy.

 

Thanks David.

 

I got the arrow and the constraints to work last night late finally. I had set up the relationship but never turned it on in the action or chor. Is there a way to have it always "on" between the translate to and orient like constraints? If I created an action of multiple instances of the arrow

 

The belt is a hard one for me to figure out. I had not thought of it cloth? I am just now finishing the quiver. I have two types of arrows in the quiver "Lust" and "Love". There will be 5 instances of each arrow in the quiver. When I complete could you look at the design?

 

Steve

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I got the arrow and the constraints to work last night late finally. I had set up the relationship but never turned it on in the action or chor. Is there a way to have it always "on" between the translate to and orient like constraints? If I created an action of multiple instances of the arrow

 

I'm probably not understanding the question, but I'll give a couple of options.

 

If the arrow is one that will not be pulled out of the quiver, you can make it part of the quiver model and either not rig each arrow (they wouldn't move other than with the quiver that way) or add a bone to each arrow that is a child of the quiver so that they can be animated easily inside the quiver (you could animate them without bones using muscle movement, but the bones would make it easier).

 

If the arrow is going to be pulled from the quiver, you are better off making it a separate model and adding it in the Choreography. If it were part of the character or quiver, it would be affected when the model bone for either is moved and you would have to do some counter-animating to compensate. You can use a "translate to" and "orient like" constraint to keep the arrow in the quiver until you want to use it, then you can set those constraints to "0".

 

The belt is a hard one for me to figure out. I had not thought of it cloth?

 

The easiest way would be to have the quiver always on the character. If the quiver was part of the character, the belt could just be CP Weighted so that it moves with the character, then the quiver could be a single bone so that it can be adjusted when the character is moving around.

 

If the belt and quiver need to be adjusted by the character, you could make a chain of bones for the belt that are children of a bone that is the quiver. If you need automatic movement on the belt, you could put a dynamic constraint on the chain of bones or you could use cloth.

 

When I complete could you look at the design?

 

Shoot it at me.

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Ok David

 

To answer that question, i had rigged each arrow in the quiver with the constraints but each time I went into the action file I had to turn on those contraints to pull the arrow from the quiver.

 

Both ideas are something I had considered. The quiver and the arrows will be given to PM from Cupid since he is taking a sick day. Once he gets it I could have the quiver on him for the rest of the short. So I could have two PM Models (once I have completed the rigging (face rig)). One with quiver and arrows and one without. The arrows will be drawn and shot from the quiver as we go through the short.

 

I will send it to you late tonight or tomorrow.

 

I appreciate the help. This forum is a huge help, if for nothing else bouncing ideas around.

 

Steve

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So I could have two PM Models (once I have completed the rigging (face rig)). One with quiver and arrows and one without.

 

Rather than have two versions of the character, you could make a pose on one to hide (make transparent or shrink to 0%) the things you don't want to be there all the time.

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