Daz 3D is part of 
Connect
DAZ Productions, Inc.
224 S 200 W, Suite #250
Salt Lake City, UT 84101
Licensing Agreement | Terms of Service | Privacy Policy | EULA
© 2024 Daz Productions Inc. All Rights Reserved.Daz 3D is part of
Connect
DAZ Productions, Inc.
224 S 200 W, Suite #250
Salt Lake City, UT 84101
Licensing Agreement | Terms of Service | Privacy Policy | EULA
© 2024 Daz Productions Inc. All Rights Reserved.
Comments
tee hee
i think, replacing lot of the trees in mystic gorge, scatter some cottges, might speed it up?
sss in animation, turn it off except in close up shots
re-watching scififunks nla tutts, forgot everything. >.<
i got up to get a lap blanket, but after i stood up, forgot what i was getting up for
Man, the new band I just joined had me learn "Good Times Bad Times" by Led Zepelin! I love that song!
We're doing the Godsmack version, which is incredibly similar to the original. I do all the back-up vocals along with that killer-freaking drumming... Love it!!!
dohhh
the fenric, pose helper, leg arm swao not working for me >.<
select and children,
Great!!! The only percussion instrument that I can play is finger cymbals.
lil progress, got poser creech into my scene inventory , putting the stuff i want to use in my movie all together and ready to drop into a scene
the arm leg swap isnt working for me, only tried it on creech so far.
miki3 progress bit of a setback. morphs are working, her arm down makes a flattening happen under her arm. and seams issues.
would be an interesting challenge theme, put a band together render !
Could create a Carrara band - I could cover keyboard duties and Dart on drums - any takers for guitar and lead vocals?
Musical theme has always excited my imagination.
i'd do a josie and the aikocats
gleep gleep is a kookie guy
i'm panning the mystic gorge
havent tried yet to save clip for the camera.
dunno what thespeed looks like from until is rendered, but speed judgement should come with practice
watched a cripeman tutt he put volummetruc clouhds in the particle emitter
I was in a band, "Assassin", where I was the songwriter, drummer, bass player and singer LOL
We recorded me playing the songs on drums alone, and played to that blasting through a PA system! Was a lot of fun!
I saw another of his where he put a bulb light, only using its effects, in a particle emitter. It's the one on making Steam ;)
would be kewl, cloud puff balls from a choo choo
mystic gorge up to frame 15 of 480
up to frame 102
hafta to be careful dropping camera down on the gorge from high, cliffs are cutouts.
thinkin killing it at frame 120. wanted to work on setting up the daveo sets to be rara ready.
i confuse the daveo madlab with the artcollab lab (doh) 2 different things lol
I still haven't optimized the shaders, but converting them all into props will make the set so much more accessible for me to use! I've taken the time to add movement morphs directly to the model so the rigging is simply no longer needed. I think Figures are easier in Poser because folks can turn off individual bones. In Carrara, I can simply set them to invisible or delete them. Doesn't matter. So I'd rather have the duplication capabilities.
I used Fenric's Unlock, then removed Model from Skeleton, renamed Model to the name of the Figure and deleted the rest of it. Works like a charm. I've been doing this more and more lately with models that I don't need rigging on - like certain vehicles. Almost all vehicle models from Daz3d are Figures. Some of them work fine as distant, duplicated props with no moving parts, or otherwise parts that move via morph dial.
This S.F.C.S. worked really nicely with the ability to Ctrl + D!!! Makes it like magic!
EDIT:
Forgot to add that I'll also be adding lighting to all of the parts that emit light too.
So then what? Why do all of this?
I don't store all of the parts individually. Instead I opt to place them all in one scene and place them all out like in a Hardware Store - Ceilings over here, Floors over there, Doors, Gadgets, Walls, Dividers - they all have a spot in the store and are grouped by category.
You see, not being a rigged figure has another fun aspect - it can be copied from one Carrara window to another! So I open my S.F.C.S. store and shop for what I want. I pick something out and copy it, then paste it into my scene that I'm building. Easy and fun!
Dart - nice technique! I may well try using that.
sfcs, is in daveo store? goin a looksie ..
well, i haz the part ii http://www.daz3d.com/s-f-c-s-ii
and the skiff runner, i luv that thing, so many renders with it
http://www.daz3d.com/madlab-4
http://www.daz3d.com/madlab-4-expansion-pack
think i seen dave0rama in the rendrot'ka store
Cool (and fun!) stuff
shoulda changed to the other tweeners
http://orig11.deviantart.net/4a2f/f/2017/030/a/2/mystictestsummer_by_realmgal-daxcf66.mp4
oh well, next try
Takes practice. I test timing in animated renders all the time.
For this one, I'd also suggest it take three or four times as long to travel that much distance - unless you're planning on slowing it down in edit phase.
Looks really good though.
You know how I'm always (or used to, anyways) talking about Star Wars - The Clone Wars? Well part of that is that I like to pay close attention to how they perform their camera moves and timing, how they turn the camera or keep the angle, along with lighting, timing, pretty much everything. (EDIT: Including the amazing work they've done on Character animation and scenes they're in) They really did a great job with that show.
But we can do the same things without watching animated shows. The same type of studies can come from any of your favorite shows. Here were some of my first studies when I started watching TV and Movies for animation advice:
I do a lot of these sorts of studies, and much more. These days I'm really intent on paying attention to Visual Effects and trying to guess how they did it. It's funny because before I started studying it, it really does just as they want it to... it blends in with everything so well that we don't notice what a visual effect is. It's just part of what's going on. So much of VFX is so well hidden that most viewers have no idea that an effect just happened - yet it's almost always there - even on shows that don't focus on exciting visuals.
Sound is another one. Most sounds on most shows are added, not recorded during the filming of the shot. It's amazing how we never realize it until we study it.
*** what I mean by this one is something like this example: Something blows up. We know, as we watch, that it only blows up once, but the show will actually play the explosion two or three times quickly, righ in a row from diffrent angles. The same sort of thing when a Hero catches a nasty punch or falls from the sky and hits the ground. The climax of the particular event will be shown several times, quickly, right in a row from different angles.
Because of the first one, "How long is a single clip of film (before switching to a different angle/camera/scene)", I started having three or four cameras (never less than two) for each scene I build - each of which set at a dramatic angle, to be finished off when I actually set up the scene for rendering. By including the extra cameras, I'm reminding myself to take these extra shots. I almost always render the extras shots even if I don't plan on using them. It all helps to work the final result into a better result.
Sometimes I'll actually not repeat the action, but extend it. So for this I'll take the first second and a half from this camera, then switch to another camera showing a portion of what we've just seen, but not all of it from the start, and then switch to yet another camera, or back to the first one, to finish that shot, again, playing a bit of what we've just seen, but not all of it. By doing this, we can get the shot to last longer without slowing the movement of the figure(s), and we can also set the beat of the look of it all - really hitting the beats of the music or sounds.
Oops. I'm babbling again, aren't I?
But I must say that. as the years go by, your babbles have got much more interesting.
In fact, I've even started reading some of them :)
Keep babbling!
Misty - as Dart says, that scene should last a lot longer and you recognised the issue with the tweeners yourself. It is always worth doing a very lo-res, small version of your scene, turn off any fancy lighting so you can just see the action, hopefully rendering in just a few seconds per frame. This will help pick up any issues with movements, timing, synchronization (if you have dialogue or other sound) before you commit to the full quality, full sized render - which you should still aim to be less than five minutes per frame maximum.
Dart - interesting thoughts. The length of single clips in most shows are a lot shorter than most people do when setting out on animation, and even faster for action scenes. I think using beats at a marching tempo - 120 beats per min or two per second - is a helpful way of thinking about things as you can get a lot of action within a single second! Timing is a difficult thing to get right - which is why previewing test animations can be so important.
Yes. I use 120 bpm most often and, yes, timing is the most important part in catching and keeping an audiences interest. Throw things off beat and it feels... um... it can... not... and... er... feels... somethi... ng... strange.
I've devoted so much time into figuring out how to get my scenes to render quickly, that I can actually do many tests at my full resolution, since I've opted for a firly low (720p) resolution. But for scenes that do take longer to render, I'll test them at half that. I tried using draft mode, but it only uses one cpu core, so it's actually slower than my norm! LOL
Just a Bit of Fun was created with such tests - only. Every bit of that show was recycled shortly after making that. I've learned a lot from those test renders, and even more after stitching them together like that ;)
LOL! Thanks!
one of my favorite camera scenes, is the opening to lotr-the towers,
they pan the outside of the mountain where gandalf is fighting the balrog,
then his whole descent while fighting.
An excellent example to watch and time for research. Many individual clips are much less than a single beat at 120 bpm, which is 1/2 a second. So we're talkin' much less than a half of a second. This stuff is really useful when planning renders.
It doesn't mean that we only render one quarter of a second worth of animation, though. It means that we should get some action rendered in many different angle, using different cameras. In the end, we'll only use the best parts of any one render, and cut the rest.
I even use Howler to help tweak some of the camera motions before sending them to my final edit.
filing for the old income tax refund, can scout some xeon deals
want my movie to be HD. went into Bestbuy the other day, saw UHD movies, for those 4k tvs.
thinkin i'll settle for the 1080 lol.
so there's a thing in rara, can set distance, don't understand if it swaps the geometry, or can swap the textures.
planning to rely less on texture maps and go with rara shaders. for stuff like space stations and labs. haz the utopia labs, lots of plexi-glass lookin bits.
Suit yourself. Just keep in mind that you can still set test renders at a lower resolution (maintain aspect ratio) to save GOBS of time while experimenting. I was originally thinking of going 1080p until I saw the difference in render times. 720p is still HD, just on the lower end. But now things are going 2K and 4K.
I recall seeing somewhere that an average CG effect shot for a feature film using a huge render farm will take over 70 minutes to render. Now that's going for some hefty realism!
I consider myself lucky knowing that my animations look just fine at roughly one minute per frame - and I'm happy with that speed, even if it doubles due to specific requirements.
After that, I suppose I should also add that, those feature film shots are all tested on incredibly low-rez setups with no textures - only to be replaced with the 'real thing' after everything else is approved.
For The Clone Wars, George Lucas had his R&D department create a thing called Z-Viz (links to an article written before Zviz was ever used) so that he could omit the use of storyboards for incredibly fast animations, where the previz team can now solve the complete cut show before production even begins, and then is an ultra-fast means to solve issues that might arise during the editing phase.
These are rendered in real-time and are ultra-low-rez, but make for a great way to solve timing and pacing - the flow of the show in the alotted time frame.
This is a full episode that was never developed, all done in Zviz. Here's a link to the Full Playlist if you're interested in seeing the whole season that was never developed ;)
tee hee look funny. wookie weapons
the lotr making of the movie shows the maya test renders.
i've started doing like a baseline render, of just the lighting and infinite plane,
the waxy white without sss took 29 seconds on my i5. the desert plane shader on infinite plane was 49 seconds. >.<
I really love those terrain shaders. have to test those on a cone, changes with the altitude.
this monitor looks pretty kewl for video editing and daw editing, do you think?
ultra wide, it's 21:9 some of these monitor product pages don't give the resolution in pixels.
i think it's 2560px
my graphic card doesn't go over 1920x1080.
all my video/music editing s/w is on separate compy from carrara machine. so i could work on it while carrara is rendering.
http://www.amazon.com/LG-29UM58-P-29IN-UltraWide-21/dp/B01B67KAQ4