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Eastdrom posted:Little late, but Loomis is a great resource for learning anatomy. I started reading his material a few months ago and my figure drawing has improved astronomically (or at least i think so), and all his works are available for free on the internet. Here's the most relative to your plight: https://archive.org/details/loomis_FIGURE_draw Thanks for the book! I've actually done life drawing and stuff in the past and I think I actually used to own that book back in England, but its good to have a virtual copy of it again. What would you recommend? Looking at the book, and sculpting in Zbrush an arm or a leg or a face or even smaller stuff? When you guys were talking about anatomy I thought you were talking about muscle placement or bones, etc. I've studied basic human proportions, scale and form. In the previous model I had posted I was copying the picture / a plastic model directly because as you said, anime doesn't follow real life principles. Despite having studied anatomy as far as the human figure goes (figure drawing and sketching), I have a lot of trouble defining what I know in Zbrush, and that's because I haven't learn't how to use Zbrush. So I'm going to use this chance to brush up on my figure drawing even more, learn muscle anatomy and sculpt some smaller, more bite size models while also watching some digital tutors tutorials on Zbrush  I look forward to posting some work in the coming days hopefully...
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May 7, 2014 07:31
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I'd just recommend blocking out forms and learning the general flow of muscle and anatomy while modeling, then slowly defining in stages. The foundation is super important. Zbrush (from what I've heard) is often usedfor adding finer details to models made in programs like 3damax or maya, though with a good enough knowledge of anatomy I can see people slipping that process. Good luck sir.
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May 7, 2014 08:48
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The Loomis books have been reprinted and are available in hardcover editions, if you prefer an actual book to work from.
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May 8, 2014 06:10
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Rekka posted:Thanks for the book! I've actually done life drawing and stuff in the past and I think I actually used to own that book back in England, but its good to have a virtual copy of it again. What would you recommend? Looking at the book, and sculpting in Zbrush an arm or a leg or a face or even smaller stuff? This may help you guys with anatomy in zbrush. Skip to the 15min mark. https://vimeo.com/93876078 Danny Williams / Pointpusher is a man with mad skills and an uncanny ability to explain things in very understandable terms. If that isn't enough, then check out Scott Spencer's books. This one in particular. Zack Petroc's original gonomon / zbrush videos are also about as good as it gets for designing anatomy in zbrush. Listerine: Now I want a copy of those books. Often I prefer having books open vs. a pdf on a screen. Thanks! sigma 6 fucked around with this message at 16:59 on May 8, 2014 |
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May 8, 2014 16:56
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I had the same problem studying the books (even with two screens) until i printed them out and bound them. Think twice before doing this, 200 pages takes a long time to get into plastic slips. Managed to decently rig a model, and get a better grasp on rigging and animation. Now i gotta try put some armour on the sucker. 
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May 8, 2014 20:43
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more boat stuff https://vimeo.com/94599353 I worked on this for a set amount of time and then cut off to render so there's still a bunch of poo poo i'd like to fix. Major render issues on a couple of shots which i've fixed on some others. there will be more revisions of this - i'm a long way off being able to use it in production.
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May 9, 2014 01:36
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So, according to Andy Serkis, animators are just applying digital make-up: http://io9.com/andy-serkis-reveals-the-new-ape-world-in-dawn-of-the-pl-1553706020 a twat posted:But also the way that Weta digital, whom I've worked with on oct of those projects, that they have now schooled their animators to honor the performances that are given by the actors on set. And the teams of people who understand that way of working now are established. And that's something that has really changed. It's a given that they absolutely copy [the performance] to the letter, to the point in effect what they are doing is painting digital makeup onto actors' performances. It's that understanding which has changed as much as anything.
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May 9, 2014 06:22
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He's been known to be kind of an rear end to VFX work, putting shots where he did ''all the work'' as Gollum when in fact it was hand keyed by an animator. Vfx soldier did a few articles on him a while back when he was trying to push his profile for an Oscar ceremony.
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May 9, 2014 07:54
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ImplicitAssembler posted:So, according to Andy Serkis, animators are just applying digital make-up: Note that this could also read as 'they' referring to Weta Digital, or that he's describing everyone in VFX as 'animators' for the sake of simplicity when talking to the press. Either way, while he is undervaluing the work of the animators who alter, adjust and massage his performances, I don't think it's outrageous to describe the work of a VFX studio in this case to a mass audience as taking mocap data and 'applying digital make-up.' As he says, in effect, that's exactly what they're doing; in this case it involves a poo poo-ton of steps (not least of which creating the characters), but the end result of the work is taking the performance, and making him not look like him.
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May 9, 2014 13:49
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Care of Cartoon Brew (who's post about this is pretty reactive crap), I found that Kieth Lango is twitter-spouting some good, realistic reactions to the whole thing here https://twitter.com/keithlango . He's talking a lot about authorship and how whoever can control the lionshare of the authorship of a performance wins and Serkis understands that. He points out that the animator's position, especially in modern film, is a result of a technology gap and as technology progresses, that gap will close so it becomes all the more important to create something you can own yourself in addition to working on collaborative projects because in a collaborative project, everyone's gonna be claiming authorship in whatever ways they can. At least, that's the jist I've gotten. Edit: Scroll down to May 8th and read upwards. mutata fucked around with this message at 16:35 on May 9, 2014 |
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May 9, 2014 16:29
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While he's entitled to his opinion, he frankly knows gently caress all. I saw Serkis' and the animators performances on a daily basis during LOTR and Serkis provided a template for them to work from. This would be the same as saying that the only reason that the guy making the previs can't make the whole movie is due to a technology gap.
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May 9, 2014 18:05
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What? I don't think that's what he was saying at all. I think the point was that making something takes collaboration and everyone is vital to the process, but only a small fraction of the people actually get credit (authorship) for it, and those people who can maneuver into that authorship position are the ones with the power.
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May 9, 2014 18:23
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He's also uniquely positioned himself in a place where if he wants to toot his own horn, he has to downplay the entire fx industry. The fact that he has to constantly tell people why he's so good at whatever it is he does is the most revealing of all, second only to the small fact of it all being complete bullshit.
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May 9, 2014 18:25
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mutata posted:What? I don't think that's what he was saying at all. I think the point was that making something takes collaboration and everyone is vital to the process, but only a small fraction of the people actually get credit (authorship) for it, and those people who can maneuver into that authorship position are the ones with the power. Sorry, I only skimmed his twitter feed and I saw him whining about eyeblinks and too much detail and tuned out.
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May 9, 2014 18:29
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To be fair, Keith Lango has written some pretty drat good tutorials on animation and has been in the industry a very long time. Is there any "mocap" actor anywhere as famous as Andy Serkis? No. He would not have a career without VFX. Why he has to downplay that is a little disturbing. Ideally, he should be as respectful towards VFX guys as Keanu Reeves was in The Matrix. I can't believe I just paid Keanu Reeves a compliment . . . . duuuuuude.
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May 10, 2014 09:19
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Keanu Reeves is one of the most down to earth and friendly famous person alive. Serkis just wants that oscar. He is "man I suk yo dick!" desperate for it. Dude has been trying to get that Oscar since LOTR first came out. He can't go out and say "I am just a reference for the animators who then go in and create the real performance" he has to play it like it is all him. I wish the animators plugged his animation straight into the model without cleanup and released that video for everyone to see.
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May 10, 2014 17:19
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In Inkscape I can create guidelines by dragging the mouse pointer from the ruler at the edge of the window. These are useful for aligning objects just right. Does Blender have a similar function?
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May 10, 2014 18:11
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In Blender, I am trying to create a path that is a bent stick with a soft corner, like so: My plan is to eventually bevel a circle around this path so as to create a bent rubber tube. I don't know how to create the path. Can anyone help me?
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May 10, 2014 18:47
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You might have some luck using the curves editor in Blender. I know that in 3DS Max you can use splines to either copy/parent a mesh along a path, so I figure that Blender would have a similar function. A quick search proved that to be correct, so hopefully that helps.
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May 10, 2014 19:39
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Would it be alright if I asked a few questions about work flow in modeling? I'm getting in to game development and self-learning with another individual on a small scale game but I'm finding my work flow is... well very rough. I'm learning the modeling from the ground up and will be branching in to rigging soon as I get some low-poly models worked out. I can, however, say without a doubt that UVs can go gently caress themselves.
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May 11, 2014 05:04
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I'm not a great modeler by any stretch but try and keep deformation in mind while modelling. Put more polys around joints that will have to stretch a lot, and when you rig do a comprehensive movement animation to find all the spots that gently caress up and fix them as you go. That's a far as I've gone but it seemed a lot of tutorials stressed the same points.
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May 11, 2014 07:02
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Kortel posted:Would it be alright if I asked a few questions about work flow in modeling? I'm getting in to game development and self-learning with another individual on a small scale game but I'm finding my work flow is... well very rough. I'm learning the modeling from the ground up and will be branching in to rigging soon as I get some low-poly models worked out. Depends on what you're going for. The route nowadays with high detail models is just to build the high level model with regard more for form than polygon flow, then building the lower poly game mesh that the high level mesh is projected onto.
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May 11, 2014 07:15
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Kortel posted:
Headus UV layout. Use it, love it.
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May 11, 2014 07:31
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SynthOrange posted:Depends on what you're going for. The route nowadays with high detail models is just to build the high level model with regard more for form than polygon flow, then building the lower poly game mesh that the high level mesh is projected onto. I've been learning through Blender and Sculptris. The latter of which is pretty solid but has some major flaws I'm learning to work around. I was told a similar thing in the game dev thread but figured here would be a more specific set of answers. We're going for middling quality models, small Unity based 3rd person shooter. But I figure if I can get a higher quality mesh on a low poly mesh that would be awesome. Totally outside of my element on this but having a blast and could see doing this on a higher level down the line. Right now I can barely call myself a hobbyist. Eastdrom posted:I'm not a great modeler by any stretch but try and keep deformation in mind while modelling. Put more polys around joints that will have to stretch a lot, and when you rig do a comprehensive movement animation to find all the spots that gently caress up and fix them as you go. That's a far as I've gone but it seemed a lot of tutorials stressed the same points. I've noticed that I need more poly counts around joints and folds otherwise things come out wonky, even on the UVs. My first jump in to rigging showed my complete lack of understanding of how the model and the rig interacted. Watched a few videos and starting to get a grasp on it. keyframe posted:Headus UV layout. Use it, love it. I was not aware this existed, a bit outside budget but if we decide to invest money in to the project I'll definitely pick it up. Thank for the heads up, this looks friggin awesome. Right now I am working on a high-ish poly model in Sculptris, attempting to retopograph the model with a simpler mesh then mess with UVs. I don't have any examples as I'm getting frustrated (but having a lot of fun in the process)and starting over. Feel like Sculptris is actually very limited in scope and not something I should directly rely on creating said models. Hard surfaces are definately easier in blender. Kortel fucked around with this message at 08:55 on May 11, 2014 |
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May 11, 2014 08:52
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ImplicitAssembler posted:While he's entitled to his opinion, he frankly knows gently caress all. I saw Serkis' and the animators performances on a daily basis during LOTR and Serkis provided a template for them to work from. That was LOTR though. On the Hobbit movies they're actually capturing his performance and not doing much keyframe animation at all. They also now have the facial performance capture stuff too. Of course the animators still matter a lot. But Lango is right about Serkis having primacy in those performances, and primacy = authorship in the minds of most people.
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May 11, 2014 17:07
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Kortel posted:I've been learning through Blender and Sculptris. The latter of which is pretty solid but has some major flaws I'm learning to work around. I was told a similar thing in the game dev thread but figured here would be a more specific set of answers. We're going for middling quality models, small Unity based 3rd person shooter. But I figure if I can get a higher quality mesh on a low poly mesh that would be awesome. Totally outside of my element on this but having a blast and could see doing this on a higher level down the line. Right now I can barely call myself a hobbyist. You don't need the pro version. Even the demo version has most all the tools you need and you can save out from the demo version. I use the demo version for most of my UV unfolding here but I will most likely pick up the $100 hobbyist license very soon. Ccs posted:On the Hobbit movies they're actually capturing his performance and not doing much keyframe animation at all. You are absolutely wrong about that. keyframe fucked around with this message at 18:34 on May 11, 2014 |
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May 11, 2014 18:31
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keyframe posted:You don't need the pro version. Even the demo version has most all the tools you need and you can save out from the demo version. I use the demo version for most of my UV unfolding here but I will most likely pick up the $100 hobbyist license very soon. Awesome, thanks for.that!
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May 11, 2014 18:38
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--edit-- Never mind, I don't want to get more into the mocap debate. Ccs fucked around with this message at 19:32 on May 11, 2014 |
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May 11, 2014 19:28
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In reply to a 3DS-Max question someone mentioned doing mesh cuts 'by hand' instead of using boolean objects. Is that just adding vertices/edges manually with something like paint connect and going from there?
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May 12, 2014 01:43
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Ccs posted:That was LOTR though. On the Hobbit movies they're actually capturing his performance and not doing much keyframe animation at all. 
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May 12, 2014 02:19
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Look dude, I've talked to people at WETA and they admit that for more human-like characters (we're talking about Gollum, not the Planet of the Apes stuff) what they do is more like what Disney cleanup artists did in relation to the key animators work. In this case Serkis' performance would be the key aniamtion, and the mo-cap artists would be the people who erase all the extra pencil lines and trace over the important lines to get the drawings ready to be photocopied onto cells. And then get to do a bit of key animation in addition. So still a very important job. But not animating it from scratch with only video of Serkis' performance as reference like they did on LOTR. The technology has gotten past that.
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May 12, 2014 02:48
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Ccs posted:Look dude, I've talked to people at WETA and they admit that for more human-like characters (we're talking about Gollum, not the Planet of the Apes stuff) what they do is more like what Disney cleanup artists did in relation to the key animators work. In this case Serkis' performance would be the key aniamtion, and the mo-cap artists would be the people who erase all the extra pencil lines and trace over the important lines to get the drawings ready to be photocopied onto cells. And then get to do a bit of key animation in addition. PJ will chose the best take from the mocap.....and then make a handful of changes/refinements that the animators will need to carry out. This can often be quite different what what was shot. It's a lot more than just cleaning up. Even before that, it has gone through motion editing, where other re-timing changes will have taken place. I worked at Weta (and it's not an acronym) and I still have friends working there.
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May 12, 2014 04:41
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Alright. A guy in my iAnimate class named Peter Kasim gave me the cleanup animation example. He currently works at Weta. Anyway I guess I shouldn't even be arguing this. I'm glad if there's more work for animators. And no one in the audience really knows or cares who has authorship of performance of CG characters anyway. Serkis is just trying to minimize animators to get an Oscar.
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May 12, 2014 04:47
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Ccs posted:Alright. A guy in my iAnimate class named Peter Kasim gave me the cleanup animation example. He currently works at Weta. Yeah..as a motion editor, according to the credits/IMDB. Not animator.
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May 12, 2014 05:16
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Andy Serkis says poo poo like thisquote:http://www.reuters.com/article/2012/12/11/entertainment-us-hobbit-andyserkis-idUSBRE8B90Y020121211 Don't get me wrong, he's a decent actor: https://www.youtube.com/watch?v=SWt9Ot7u17E As shown in Heavenly Sword which works because for the most part he is those characters with little difference in size and shape change. I suppose you could setup a cool scenario how he's been corrupted by his lust for the Oscars so he pretends he doesn't know poo poo about the animation process with the One Ring but eh. Buckwheat Sings fucked around with this message at 07:16 on May 12, 2014 |
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May 12, 2014 07:13
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Ccs posted:Alright. A guy in my iAnimate class named Peter Kasim gave me the cleanup animation example. He currently works at Weta. Anyone who is actively working on a project at a studio is under some sort of NDA and you won't get the whole story from them. Heck I got to be careful about what I say. But I'll put it this way, Serkis has a rep for just being expensive animation reference. There's also union/contractual issues with mocap, believe it or not on a few shows on past jobs at other places, we couldn't use our in house staff to mocap certain things. We actually had to get a SAG guy / an actor on a number of projects. I guess SAG saw the writing on the wall and covered mocap a few years back in their IATSE contracts... We ould get some SAG guy at a big union rate to do some mocap. And then with that hurdle out of the way there was no reason not to throw out SAG's guys "performance" and redo his stuff with bill from layout jumping around on the stage since he was animating the shot anyways. In my personal opinion, Yeah I agree, Serkis is absolutely minimizing the contributions of the animation department and the pipeline tds that have to make the poo poo work. Big K of Justice fucked around with this message at 04:51 on May 13, 2014 |
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May 12, 2014 07:35
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In Blender, is it possible to change the color of one face of an object? Like say I have a cube and I want one face to be green and all the others red. EDIT: NVM Baron Bifford fucked around with this message at 08:31 on May 12, 2014 |
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May 12, 2014 08:12
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This is a good example of both sides contributing to the Serkis argument: https://www.youtube.com/watch?v=mbW-Zv_kR5Q There is clearly more animation added to his performance to enhance it, but it's also very clear that his initial performance is carried through to the final product. The "liar/thief/murderer" part in particular. He may say some stupid poo poo, but to claim he is merely a reference, even in the original trilogy, is just absurd.
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May 12, 2014 14:08
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The Walrus has illustrations on the theme of "Summer Reading" every year, wanted to try my hand at it  
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May 12, 2014 17:28
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BonoMan posted:This is a good example of both sides contributing to the Serkis argument: Um, that's kinda what a reference is. https://www.google.com/search?q=pai...iw=1104&bih=806
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May 12, 2014 20:11
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