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okay now I know what the guy I work with keeps drawing is - a groot?
does Groot like a good root?
well it's been ages since I had one, most of the good carrots round here are gobbled up fast - not that I am that way inclined, my interest is more with turnips and other twisted bulbous taproot species.
root Randy?
is the voice of vin deisel. i knohh hardly believe it
tee heee got any tape?
the groot universe 0 duct tape
thinkin of rewatching dr yoo knoh who, the last season with amy and rory.
he's forgetting river, weird
whee sales
finally got the music stage been wanting. https://www.daz3d.com/music-stage
it's reminding me of that band i cant remember the name of,
think was in 'Restaurant at the End of the Universe', band was very loud
novels kinda run together in my head.
Carrara also has one in its objects browser
I used in this video exported to iClone, short edit below
kewl !
has a trance music vibe.
is the subtle touches whi i lov the Transformer movie
optimus is in a bad mood.
'what is this the silent treatment>'
'we've seen that, this isn't that'
'make something of yourself prime' lol
plus everything he says is gravitas
rainbows
for Geralt fans
https://www.youtube.com/watch?time_continue=2&v=hWDaiox6QqE
Awesome!
Looks like the series will be free on YouTube, with perhaps some exclusive content for Patron subsrcibers. Looking forward to it. Thanks Magaremoto!
seems very instructive too
Absolutely!
trying to snap out of a fugue yawwwwn
mmmmm fudge
toccata and fugue in D minor?
Frug? .
.
http://justdance.wikia.com/wiki/File:BOB_FOSSE_choreography_-_"_The_Rich_Man's_Frug_"
TY
Froooood froody fugue
Ever hear Vanessa Mae's version? She can Rock anything!!!
...perhaps a little Vivaldi?
so many things to prep for movie, practically paralyzed by indecision.
I hear that... and it gets worse as it gets better! LOL
I accidentally got caught in a learning cycle - I came at 'making my movie' as an artist who was excited at the animation work I had been doing, then started looking into what it takes to be a filmmaker.
I'm glad that I took that route even though it really set me back. Because I think it will end up helping much more than the time it held me back.
But anyway, once we get the information we NEED to get the ball rolling, it is recommended by all of the filmmaking pros that we just dig in and get it done. They say "It's gonna suck anyways, so quit procrastinating and just do it - so you can screw it up and learn from it!" sort of stuff. So we're also supposed to show at least someone. Maybe not show it to the masses, but at least get someone else to look at it and tell you how crappy it is (I'm not saying this... this is what I'm learning now) and hoprefully, since they likely won't know 'why' it sucks, watching their expressions along the way can help lead us to understand the why it sucks bit.
Supposed every filmmaker goes through this process of sucking when first starting out - it's part of the process! LOL
So I'm busy back to rendering parts of my movie as often as I can. I still have to write a script, since the last one I wrote totally sucks! But at least I think I know some of the things that will happen, so I'm at least rendering some non-dialog stuff to help propel the project forward, even if it only turns out being concept training.
I also find these renderings really important for me, because it's been a while - so I'm back to heavily criticizing my own timing of things. I render with cameras in motion as well as stationary. Some of the moving cameras follow the action, others are a much more subtle approach.
After learning so much VFX stuff, I'm also going to be working out some animations specifically designed to be used for VFX shots. Whew.
In addition to Dart's "Just Do It!" advice (which I endorse!), the other thing that I would suggest is to break a project down into managable chunks. And keep breaking it down until you reach a level that you can cope with. Let's say you have a story idea - what will you need. Well, you'll need to flesh it out into a proper script, you'll need to know what the characters look like and what sets are required and so on. Some of this you may be able to source from sets and figures and clothing that you can buy.
Once you have a script, you can break that down scene by scene. And then break the scene down into individual camera shots - visualising it with a storyboard can really help at this stage as you can play with different ideas quickly. And once you have that, you can focus on the one shot at a time and that will seem less daunting than trying to keep the whole thing in your head all the time.
Absolutely! Thanks Phil!
A cool thing mentioned in an interview with ILM is that they take each individual scene and break that down, and then break it down some more, and continue to break it down until each piece can be managed by a single person.
They can do that, since they have so many people to assign these chunks to - but also have a Director or Directors overseeing them to keep everything cohesive.
But we still have to do that. I treat each camera angle of each scene of the story as a separate Carrara scene, and name it accordingly. Since this would make file names really long, I use folders to help name stuff. Like: My Objects > My Presets > Char Anim > Badlands > Dart Desolation > Awakening being a single folder within one of the chains of folders. Inside that folder I'll have several saved animation renders, each ending in FC1 and FC2 (FilmCameras 1 and 2) xxFL and xxFA (xx being the characters file name, FL being their individual "Full" camera, FA being the individual "Face" camera)
So most of these individual folders have no less than 4 sequences of renders (I use full-frame avi) but often more. If I see things I think I'd better change in the actual render, instead of changing the Named File Saves from my Batch Queue, I'll make a new folder called "Take One" and drag all of those shots into there, so that I can make my changes and simply refresh the now ghosted Batch Render Queue - which saves me a lot of time.
I've actually spent so much time on the Carrara side of things over the years, that this part is like riding a bike. It's the rest of the filmmaking process that slowed my whole thing down - mostly getting a good story properly written. Putting that into a screenplay helps - and I'm glad I've took that up as something to learn.
I hope it is OK to link to another forum where a film project is being created in Poser with (I think) DAZ generation 4 characters.
I'm not at all sure why such advanced animatics are being produced - unless there may be a lot of cutting room activity to take place later.
The animator has ambitions to create serious full-length work.
https://forum.smithmicro.com/topic/2325/eros-psyche-the-movie
Cool. I hope they do well
Thanks, Dartanbeck, for taking a look. I keep checking on progress since I caught sight of what was being done about a week ago.
I think the clips are being made at 6fps and are matched to the voice recordings. I guess that minimum settings for textures and lighting are being used at this stage and that the Palace isn't finished. I think the intention is to decide on final clothing and to have the clothing in motion with wind and so on.
It's an interesting workflow - I hope it's OK to give it a mention here because such a workflow could be used in Carrara or other software.
I started a Halloween animation in Poser but the frustrations led me to move the action into Carrara instead. Progress has halted because the story is growing in my imagination - not a good thing probably.
Here is a bit of the Poser scene:
https://www.youtube.com/watch?v=12bOgMvPfYk
and here are the V4 figures in Carrara:
https://www.youtube.com/watch?v=7t9m2WsCq74
Really nice. Are you using VWD or the Poser dynamics script? Looks nice either way. Yeah, those guys are working out dynamic cloth for Poser. Looking forward to see how it plays out.