A couple more clips

[ddrake]

Hey guys, here's a couple more test clips from the thing I'm working on. First one is the same character, sitting down at the computer. Then he jumps straight into "gaming" sort of movements. These actions won't run directly after one another in the final.

Apologies for the low res, I pulled everything way down for even a small test export because there's a lot of layers and such.



***EDITED VERSION***



And then here's a little 3d twirly around his room just for funsies. Still some crazy color changing and popping on the walls when I do this amount of camera depth movement and panning. Presumably, like earlier tests and odd results with the line widths, since the "light" is connected to the camera position, its wreaking havoc on shading and such when the camera position changes rapidly. (Note to self: Don't pretend AS is 3D software.) Though, I will say I'm impressed you can still create some pretty convincing 3D objects if need be.

[Danimal]

Why do the walls change color? WHY??????

Anyway, looks great. The character adjusting the camera was extremely well done.

[lawnmower70]

I enjoy watching your clips, however I'm starting to want to see the story.

[willf]

Love the bit where the hand grabs the camera and moves it. Makes the animation more immersive, and helps draw you in, especially with the added blur as it comes closer.

[ddrake]

Why do the walls change color? WHY??????

Anyway, looks great. The character adjusting the camera was extremely well done.

Thanks Danimal. And as for the walls freaking out, I really am stumped. I have some general theories, but ultimately the results have varied so wildly and unexpectedly I have yet to figure a clear way to either work with or around the glitches. Aside from the overall rule of thumb "Don't move the camera too much." It carries with it some sort of information that represents an unadjustable fictitious "light source" that seems to affects only the imaginary sides of 3D objects and rotated planes. The gist seems to be that it all has to do with the preceived distance to an infinite plane vs the "actual" distance to said plane's point of origin.

See, and now I don't even know what the heck I just said and have confused myself. Basically I think my best bet would be to go in and adjust all my Origin points to be quite far away? At least then the camera would always consider the planes/objects to be in essentially the same spot relative to its position. Instead of say, moving along a wall and and suddently pass the origin and have the camera think the wall is getting farther away, even though the far vector edge is still visibly in front. Any of that make sense?

I enjoy watching your clips, however I'm starting to want to see the story.

Haha, yeah...sorry about that. (I feel the same way) Thanks for watching and your interest though anyway. Unfortunately with this particular project you won't be able to see much as far as story content is concerned until the beginning of August. Story has to remain under wraps as it is a student submitted script for a screenwriting competetion. As per the License/Distribution agreement I am not actually allowed to publicly post the film or story content segments of the actual film until after the premeire gala. After which it will be viewable on the film organization's site and I am free to post publicly as well.

So sadly, you'll have to put up with my annoying tests for a little while longer. I'll try not to be a nuisance with them.: But as always I appreciate the feedback and support and any suggestions you might have to make things better

[Little Yamori]

Really looking nice, and making me look forward to August. Just a minor (subjective) critique and a wild swing at a solution attempt for your wall color fluctuation, but I think you actually have already thought about it. Just my personal preference on the hand adjusting the camera, the lines on the hand stood out to me as being too thick (like I said, just my opinion).

My idea for an experiment solution would be to draw the frame of the wall with only a stroke (no fill) and have that rotate as the lines of the wall would, and behind that do a layer that doesn't have to move with the wall color in the back, I would guess perhaps that way the color layer, remaining static, wouldn't change as much. ( I guess )

LY

[ddrake]

Thanks LY, I agree about the hand looking off and I had already made an adjustment to add a blur as it comes toward the camera and I think that helps. (I'll post the edited file above.) I'll see what it looks like with a smaller stroke setting (my original approach was just scaling the whole hand bone layer up and back)

The other thing I noticed (after my new render of course) is that the stroke color is actually different than the character's face skin outline, so maybe that's part of it.

As for the wall issues, I'm not super concerned because I usually don't have the camera swooping around that much for actual scenes. I just find for some reason, (even if it takes the same or more time) that it's more efficient for me to kind of build all these little 3D objects and actually construct a room, rather than try to visualize the background perspectives in a bunch of drawings from scratch. Then I have such a range of options when it comes to deciding on angles.

Ultimately, I wind up with way more than I need but then go in and export a still of the background or turn off all kinds of layers that aren't visible in the final camera movement. (Or else I might be looking at a week worth of render time )

I think your solution would definitely work as far as avoiding fluctuations in fill color, but I had previously run into the same kind of issues with stroke width popping depending on how/where the camera was positioned, so in turn went to trying "fill-only" walls.

Just looking at the file now, I realize for those walls I took the quick route and applied layer shading to the wall layers, which is probably what creates the problem. For most other shadows I have a "shadow" vector over the wall and draw in the shadow shapes. In point of fact, I'm finding there can be quite a difference between "quick fix" to get a preview shot to look right vs. the time it takes to find solutions to all the oddities in the motion render.

[3deeguy]

I agree with the replies saying we want to see the story! You have a lot of talent. I suspect you'll get a bunch of views.