Switch Layers VS Layer Visibility feedback please

FCSnow · Post by **FCSnow** » Mon Oct 13, 2008 10:42 pm

I use both switch layers and layer visibility, but for different reason. As mentioned before switch layers are great for lip syncing, I also use it for rapid head turns or rapid change in body poses.

I use layer visibility to help speed up rendering. I discovered that if an object leaves a scene or is completely covered by another odject, I can turn it off and the scene renders faster. This really useful if you're dealing with alot of layer and sublayers. I haven't noticed if using a switch layer will speed rendering. That is a question for a programer to answer.

FC Snow

heyvern · Post by **heyvern** » Mon Oct 13, 2008 10:46 pm

Using switch layers is the same as the layer being "turned off" using visibility. Layers not set in a switch are not rendered.

-vern

costanza · Post by **costanza** » Tue Oct 14, 2008 4:33 pm

DK wrote:costanza wrote:

Have to admit something:
In the animations I did untill now I never really needed the switch layers. Sometimes I could use it, but I never found out how it exactly works... So I work with the visibility-trick...
A point just hit me regarding costanzas post.
How on earth did you do lipsincing if you din't know how switch layers work?

Cheers
D.K

I never had much lipsyncs in my work.
If I did, I guess I would have known the switch layer.

funksmaname · Post by **funksmaname** » Tue Oct 14, 2008 4:39 pm

i guess for anythign that needs to be repeatedly hidden/shown and only for a frame or two each time use switch layers... anything longer than that, use layer visibility

Jx · Post by Jx » Wed Oct 15, 2008 12:49 pm

you are right

here is something i made using the switch layer. only used four poses/frames

http://img531.imageshack.us/my.php?imag ... ickah3.flv

or

http://www.mediafire.com/?sharekey=cb28 ... b9a8902bda

chucky · Post by **chucky** » Thu Oct 16, 2008 5:59 am

Hi Dk I actually avoid switches whenever I can, I know they are good for phenomes but I agree in general with your students, I think the switch function needs 'sprucing'.

DK · Post by DK » Thu Oct 16, 2008 6:03 am

Hi Chucky.

Have you ever tried using boned Switch Layers for hands? It is amazing!

Cheers
D.K

chucky · Post by **chucky** » Thu Oct 16, 2008 6:09 am

I shall definitely, DK, will they blend nicely at the wrists?

DK · Post by DK » Thu Oct 16, 2008 6:21 am

Yes...wrist blending is the trick you need to perfect but it does work great, plus, switch layers support bones too. Vern and I were developing some characters together a while back and we both agreed that switchable hands are the way to go. Yu just layer bind the switch layer to a hand bone in the main bone sructure. You can have switch layers within switch layers all with their own totally seperate bone structures to fit each hand position.

I guess this is one of the main problems with AS. Knowing that you can do these types of things with the software. I only found out myself about switch layers supporting bones within the last 12 months!!!

Cheers
D.K

heyvern · Post by **heyvern** » Thu Oct 16, 2008 7:17 am

"Seamless" or smooth wrist joins are possible but a bit tricky. The key I've found is to "lock" or bind points in such a way in both the arm and the hand so that the overlap has "common" fixed points where they connect.

In one hand rig I came up with (that character rig we worked on DK. I perfected the hand rig). There are two points on either side of the wrist that are identical on both the forearm and the hand layers. These points are "locked" and never move on either the hand or the arm, unless the hand rotates OVER one of these points on extremes and covers them. Then it doesn't matter. I use bone constraints in the switch layer to control that type of thing.

Since I'm using constraints to control the wrist connection the hand is only rotated by rotating the hand bone in the hand switch layer. So for example if the hand is rotated so the thumb is "inline" with the forearm, there is no real discernible bump or connection. The "lines" of the hand and the arm "appear" to be smooth and continuous. It's all an illusion of course.

It's kind of "fussy" but... I like fussy.

I'll try to post an animated example tomorrow.

-vern

DK · Post by DK » Thu Oct 16, 2008 7:42 am

Hey cool....I'd LOVE to see that Vern!!!

Cheers
D.K

chucky · Post by **chucky** » Thu Oct 16, 2008 8:33 am

Good idea Vern,
so that's an additional wrist bone in the switch layer that is locked in line with the fore arm of the main skeleton?
Such an obvious solution no you mention it, I wish I'd thought of that, I maybe wouldn't avoid using switches as often as I do, in fact I'm only now coming to terms with layer binding, I had come to believe it was useless, except for cut outs and the like.
There's is still so many extra techniques to pick up, and without the bustle of a studio of people using the same software and sharing all the solutions, this forum is the best and only place for these discoveries.
Thanks Dk thanks Vern.