This is an archive of CompuServe forum messages from 1985 to 1995, as saved in transcripts by John Foust.
Search Results (450 messages)
David, long time, no type! good to hear from ya! thanks so much for your comments. >>By telling people "how" you did something, and then letting those people create their own meshes to try out the trick in question, you are in effect, killing two birds with one (fractalized) stone.
oh no! run away!! 🙂
No Alan, thank you!
>>I don't know where the split is now, but 10 years ago I'd say it was mostly techincal people that had access to the big computers. Now there more emphasis on the artistic side, people can afford the tools.
Jamie, the most improtant thing to you when modeling human forms should be good reference material and close attention to proportions. No matter what technique you use, whether it's metaballs, lofted skin objects, or just general modeling techniques – proportions will make or break your effect. I, personally prefer metaballs…
James, thanks. >>I have to admit, though, I'm _almost_ sad you shared it.> It's kind of like a master magician revealing one of his illusions.
It's called CARMOR.ZIP – in the Ipas Usage lib. -Kyle
Jason, Here's the basic process, minus the tweaking 🙂 -Say you've got this car mesh. Render a top view of it through the video post with SeeZ.ixp last in the queue and antialiasing turned off. (SeeZ is an .ipx routine that Tom Hudson wrote and is available here in the…
Javi, Saw the images – wow – excellent!!!!! the rhino knocked me on my *ss, – I will have to get working on my muscle-man, walking, sweating, and flexing – It's getting closer . . . congrats on the fine work! -Kyle
Garry, Well, first off, changing a shape with one hole into a shape with two holes is going to be tricky anyway – What you'd probably want to do is create a letter A, then add some (not necessarily 4) verticies to it via Modify/Segment/refine – then make a copy…
Tom, 3D Studio MAX software will ship in Q1 1996 you can find all press releases/public info here in the forum by searching the libraries under the keyword "MAX" – there are several screen grabs of the new interface as well. -Kyle
when you apply a bump map to an object, the value (intensity) of the map is inverted on the opposite sides of the polygons you apply it to. – you can see this real quick by applwing planar mapping coordinates to a sphere, and applying a bump mapped material -…
In the Shaper, in Display/First, there are some controls that let you show or hide the first vertex of each shape, as well as specify which vertex you want to become the 'first vertex'. when you show the first verticies, they show up as black ticks in your shape. you…
Andy, You can contact the editor, Linda Laflamme, at [76376,2135]. She will be able to help you from there. -Kyle
Head Article in PS info
Message #193179
Hi. some of you had expressed an intrest as to when an article I wrote on how I created the image KMHEAD.JPG, was going to appear in Planet Studio . . . I have been told by the editor that it is set to be sent out to subscribers in…
Neil, It should be in the next issue (September/October – I think) – The article is done and in the Editor's hands now I'll post a message here when I get the final word thanks for your interest. -Kyle
> Excellent!!! – I'd like to see it – I remember you explaining some of it to me, but I'd like to see it all laid out. -Kyle
Andrew, thanks, I did the hair and eyebrows with Displace, everything else is metaballs and some clever mapping. Look for an article I just wrote on how I did it in the next Planet Studio. Florida? . . .. hmmm . . . .well .. . uh . er ..…
KMHEAD.JPG – it's in the Ipas Usage Lib (#1)
Javier, thank you! I will have to see what I can come up with next! -Kyle
Francisco, I'm guessing that you are starting with the book in a closed position, and if you have each bone covering the entire area of each cover, I can see where your influences may overlap. You might try creating the book in an already open position, create your bones and…
Terry, looking forward to seeing it. -Kyle
Ernie, no, they're just seperate objects that I attached to the main head object. – actually, only the eyes are mapped – the teeth are just a solid color. -Kyle
Terry, no problem – I'd like to see how this whole thing comes out. -Kyle
Terry, > I'd be careful here – remember that you can use any object as a bone, but it's influence is based solely on a quad defined by the box extents of the bone – that's why they suggest (and I do too ) that you use various sized boxes…
Terry, the eyes and teeth were created and mapped seperate from the head. note that the eyelids are part of the head. my materials are pretty complicated, but everything is applied through the same cylinderical map. -Kyle
Terry, nope – it's one object – no cutting, slicing, booleaning, or linking going on here. I generated the meta-mesh at 64,000 polys, then optimized it down some, so what you're seeing is about 20,000 polys. thanks for the compliments. -Kyle
Carlton, thanks! I'm glad you like the details – I spent quite some time on them -Kyle
Paul, FIREWK_3.3DS is created with several standard cubes. The I-P-A-S text is created in the 3D Editor through Create/Object/Get Shape. These shapes are attached individually to each of the cubes. 'Fireworks' looks at the vertex list of the object it's applied to and takes the first eight verts in the…
Glenn, 29.97 fps is the actual frame rate of NTSC video. Since much CG animation is renered to 30 fps, you end up losing (dropping) 18 frames for every 10 minutes of animation. (18000 frames rendered = 17982 frames displayed.) All of the work I've done has been short-format (i.e.…
Martin, thanks. you're right – it is similar to 'the boxer' (now that I think about it). I'd love to see some closeup's of your head from Virtuiosity. -Kyle
Francisco, apologies for the late reply – I was on vacation and away from my keyboard . thanks for your compliments. I used displace to make the hair raise off of the head, as well as making the eyebrows come out a little from his brow. I also used it…
Tim, Apologies for the late reply – I was on vacation and away from my keyboard . thanks for your compliments. The metaball mesh is pretty simplistic (not very many reference spheres.) Most of my time and work went into the various texture/bump/displacement/shininess maps. I have all my bones working…
oh how true . . .
Mark, I use MeshPaint in conjunction with Photoshop. I am accoustomed to a robust set of tools when I paint texture maps – and Photoshop works wonders. HOWEVER – while I'm painting, I have no real reference on my map for where I'm painting on my geometry. This is where…
Terry, When you paint on an object in MeshPaint, you're painting in an area defined by the mapping coordintes you applied to the object. So, if the brush strokes you apply, are showing up in more than one place on your model it's because the same area of your mapping…
Lee, If you edit the material in the MatEditor, you can remove MSHADE_I.SXP from the bump map slots in the material. then put the material to the scene and you should be able to render just fine. -Kyle
Lee, v2.0 runs on it's own and you don't need 1.0 at all for it to work. I assumed you had v1.0 because you were using the sample files that came with it. In regards to basic metaball modeling operations, I'd wait until you get the manuals and go through…
Lee, you can click on any of the "!" buttons in the FUSION_I.PXP interface and it will give you on-line help. Make sure that your process directory that contains MSADE_I.SXP (shader that shipped with v1.0) is in your map paths. -Kyle
Mike, thanks for the info – I'm looking forward to seeing what you've come up with. will you be uploading any cool sample images soon? thanks -Kyle
Alex, sounds cool – I'd be very interested to see what you come up with. thanks -Kyle
Martin, is that the JuJu Shampoo hair from the Electronic Theatre in '93? I remember that animation – it's some of the best hair I've ever seen! if you guys really do something with it, let me know, OK? thanks -Kyle
#Hair?
Message #188922
I've seen small bits of conversation here off and on about a hair routine being developed. Does anyone have any solid info regarding this? thanks -Kyle
Mark, I'll look forward to seeing your work here . . . best of luck to you -Kyle
Daniel, Yes, the pallete setting in Vpost matters. Vpost treats the image data in each frame as a truecolor image – any pallete-izing is done when it converts your frames to a flic. If you're going to render two flics, then join them together in VPOST with a custom pallete,…
Mark, I get a lot of questions and comments, as well as offers for freelance work and sometimes, full-time job offers; just from posting images here. Also, all my writing engagements I'm involved in (Planet Studio, NRP Books, etc.) are a direct result of people seeing my work in asoft,…
Mark, thanks – Check out VOLUME01.ZIP ——————————————– This is an updated version of my Volume Lighting process. Included is a more robust text explination, a new project file, and the opacity map needed for the Volume Light material. This version offers a solution to the 'horizontal line' problem that you…
#Hold wish
Message #188666
Hi Jonas, This may be in MAX already, but I'd like to see that ability to hold and fetch any part of the scene individually. i.e. hold an object, camera, or light with or without animation tracks. thanks -Kyle
Frank, there are several different thing that could be going on. rendering to a low pallete will cause 3DS to take the first frame of your animation, create a pallete from it, and map every subsequent frame to that pallete. This would probably produce good results for the first 160…
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