> A great book is Beginning Math and Physics for Game
> Programmers...by Wendy Stahler. You don't have to a
> Astrophysicist to understand it. I'm a newbe, but I will
> start competing regularly. This is my third animation I've completed and I
> seem to getting better with each one.
> But I guess you'll be the judge of that. ()^()...........
We'd all like to, i guess (to the admins: hint, hint, nudge,
> --NEED A NEW TOPIC--
> "i_need_a_unique_name" <ine### [at] gmailcom> wrote in message
>>> Yuck. Ewww. I did that hideous stuff, and it's OUT IN PUBLIC? Uh oh...
>> Bet mines more yucky than yours.
>> So what was on your reading list? I think I'm sorley in need of some
>> education (especially regards to 3D maths).
Uh, sorry, i'm more of the mouse-pushing type, and less
competent when it comes to the actual math behind it...
(though i once wrote a 3-D drawing routine on my ZX Spectrum
48 kByte, and a spinning 3-D map for a never-to-be
roleplaying game on my Amiga 2000 - am i a fossil or what? ;)
Well, a book that really inspired was Arndt von
Koenigsmarck's "Femme Digitale" (Addison-Wesley), though
i've not even started yet to build more of his sculpting
hints into my models - except for the design guides to build
eyes from separate layers instead of textured sphere
primitives. It's geared towards the
Maya/3Ds/Cinema/Blender/etc. users, though, not those that
enjoy coding by TextPad ;)
At least i've learned that mixing triangles and quads in a
mesh isn't the brightest thing to do, and that there's much
to learn when shaping hands and feet :)
There's another one, sneakily also called "Femme Digitale",
by Michael Burns. I'd NOT recommend that one, because it's
trying to do too much in too little space. Nice pictures,
nice screenshots, but - trying to explaind modelling AND
texturing of a complete human figure on six pages doesn't
really teach you anything. It covers everything and then
some, from Photoshop to Poser to Max to Featured Artists,
but it doesn't do anything really in depth. Where AvK takes
a dozen pages for the do's and dont's of the fingers alone,
with MB it's more like "hey, pick a Poser preset, run
Photoshop across and be done with it." I was lucky as it was
on sale when i ordered it at a well-known internet book
retailer whose name vaguely reminds of a tropical river ;),
because i wouldn't spend more than the 5 $ on it - if i want
pictures to make me green with envy, i'd get a high-gloss
Royo, Sorayama or Vallejo collection for 9,95 $ ;)
The other was Koenigsmark's "Cinema 4D v.9" workshop book
(published by Addison-Wesley, too), which i got for an
incredible 3 Euros at an electronics store (with v.10 out,
they were clearing their stock), without which i wouldn't
have started to save time by animating using "intelligent"
objects (like e.g. mechanical devices that are operated by a
single keyframed input which internally calculates/affects
various angles/positions - i've built a robot arm that has
an attached user data slider which not only opens/closes the
"fingers" but also drives the angle of the corresponding
worm gear in a convincing manner; a four-layer door with
bolts that makes use of a similar logic, and warning beacons
spinning and flashing all by themselves (and a timer) ;)
Also, this time, the arms of my humanoid models don't use
inverse kinematics for positioning, but instead a set of
multiple 2-axis remote-control input boxes cross-connected
to multiple bones, including mapping input/output values to
avoid unnatural poses:
- Shoulder X/Y translates the angle of the shoulder bone
- Upper Arm X/Y has "up/down +/- 100 degrees" on the Y axis,
and "forward/back +/- 100 degrees" on the X axis
- Lower Arm X/Y has "Heading Straight 0 / folded on + 170"
for the Lower Arm on the X, and "Rotate Upper Arm Bone +/-
90 degrees" on the Y axis
- Hand X/Y has a wiring to the Tilt and Roll of the hand
bone, instead of the heading/tilt.
When i animate, i animate the controllers instead of the
actual bones, which looks a bit different compared to
keyframing the bones' angles themselves, but the tweening is
less artificial than IK can sometimes be.
There are a few "broken by design" points i still need to
address, like the problem of the upper arm mesh rolling at
the shoulder joint (it shouldn't, because the twist of
tissue extends across the whole upper arm - need to create a
chain of "helper bones" that maintain the shoulder at null
twist and accumulate the twist down the upper arm). Another
mess is that once the arm tilt approaches 90 degrees (arm
down/up), the result of heading and roll axis collapse into
one. A null bone for the heading/tilt, and an additional one
for the roll would solve that.
And don't get me started about the hip bone, which i failed
to de-couple from the standard orientation, so any swaying
left/right runs through a 0/360 border - it's OK if you
keyframe it, but once you decide to re-work the motion
curves, it tends to do lower-back-breaking because the any
little shifting of H/P/R angles wreaks havoc on the
>> Why is it that the IRTC animation comp always seems so under-entered but
>> stills typically has loads of entries?
Well, unless you're doing an incredibly detailed still
scene, animating may be even more time-consuming than
building a still picture? (did i write that out loud?
Ooops... anyone from the stills crowd here? Nobody? Whew... ;)
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