tag:blogger.com,1999:blog-1978356510587112308.post1191096271379400761..comments2024-02-27T21:15:04.267+13:00Comments on Aligorith's Lair: Future of Animation Tools - Some WIP Thoughts and Ideas (+ the Role of Pose Sculpting in All This)Unknownnoreply@blogger.comBlogger8125tag:blogger.com,1999:blog-1978356510587112308.post-46839275005696472022023-08-11T14:20:02.533+12:002023-08-11T14:20:02.533+12:00I have been writing some notes on the something ht...I have been writing some notes on the something https://github.com/adamearle/Back-To-Animation/wiki Adam Earlehttps://www.blogger.com/profile/04680933895928495093noreply@blogger.comtag:blogger.com,1999:blog-1978356510587112308.post-62958012114678922962019-05-11T14:27:08.154+12:002019-05-11T14:27:08.154+12:00Oh, my god, it would be great!!You're the best...Oh, my god, it would be great!!You're the best.<br />Especially onion skins,It's not just real-time,Create single ghost\snapshot should also be optional.<br />Blender is too powerful,Everything else about him is awesome. The animation system has become a drag.<br />The above content is expressed through translation software.a690089735https://www.blogger.com/profile/13973773111776354160noreply@blogger.comtag:blogger.com,1999:blog-1978356510587112308.post-9351847690685604492018-07-26T10:03:03.425+12:002018-07-26T10:03:03.425+12:00I've tested it (in a way similar to Daniel Lar...I've tested it (in a way similar to Daniel Lara) by adding shape keys to store the deformation. I in particular use Animall's Shape Key keyframe insertion to store all the frames of deformation in one shape key that can then be added on top of existing animation - sort of like having tweak controls without weight painting. The only drawback is that this method adds keyframes for all points on a mesh regardless if there's no movement. But that wouldn't be hard to clean up. I'm surprised this is not used more often. What I found surprising about Pixar's technique was not that they were sculpting, but that the kelvinlet process preserved volume way better than the grab brush in Blender's current release(s).Adam W. Parkerhttps://www.blogger.com/profile/12367632195941927889noreply@blogger.comtag:blogger.com,1999:blog-1978356510587112308.post-37473330724685869572018-04-30T00:17:13.942+12:002018-04-30T00:17:13.942+12:00That's certainly some very interesting stuff. ...That's certainly some very interesting stuff. However, like another deformer system I once saw at one of the Siggraph conferences, the big problem I've always had with these is: "Ok great, but how would I put these deformers into action in practice to create animation?" So that's one of the big unknowns/issues that we need resolve if we want to allow animators to apply sculpt brushes on their geometry as a way of producing hand sculpted animations.Aligorithhttps://www.blogger.com/profile/11379156223939123157noreply@blogger.comtag:blogger.com,1999:blog-1978356510587112308.post-6151805294684070772018-04-28T14:34:10.203+12:002018-04-28T14:34:10.203+12:00Great thoughts! What do you think of this as far a...Great thoughts! What do you think of this as far as an animation tool?<br /><br />https://vimeo.com/216753419Anonymoushttps://www.blogger.com/profile/13378677266882207365noreply@blogger.comtag:blogger.com,1999:blog-1978356510587112308.post-28245832280031280722018-04-16T04:11:32.882+12:002018-04-16T04:11:32.882+12:00The cache idea is really interesting. There is one...The cache idea is really interesting. There is one point for grease pencil where we could use this cache. In onion skinning, the current implementation uses the location of the object at current frame, so all strokes use the current transformation matrix to transform the strokes, but if the object moves in the previous/next frames, the matrix transformation does not change because we evaluate only the current object location.<br /><br />To get a way of know the matrix transformation of an object in a frame different of current frame would solve this issue, but without using a cache the time used to get all data make this technique impossible.Anonymoushttps://www.blogger.com/profile/11748669605867332862noreply@blogger.comtag:blogger.com,1999:blog-1978356510587112308.post-87957645221667482672018-04-14T22:20:47.479+12:002018-04-14T22:20:47.479+12:00Interesting stuff. Suffice to say, the one that re...Interesting stuff. Suffice to say, the one that really stands out is the NLA evaluation for Animation Layering, which is the only real pain point animating in Blender today.<br /><br />You're really on to something thinking about Aardman's puppets. Lately you see these extremely complex rigs with hundreds of tiny bones to make a face pliable, but the animator still ends up limited by the nature of skinning (pinching, bulging, collapsing). The answer, I think, is something like AniSculpt, where instead of trying to rig or make and balance shapekeys for every potential possibility the animator just makes the shape they need on the fly.<br /><br />Of the interface and interaction ideas being discussed recently, to be honest your Pose Sculpting is the most promising I've seen. A unified sculpting interface for both posing Armatures and making on-the-fly shapekeys (via an updated AniSculpt that works with Linked Groups) would be very intuitive for the animator and tremendously cut down on the set-up time from a rigging standpoint.Anonymousnoreply@blogger.comtag:blogger.com,1999:blog-1978356510587112308.post-41261870115063602292018-04-14T04:18:32.430+12:002018-04-14T04:18:32.430+12:00I love it! Go, Aligorith, go!I love it! Go, Aligorith, go!Billreyhttps://www.blogger.com/profile/03238541942335680034noreply@blogger.com