Moho Forum

Train

http://www.youtube.com/user/sang820

synthsin75 wrote:Very nice work Sang!

I was wondering. I was looking through your old posts, and some of them mention posting examples of your ASP construction. These links seem to be dead.

I would love to see how you construct some of these. Especially, the vector and bone layouts. I remember seeing some screen shots of how you used many strokes for hair, but I can't seem to find it anymore.

oh,I will publish the operation contact surface one after another, please continue to pay attention

EnDee321 wrote:I'm surprised bro.
Is everything drown/created in AS? Wow I cant believe it. Very high quality work. You work alone or with a big staff? Love see more from you. See ya.

I manufacture the animation together with the friend. We cooperate. I design, the manufacture role, the scene. They help me to manufacture the animation.

:shock:You like this?

Dear Sang,
when you animate this kind of compositions how do you maintain the shadow shapes that are placed around the face? Are they bound to bones or are they free and you adjust them after the bone animation or vector point animation?.

Also, I see that most of the bones of the hair are constrained to only two or three bones, how do you do the set up? which strategy do you use? Simply try and error?

Impressive

-G

Sang,

Do you point bind the hair to the bones? It looks like the points have been translated away from them in that first profile. It also looks like you have translated the bones for that profile view, instead of using a different set of bones. Do you need to adjust the bone dynamics when you turn the head?

Also, how do you mask the shadow shapes? Do you duplicate layers after animating, or use a scripting solution?

Genete wrote:Dear Sang,
when you animate this kind of compositions how do you maintain the shadow shapes that are placed around the face? Are they bound to bones or are they free and you adjust them after the bone animation or vector point animation?.

Also, I see that most of the bones of the hair are constrained to only two or three bones, how do you do the set up? which strategy do you use? Simply try and error?

Impressive

-G

I thought that “the short hair” decomposes into “the roots of the hair”, “sends the tree top” two parts, may the very good showing movement. Controls is also quite easy. This girl is the lucky short hair. the shadow and the shadow shade, binds on the skeleton. Adjusts the skeleton first, determines the general movement, then careful adjustment node chart level, shade chart level animation. Such combination means the giant work load, but the effect is I satisfies. This aspect I violate the biggest mistake is-------Forgets to save! (moreover that document reaches as high as 10MB! ) please note momentarily saves the work, Anime studio sometimes because of the program error, but “compulsion withdrawal” ~~~~

(Ps:hi,G---Does not see for a long time, your head picture is unable to demonstrate )

synthsin75 wrote:Sang,

Do you point bind the hair to the bones? It looks like the points have been translated away from them in that first profile. It also looks like you have translated the bones for that profile view, instead of using a different set of bones. Do you need to adjust the bone dynamics when you turn the head?

Also, how do you mask the shadow shapes? Do you duplicate layers after animating, or use a scripting solution?

Follows a question to solve equally. Adjusts the skeleton first, determines the general movement, then careful adjustment node chart level, shade chart level animation. Skeleton dynamics applies in the hair, changes to the forehead has not helped. as for the neat shadow outline, I uses masking.

Thanks a lot for the screen shots sir. Really helpful.

Beautiful work Sang! You are always such an inspiration. Your work is such a pleasure to watch both for the technical aspect as well as the visual appeal.

http://www.youtube.com/watch?v=Gi7OjV2QxqY

Ha ha! A fat cat with a kipper tie!

Wow Sang, your shading is a mighty complex task, I am terrified of the masking process, it looks like a world of hurt.

Excellent i love your work.