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I've been adjusting to my new computer with new software, finding various bugs and issues. Although a slow process, I find rendering is fast, so once everything is ironed out, things will move along smoothly and quickly. However, I can see my finish date has moved out to at least summer 2011.

I created an animation of 1000 frames which turns around a close-up of my artist model. The model is made of a head from one character atop the body of another. An unavoidable seam forms between the two. I'm currently in the process of blurring the seams in all 1000 frames, which is tedious. On top of that, the result is not attractive. Since each seam must be blurred individually by hand, small differences are detectable across frames, making the animation jumpy around the neck. Yesterday, thinking the seam was caused by a surface orientation difference, I made a smoothing bridge between the head and the neck. First, I built the bridge in Silo, then I textured it with Photoshop's 3-D texturing module. It looked great attached to the neck in the Poser 8 scene, but when I rendered it, there was a clear abrupt seam on both edges. It would double the work to repair, so I lost an entire day of work in the name of saving time.

Here's a picture of the seam and repair on my digital model's neck.

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Things are settled down again, since Max's return. One of his sailing friends wrote up an interview, found here.

I've been working, of course. That's as it should be. Getting the new computer is delayed until some accessories for it come out next month. I also need to know more about the new version of final cut pro, coming out soon, before I can determine how much computing power I can actually use. No need to buy the most expensive machine, if the software can't use the power.

I've been rewriting the script in the head and portrait segment of the dvd. To better compose the wording, I created the visuals for it over the past week. I'm liking the results. Here are a few images from the process...

I can't seem to embed images from flickr at this time, so I am using links for now:
It was fun building this simple wrap with elastic top and draping it to the model. The wrap was built in Silo and the draping was achieved in Poser 7's Cloth Room.

I built construction line models in Silo and placed them in Poser, attaching them to the model. Shown here is the external contour center line of the face. The model is a morph I created in Silo from the Poser character, Sydney.

In this image: Using the Sketch render feature in Poser 7, I attempted to give an egg volume any amount of transparency to reveal the center line inside, but doing so created a bizarre artifact within -- that imagery inside the egg on the right is the figures and objects in the scene whose visibilities were turned off! Their orientation did not reflect their positions in the scene, either. No tinkering resolved the bug, but the resulting renders were fascinating! The left egg has 0% transparency.

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This is a shot from a long scene about parallax in my dvd. This scene is used as part of a discussion about the entrance pupil and photography. Later, a camera appears in the scene, demonstrating good and bad pivot points for tiled shooting. It's really tedious, like much of measuring is. I believe one reason no one has written a good book about measuring for artists is it's just plain tedious -- tedious to read about, tedious to do, and tedious to construct a legible discussion on the topic. Luckily, a little joy can be extracted from the creation of the dvd. My hope is that nice looking scenes that clarify information as succinctly as possible will make enjoyable the task of finishing this (for me) and watching it, for the viewers. I kind of had a good time putting these poses together today. By the way, I built the chair you see here. It's the first thing I made in Silo. :)

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I'm sure I will be posting quite a bit about my dvd here, so I think it's time to introduce my animation characters.

Each 3D character was altered from its default state. Each went through Silo to make it just so, then exported back to Poser as a morph of the original character. Each also received new or modified textures to go along with its new persona. It took quite a bit of time to work out all the problems that developed. It would take a very long time to describe every aspect of the entire process. But I want to discuss it with you, so this will provide enough info to spark specific questions. Behind the cut, you can see the original models, just as they look when first loaded into the scene, side by side with the final characters.
See all the characters behind the cut... )


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June 2013



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