Sunday, February 18, 2007
Friday, February 16, 2007
World Bar
How to understand what is going on? Most people are smart but they do not know. You have to try to learn to understand what is going on. Why not have a look and listen to this material and you can begin to understand for yourself - finding others having some understanding! No one of us wants to be cheated - not to be cheated you have to have some understanding - knowledge - or you will be cheated! OK!
http://video.google.ca/videosearch?q=the+Money+Masters
http://www.youtube.com/results?search_query=banking+with+hitler&search=Search
It is about gold - it is about communication - how to help each other - not being cheated - you have to find it out yourself! It is about truth and love!!!
http://video.google.ca/videosearch?q=the+Money+Masters
http://www.youtube.com/results?search_query=banking+with+hitler&search=Search
It is about gold - it is about communication - how to help each other - not being cheated - you have to find it out yourself! It is about truth and love!!!
Thursday, February 15, 2007
Who Can Cheer The Heart Like Jesus
Who Can Cheer The Heart Like Jesus
Well - if you believe in natural science you have lost the belief in the heart of Jesus. The US-president telling US he has the conviction making a crusade for stealing oil in the name of Jesus build upon the false flag operation - 911 - and false documents about Iraq having weapons of massdestruction and having bought uran from Niger.
And someones are believing in that crook turning US into a gang of murderers!
Well - if you believe in natural science you have lost the belief in the heart of Jesus. The US-president telling US he has the conviction making a crusade for stealing oil in the name of Jesus build upon the false flag operation - 911 - and false documents about Iraq having weapons of massdestruction and having bought uran from Niger.
And someones are believing in that crook turning US into a gang of murderers!
Wednesday, February 14, 2007
Tuesday, February 13, 2007
Monday, February 12, 2007
Learn to draw with:
Vilppu Drawing Online: Gesture
You have to be emotional about your intellect and intellectual about your emotions.'
`Gesture is the single most important element in the drawing.'
http://www.awn.com/mag/issue3.3/3.3pages/3.3vilppudrawing.html
http://www.awn.com/mag/issue3.3/3.3clips/vilippu_1.mov
http://www.awn.com/mag/issue3.3/3.3clips/villippu_2.mov
Walk cycle try
#01:contact #02:recoil #03: #04: #05: #06:
#07:contact (much like #1, but for the reversal of the legs and arms).
#08:recoil #09: #10: #11: #12:
#13:contact ( a duplicate of #1, only further to the right).
Walk cycles on Internet
Here I found some descriptions on how to make a walk cycle:
http://www.lostmarble.com/forum/viewtopic.php?p=33149#33149
http://www.g4tv.com/techtvvault/features/36429/3D_Animation_Tip_Walking_the_Walk.html
http://www.fab4art.com/images/walk-cycleFP.jpg
http://animation.about.com/od/flashanimationtutorials/ss/flash29walkcycl_5.htm
http://www.cs.princeton.edu/courses/archive/fall00/cs426/lectures/animation/sld027.htm
http://www.cs.bath.ac.uk/~pjw/media/publications/ANIMATION/CA94/ca94.html
http://www.maximized.co.uk/animation/walkcycle.shtml
http://viz.aset.psu.edu/gho/sem_notes/animation/html/animation.html
http://marilynfenndesign.com/walk_cycle_anim.html
http://www.tri-c.edu/art/docs/walk.htm
http://vids.myspace.com/index.cfm?fuseaction=vids.individual&videoid=697204565
http://www.idleworm.com/how/anm/02w/walks.shtml
http://www.lostmarble.com/forum/viewtopic.php?p=33149#33149
http://www.g4tv.com/techtvvault/features/36429/3D_Animation_Tip_Walking_the_Walk.html
http://www.fab4art.com/images/walk-cycleFP.jpg
http://animation.about.com/od/flashanimationtutorials/ss/flash29walkcycl_5.htm
http://www.cs.princeton.edu/courses/archive/fall00/cs426/lectures/animation/sld027.htm
http://www.cs.bath.ac.uk/~pjw/media/publications/ANIMATION/CA94/ca94.html
http://www.maximized.co.uk/animation/walkcycle.shtml
http://viz.aset.psu.edu/gho/sem_notes/animation/html/animation.html
http://marilynfenndesign.com/walk_cycle_anim.html
http://www.tri-c.edu/art/docs/walk.htm
http://vids.myspace.com/index.cfm?fuseaction=vids.individual&videoid=697204565
http://www.idleworm.com/how/anm/02w/walks.shtml
Saturday, February 10, 2007
Wednesday, January 10, 2007
Walk Cycles in Anime Studio and more...
http://www.lostmarble.com/forum/viewtopic.php?t=7904
http://www.slowtiger.de/examples/walk3.html
http://www.ilex-press.com/publishing/pdf/X-3DTO-058-113-live-UK.pdf
That’s why mastering the simple mechanics of a walk,
seemingly one of the easiest but in fact one of the subtlest and
most difficult motions to get right,has always been the essential
rite of passage for any journeyman animator,CG or traditional.
In 3D,tricky aspects of kinematics (‘Hmm,should I use forward
kinematics on the legs, or inverse kinematics?’) can make it
even harder to achieve a good walk or run.
There are two essential poses in a walk cycle.In the
‘strike pose’,the weight of the character is evenly distributed
between the front foot,which has just struck the ground,and
the back foot,which is about to leave it.
In the ‘passing pose’, the weight is balanced exactly over one foot while the other
foot passes by off the ground.
Transitioning between these
two poses gives you the basic foot motion for a walk,but more
work is needed to make it convincing.For example,the path
that each foot takes,whether arc-like or saddle shaped,can
make the walk look either mechanical or fluid.
Many characters have what’s called a ‘footfall’.Heavy
characters usually pause perceptibly between steps,as they
absorb the impact from the previous step and work up the
energy needed to move their bulk forwards for the next.
The footfall is the dip in the pelvis movement that occurs as the
character brings itself to a stop and starts on the next step.
Huge characters can have tremendous footfalls that last as
long as a step or longer,complete with secondary action on
blubbery bellies.
Lighter characters may have barely
noticeable footfalls that help convey a minimal sense of weight.
A walk is a signature motion for a character,and can
be used to express personality and mood.
Think of the
difference between the relaxed stroll of Bugs Bunny and the
obsessed,angry bursts of Daffy Duck.Art Babbit,one of the
old Disney master animators, often added little defining
flourishes to the walks of his characters.For example,Babbit
would make Goofy stick his feet out sideways just before
hitting the strike pose.
Of course, getting the walk mechanics right is only
the beginning.The walk must also reflect a wide variety of
other factors,notably the physical environment,the emotional
state of the character,and the dramatic situation of the scene.
Moreover,walks are often mixed with other forms of motion,
such as talking,gesticulating,or running.In the sequence of
frames featuring the dog and cat,the dog walks backwards
while using his hands to direct the actions of the cat, while
the cat struggles to gain control of her newly active limbs.
A run is reallya series of jumps rather than a controlled
fall.In many situations,animators combine what is basically a
fast walk with small jumps/run cycles; in others, the run is an
entirely separate action with its own dynamic.
Runs,too,can be character defining; for example, a predatory character may
bound forward, crouched low, arms out and ready to clutch,
whereas a preycharacter skitters left and right,head turned to
watch his pursuer.The run pose for Avalanche's Tak character
expresses much of his plucky,determined personality.
http://www.slowtiger.de/examples/walk3.html
http://www.ilex-press.com/publishing/pdf/X-3DTO-058-113-live-UK.pdf
That’s why mastering the simple mechanics of a walk,
seemingly one of the easiest but in fact one of the subtlest and
most difficult motions to get right,has always been the essential
rite of passage for any journeyman animator,CG or traditional.
In 3D,tricky aspects of kinematics (‘Hmm,should I use forward
kinematics on the legs, or inverse kinematics?’) can make it
even harder to achieve a good walk or run.
There are two essential poses in a walk cycle.In the
‘strike pose’,the weight of the character is evenly distributed
between the front foot,which has just struck the ground,and
the back foot,which is about to leave it.
In the ‘passing pose’, the weight is balanced exactly over one foot while the other
foot passes by off the ground.
Transitioning between these
two poses gives you the basic foot motion for a walk,but more
work is needed to make it convincing.For example,the path
that each foot takes,whether arc-like or saddle shaped,can
make the walk look either mechanical or fluid.
Many characters have what’s called a ‘footfall’.Heavy
characters usually pause perceptibly between steps,as they
absorb the impact from the previous step and work up the
energy needed to move their bulk forwards for the next.
The footfall is the dip in the pelvis movement that occurs as the
character brings itself to a stop and starts on the next step.
Huge characters can have tremendous footfalls that last as
long as a step or longer,complete with secondary action on
blubbery bellies.
Lighter characters may have barely
noticeable footfalls that help convey a minimal sense of weight.
A walk is a signature motion for a character,and can
be used to express personality and mood.
Think of the
difference between the relaxed stroll of Bugs Bunny and the
obsessed,angry bursts of Daffy Duck.Art Babbit,one of the
old Disney master animators, often added little defining
flourishes to the walks of his characters.For example,Babbit
would make Goofy stick his feet out sideways just before
hitting the strike pose.
Of course, getting the walk mechanics right is only
the beginning.The walk must also reflect a wide variety of
other factors,notably the physical environment,the emotional
state of the character,and the dramatic situation of the scene.
Moreover,walks are often mixed with other forms of motion,
such as talking,gesticulating,or running.In the sequence of
frames featuring the dog and cat,the dog walks backwards
while using his hands to direct the actions of the cat, while
the cat struggles to gain control of her newly active limbs.
A run is reallya series of jumps rather than a controlled
fall.In many situations,animators combine what is basically a
fast walk with small jumps/run cycles; in others, the run is an
entirely separate action with its own dynamic.
Runs,too,can be character defining; for example, a predatory character may
bound forward, crouched low, arms out and ready to clutch,
whereas a preycharacter skitters left and right,head turned to
watch his pursuer.The run pose for Avalanche's Tak character
expresses much of his plucky,determined personality.
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