saying, thx matt for the clarification, his examples where very
abstract...
would being able to disassociate parent hierarchy have any effect on
gimble
lock ? making it easier to evade ?
On 13 April 2013 17:23, Marco Peixoto <[email protected]> wrote:
At first I thought that it was a simple Pose based Deformation like
Secondary Shape Modeling, but its not. He says that Modo has now a very
similar Weighting System that Pixar uses (he doesnt say that on the
video
but he did on the forums) and that video was to show what Hippodrome
(ex
Pixar character Modeler) will be teaching on its coming iBook "Art of
Moving Points":
http://hippydrome.com/iBookExmpls.html
On 13-04-2013 16:06, Christopher wrote:
I watched the video, interesting stuff, I'd like to see a comparison
between what was shown in the video and Softimage, specifically what I
liked in the Modo video was the sliding skin effect.
Christopher
Matt Lind
Friday, April 12, 2013 11:19 PM
Basically the guy took 24 minutes to explain a 2 minute concept.
The main point is Modo can define the order in which deformers are
evaluated to solve envelope weights, and envelope weights are assigned
using 'weight containers' which are logical assignments of points to
deformers. A different kind of weight map.
The example shows an arm enveloped over 2 bones (3 joints). In
Softimage
you'd normally place the bones into a hierarchy and assign the weights
to
the joints. as you rotate the shoulder, the elbow and wrist would tag
along for the ride via inheritance of the shoulder's transformation.
If
you rotate the elbow, the shoulder is unaffected, but the wrist moves
because it inherit's the elbow's transformation. The point being the
deformer has to reside in the location of the envelope deformation, and
this can be inconvenient for thinking/viewing certain problems such as
wanting to only rotate a deformer by a few degrees. in the case of the
elbow, it may already be rotated to some arbitrary angle making
adding/subtracting a few degrees difficult to visualize.
In Modo, the weights were assigned to the individual bones via 'weight
containers' (their version of a weight map), but the bones were not
placed
into a hiearchy. they were scattered about wherever was convenient.
This
allowed the artist to work with the deformations in the local space of
the
deformer so if he wanted to say, limit envelope deformations to
rotations
of 10 degrees or less, the artist could easily see a 10 degree
rotation and
work with the deformer weights. think of it as compensation mode for
vertices of an envelope. You apply the envelope to the defomers, but
