AFX5203_Week 2_wall destruction

here we see a blayblast for a wall destruction simple simulation using dynamics in Autodesk Maya.
after setting up the scene and deleting history/ freeze transformations on the geometries, i started applying fields and constraints that suit every geometry needs to be simulated.

the ground for sure set to passive rigid body,and the wall blocks set to active rigid bodies and they also had gravity field applied for every block (i did that using dynamic relationships editor) and as always i keyed the gravity to fit the timing of the action.

the object that hit the wall was held from the top was held by a nail constraint, here i found some troubles first because this heavy (hammer) object was rotating in an unconvincing manner, after many tries i found that the nail constraint must be set in the relevant place and i have to check that from all orthographic views, then it worked just fine.

this object (heavy hammer) also had a spring constraint that pulled away to the left side to help it moving, the object itself had initial velocity on Z axis (20 unit) to give it some power.

The Blayblast: here i want to demonstrate some tips to make the the blayblast test look more better than the traditional jaggy aliased rendered movie file so we can get nice result within a minute and avoid batch rendering, actually the blayblast do something like screen recording, so if we go to the renderer tap and choose the viewport 2.0 and click on the little box, we can check some viewport enhancement attributes to improve the quality of the viewport for blayblasting and then we can get back to our default renderer for fast frame rate while working on the scene.

AFX5203_Week 1_Catapult test

this a playblast showing a catapult throwing an object, there is no key frame animation on this example, this shot entirely done using dynamics simulation inside autodesk Maya.

after modeling a simple scene props, I started thinking of every object in the scene and how it will be affected when i apply Maya Dynamics fields and solvers, the images below showing us some details about the scene structure.

scene1

outlinerconsts

after applying the constraints on the catapult arm and sitting the hinge constraint in the proper place  I started playing with tho most important attribute for the spring constraint which is (spring rest length) until i feel satisfying with the final simulation, I keyed this attributed for more acceptable action because the catapult should throw the ball then get back to its initial state, I also keyed the gravity field on the wall for timing purposes, the ball has gravity to attenuate its movement and allowing it to hit the wall using its mass.

The Blayblast: here i want to demonstrate some tips to make the the blayblast test look more better than the traditional jaggy aliased rendered movie file so we can get nice result within a minute and avoid batch rendering, actually the blayblast do something like screen recording, so if we go to the renderer tap and choose the viewport 2.0 and click on the little box, we can check some viewport enhancement attributes to improve the quality of the viewport for blayblasting and then we can get back to our default renderer for fast frame rate while working on the scene.

AFX5203_nHair Dynamic Properties

This post is to demonstrate how every attribute of nHair dynamics properties can affect the hair shape and its interaction with different forces inside autodesk Maya:

and we will start one by one:

star-end-frame

Start Frame: This is the frame after which the simulation will run. Nothing will play back for this object prior to Start Frame.

Current Time: This is the current time used for the hair solution. By default, it is given an incoming connection from the main time node. This can be replaced with some other connection (such as, from an expression or param curve) and then the solving is done based on that time value. There must be some incoming connection in order for the Hair System object to play back.

rest-first

Stretch Resistance: Specifies the amount the hair resists stretching when under tension. Large values require more computation resulting in longer simulation times. Increasing solver Substeps may decrease stretching.

Compression Resistance:Specifies the amount that hair resists compression along a segment.

Bend Resistance: Specifies the amount that hairs resist bending when under strain. Large values require more computation resulting in longer simulation times.

Twist Resistance: Specifies the amount that hair can dynamically twist along its length. The effects of Twist Resistance are noticeable when the hair rest shape is not straight. Increasing Twist Resistance can preserve the rest shape.

Extra Bend Links: Adds bend links between the vertices of hairs that are not closest to each other or are not near neighbor hairs. These links help with bend and twist resistance of hairs that have many vertices. Extra Bend Links can create unnatural looking hair effects where hair is stiffer at large scales than at small scales.

Rest Length Scale: Specifies a multiplier for the hair rest length, allowing hair to expand or contract more in the rest position. To avoid sudden snapping at the start of the simulation, create a key at the first frame with a Rest Length Scale value of 1.0. Increase or decrease the value gradually with subsequent key frames.

no-stretch

No Stretch (clip post solve length): When on, the lengths of your output hair curves are fixed at the lengths of your start hair curves. This keeps the lengths of your output hair curves constant and it prevents them from stretching. No Stretch (clip post solve length) is applied to the hair system after Nucleus solves the simulation.

stiffness

Stiffness Scale: Stiffness Scale affects the overall stiffness from root to tip of the hair. The left of the graph is the root and the right is the tip. Typically the root of a hair is thicker and therefore stiffer than the tip. This attribute multiplies a combination of the Bend Resistance and Twist Resistance attribute values.

start-curve

Start Curve Attract: Determines the amount of attraction of the current hair position to the start position. This attribute is useful, for example, where you want to have stiff hair, or hair that moves with a character. Also, if you put keyframed animation on your start curves, you can use the Start Curve Attract attribute to blend between the simulation and the start curve animation.

Normally you would leave the Start Curve Attract value at zero for long flowing hair. However, for short hair it can be difficult to make hair stiff enough. Use a value greater than zero when the hair needs to be very stiff, yet at the same time have some dynamic properties. At a value of 1.0 the hair position will be the start curve position (relative to the transformed follicle position); only collisions and forces will still deflect the hair. Without Start Curve Attract this scenario could otherwise require increases Substep and Damp value, especially if there are many CVs per hair.

When Start Curve Attract is set to a value of 1.0, there is 100% attraction to the start curve position. You can control which parts of the curve are attracted to the start curve by using the Stiffness Scale attribute. If you have animated start curves then this would produce behavior that is similar to when the Simulation Method is set to Static. However, dynamic fields are still added on top of the solve.

Attraction Damp: Damps the effect of Start Curve Attract, decreasing the velocity of hair as it moves towards its start curves’ positions. This is useful when you want to lessen the springiness (caused by higher Start Curve Attract values) of hair, or when you want to apply dynamic fields on top of animated hair. When Attraction Damp is 1, the motion of hair moving towards its start curves is fully damped, leaving only its Start Positions and field forces to dynamically influence its motion.

attraction-scale

Attraction Scale: The Attraction Scale ramp attenuates the Start Curve Attract attribute value along the length of the hair clumps in your hair system.

You can use the ramp graph to define a varied stiffness from root to tip for the hair clumps in your hair system. The left-side of the ramp graph represents the roots of the hair clumps in your hair system and the right-side represents the tips. For example, if you want the roots of your hair clumps to be less stiff than their tips, then the value on the right-side of the ramp graph should be smaller than the value on the left side.

The Attraction Scale ramp values are multipliers of the Start Curve Attract attribute value on the hair system. So an Attraction Scale of 1.0 does not affect the Start Curve Attract, and a Start Curve Attract of 0.0 is not effected by Attraction Scale.

Selected Position: This is the position along the hair clumps of the current hair system for the point selected on the Attraction Scale graph. This is also represented by the position of the point on the X-axis.
Selected Value: This is the scale value associated with the Selected Position on the Attraction Scale graph for the hair clumps in the current hair system. This is also represented by the position of the point on the Y-axis.

Interpolation: Defines the mathematical method used to smooth the values of the current hair system’s hair curves. Ramp Interpolation controls the way the intermediate values are calculated.

None:
No interpolation is done; the different colors just show up as different bands in the final texture.
Linear:
The values are interpolated linearly in RGB color space.
Smooth:
The values are interpolated along a bell curve, so that each color on the ramp dominates the region around it, then blends quickly to the next color.
Spline:
The values are interpolated with a spline curve, taking neighboring indices into account for greater smoothness.

bend-menu

Bend:

Bend Model: Lets you choose between a bend solving method for long curly hair and one for generic hair styles.
Simple: Default nHair bending behavior used in previous versions of Maya. Use this method for generic hair.
Twist Tracking: Use this method for maintaining twist in long curly hair and for when the base twist of hairs is already groomed at the start frame.
Bend Anisotropy: Lets you control the relative bend resistance in different directions around the hair when the Twist Tracking method is used.

forces

Forces:

Mass: Sets the simulated mass of the hair vertices. Mass affects how hairs collide with other Nucleus objects and influences the Drag. Hair with higher Mass behaves more like chains when low Drag values are used. In this case, the hair is much more massive than the air.
Drag: This simulates friction with the air, in addition to helping to stabilize the simulation. When the Drag value is 1.0 the hair behaves as if it has no inertial motion or follow through and therefore moves as if it is in thick fluid.
Tangential Drag: Specifies the amount of drag along the hair direction. When set to 0, hair has no resistance to moving tangentially or along the direction of its shape. When Tangential Drag is set to 1, Drag is even in all directions. For high Drag levels with low Tangential Drag, the hair behaves in a oscillating motion like a snake moving through water.
Motion Drag: This damps the movement of your hair curves relative to the movement of their follicles. The Motion Drag value determines how much your hair curves move with their follicles and to what extent the shape of your hair can be influenced by other forces. This lets you damp your hair’s excess movement, such as bobbing and wiggling, without having to increase Substeps.
For example, if you set Motion Drag to 1.0, then your hair will move with its follicles, appearing to drag the surrounding air with it.
You can also influence the effects of Motion Drag with the Stiffness Scale attribute. For example, you can use the Stiffness Scale ramp drop-off to create more Motion Drag at the roots of your hair than the ends. Motion Drag is 0.0 by default.
Note:
Motion Drag does not interfere with hair collisions.
Damp: 
Dampens the relative shape change of individual hairs affecting how the hair bends and stretches.
Stretch Damp: Specifies how much velocity, due to stretching between the hair curve vertices, is damped. Increasing Stretch Damp allows hair to stretch without bouncing.
Dynamics Weight: Scales the effect of Maya Fields that are applied to the hair system. Higher Dynamic Weight values increase the influence of the Field on the hair curves.
For Dynamics Weight to work, turn on Ignore Solver Gravity and Ignore Solver Wind (if applicable) so that only the Maya Field acts on the hair curves.
Ignore Solver Gravity:
When on, solver Gravity is disabled for the current hair object.
Ignore Solver Wind:
When on, solver Wind is disabled for the current hair object.
Disable Follicle Anim: When on, follicle animation evaluation is disabled on playback. This is an optimization setting that improves playback performance when simulating animated follicles.

 

ANM4100_W8_P2_Digital Coloring

Digital painting experiment

Yaman Naser

Here is a digital coloring experiment using Wacom and Photoshop.
First I did a rough sketch for the whole strawberry then fill the shape with just rough – red and green- colors, after that I made a color palette for the grades of these colors so I picked a solid color to preserve the transparency then I picked colors for the shade and the highlights and for dark areas, after that I blended colors by lowering the opacity and the fill parameters to end up with this digital painting drawing.
– there is a WIP image for the rough painting step!

strawberry painting lastwip strewberry painting

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ANM4100_W11_P2_Anatomy Study

skullanatomynote : the skull done using pencil on canson paper and the other body parts done digitally in photoshop using Wacom.

studying and learning anatomy is a very important step every artist have to do, especially those who are interested in 2D art.

the human body is a very complex shape combined mainly of bones and muscles, and what artists care about is how these organic shapes (bones and muscles) affects the surface of the body to help them in drawing every human feature.

here in my work I choose to work using two mediums so I worked(Freehand not tracing !!) very detailed in drawing the skull using pencil and paper and some blending tools like stamps and tortillions and I satisfy with the result, it took me too much of time to accomplish it.

for the other body parts I choose to work digitally , I use lines as reference to keep in proportion and start sketching using reference images from the web.

ANM4400_2D rough jump

here is a rough jump 2D animation (sorry for the drawing quality but that took me about 5 hours to finish with this result)

before drawing I started studying references by doing researches on the INTERNET (links below the video). the first step i did on this animation was putting the key poses for the movement and for every drawing i drew the action line for the body then the pelvis then the body outline,next i tested the timing of my animation and started fixing it until I found it convincing as possible, after that I added the in-betweens to cushion the animation.

one thing useful i did while studying and blocking was drawing the main body with the head first but without the hands, and lastly i drew the hands to suit the action.

references :

https://www.1000museums.com/art_works/eadweard-muybridge-jumping-starting-broad-jump-animal-locomotion-1887-plate-163

https://gmb.io/jump-tutorial/

ANM4400_Bouncing Ball with Characteristic

this is a basic 3d animation demonstrates a bouncing ball trying to pass a wall as obstacle,
I did my best to give the ball some life by applying stretch and squash to make it look like a character, actually I was looking for a fancy looking animation and I thought it is easy to do but after many hours and many versions of experiments I ended up with this simple result.

The animation that I was looking for was like this:
the ball will do a small jump just to be close to the wall, then it will try -twice- to jump higher but that will not work, so the ball will  go back some centimeters and then it will do a small jump then a big jump to reach the top of the wall, on the top the ball will step back again and do a basic jump toward the ground …,

the troubles I encountered during this study was mainly:
1- keyframing the dedicated animation controller properly.

2- fixing the animation timing and spacing after setting the key frames.
The benefits I get after this study:
1- I have to give more attention while setting up keyframes because every controller has it’s own timeline.

2- I have to make a simple planning like a basic sketch to help me imagine how the shot will be.