Digital Art Live and Me
Digital Art Live and Me
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A student of my course was asking about the Simulated Hair Helpers that I was using in the course.
So here's a short tutorial video on how I make and use them
The beginning and end of the video also have a small glimpse of what's to come in the up-and-coming Rosie 8 2023 Animation Demo Reel.
A Digital Art Live Experience
A Digital Art Live Experience
Now Available at Daz 3d - a Special new educational course that I've been anxious to share with everyone.
Paul Bussey, from Digital Art Live, offered an amazing opportunity for me to tell my story of how I've unlocked the key to a super-easy approach to animating in Daz Studio - something that a majority of animators consider to be nearly impossible, and for good reason. Daz Studio is set up differently than traditional animating software, making it feeling clunky, even unfriendly to folks who are used to animating.
Well such a thing is difficult to tell in a few words or even a single article here on the site. It's something that needs to be seen, worked through, demonstrated.
Paul's offer is just that. He loves seeing other artist's work and he has a wonderful drive at helping artists learn new skills to better themselves at what they want to do. In that, we are both incredibly similar, for those are my goals as well!
So we've got together in several video conferences and built a solid idea on how to go about this beneficial workflow.
The result is a course that takes us from a full animation workflow from start to end, followed by individual tutorials related to the techniques used within the workflow.
Introduction - a short video easing us into what's coming, followed by an enhanced version of my Cyberpunk Rosie 7 Demonstration I've presented on YouTube earlier.
Part 1 - a complete workflow following myself through an entire animation project from start to finish. From a T-pose through a custom aniMate setup, including the Genesis 3 & 8 Face Controls, then baking to the Studio timeline and using the custom tools that we'll build in Part 2 to turn the animation into something that greatly differs from the original motion capture, works better with our specific character, and allows us to retain the original motion capture while also coming up with an entirely custom result. The sky's the limit - if there even is a limit. Part 1 continues through dForce cloth and then hair simulations, setting up another set of custom helpers to help the hair in our custom situation, then we render it and finally do a basic composite of the rendered result over the backdrop.
Part 2 - Instructional and demonstration videos that will add this new methodology and the tools to your own figures - quickly, simply and the end result is an animation system that can completely eliminate the need to use a graph editor. We're basically using the graph editor from dials on the figure, rather than having to drill down into the hierarchy to edit each rotation of each joint manually... whew... it exhausts me even thinking about Studio's graph editor for doing the intense changes we make in Part 1!
Part 2 continues showing how I convert animations across different Daz figure generations, creating handy partial aniBlocks for really altering what we can get out of aniMate (we use these in Part 1 to show how amazing this process can be), we explore how to create custom wearable presets and the Power such things can give us, and I get a chance to show why I create Base scenes and how they help me get my animations done a Lot more quickly while retaining consistency throughout my animated render clips.
We also include two nice Bonus Featurettes:
One covers how I track the background plate (scenery render in motion) that matches the movements of the reveal of Rosie 7 at the beginning of the video.
The other one is an extensive look into the making of the Car Chase scene: Piranha vs Nemesis
I'm so excited that I've finally finished this and now have the ability to show everyone this new workflow I use to make animating in Daz Studio a really fun experience. Not only is it fun, it's productive, easy and it has quickly become my favorite way to perform Character Animations Period!
For Carrara users, the tools that are the highlight of this entire workflow also work in Carrara, since they get added to the actual Base figure, and we can put these tools on anything that has an articulate rig! Sweet!!!
I'm really looking forward to its release, and really looking forward to seeing what animations you all come up with using this fun new way to animate figures!
What's Included and Features
The Complete Guide to Animating Dynamic Characters in DAZ Studio
Video 0 : Introduction : 8 minutes (.MP4):
Who this course is for
Required : aniMate2
About dForce, keyframes and aniBlocks in this course
About custom tools
Genesis 3 and 8 face controls
About Dartanbeck
Advantages of native animation in DAZ Studio
Video 0-1 : Rosie 7 Animation Demo : 3 minutes (.MP4)
Video 1-1 / 1-2 / 1-3 : Dynamic Character Animation Workflow : 30 + 38 + 48 minutes (.MP4):
Getting Started
What's the Character Doing?
Select and Apply aniBlocks (I explain the Frame Buffer Zone later)
Workspace Fluidity (Super-Impose Mesh Resolution Changes Lower Left)
Set Perspective View to see the entire animation
Adding a Sub Track in aniMate
Adding a Buffer Zone for dForce (explain Buffer Zone)
Set the proper Sub Track Settings. How and Why
The Importance of Going Back and Forth between aniMate and the Timeline
Where to Apply a Change to our Animation
The Importance of Creating a Custom aniBlock Collection (It's easy! You'll see in Part )
Working with Partial aniBlock Sub Frames
To Blend or Not to Blend
Timing out the Change (for Sub Track)
Add Facial aniBlocks
A word about Face Control for FACS movements
Custom Partial Pose Dials and aniBlocks for Genesis & Face Controls (Daz d product)
Working with and Editing Custom FACS aniBlocks with the rest of the Animation
Check everything while we're still in aniMate
Perfect Time to Save!
This has all been pretty straight forward so far now we really Dig In!
Bake to DS Timeline
Getting Back to aniMate if we need to
Setting the Timeline to Advanced View
Deal with the Frame Buffer Zone. What to Delete, What Not to, and How
Key Frame Interpolation Types. How they Work and Why we need to make a change
Our new Buffer Zone Muscle Memory Habits
We're in the Timeline now. Let's Make this motion Our Own!
Work Out the Sub Track Transitions
An example of Failure, and how to fix it
Using Collapse to Isolate what we Edit
Using Selection Highlights to determine What to Select
Let's become Pros at Selecting Keys in the DS Timeline
Tips on making the DS Timeline easier to work in with Working Examples
Dealing with Odd times when keys Cannot be Deselected
Use the Buffer Zone to Transition into a dForce Simulation
Set the Transition Interpolation Type
A Warning about the TCB Interpolation and Pasted Keys
All Animation Software has "Specific Things" to get used to. Don't get Put Off
Using the Hierarchy in the Timeline as a Helpful Guide
Finding Specific Adjustments within the Hierarchy
Let's work out our Custom Pose Change from the Sub Track
Ooops. Houston, we have a Problem! Let's Find it and Fix it
Now that we're Key Selecting Pros, Let's Practice Now
Let's make this intro Pose Look Better
Custom Pose Helper Dials - Aren't They Awesome?
I liken this to Using the Graph Editor Without Using the Graph Editor
Transitioning To and From our Changes
Scrubbing Dials to Hold their Position
Asymmetrical Transitions and Changes
Work out the Custom Pose at the Most Crucial Spot
Our Custom Control Dials we make in Part make All the Difference
Transitioning to and from the Custom Pose Changes
Watch for dForce Problem Areas as we work
Being Gradual with Major Changes
Experimenting to find the Best Tweaks
Getting Help from the Timeline Information
Dealing with a Sluggish View
Finalizing Changes before Changing Back from the Custom Partial
Aren't These Custom Dials Awesome?!!!
Anticipate for Elements to be Added (Hair)
The Importance of Using Partials
Changing the Partial into What We Really Want
Reminder of Interpolation Decisions
Again, Being Gradual with Changes
The Magic of Animating in this Organic Flow
Protecting the Motion Capture, Why?
Comparison to Traditional Animation Technique
Rendering the Final Result
Continue Getting Deeper with our Edits
Set View and Play the Animation
Interpolation Issues
Try New things - Make This Look Good
My Animations are Unique, yet they are composed from aniBlock Packs
Keep Playing it Through - Watching for Issues
Isolating the Timeline View
Let's Use Interpolation to help our Head Fix
Consider the Hands - Don't make them Wacky!
Hand Control Dials can be as Fun to Make as they are Powerful
Working out the Arm that got Left Behind
More Assymetrical Editing
A Brief explanation of the Hand Dials I'm Using
Keep Playing It Through
Posture Shift Dials
Timing Posture Shifts, etc., Using the Timeline
The Daz Studio Workflow Difference
Working more realism into the prominent hand
This work compared to Traditional Workflows
Why such a Complex Animation for this Course
Making Our Camera
About a Camera's Key Frame
Using Real World Actions to Drive Decisions
Save
Video 2-1 : Dartanbeck's Custom Pose Dials : 47 minutes (.MP4):
Introduction to Dartanbeck's Custom Pose Control Dials
Overview of characters with and without custom pose control dials
Unimesh figures like Genesis 1 and Genesis 9 work universally
Are Genesis 3 Female dials compatible with the male figure?
Genesis 2 Male has default pose control dials
Various pose control dials available for arms, feet, and hands
How custom dials provide additional control and expression options
Custom dials were present in Predatron's custom figures and Daz 3d's Generation 4 figures
How basic dials lack twisting options, except for waist and head
Custom leg dials designed for specific figure needs
Genesis 2 Male hand dials include finger control options
Rosie 7 hand dials designed for expressions and corrective poses
Genesis 2 Male and Rosie 7 share common hand dials
Considering detailed head dials including cheeks, eyes, nose, and expressions
Creation of custom expressions using GenX2 transfer
Considering additional custom expression dials for various emotions and gestures
Dials created individually and continuously added for more control
Missing feet bend and toes bend control for animations
Custom pose dials for bow and arrow animations
The power and significance of custom pose control dials3
Intro video to the course
Intro video to the course
Bonus "Rosie 7 Demo 2023" video
Bonus "Rosie 7 Demo 2023" video
Video 2-2 : Creating Custom Pose Dials : 31 minutes (.MP4):
The process of creating custom pose control dials starting with a basic arm twist example.
It is easy to create these dials by adjusting sliders and selecting the appropriate parameters.
The Pose Controls section and a naming convention is suggested for easy management.
Custom labels and colors can be assigned to the dials for better organization and visibility.
The process involves creating a new property, setting the type to "Modifier Pose," and specifying custom attributes.
The ERC Freeze function is used to connect the dial to the desired rotation or pose changes.
Recommendation on starting with a fresh figure and scene.
Properties can be deleted and recreated to refine the dial's settings.
Multiple arms twist dials can be created for each arm separately or together.
The importance of choosing the direction of maximum travel and adjusting limits is explained.
Linking dials to other properties allows for further customization and control.
The process is flexible and can be adapted to individual preferences
Video 2-3 : An animator's base scene : 12 minutes (.MP4):
How a base scene is crucial for maintaining consistency in character animation and rendering.
Where that consistency is important.
How base scenes saves time.
Lighting and rendering options, including tone mapping and environment settings, are included in the base scene.
How the base scene serves as a starting point for animating and allows for customization and experimentation with settings and accessories.
Video 2-4 : Creating custom wearable presets : 12 minutes (.MP4):
What are wearables and how do they help for animation?
How to create wearables and save as a preset.
What wearables can include
What the wearable preset can be applied to
Custom icons and images can be added to wearable presets for visual representation in the library.
Video 2-5 : Creating Partial aniBlocks : 11 minutes (.MP4):
The process of creating partial aniBlocks is explained, by selecting specific body parts and copying their animation.
After copying the desired keys, the original animation is collapsed and the selected keys are pasted.
The resulting animation of the body parts can be saved as a new aniBlock for future use.
The process is demonstrated using different body parts such as arms, neck and head, and pelvis.
AniMate 2 is praised for its smooth and efficient preview, and the importance of creating a variety of partials for blending in sub tracks is emphasized.
Video 2-6 : Converting Animations from Other Generations of DAZ 3D Figures : 23 minutes (.MP4):
The author has been collecting aniBlocks since 2010 and discusses changes in Daz Figures.
Demonstration of methods for making motion captures work with newer generation figures.
Creating Custom Pose Control Dials to adjust motion capture data.
Recommended script that converts poses between generations.
What the script can do
The process of converting aniBlocks using the script.
Alternative method to convert poses.
Method 2 allows for converting poses and morphs between different figures.
Method 2 for converting poses with custom pose dials and morphs.
An experiment using a soft-body physics simulation and converting it into an aniBlock.
Final step involves restoring the initial pose and reviewing the converted animation.
Video 2-7 : Bonus -Animated Backplate Rendering : 7 minutes (.MP4):
Animated backplate created to match a moving character animation
Camera operators walk smoothly backwards throughout the shot
Keyframes used to control the hair simulation and reveal camera
A new camera and adjustments made to match the backplate scene
Video 2-8 : Bonus - Car Chase Piranha vs Nemesis - Behind the Scenes : 31 minutes (.MP4):
The text discusses a car chase scene between two vehicles, Piranha and Nemesis, in a Cyberpunk setting.
The Four-Wheeler Template by Linday at Daz 3D.
The template allows for realistic vehicle animations based on real-world physics.
There are pre-installed wheel presets and ready-to-animate cars available.
The car chase scenes include aniBlocks for two cars, chaser and chased, and action cams for cinematic shots.
The scenes are designed to work with Stonemason's Urban Sprawl 3, a city sprawl block with detailed props.
The city scene was enhanced to look cyberpunk by adding signs and props from Polish's Cyberpunk Back Alley.
Use of Magix101's Iray Worlds Sky Dome for the city night scene.
Predatron's LoRez people were used to populate the city with animated characters.
The Starship Piranha and Nemesis vehicles were used in the chase scene, with custom paintwork and Sci-Fi gadgets.
The process of animating Rosie, the main character, inside the car and the challenges of simulating her hair.
What a Fantastic place to learn, share and absorb anything and everything Art!
Led by Paul Bussey, this fantastic place has a beautiful forum with an endless supply of topics - and we can join courses and training, or just hang out with the group and discuss and enjoy art!
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