1st in? I'm all tooned up :)

Woo-hoo! Let's go!

::::: popcorn and Geep and animation oh my :::::

Yippeeeee! Sidles in to seat!

Things beyone the control of Dr. Geep because they are stupid poser tricks but that I wish he could wave a magic wand and make them all better anyway: 1) make that dumb 999 window to be five digits! 2) better start/stop frame choice; don't make me type in the "time" I should be able to tell it the frame range. 3) while in graphs be able to switch actors or body parts, not just morphs ::::: Opera :::: P.S. It's raining again in Southern California

I'd like to be able to hide every attribute in the timeline that I wasn't animating!

kewl :)

i always blab away during the coming attractions. The movie hasn't started.... I am tripple tasking... Working on database stuff for day job Monitoring this forum Watching 1300 frame animation render on my brand new smokin Poser rig right next to me. It is on frame 235 ::::: Opera ::::: P.S. I hope Dr. Geep doesnot shush me!

lol im doing 5 things o_O rendering an animation posing additional frames of the same animation ...(2 comps, copy the scene ^^ 1 comp pose 1 comp render) making models to go in the animation o_O making popcorn eating popcorn ^^ wait 6 things waiting for the show to start ^_^

Came across something today... There's a stop-motion animation currently in production where they're using digital still cameras. One of the upper-end digital SLRs. And then it's just assemble the sequence of pictures and convert to video. But they get much better base image resolution than HDTV. Nothing to with Poser, but if you have the camera, and can draw, you don't need much more.

Ohh! Looks like the good Dr is thinking of moving:-) Wonder where to? Cheers, Diolma

Antonia, is that approach an attempt keep equipment costs down? SONY and JVC have pretty high quality digital HDTV motion cameras for well under $10,000, am not sure if the SLRs you are talking about can beat them in price and quality. I investigated digital SLR, at least in the under $2500 range, and was told that you can't actually just open the shutter and shoot a steady stream like you can with almost every other digital still camera; the mirror is in the way. Therefore, there is a "recoil" or "reset" factor for a digital SLR. If you need to achieve 24/30 FPS, you'd need more than one SLR. Now the higher-end digital SLRs may get past that issue. As you can see, I've been thinking along these lines. A cool digital SLR that could take 1-3 minute film snippets, the 'disarming' factor of shooting a film on a still camera, etc. etc. Add to that "motion matching" software that can take a succession of stills and generate a 3D model.....possibilites abound. ::::: Opera :::::

I brought enough coffee to make us all jumpy. :)

I've decided to heckle from the balcony....

Yes master yes

I didn't know that it fills the frames in for you. Perhaps that's why I've avoided animation because I thought you needed BVH files. That's really cool!

Joining your animated discussion!!

I am here, and will try and think of intelligent questions for a change.

o doc ^_^ end of class? no more posts :(

re: "... end of class?"

No, ......... we have not discussed "entropy" yet. ;=]
(that's the opposite of "outropy")

cheers,
dr geep
;=]

lol Dr. Geep that is funny.

suggestion on what to do while waiting for the next slide: make an animation. That's what I am doing. It prevents entropy from settling in.

::::: Opera :::::

Message edited on: 01/28/2005 13:47

Actually, entropy is the unit of disorder in the Gibb's free energy equation...

30 frames a second? Are you going to be animating that Roadrunner? ;^)

No, but Poser must think so cuz that's the default value. ;=[ We gonna hafta talk about that one. (ha ha) ;=]

Standard TV & Video in the US (and other NTSC countries) is 29.97 frames per second. The 30 FPS that Poser sets as default is suitable for that - it can be easily adapted within video editing software. For computer use, 30 FPS also provides a smooth animation. Sometimes people use less - like 15 fps - to keep file sizes down. In the movie world, film runs at 24 FPS. Occasionally things are created at that rate and converted to 12 FPS for computer delivery to keep file sizes down. Generally speaking, the faster the FPS the smoother the animation. On the other hand, I've never seen anyone use faster than 30 FPS unless they were dealing with specific professional technical issues like interlacing. That's beyond the scope of anything I've seen discussed here at 'Rosity. Animations below 15 start to look a bit choppy, although the 12 FPS used when converting 24 FPS source material is frequently considered acceptable because of the trade off in lower file sizes.

Dang it Kevin ... ya just blew my whole next page ....... (jus' kiddin' podnah!)
(but that's all good info) ;=]

Thanks for the input.

Gawsh ... I didn't think anybody wuz readin' this junque anymore.

Gooooooolllleee ....... Surprise, surprise!

;=]

*** POP QUIZ *** Where does 29.97 fps come from? Why is this odd number used? Anyone? ... Anyone? ... Bueller? ... Anyone? ;=]

zoetrope?

Attached Link: http://www.turneraudio.com/tech/timecode_primer.html

Quote - In the beginning there was black and white television and it was good sayeth the word. These pictures were broadcast in the United States at a vertical sync of 60 Hz with a frame rate of 30 FPS. When RCA and CBS were developing color television broadcasting one of the prerequisites for the new format was that it be backwards compatible with all the black and white TV's in use at the time. The NTSC (National Television Standards Committee) shifted the vertical sync a measly 0.06 Hz (a 0.1% difference) to 59.94 Hz which gave NTSC color TV the frame rate of 29.97 FPS. So far so good, the broadcasters were happy and so were our prehistoric couch potatoes. In 1956 Ampex produced the first VTR. For years video tape was edited the same as audio tape; manually with a razor blade. While this method worked well with audio, it wasn't nearly as precise given the helical scan of video tape and was certainly not capable of frame accuracy. Ampex refined "electronic editing" in the early 1960's with control track edit systems. In the late 60's time code video tape editing was developed and offered frame accurate edits with each video frame identified with a unique eight digit time stamp of Hours: Minutes: Seconds: Frames. The standards for SMPTE/EBU time code were born in 1969. A committee of folks from the U.S. based Society of Motion Picture and Television Engineers sat down with representatives from the European Broadcast Union. The result was that five different frame rates of time code were agreed upon. The frame rates are; 30, 29.97, 25, 24 and drum roll please, 29.97 drop frame. Some years following the agreed upon frame rates a sixth rate, 30 drop frame was "standardized" by several manufacturers and is included today on most popular field recorders, slates and TC generators. Remember that even though NTSC color television operates at 29.97 FPS, time code readers display an even 30 frames per second. One of the compromises facing the standards committee was that the 29.97 frame rate was 0.1% slower than real time. When the time code display finally reaches one hour (01:00:00:00) the program is actually 108 frames or 0.1% too long. This translates into 3.6 seconds and is enough to make broadcast types very unhappy. The standards committee came up with 29.97 drop frame TC to cope with the difference between real time and the time code count. 29.97 DF code eliminates the first two frames every minute, except for every tenth minute. This results in the loss of 108 frames per hour and the effective resolution between an uneven frame count and real time.

WOW ... we've really been to school !!!

Thanks Acadia ........ but next time ... no cheating ... ok?

;=]

heh, I can't help it.... Google, it's in my blood! ;)

We might as well add the NTSC specs don't allow for pure white or pure black. The hotter colors (white, yellows, reds, oranges) can smear on some TVs if they are too bright. Therefore you're not supposed to go brighter than 235, 235, 235 (RGB) which is actually a very light grey and you're not supposed to go darker than 15, 15, 15 (RGB) which is a very dark grey. Some TV stations will still kick back material that's too bright or too dark. Programs like After Effects and most video editing software packages will have effect plug-ins that make things NTSC compliant. For computer work this isn't necessary. Computers have a larger color spectrum than NTSC. The NTSC Standards have not kept up with technology. Doc, I'd encourage you to still incorporate this info (at least the parts of it you were already planning to) into your tutorial. It might be redundant for the thread but the way your tutorials are kept and valued it would be good to have it there for posterity. My words come and go like the hot air that propels them. Your tutorials are classic "keepers!" p.s. Everybody get their heads out of the gutter! I said "posterity" not "posterior." [grin]

Thanks Kevin .... but "keepers"? ... Not too sure 'bout dat one. ;=]