View Full Version : A "Sticky" situation ;)
11-21-2006, 09:56 PM
Hey guys, I'm storyboarding a short animation at the moment and I'm thinking of using chewing gum!!! UHHHH OHHHH I hear most of you say, yep, me too.
What would be the best way to go about this? It would have to stick between fingers, hands etc... Not rediculously complex, just enough to know it's gum. I'm guessing cloth might be an option but I've never gone down that road! It'd have to have multiple locators to make it *STICK* to fingers, Keys, pocket etc... Like one bit would have two hands pulling apart with the gum stretching in between and the keys in the middle. Would need to be animatable in multiple sections to get wobbles and curves when it finally snaps and flings the keys
If this is going to be too complex I might have to write it out of the story...
What do you think>
P.s. I've just read over what I've asked and had second thoughts, seems far too complex, but I'll let you guys answer anyway, maybe it's not as hard as I think.
11-24-2006, 11:32 AM
Hi, yes this is a sticky problem.
But there is a relatively easy way i think to do this. You'll need to use nurbs for the gum.
I remember before, and this is the crux of it, via mel there is a way to tie a locator to a cv on a nurbs object, (you'll have to do some research on setattr, (large drive = everthing gets lost))
and then either repeating this process to the cv' of the fingers, you get the stretch your looking for. without have to animate it either. really you animating the fingers, and the cv's (if your using nurbs) or points? if its polys are parented to the locators, which are inturn parented to the "edge" cv of the nurbs chewing gum.
so if you repeat that on say two fingers, then the gum (nurbs surface) will always (excuse the pun) be stuck to the fingers.
PS the benefit of doing it that way, is that you can always unparent the locators, and slide the gum edges ma nually should you wish.
11-24-2006, 12:55 PM
I would use a softbody for the gum, with commbination of goals, deformers, and constraints.
11-24-2006, 02:58 PM
Hi again yes you could use softbodies goals, constraints, and they would give goood results.
I would be a bit more time consuming to set these up correctly.
One point the poster never said, was how close the camera was to the gum., that makes a huge difference.
11-25-2006, 05:51 PM
If you've got the time/budget, I'd look at RealFlow.
You may be able to achieve something similar to this result using Maya softbodies and or a jiggle deformer. It really depends upon the needs of your shots.
11-25-2006, 06:41 PM
I'd agree with FloydBishop. There's a free learning edition of Realflow4 on the 3dArts mag thats out now that'd be perfect for projects like this. There's a particle limit of 50,000, but everyone I have spoken to agrees that this is plenty for pretty much any small project. Everybody loves free stuff :thumbsup:
11-28-2006, 11:18 AM
i thought i should explain a bit more about the points that i raised, to help you decide to say in maya or goto realflow, and if you do stay in maya what kind of mechanisms to use.
Q1) How close is the camera to the object?
A1) If your far away the subtlities of RF will probably be lost, and the same for jiggle deformers, unless you crank up the deformation. (style comes into play here too, cartoon vs realism)
Q2) how fast do the fingers move?
A2) If they are moving slowly, then you can add small details like holes appearing in the gum, and a direct simulation work work well.
Q3) again, how fast do the fingers move?
a3) fast, then i have a law that defines this type of situation. See below.
Steven's Law #1 ----- MOTION BLUR KILLS A MYRIAD OF SINS.
know how / when this law applys (look at many examples) it will define what the "end user" sees, and that defines what work you have to do to actieve the effect.
Example, a car moving very fast, so it nearly a streaks, means you dont have to go overboard on the textures, and any subtle effects will be lost.
Example, if the camera is a long way away from the car, same thing applies, Even more so if it blured too.
Remembering the above, will allow you to save time, when your working as you'll come to realise that motion blur, does to a large degree defines what efforts you need to put into any scene.
And the same saved can be used on another part of the project.
Hope this helps you in thinking about the choices and decisions that you have.
Note: I know a lot of purists, will say you should texture the car irrespective, but the above law, is for the commercial world where you have to save time (money) where ever you can. And ensure you meet those deadlines, while not lowering what the user "sees".
11-28-2006, 11:18 AM
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