Welcome to Duncan's Corner

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Last modification: 16 Sep, 2017

Welcome to Duncan's Corner. I hope you find this site useful. My intent for this blog is to provide tips on creating 3D imagery, with a focus on using Maya. I currently develop software for Maya, but I was once an animator and find empathy for those struggling with the complexity of this software while at the same time feeling the exhilaration at the freedom we now have to create animations. Around the year 2000 or so we passed a point where any vision one could imagine became possible to create on screen( at least if the budget was large enough ). Animation will remain a huge technical challenge for a while into the future, but more and more the bigger challenge will be the demands of vision, imagination, acting and story creation.

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| 4 years ago
Hello Duncan. There is something that I was trying to solve by myself, but with no luck. The case is that I am creating a constraint at the middle of a nCloth simulation. But no after creating different constrains (transform, point to surface), the constraints are not working. Looks like maya does not register that a constraint was created. I tried deleting the cache frames from the frame that the constraint was created to the end of the anim, but nothing seems to work. Thank you for your time. (Sorry if the question is submitted twice)
| 4 years ago
Hi Duncan, I am working on bifrost simulation, I have cahce for solid and liquid voxels, i am not able to do the foam simulation, whenever i am trying to do the simulation, even single frame of it also maya crashes.. It is very frustrating, i tried all the methods including command and clip mesh thing. I have a i7 quadcore, 2gb nvidia quadro K 2200, 32GB Ram machine. Previously i was not able to do the bifrost meshing, but I used the batch export and it worked out somehow. Please help me.. I am actually working on a test project for a job offer..!!!
| 5 years ago
I don't have a tutorial, but the basic technique is to create a paint effects stroke that has a single straight tube with a lot of segments (no forces or bend) and then use the collision(pfx makeCollide) to get the reflections. In practice it takes a lot of adjusting the brush attributes to get it right.
Edited by XfBIG9DY 5 years ago
| 5 years ago
Hi Duncan I would like to do an animation very similar to one you had running in a youtube video where a light beam was hitting glass and bouncing around. Do you have a tutorial for this? Thank you very much Claire (New Zealand)
Edited by 063cvwBq 5 years ago
| 7 years ago
Hi Duncan I was wondering if you would consider doing a tutorial regarding Burn Propagation with nCloth in particular on how to use a Toon node to create toon lines on border edges(the tears become borders) then convert toon to poly and do fluid: emit from object. I read about this on cgSociety but it has me stumped. Thank you for your time. Ashley
Edited by b24I2IPa 7 years ago
| 9 years ago
Thanks a lot for answer. I will try both approaches in order to see exactly where it can be apply better. I'll come back with the results . Thanks again, Boieriu Ioan
| 9 years ago
A feather system is a bit complicated to explain here. There are a lot of approaches depending on your needs. If you need accurate self collisions of the feathers then nCloth would be the way to go. Keep each feather very simple... perhaps just one or two quads... get the feather profile and shading all in the shader using alpha maps. Anisotropic shading could help where one makes the anisotropic direction the barbs direction... mainly for the effect of specular... bump mapping affects diffuse which you don't want and needs high antialiasing. You can smooth the mesh downstream of the cloth solve to avoid nickling of edges. Attach the feathers to the bird using nConstraints. One can do feathers with the hair system, but you may have trouble with self interpenetration of feather. If you create a hair system assign a pfx brush to the hairsystem then make flatness 1 = 1.0 and convert the hair to poly. (make globalScale on the brush 1 and clumpWidth zero on the hair system. Then set the feather width using the hairWidth. This will give you dynamic flat planes that you can then apply feather texturing to.
| 9 years ago
Hi Duncan, I've started a new personal project: creating a bird (eagle for example) as realistic as I can (from modeling, texture, rig & render). My problem comes at creation the feathers and the dynamic solve. I have the next solution in mind: - for a part of the feathers (the big ones on the wings) I plan to create polygonal planes with hires texture & some rig for them (Ik splines & hair curve system) - for small puff I will used some fur (near the beak) & hair system - for the body's feathers I plan to use either geometry & hair system or PFX & hair system my question to is: There is a possibility to attached directly geometry to a hair system, (like a instance) like Shave has the geometry Instance to hair? Thanks.
| 10 years ago
Hi Duncan, I am trying to figure out if Maya or 3dsmax will make better use of a Render Farm and which is easier to configure. We've been looking to buy Maya 2011 but some distributor told us that Maya had the problem that it will not relay completely in the farm for the render and it will keep using the design machine, being 3dsmax a better choice in this matter. The reason for a render farm, as i understand is to speed up render times and freeing the design machine so you can continue with your work while the farm takes care of rendering. Any light that you can contribute i this matter will be appreciated. Thanks in advance.
| 10 years ago
Thank you so much sir. This blog is so much informative.
Hi Iam trying to get the earthquake effect in Maya. In dynamics & also trying to animate the displacement maps but i cant figure it out Can you help me out with this Do you have any tutorials on this Expecting from you
| 11 years ago
Hi Duncan, I just attended the 3Viz Autodesk product demo where you showcased some of your current work last night. I wanted to thank you in person but I had to rush out before getting a chance to meet you. BTW, I also really enjoyed the Mandelbrot set stuff you showed us - truly fascinating stuff, I will definitely be looking into that more. thanks again. jason
| 11 years ago
It's Really Really Nice Blog Sir , Many Many Thanks........
| 11 years ago
I have taken the file down again. It is not availabele for download anymore. Regards Matthias
| 11 years ago
Hello again! I have finally gotten around to experimenting a little more with hair cruves and sort of got around the wiggeling problem by first creating a hair system with curves, then deforming them to fit the hair strands and then assigning them to a new, freshly created hair system and deleting the onld one. There is only one problem that remains now. Some of the curves seem to ignore collision objects! If you like you can have a look at my test scene http://bit.ly/dCWT42 to see what I mean. Maybe I am still missing something I did wrong or perhaps its because of the problem that you described... Regards Matt
| 11 years ago
I didn't work on the muscle plugin, so I probably won't be able to help you much there.
| 11 years ago
Thanx for the quick reply Duncan! I will give it a few more goes :). Might try cloth next, perhaps that will work for me better. Would this also be the right place to go for questions on maya muscle? Thanks again Duncan! Really appreciate your work! Matt
| 11 years ago
Hi Matt, Maya hair is currently not stable for bend stiffness for hairs with a non-straight rest shape. If the hair is very stiff and doesn't deform too much it might be OK, but as stiff curly hairs deform there are problems with the way twist interacts with the dynamics that adds energy. (ultimately I think a solution may be for us to keep a twist per vertex value and affect it with dynamics, however currently the twist is defined as the minimal twist relative to the hair base) You can reduce the problem in some cases by using damp and perhaps drag, but curls are a problem. An efficient way of handling curls that can work well is to use the hair clumping curl and keep the dynamic curve relatively straight. One can use lengthFlex to allow the curl to extend dynamically. (my telephone cord tutorial here is an example of this technique) However if you really must have a curve shaped hair then you may wish to hold it in place with startCurveAttract, using attraction scale to allow it to flex a little, although you might need to hand animate the start curve shape if it needs to deform a lot. Constraining the curve might also help. As well it helps to keep the total number of points in the dynamic curve as low as possible. Duncan
Edited by XfBIG9DY 11 years ago
| 11 years ago
Sorry, just realised the link is not working! So here is a new one :): https://dl.dropbox.com/u/4928183/87942714.jpg
| 11 years ago
Hi Duncan! I have a problem with dynamic curves. I have been experimenting with them for a while now and I always run into the same problem. I want to use curves to drive poly hair (this is the model I am working on: http://img718.imageshack.us/img718/8333/87942714.jpg) and every time I try to shape a curve and then make it dynamic, it starts wiggling out of control on playback. It also happens as soon as I try to manually shape a hair curve to fit a poly strand. I once by accident managed to somehow overcome this problem but then some of the curves in my hair system seemed to ignore the colision objects I had placed in the model. This method of animating hair seemed the best approach in theory but has been a very frustrating experience in practice. The easiest way to reproduce this problem is to simply draw a random curvy curve in perspective view (make it nice and long), select it, go to hair > make selected curves dynamic, increase the playback time to say 2000, press play, enjoy the show! Is there any way to get around this problem? Any help regarding this issue would be greatly appreciated. :) Thank you! Matt
| 11 years ago
hello sir, sorry to bother you but i have a quick question,just wondering how to query the colour information of a texture and pass it on to the particles.Lets say i have an animated texture which changes colour over time mapped on a plane and i have a particle grid set as goal on the same plane,now i want particles to get the colours from the animated texture applied on that plane,i guess colour at point command is handy for this but i really dnt know bout the process,can you help me in this. thanks alot for your time... Regards, Karan.
| 11 years ago
Wow , this is very helpful for me. Thank you Mr.Duncan’s Corner ! and happy new year !
| 11 years ago
The dirt shooting up was the coolest part of that scene. You will need some kind of volumetric render so the multistreak particles are not much use. The self shadowing of the dirt is important. One might be able to get OK results by using a purely textured fluid node, perhaps mixed in with a few software cloud particles for small dirt chunks. Create a 3d fluid and select the thickCloudPuff preset in the attribute editor. You could perhaps modify this by increasing the texture frequency and scaling the fluid node to many times the city size. Then position the fluid below the city and key its motion upwards. You might lower the size and resolution of the fluid along the y axis to make the sphere more oval shaped. Also key the texture time on the fluid. You could also adjust the texture scale to make it more streaked vertically. You could also animate things like the opacity bias and perhaps the texture y offset. You could also try doing a full on simulation on a VERY high resolution fluid, but I would recommend trying to do it purely with the internal fluid textures first( no grids ). For a simulating fluid you could make a very wide and flat 3d fluid (the size and resolution attributes should have the same proportion so that voxels are square). One could have buoyancy on the fluid and use turbulence on a fluid emitter( type = volume sphere scaled to be flat on the ground ) to vary the density. One might also try emitting fluid from upward streaming particles( check cgtalk forums for expression scripts on emitting into fluid from particles ). Another method might be to use a lot of software cloud particles with self shadowing. You need to use raytrace shadows for these particle to self shadow.
Edited by XfBIG9DY 11 years ago
| 11 years ago
Dear Mr.Duncan’s Corner I'm Nutdanai Rhusuwankul from Thailand Sorry for disturbed you and about my poor english , I have big problems that i want you to give some suggestion for me. Now Im study in university and going to do the last project that is very important work for me. My work is create the meteor hit the city base on movie name Armageddon. I gave you my reference about how my scene will look like. http://vimeo.com/5585980 I can create meteor , big explosion but i struck at big blow after the meteor hit. Can u please give me some advice about this scene ? I tried to make this scene for 3 month and I struck , so I have to send this message to you to help me. PS. about my big blow test , I try to use particle in multistreak because this particle is look like my idea very much but i cannot add color or texture to make this particle look like dust. Am I come to right way ?
| 11 years ago
There is no built in solution in Maya currently for audio to keyframes. However there are plugins around that can convert wave files to anim curves. You might find some at: http://www.creativecrash.com/ Some just use volume, although others look at the frequency range. More sophisticated one analyze the sound to determine parts of speech for more accurate lip syncing. Here is one such product, although I've no idea how well it works: http://www.lifemi.com/products/LIPSYNC/ Duncan
Edited by XfBIG9DY 11 years ago
| 11 years ago
thanks again sir well i know its out of the topic but as the expert in both music and Cg industry is it possible to create images i dont know black and white base on the sound's frequencies use those images as image sequence for the brush like this that works based on the width of the brush so lip sync become completely automatic ??? sorry Im very a rude person that will be my last question sir Thanks for all of you replies reza tasooji
| 11 years ago
There is one other difficulty with the mouth setup in that scene: I needed to use a flat brush for the mouth so that it would not protrude in profile. However the flatness of a pfx brush does not follow the surface, so when the mouth is very open the edges may either be too far off the surface or interpenetrate( unless the face is totally flat ). Also to get this to work you need to set the twist and twist rand to zero. This setup may seem simpler than blendshapes, but once you get into fixing all the little problems and rendering bugs I think you may wish you had used blendshapes( or other more traditional rigging methods ). However it is always a good idea to try out new ideas and experiment. (just don't abandon learning the standard techniques) Duncan
| 11 years ago
Thanks for replay sir that was very interesting woaw i never knew and never tried to assign toon lines to brush stroke and you can assign another brush to the toon lines that assigned to the old brush stroke(Brush Stroke philosophy :D) sorry but i have to say this im rookie in toons i have to change my style cause creating all of the phonemes for blendshapes and realistic looking animation for me its just taking FOR EVER and easily i will loose my purpose and i will be lost in details, creating in this style i think will tell everyone "please look simple " i have to learn create These kind of things again thank you very much for your replay that was very useful
| 11 years ago
The carrot top setup is pretty complicated to explain here, but it might help you to look at expression2 in the expression editor. Basically I added a bunch of custom attributes in the attribute editor (attributes:add) then created an expression that used these attributes. The expression sets various brush attributes that control things like brush thickness and wiggle. The brush stroke for the mouth has tubes=ON with tubesPerStep=0,startTubes=1,pathFollow = 1.0 and lengthFlex = 1.0. This makes the stroke a bit like a simple stroke with tubes=OFF but one can use attributes like curl. (the command makeTubeOn will set this up) The corners of the mouth are flowers and and the teeth are leaves. Additionally there is a toon line assigned to the mouth brushstroke to outline the mouth. This was a fun setup, but I'm not sure I'd recommend it for production work. It is probably better to work directly on the model geometry, perhaps creating blendshapes with controls( i.e. traditional face rigging ). However the nice thing about this setup is that it is easy to add interesting wiggles and toony effects.
| 11 years ago
Hello mr.Brinsmead Im reza its about a long time im trying to understand how the CarrotTop.ma in toon examples working How we can create something like CarrotTopControl??its great you can do everything with the mouth and ITS BRUSH!! Please im begging you how we can create a brush like that???? Thanks reza tasooji
| 11 years ago
Thank You Sir, Currently I'm trying the 2d simulation mapping on to the sphere solution. Although it's not what I had in mind the results are decent. I would be glad to see a proper tool or node for (or even in) maya for these sort of problems. David Hollo
| 11 years ago
David, Dynamic volumetric planetary clouds is a challenge. The following tutorials may help: http://area.autodesk.com/blogs/duncan/volume_displacement_method_for_clouds_using_fluids http://area.autodesk.com/blogs/duncan/a_fast_and_simple_planetary_atmosphere However neither will do exactly what you are describing. Ideally you would want a volumetric simulation that is warped around the sphere in a uvw projection where uv is the sphere uv and w the height above the sphere, but Maya has no tool to do this at the moment. However clouds layers tend to be quite flat when viewed from space. A possible workaround is to map a 2d simulation to a sphere (mapping transparency and color). One could additionally map displacement (not as good as the volume displacement method in that tutorial, but that method will only work for a flat surface). One could use textured volumes for the cloud layers (or a textured 3d fluid shader assigned to a sphere volume primitive). However this texture would not have the 2D properties of atmosphere clouds, namely the spiral swirls and 2D vortices. One other possibility is to do a spherical projection of a 2d cloud texture(perhaps a fluidTexture2d) onto a sphere volume shape. This texture could be modulated by a 3D fractal as well as some function of altitude. The sphere volume node would need to have very high volume samples override to resolve the texture properly. The renders might end up being very slow, particularily when the eye is in the cloud layer.
| 11 years ago
Ethan... you can judge the require volumeSamples by turning on volume sample jitter. Generally when you have a sufficient amount of oversample then the visible amount of jitter or noise will be acceptably low.
Edited by XfBIG9DY 11 years ago
| 11 years ago
Hi Sir! I got stuck with a personal project. The scene would involve a massive planet with quite complex turbulent clouds and storms in it's atmosphere layered on top of each other and these layers can be actually seen in the clear spots between the storms. First I tried to layer fluids on one an other and also added a volume primitive but I didn't quite get the results I expected. My workstation also struggled when I stared to make the whole thing dynamic. I'm still in high school and I don't have as much experience one would expect so I would be glad if You could give me some hints. Tank You David Hollo
| 11 years ago
Thanks for the advice - how high would you suggest setting the VolumeSamples. I have it at 32 now which may be more than necessary. Thanks Ethan
| 11 years ago
For dense overlapping fluids you may need to enable volumeSamplesOverride on the fluidShapes and set the volumeSamples to a relatively high value. By default the integrator takes the result of the rendered ray span through each volume object and integrates them as if the fluid container had a constant opacity. Duncan
| 11 years ago
Hello. We are getting some strange depth artifacting with Maya fluids. Our scene is a cloud fly-through which is made by overlaying many Maya fluid containers over each other and then hitting the scene with a ray casting directional light in MR. What we see not with all clouds but with some are clouds that should be in the distance appear in front of foreground clouds. Also some but not all interpenetrating clouds show a strange way of sorting depth as well. Any suggestions here would be golden. Thanks- Ethan Summers Cloud Guy at Frantic Films
| 12 years ago
i have some new ideas for paintFx that are for landscape paint workings
| 12 years ago
Hi sir,Big Fannnn of yours,u r a genius,i have read many contribution by u in maya and in many popular software books,pleasure to write a thanks to u! regards bharat
| 12 years ago
Hi Duncan, i was reading one of your posts from a while back regarding the ncloth setup for a referenced file. i just got stuck at this point. "You can set the rest shape to be the non-deformed cloth as follows: In the hypergraph list connections and find the mesh node for the cloth that is just upstream of the bind skin deformation. This will have intermediateObject set to true. Toggle off intermediate object and you should see the rest cloth shape in addition to the posed cloth. Select the nClothShape node in addition to this mesh and do "Edit Ncloth: Rest Shape: Connect Selected Mesh to Rest Shape". " My problem is i seriously can't locate the mesh node with the intermediateObject, i'm fairly new at this so any advice would be really appreciated. If there is any other way to get to this toggle that would ge great as well. thanks a million, Kai
| 12 years ago
Be aware that the nucleus cache always copies the cache to the temp directory when you load the scene (although this has changed in Maya2009 now that nucleus uses the nCloth style caching). When you save a scene it then copies the temp cache to the data directory and renames the cache on the node. Also for single frame caches an expression is created that sets the cache name(including the frame extension). As mentioned this is not the case in Maya2009, which no longer does as much behind the scenes copying of cache files. Duncan
| 12 years ago
Vanishing fluid caches. Hi we are using fluids to create cloud flythroughs for a upcoming movie. The basic work-flow is to make a allot of cloud types then freeze the simulation and create an initial state cache so we can piece together cloud fronts in an erector set kind of way. This works most of the time except when the files cannot find the caches that they need. Specifically the problem appears to be that sometimes when we save up a version number the new file try's to grab cache files that do not exist in the Data folder. This is true with the project directory set correctly. If you have any ideas to this dilemma please tell. thanks -ethan summers
| 12 years ago
hello ducan! i''m going to make a short clip about the fishs , but i don't know how to make an under water enviroment scene. would you like teach me? hihi... Please!
| 12 years ago
Just check out the maya qualification page: http://usa.autodesk.com/adsk/servlet/item?siteID=123112&id=9683256
| 12 years ago
do you have yahoo or skype ID? my id is thi_xh@yahoo.com and vanthi3da (skype)
| 12 years ago
ok, thank you, What is your configuration that you are using ? I'm using a advanced VGA but when i work with a maya file (~11MB) i can't do quikly with some commands such as selection, insert edge loop toon, split polygon toon..... I think the causes is in the hardware. Do you think like me ? I think you have had a lot of experiences about hardware as soflware that you have been working so i hope you can help me . ( i'm from vietnam and i am sorry about the spell and grammar mistakes (if have))
| 12 years ago
If you are going to be using Maya on a regular basis then you should make sure you have a supported hardware/OS configuration for the version you are running, including supported graphics card drivers. Contact support if you have particular issues or bugs on this. Non-supported configurations can even in some cases be completely unusable. Duncan
| 12 years ago
hi ducan! i have a bit problem with hardwares of my computer. I have worked with field of CG but i bought a computer that is more compatible with game than making CG, but configure of this is very high. How does it effect to my work. Here is the configure of my computer: Core 4 Quard of CPU (2.4 ghz), ATI Randeon 3870 (512 MB) of VGA, 2gb of RAM and Mother Board is GA -X48-DS5 ( Gigabyte) that is " gamer's choice". here is the link of the configure of may mainboard(http://www.gigabyte.com.tw/Products/Motherboard/Products_Overview.aspx?ProductID=2766) Please give me some ideas of you ! Thanks a lot.
| 12 years ago
They redid the area since that post. The current link to the toon ocean tutorial is: http://area.autodesk.com/index.php/blogs_duncan/blog_detail/creating_a_toon_ocean/ If you click on "view all (thumbnail list)" when accessing my blog you will get nice listing of all the tutorials, which makes it easy to find stuff like this. Duncan
| 12 years ago
Hi Duncan, Do you still have that Blog entry regarding using paintfx/toon line on displaced geometry? You posted it on CGTalk in this thread: http://forums.cgsociety.org/showthread.php?f=7&t=456363 however, the link to your relevant blog post is dead. Thanks again for all your generous help and contribution to the 3D artist community! Best, m
| 13 years ago
Hey Duncan, My name is Ryan Cleveland I'm a student at VFS and Larry has asked me to contact you with my problem. I am using sequenced particle instanced geometry. The over all project is to turn bats into a vampire. I've modeled the bats so that they have a sequence. What they have to do is conform to an object. Now I first thought goals would be the answer but that has only introduced more problems. I have expressions for the cycle start object. and based the sequence on sec not frames. So with that said. I have a mentor named TJ Gallda, Tj suggested that Instead of trying to get the bats to conform to the object maybe I should try to conform them to the object first and then use a volume shape field to blow the bats away. Ok the problem with this is the bats are set to inherit the velocity and point in that direction. I have that set in the attributes of the particles instancer tab under aim direction like i said which is set to velocity. So what is happening is that the particle conform to the shape but when the volume field animates down over the shape the bats fly face first away from the conforming shape. What I need them to do is fly backwords away fro the object. Is there a way to get the inherent velocity to go in the negative direction. Or is there another way to get my bats to go backwords. what I've tried to do I've tried writing an expression saying Particleshape1.velocity = * -1; this didn't work I've tried changing the aim direction to all the other settings under aim direction and cant get them to go right. Ive also tried using the component editor on the bats to get there X direction to be reversed. This has not worked either. I do have a file that you can request from me that has everything set so that you can see it. In this file i have wrote instructions using curves so that you can just be in Maya and not need to have this window open. I've tried taking the aim direction and putting it to none but If I use a turbulence field and write an expression on the phase XYZ The bats look as if there doing 360s from not having an aim direction. Please Email me at 3d71ryan@vfs.com and ill send you the file Thank you Duncan for your time
| 13 years ago
Hello Duncan, I was wondering If you knew of a way to offset fluid caches. Right now I am using the one file per frame method of caching.
| 13 years ago
Hi Duncan, Do you have any tutorials on bug simulation. Bugs moving around, like that famous Indiana Jones shot, it doesn't have to be that complex, in my case only cockroaches. I have the model animated, but the simulation is giving me a headache. Is it possible to do it with ncloth? Many thanks Gus
| 13 years ago
Hi Duncan, I’m a Animation student from Rotterdam, the Netherlands, and I’m working on an animation with Maya fluids. I found your project files very useful for my research but the project files are very slow to work with (I'm talking about orangeDye.ma & inkDrop.ma), could you tell me how to speed them up? the render is not that slow and if i turn of the fluid display options and stuff it is still slow, please help me. if you could mail me at vincent@vincentlammers.net that would be great. thnx for your great tutorials and project files. there a great help for my research on 3D animation. Thnx! Vincent Lammers -- vincent@vincentlammers.net www.vincentlammers.net
| 13 years ago
Hello Duncan, I found your blog searching for Ncloth related tutorials, tips, tricks and etc. There is certainly a good number of tutorials here on Ncloth and I also found your posts addressing questions regarding Ncloth elsewhere. Could you help me with this : Im trying to find a way to simulate SMOCK (a sort of fabric manipulation technique, creating 3D patterns. see picture “smocking.jpg") in maya. in the picture you can see the smock technique applied to a piece of fabric. The manipulation princip is very easy, connecting two adjacent points and switching the connection position (by one point )on the following row ( see picture “smocking.jpg") . I tried to simulate this in maya usin Ncloth, but it doesnt seem to work. I tried to create a transform constraint on each vertex and then tried to animate those two vertices to come close to eachother, but It wasnt possible to animate the constraint locators, neither their parents. Do you have any suggestions how this could be achieved, if at all. Is it woththe struggle using nloth ? or is it better to use poly and animate the points (Although I suspect getting a cloth-look using polys) ? Thanx for your suggestions in advance, I posted this question in the Maya discussion section with a picture attached : http://area.autodesk.com/index.php/forums/viewthread/9421/
| 13 years ago
Hello Duncan. I remember you answered a question I had in the Maya forum here with such insight, I bookmarked THIS page in case I needed any suggestions in the future...and I'm glad i did. :) I am having a problem with hair and instead of posting it on the the forum, I would like to ask your expertise instead. I am trying to make a hair system (the old way) from nurbs/poly (either) cylinders. Thats right. ONE at a time. They are big, so I don't need to make lots of them. Im wondering how to get the cylinder to ; 1. Act like hair in its movements 2. stay on the head and not fall to the -Y when I add a gravity field 3. attach to the head correctly 4. collide with the head I have read the exhausting help file to only find references to the Maya hair system. Not anything real i can use for what I am attempting now. If you can help in any way i would be in your debt. Also if you can recommend any sort of training (books, dvd, web tutorials) that would help me as far as what I am doing here and also the hair creation workflow in general, i would appreciate it. I know you probably have MANY intelligent ways of doing hair, and thats why Im typing here and not the general forum. I figure why go for second best?, lol :) Thank you very much. -Kind regards, Joe Colling :)
| 13 years ago
Hi Duncan, It' was great to meet you at the Autodesk drinks (after the user group at Darling Harbour) here in Sydney. I was really impressed by seeing leftfield uses for Maya cloth. What you demonstrated has really got me excited about the possibilities! Particularly the container of water smashing into a wall and deforming. cheers, Alan Maxwell
| 13 years ago
This site is magical. I check back daily to see if anything is new. Duncan you are amazing.
| 13 years ago
Thank you so much! Your blog is my favorite learning site. It's so great to combine one's interests with work. Not many people can make that, but from your tutorials I bet you were having a lot of fun and enjoying so much while working on those tutorials and solving technical problems. I want to be one of those lucky people and want to learn a LOT more! And I hope to make a living on my interests. Well, ALL I can do is to keep learning and trying. Your tutorials are really helpful and interesting! Thanks sincerely!