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Forum Replies Created
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I’m very glad this worked for you! Regarding changing the ribbons positions, I think there’s another, more practical way without needing to readjust the billet points. I tried to explain this in the recording below; let me know if that’s the right approach.
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Hi Anne-jan,
The problem is that in file number 02, you didn’t adjust the belt points so that each belt matches the corresponding point selection unlike in file number 00. I tried to explain this in the screen recording below. I don’t know why you needed to readjust all the ropes and didn’t just work on your first file; there might have been something preventing you from doing so.
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You are welcome, Tom! I shared that tutorial after some time of our long discussion about the topic and hoping the new technique might solve the problem, I’m so happy to hear that from you now.
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You’re very welcome, Antonis! I’m glad that was helpful to you.
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Hi Antonis,
The “fit to UV Canvas” command stretches UV coordinates to fit the entire canvas. It’s best used to increase the texture accuracy of a single object or to correct very small UVs coordinates after decompression. In your case, it seems best to simply select all the UVs and then drag them to the canvas to maintain proportion. I’ve tried to demonstrate this in the screen recording below. Let me know if you encounter any problems.
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You’re very welcome, Dovlet! I think we need someone who has tried doing something similar. There are people on forums who say they were able to produce entire animated episodes using AI, but they are not professionals, the kind who don’t even know exactly what they want, so they are amazed by anything they get as long as they know they couldn’t have done anything without AI. But a professional who has the skills to do the required work but wants to reduce the effort or budget, as in your case, would has a clear vision of what he is looking for and the idea he wants to embody as an artist first and foremost, so he will not be satisfied to change ideas just because the algorithms threw him into such direction. So, as I stated before, I think we need to hear about an artist’s experience in doing something similar to know what we should expect.
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Hi Dovlet,
I don’t want to be pessimistic, nor do I want to discourage you, but I want to share my experience and some of what I know about the subject so you know what to expect and could use that knowledge to avoid obstacles. Frankly, the problem with AI is its lack of specificity due to the vast amount of data it relies on and its inability to form an impression of what you want by reading between the lines of what you write. As humans, during text conversations, we can unconsciously form an idea about the person we’re talking to, and this becomes clearer the more we read their writings, even if they haven’t revealed anything about themselves. We all do this daily, although our skills vary from person to person. This is something AI lacks. Therefore, you need to write exactly what you want, just like someone writing in a programming language. The only difference is that the output of code now always comes in handy, and there are no limitations on what you write. Whatever you write, there will be a result, but is that result what you’re looking for? That’s the problem. If you don’t know exactly what you want, or if it’s something simple and specific by nature, like adding a background to an image, it will be easy. Otherwise, I struggled a lot with editing even still images until I lost hope and edited them myself because the images It contained a lot of details, and the modification I was looking for was very specific. The funny thing is, I once asked the editor for his opinion about me, and he told me, “You’re someone who loves excessive precision and pays too much attention to detail,” as if he were resenting me )
I hope this is helpful to you.
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You’re very welcome, James! If you simply want to make the object invisible while still leaving its reflection on the glass plane, you could do so using the composite tag as shown in the screen recording below. I hope this will be helpful.
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Hi James,
When the generator calculate the reflection values of the tube on the plan, it doesn’t mean it will only calculate the reflected area. Instead, the entire plan will be processed, the reflection values calculated, and then the values in the non-reflective areas will be zero, as you pointed out in the last of your post. However, I think I had come across a method for doing this using the Boil tool, but I haven’t been able to replicate it yet. If it’s related to a static shot, you can remove the non-reflective plan parts using the Boil tool or cut them with the knife tool, but if you need to move the camera so you will need another solution like I stated earlier. I’m waiting for you to let me know which is the case with your scene. I hope this will be helpful.
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I was looking for a file of a similar project I had done previously to send you, but it seems you’ve done a fantastic job as clearly shown in the screenshot of the Object Manager panel. Congratulations! Regarding the overturning of the carriages, as I stated before, you should copy the track and move it vertically above the current track then make it as rail path for the carriages. I don’t know if you’ve tried this, using the same track path as rail path, or even deplicate it but leaving it in place, causes the overturning issue. I’ve struggled with this before. As for the carriages being connected, they don’t appear to be unconnected to the locomotive. Perhaps setting the locomotive alone as camera target is what made you think that. You could make the entire train as target, or choose a middle carriage to confirm. I hope this is helpful.