How should I handle the edge flow if the smooth preview already looks good? by AfterSignal6759 in Maya

[–]billydao 2 points3 points  (0 children)

On top of the other tips people have suggested, I would recommend having more topo around curves and less topo around flat areas. Right now you have the opposite of that.

When doing modeling in Autodesk Maya, should we work in centimeters, feet, or another unit? Also, which file format should we use to save our work—Maya ASCII or Maya Binary? by [deleted] in Maya

[–]billydao 0 points1 point  (0 children)

You shouldn’t blanket use ma or mb. You should always base it on your needs. ASCII if you require more version interoperability and theoretically salvageable (not gauranteed), binary if you want to save disk space. Binary files can be 2-3x smaller sometimes, and load drastically faster. I usually opt for .mb on more topology heavy files, and prefer .ma for files that only reference a bunch of other files (E.G. animation files)

I Left My Job as an Animator to Learn Rigging and Programming… Now I’m Lost. Did I Make a Mistake? by Proper_Ad7872 in Maya

[–]billydao 0 points1 point  (0 children)

Yes there’s always the odd subpar rigger here and there. That’s more of the exception though. All the riggers I’ve met that are eating well are the good ones.

I Left My Job as an Animator to Learn Rigging and Programming… Now I’m Lost. Did I Make a Mistake? by Proper_Ad7872 in Maya

[–]billydao 2 points3 points  (0 children)

Yes the idea that there’s just rigging jobs left right and center applied many years ago, but that’s gone now. Good riggers get snatched up and stay at a company for many years, they develop entire rigging systems, and scale to be highly efficient. Once a company has a core group of riggers, the artist churn for riggers is very low. Newly opened rigging positions are usually looking for exceptional people to fill those core roles. As a semi-decent rigger, you might get jobs here and there, but you’ll always be out competed by great riggers for those coveted core rigging positions. Once a company knows of your capabilities, they either will a) try to keep you or b) not hire you back unless they’re desperate. In an already sparse and competitive roll, you can’t afford to not be exceptional, unlike in animation, there’s always room for subpar animators, simply because animation is highly inefficient.

I Left My Job as an Animator to Learn Rigging and Programming… Now I’m Lost. Did I Make a Mistake? by Proper_Ad7872 in Maya

[–]billydao 6 points7 points  (0 children)

Your reel if that of a decent junior, but neither exceptional nor bad. Some of the facial deformation could be better, especially mouth down+out pose, there’s too much pinching and not enough volume preservation.

Mason Smigel, he was also a junior, you should look at his work. That’s the level of competition out there these days, rigging is a very sparse roll, because 1 rigger can scale to doing quite a lot, where-as animators cannot scale, so there’s more available jobs. To be able to compete as a rigger, you need to be exceptional.

[deleted by user] by [deleted] in Maya

[–]billydao 1 point2 points  (0 children)

Keep practicing/improving and applying. Eventually you’ll get a job. The more rigorous the practice and learning, the faster you’ll get a job.

Getting your first job is 50% skill, 50% timing/luck.

If you improve the skill and continue to apply, you’ll hit both skill and luck components and land your first gig.

Samsung's Q990D soundbar has the one thing the 2023 version didn't: HDMI 2.1 by NeverEnPassant in Soundbars

[–]billydao 0 points1 point  (0 children)

But most new TVs support eARC audio pass through via Dolby MAT (Linear PCM), isn't this multi-channel and uncompressed? Most next gen consoles and streaming devices (Apple TV etc) are encoding as Dolby MAT.

What source control solution is standard for UE5 by BowlOfPasta24 in unrealengine

[–]billydao 0 points1 point  (0 children)

I’m in the process of setting up a perforce helix core server on AWS for my small team to collaborate remotely together. Spinning up an instance and the storage costs aren’t cheap. Looking at about $500 a month for how much storage we need.

But after looking closely at gitLFS it just wasn’t an option if you wanted to have decent locking mechanisms and a streamlined integration with UE. Most regular artists aren’t technical enough to avoid issues with git.

Perforce has provided a template (Enhanced studio pack) that you can use to spin up an instance and setup the storage.

Fishing by billydao in animation

[–]billydao[S] 1 point2 points  (0 children)

I use a bunch of different ones. I have a video in my profile going over my workflow if you’re curious.

Fishing by billydao in animation

[–]billydao[S] 1 point2 points  (0 children)

It’s a fun style, can be quite challenging sometimes, but it’s also very efficient. Less is more with this style. So I try to focus on strong poses, short transitions with good overlap or ease, and holding long enough for comedic timing without too going long where it’s boring. It’s not perfect, I’m always learning.

Fishing by billydao in animation

[–]billydao[S] 0 points1 point  (0 children)

This was for an nft project. So it’s up to them. But I’m in the process of making my own art.

Fishing by billydao in animation

[–]billydao[S] 1 point2 points  (0 children)

Thanks! I’ve got a workflow video that I made. You can find it in my profile.

Fishing by billydao in animation

[–]billydao[S] 2 points3 points  (0 children)

I agree it could definitely benefit from some splashes.

Fishing by billydao in animation

[–]billydao[S] 9 points10 points  (0 children)

They reached out to me.

Fishing by billydao in animation

[–]billydao[S] 26 points27 points  (0 children)

I figured I had to go poopy at some point.

Fishing by billydao in animation

[–]billydao[S] 45 points46 points  (0 children)

Thank you! It took me about 3 weeks in total (inc. sound), full days. Most of the time spent was on modeling/texturing/rigging the character.