This clip shows the “Kick Ball” motion-captured move from our upcoming Kids at Play Motion Capture Pack for Daz3d’s Kids4 character applied onto the base Kids4 character. The Ball Prop is not included.
This pack will feature seven motion-captured animated poses for the just-released Kids4 character, and can be applied in either Poser or Daz|Studio.
Here is a first look at our upcoming Kids at Play pack, which will allow you to animate the Kids with motion-captured playground actions in either Poser or Daz Studio. This clip shows the “Tantrum” motion-captured move applied onto the base Daz3d Kids4 character.
There are seven mocap animated poses planned for this release, including tantrum, hopscotch, and kicking a ball. We will post additional videos as we get closer to the product’s release.
Get scared of the dark again with the Posermocap Investigations Moves Pack!
Now available exclusively at Daz3d.com, this collection of motion-captured animated poses have been optimized for Michael 4 and Victoria 4.2 and allow you to animate them with a single click.
This Move Pack includes Creep Around Corner Spooked, Flashlight Overhand Creep Backwards Spooked, Flashlight Search Overhand, Flashlight Search Overhand Spooked, Flashlight Search Underhand, Flashlight Search Underhand Spooked, and Walk Gun Flashlight.
Each Move in the Move Pack is an Animated Pose (PZ2) file that works natively in Poser and Daz|Studio. Also included are BVH files for the moves, allowing the moves to be used in any application that reads and imports BVH motion capture files.
Click here to buy at Daz3d.com
Enter the corporate trenches with your Poser businessman with the Posermocap Office Moves 2 Moves Pack!
This collection of motion-captured animated poses have been optimized for Michael 4 and Victoria 4.2 and allow you to animate them with a single click. Within seconds, you’ll keep the office running in your animated or special-effects project.
This moves pack includes Boss Conversation Standing Angry, Getting File From Drawer, Lift Heavy Box, Running Copier (Impatient), Water Cooler Get Refill, Walking With Papers.
Each Move in the Move Pack is an Animated Pose (PZ2) file that works native in Poser and DAZ Studio. Also included are BVH files for the moves, allowing the moves to be used in any application that reads and imports BVH motion capture files. Mirrored versions of each pose are also included. Props and hand poses are not included.
Office Moves Volume 1 from Posermocap is now available in the Daz Store. These motion-captured animated poses are specifically optimized for Daz3d’s M4 and V4 characters.
This moves pack includes:
* Boss Conversation: The character has a pleasant conversation with an employee.
* Get Out Of My Office!: Picking out two others, the character angrily motions them towards the door and turns his back on them.
* Presentation Talk: Your poser character steps forward, introduces himself, and begins a brief presentation in front of a whiteboard or similar display. (Whiteboard or similar display not included.)
* Raising Question: The seated character raises his hand fully to ask a question at a meeting.
* Raising Question Lazy: The seated character raises his hand lazily to ask a question at a meeting.
* Spin In Chair: The seated character spins around in a chair to greet the visitor in his office. The move for female characters includes crossing the legs at the end of the spin.
* You’re Fired!: The character throws the chair back while getting up, slams one hand on the desk, and then swings his other hand out signaling the termination. The move for female characters includes placing hands on the hips at the end.
Each Move in the Move Pack is an Animated Pose (PZ2) file that works natively in Poser and Daz|Studio. Also included are BVH files for the moves, allowing the moves to be used in any application that reads and imports BVH motion capture files.
These animated poses will also work with Animate, and can be converted into Aniblocks using the Animate interface.
Click here to buy at Daz3d.com
We have been working on our new motion capture pack, Swordplay Volume 1 – Sword and Shield. This is the first of our two-person packs, and will feature a number of animations to allow you to create your own animated swordfights in Poser and Daz|Studio. Here are the first looks at two of the pose sets from that pack:
We’re very excited by this pack as it is the first of a series of themed two-person animated pose packs. There are many Poser/Daz|Studio artists that work in the fantasy field, and this pack will allow them to quickly and easily start animating their own swordfight scenes.
Look for more details and previews in the coming days.
We are very pleased to announce that our Spy Moves Volume 1 for M4/V4.2 is now available for sale exclusively at Daz3d.com. This animated pose pack for Poser and Daz|Studio has been one of our more popular animation sets and features optimized motion-capture data for Daz’s Michael 4 and Victoria 4.2 figures. The set contains seven animated poses as .PZ2 files, including the following poses:
Each pose also has a mirrored version, giving you 14 animated poses for M4 and V4.2 each! We have also included BVH files of each pose which allows the poses to be used with any application that reads BVH files.
Click Here to buy at Daz3d.com
When we’re starting out with character animation, we tend to rejoice when we finish a single render. But for every animator, there is the desire to do more, to actually combine the individual renders into a single, cohesive story. The problem is that for many of us, it’s a whole new level of complexity when we start looking at going beyond an animated clip and into the realm of film. Film is a new language to learn, and while there are many very reputable film schools scattered around the world, there are several free film schools available to those who seek them out.
Now, we’re going to talk a lot about the craft of filmmaking in this article, and everywhere you read filmmaking just substitute it with Poser Animation. For our purposes, the two are indistinguishable. The techniques may be different, but the language of film is the same as the language of animating with Poser or Daz|Studio.
So, what are these film schools? They are the Public Library, Film Festivals, and the Internet.
Get scared of the dark again with your Poser investigator with the Posermocap Investigations Moves Pack!
This collection of motion-captured animated poses have been optimized for Michael 4 & 3 and Victoria 4.2 & 3 and allow you to animate them with a single click. Within seconds, you’ll seek out the terrors in the dark in your animated or special-effects project.
This moves pack includes:
Each Move in the Move Pack is an Animated Pose (PZ2) file that works natively in Poser and Daz|Studio. Also included are BVH files for the moves, allowing the moves to be used in any application that reads and imports BVH motion capture files.
Available now!
When you are starting an animation in Poser or Daz|Studio, it is good to keep Average Shot Length (ASL) in mind. ASL has been dropping in since the start of film as editing techniques have become more advanced, allowing for more kinetic storytelling that draws the audience in to the story.
Here’s a graph that shows how ASL has changed from 1903 to today. It’s amazing to see that the ASL in 1903 was 35.6 seconds and yet in 2009, it had dropped to 2.9 seconds. For years–from 1914 to 1985–the ASL tended to hover in the five to fifteen second range and then in 1986, the ASL started its steady drop to its present very short situation.
While it’s tough to generalize across movies as a whole, there are certain tips that can be gleaned from the ever-shortening ASL.
First, the greater the action on the screen, the shorter the shot length needs to be. In almost any action sequence, the shots last little more than a second in many cases, with longer shots allowing the audience a chance to catch their breaths along with the characters, before demanding all of their concentration for the next sequence of one-second cuts.
Second, even in slower-paced scenes, the camera rarely stays in one place for long–a conversation will have lots of shots of relatively short length cut together to allow the whole. Shots of the speaker will be intercut with reaction shots of the listener, and even wider shots showing the surroundings as they speak.
Third, use the very long shots for majestic moments where you want the audience to be filled with awe at the images on screen and where you want to give them a chance to see and appreciate every single detail. Seeing a giant starship as it crawls past the screen, a slow majestic flight across mist-shrouded hills, or even a slow camera move across the form of an attractive actor/actress are all meant to signal to the audience–hey, you should be impressed by this!
Setting the wrong shot length is also the second biggest mistake that many starting animators make.
The biggest is whipping the camera around the with no relation to real-world physics and trying to really show off the “3-D” nature of their scene–either that or putting so much jitter in recreating a hand-held shaky-cam look that you can’t see anything on screen. But that’s another topic.
We have all seen animations of fight scenes that look like the participants are involved in a real knock-down, drag-out battle, but because the shot length doesn’t match the intensity of the moment, the life gets sucked out of the fight. Instead, we’re treated to shots that last 30 seconds or more. It’s even worse if the camera remains static.
Exception to the rule: If the scene has its own pacing, and you are willing to continually shift the camera’s point of interest, then you can get away with a very long shot. Director John Woo, in his movie Hard Boiled had a continuous shot that followed the two heroes shooting their way through one corridor, getting in an elevator and having a short, intense conversation, and then getting out of the elevator to shoot their way through another hallway–the shot lasts a stunning two minutes and forty-two seconds and is an amazing piece of choreography. Likewise, Orson Welles opens his movie Touch of Evil in a continuous tracking shot lasting three and a half minutes where Welles seamlessly moves from one vignette to the next.
By keeping shot length in mind, you can affect your audience’s mood–shorter clips get the audience more excited, longer clips let them breathe, and really long clips let them appreciate what you’ve done.
