Cartoon "Gypsy": Fabric simulation
Well, here are all the movements of a 3-dimensional character, but still something is missing again ... There is not enough of a light summer breeze, fluttering the curtains of our cart. And the clothes of the Hero somehow repeat all his movements too much, creating a false feeling of “second skin”. The flashlight on the cart is rather welded to it tightly, and not suspended ...
Let it be a cartoon, not a real world, but still it is a copy of our reality, where, as you know, no one has abolished the laws of physics. So, we breathed life into the character, now it's left to breathe life into the world in which our Hero lives. The next stage of the animation is the addition of secondary movements.
Let's start with the simplest - a flashlight suspended in front of the cart
If you think about it, the problem comes down to the fact that the flashlight is attached to the cart at one point. At each movement of the wagon, the lantern will also twitch, while trying to return to its initial position. To achieve this effect, it is enough to use the hair system (“hair system”, however strange it may sound). But why not? After all, in principle, the scheme of working with hair is the same: we can attach it where we need it, we can adjust its rigidity, we can attach gravity to it, simulating the presence of mass in the object. Having set the hair system as necessary, it is enough to make it manage the bones to which our flashlight is attached. Voila! Without unnecessary installation of keys, etc. a completely different picture: the flashlight dangles on the cart, and the animator, having done his job, quietly smokes on the balcony :)
Now it is the turn for a much more difficult task - fabric simulation. These are the clothes of the heroes, and the fabric on the cart, and the curtains, and the rug, and all personal belongings suspended there and then there. The difficulty comes down to the fact that all this must be forced to behave adequately, to interact with each other, while avoiding the “failing” of objects into each other, i.e. need to take into account the friction between them.
')
At the same time, our cartoon fabric should behave like a real one: form folds, react to the wind, stretch and contract, and at the same time it is necessary to take into account the capabilities of computers (Render is a serious matter, it can take sooo much time). Therefore, work almost always comes down to “diplomatic efforts” in the search for a compromise between speed and quality of simulation.
First, it indicates which object is “cloth” and which is not. Then on this fabric with a brush are drawn areas that will be more or less deformed; it is determined what forces (wind, gravity, etc.) they will react with and how it will happen. Perhaps, 90% of work is spent on this item, since you need to specify the force of gravity, the degree of influence of the wind, where necessary, the degree of flexibility of the fabric, because one shirt may have several.
All this is done to speed up the miscalculation: why, for example, in places where the fabric is almost always stretched or not visible to the observer, consider the dynamics, if it can simply be turned off, and not visually lose quality? ;-)
Often, different types of bindings or restrictions are used: this is a kind of limiter, a pin with which we can attach our fabric to any surface.
After many hours of torment with the settings, we get a result that satisfies everyone. But even at this stage it is not always possible to avoid flaws. You have to fix them manually using the tools in the 3D package. And now after this really Hurray! Everything is ready, we are waiting for the animator of the new scene.
The site of the cartoon "Gypsy"
Let it be a cartoon, not a real world, but still it is a copy of our reality, where, as you know, no one has abolished the laws of physics. So, we breathed life into the character, now it's left to breathe life into the world in which our Hero lives. The next stage of the animation is the addition of secondary movements.
Let's start with the simplest - a flashlight suspended in front of the cart
If you think about it, the problem comes down to the fact that the flashlight is attached to the cart at one point. At each movement of the wagon, the lantern will also twitch, while trying to return to its initial position. To achieve this effect, it is enough to use the hair system (“hair system”, however strange it may sound). But why not? After all, in principle, the scheme of working with hair is the same: we can attach it where we need it, we can adjust its rigidity, we can attach gravity to it, simulating the presence of mass in the object. Having set the hair system as necessary, it is enough to make it manage the bones to which our flashlight is attached. Voila! Without unnecessary installation of keys, etc. a completely different picture: the flashlight dangles on the cart, and the animator, having done his job, quietly smokes on the balcony :)
Now it is the turn for a much more difficult task - fabric simulation. These are the clothes of the heroes, and the fabric on the cart, and the curtains, and the rug, and all personal belongings suspended there and then there. The difficulty comes down to the fact that all this must be forced to behave adequately, to interact with each other, while avoiding the “failing” of objects into each other, i.e. need to take into account the friction between them.
')
At the same time, our cartoon fabric should behave like a real one: form folds, react to the wind, stretch and contract, and at the same time it is necessary to take into account the capabilities of computers (Render is a serious matter, it can take sooo much time). Therefore, work almost always comes down to “diplomatic efforts” in the search for a compromise between speed and quality of simulation.
First, it indicates which object is “cloth” and which is not. Then on this fabric with a brush are drawn areas that will be more or less deformed; it is determined what forces (wind, gravity, etc.) they will react with and how it will happen. Perhaps, 90% of work is spent on this item, since you need to specify the force of gravity, the degree of influence of the wind, where necessary, the degree of flexibility of the fabric, because one shirt may have several.
All this is done to speed up the miscalculation: why, for example, in places where the fabric is almost always stretched or not visible to the observer, consider the dynamics, if it can simply be turned off, and not visually lose quality? ;-)
Often, different types of bindings or restrictions are used: this is a kind of limiter, a pin with which we can attach our fabric to any surface.
After many hours of torment with the settings, we get a result that satisfies everyone. But even at this stage it is not always possible to avoid flaws. You have to fix them manually using the tools in the 3D package. And now after this really Hurray! Everything is ready, we are waiting for the animator of the new scene.
The site of the cartoon "Gypsy"
Source: https://habr.com/ru/post/41389/
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