I NEED YOUR HELP!



  • If you didn't know, the site is 5 years old this month. Because of that, we're planning on doing a few special things to celebrate.

    One of the things I asked miro about doing is an interview with him taking questions from the visitors of the site. The thing is it may be recorded. Depending on if he's willing to do it, you may have a chance to hear miro's actual voice (Spoilers: He pronounces Z as "zed").

    But before we can hope and pray that he'll speak, we'll need questions from you. So in this thread, just reply with any question(s) you have for him. It can be about the site, G4E, what a wallaby looks like, how big is Batista's dick, etc. From whatever we receive, we'll select the best questions and send them to him.

    So if you have anything you want to ask miro, add your questions in this thread now!



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    Description: Working Voltage : 5V(DC) Static Current: Less than 2mA. Output Signal: Electric frequency signal, high level 5V, low level 0V. Sensor Angle: Not more than 15 degrees. Detection Distance: 2cm-450cm. High Precision: Up to 0.3cm Input Trigger Signal: 10us TTL impulse Echo Signal : output TTL PWL signal Mode of connection: VCC trig(T) echo(R) GND Use method: Supply module with 5V, the output will be 5V while obstacle in range, or 0V if not.The out pin of this module is used as a switching output when anti-theft module, and without the feet when ranging modules. Note : the module should be inserted in the circuit before been power, which avoid producing high level of misoperation;if not, then power again. Module Working Principle: 1. Adopt IO trigger through supplying at least 10us sequence of high level signal. 2. The module automatically send eight 40khz square wave and automatically detect whether receive the returning pulse signal. 3. If there is signals returning, through outputting high level and the time of high level continuing is the time of that from the ultrasonic transmitting to receiving. Test distance =(high level time * sound velocity (340M/S) / 2. Note : This module is not suitable to connect with electric power, if you need to connect this module with electronic power,then let the GND terminal of this module to be connected first,otherwise, it will affect the normal work of the module Package Included: 1 x HC-SR04 Ultrasonic Module Distance Measuring Transducer

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  • I can give some insight here:

    @'IBT':

    If the animation of the actors in a scene is "fine" but the camera angles and movements are "not" … how much effort/difficulty is involved in designing an entirely new and different set of camera angles and movements?

    Depending on the software in question, you can either have the camera follow a drawn track/path (spline or not), or simply reposition it at certain points along the timeline and keyframe those points (Poser and Daz). If you've got a null object on the "action" and point the camera at that, then you're pretty much free to move the camera anywhere and it will always frame-center that object.
    As well, I believe there are plugins that simulate manual camera work, like with the bobbing and weaving we see in G4E, where you can set how "freehand" or "steady-cam" it behaves.

    However, that's just for the actual animation of the camera. Choosing what to film and the angle at which it is filmed is an entirely different matter. Will the viewer say the camera moves too much or not enough? Does this look better from the left or right? Should I back away to get more in the frame or zoom in so it feels like you're there? Would it feel like you were there?

    Designing the camera work for any given scene is one of the more difficult aspects of animating because there are so many variables to consider and a lot of guesswork regarding the reception of it. If it's making too many small side-to-side movements, you start to feel like a toddler doing the pee-pee dance outside the bathroom door and you get nauseous. If the camera is flying around like Accept's Midnight Mover video you simply can't tolerate it. If it's swooping around like a drone or a bird, and you're trying to follow the action, it's annoying. On the other hand, if it just sits there and snaps or fades from angle to angle with no motion at all, it's a bit bland to watch. You have to
    balance the camera techniques so you're not always using the same one on every angle.

    And then there's the fact that you have to render a given animation sequence several times from multiple camera angles (unless your renderer somehow supports camera work and applies your changes during the rendering). Then you have to sort through the clips and actually make the final movie, which means a lot of things are going to be cut for redundancy and monotony.



  • We all know that it takes a hefty amount of time to create scenes of the quality standards you set for yourself. I am wondering what, in your opinion, could be done to speed up the production process?

    On an unrelated sidenote, it may not have been the best idea to completely kill the forum community by denying any and all access to new content or updates on what's going on in the G4E universe and then expecting peope to jump at the opportunity to ask a question when it's likely that barely anyone is left around here anymore. Just sayin'.



  • What's your general workflow, and do you storyboard each scene?



  • Pretty sure you've been asked this plenty of times, but what got you interested into 3d modeling? Was it always a hobby of yours? Also did you go to school for 3d modeling or were you self-taught?
    Lastly, what would be your advice for anybody that is new and would like to start 3d modeling?

    Pretty generic questions lol, I'll prob think of some other ones later.



  • My questions for Miro:

    Tragically, I was not around when you were taking suggestions for possible story-lines… but from looking back at the event, it doesn't seem like any 'definitive lore' was picked. Are you still just 'looking for the right fit'? ...And what do you think of the idea of having both a magical futa story-line, AND a bio-tech futa story-line? (Much like how you pleased people by delivering 'both' DLCs.)

    Putting aside what the fans want, and your own long-term plans/obligations, what project/endeavor would you most want to work on? Your 'dream project'. (Doesn't have to be realistic or logical.)

    If you could turn your girlfriend into a futa, would you do it, (and would she be okay with it)? Please elaborate. :P

    And most importantly, do you eat Vegemite?



  • Is miro planning on doing anything with VR in the future?



  • I can't really think of any questions for Miro, but it would be cool to hear about any projects he's working on. Or if he's busy with other stuff, what ideas he has for other projects he wants to do. I remember stuff about nuns a while ago. That sounded cool. :D



  • How are the computer "repairs" coming along?

    A lot of people seem to think that a scene animation "works right the first time" you try it and that there isn't anything that needs to be proofed or cleaned up or redone. Since we don't get to (properly) see the "sausage getting made" of the process, there doesn't seem to be a proper appreciation of the attention to detail required or the man-hours needed to go from nothing to finished product for a single animation loop in terms of creator actions, never mind rendering time. Can you give us a broad overview of your workflow as a creator, and how much "fiddling" you have to do in order to get a finished render Just So™ such that it looks right, and approximately how many man-hours of creative work that takes you in order to produce 1 minute of G4E level finished product?

    If someone spots a bug or flaw in your finished work, what are the most "useful" ways to bring attention to that flaw and are recommendations on how to correct it of any help? In short, is there a particular "visual language" that you find most accessible when it comes to critiquing your work(s), particularly through a pure text medium like a forum post or an email?

    If the animation of the actors in a scene is "fine" but the camera angles and movements are "not" … how much effort/difficulty is involved in designing an entirely new and different set of camera angles and movements? I ask, because there are a number of scenes in G4E and in DLC 1 & 2 that I would love to see "re-shot" using different camera angles and movements, while keeping the "action" that the camera is focusing on unchanged.

    The credits for G4E include your girlfriend. I can only presume that you've consulted her on various subjects regarding your most famous creations of Ayako, Sayako, Tara and Lyvia. Would you be willing to share any of her insights and input on how these characters ought to be thought of, presented and understood as people, in addition to any feedback she might have given you concerning their most obvious "visual" features?


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