Subtitles of the Movie

Before I begin this movie, which will take a look at dynamics for the hair, I went ahead and styled up the ponytail just a little bit more and also styled the rest of the hair on the right side just a little bit. Now, we've got three hair groups and we select them all right here. To do that, I need to come over here to props and select the follicle, which is the base that all the hair takes its instructions from since we created those groups and then now we come down and we calculate dynamics. We've got effects of gravity, spring strength, which is really how snappy the hair comes back to its styled position. Just think of the more you increase the spring strength, it's like putting hairspray on the hair. If you've got it styled for curls or waves, it will retain that when the dynamics are calculated. And you've got how, I guess, aggressively, how aggressively it goes back into that position with the spring damping. We've got, uh, the ability to clear dynamics after they've been calculated. We haven't done that yet. And we've got how much it wants to bend or not bend and these are all pretty self-explanatory in terms of their effect. And I haven't calculated the dynamics for this yet, but I've created a little two-second animation right here where the character's head simply turns and then comes back just a little bit. So if this was a perfect world, the ponytail would actually be moving instead of attached to her head like a newscaster hairstyle that doesn't move. So we'll go ahead and calculate dynamics. Now, I can go and do this for every single group, come down here and say calculate dynamics and then select, you know, the hair on the left side and do calculate dynamics. Well, we don't really want to do that. Thankfully up here, under animation, we've got recalculate dynamics. I'm going to say all hair. This will do all the hair at once. If we had cloth, and we'll get to that in an upcoming section, we can do that too. So I'll select all hair and our draping begins as it calculates for the animation. And now we've got that wrapped up there and this is where strand hair pays its way because it does stuff believably you just can't do with model hair. One thing I did want to bring up that I didn't is you've got a little, um, inconspicuous checkbox down here that says do collisions. What that does, if you select that option, is that Poser will go ahead and calculate the collision for every single hair on the character. That's great. You have to go out and get a cup of coffee when you do it, if not a good night's sleep depending on how the long the animation is. That's a lot of math work to do on the computer system. The ponytail has 10,000 hairs in it. One of the other things I did is for the other left and right side, each of those has 20,000 hairs, so to select an option like that, you're asking for it to do a ton of work. Sometimes it's good to do that; sometimes you don't need to. But the calculations are done, so let's watch what happens here as we go ahead and play; just watch the behavior of the hair. Now, the hair just swings quite naturally as that occurs and that's the benefit of working with dynamics. The, it looks like we're skipping some frames there. Well, let me go ahead and stop that and we can, we can spread the timeline just a little bit here. But as the hair does its thing as the head turns, we just get some natural motion and that's what the benefit of strand-based hair is. There's some beautiful modeled hair, but modeled hair does not do this and does not behave like this. So the calling card again is animation when you're working with strand-based hair. The other thing that I'll say for strand-based hair is the way it renders in light when you do your rendering is superior, really, to the modeling-based hair. There's some good imitations out there that you can do with that, but the way you get individual strands of hair that reflect, that's just cool. There you have it. That is the Poser hair room. In our next section, we'll begin looking at how we work with the cloth room.