Adjust lengths to an absolute length or scale them relatively, scale from the head or the tail, or anything in between!
Warning, works best on bones without children, hierarchy aware transforms coming… sometime… soon… -ish.
Seems that was easier than I thought. Another warning, however, if you scale a complex hierarchy away from the tail (Bias = 0.0) things do get a bit unpredictable, unfortunately that is just the nature of the beast and nothing will fix that.
RetroEpic Software, the indie studio I co-founded, recently released our first commercial game, A Day in the Woods. The game is available for both PC and Mac OSx.
The game has players controlling a customizable woodsprite that must guide Little Red Riding Hood to granny’s cottage in a hex-based sliding tile puzzler.
Go here here: http://retroepic.com/a-day-in-the-woods to see more screenshots, watch a gameplay trailer, download the demo and even purchase the game (only $4.99, what are you waiting for! Feed the indies!).
All the 3D assets and a few animations were made in Blender, with textures painted primarily in Gimp with a few done in Photoshop.
More info, for the technically curious
My role in the process was Lead Programmer and tools guy. We used a custom-built Blender 2.5x on PC and Mac. Most of the addons available on this site were employed to a greater or lesser degree. Our texture artist made extensive use of Blender’s texture painting for our awesome textures and even some sculpting. The game runs on the Unity 3D engine.
Assets were exported to Unity 3D using my hacked FBX exporter that allows for true Y-Up export. My Unity 3D export pipeline was also used, which manages the rapid export of multiple assets from a single file, defined by groups with dupli-offsets. To speed exporting up each mesh was created in it’s own .blend file, then a a few larger library .blends were created that linked groups out of the individual files. The assets were then exported out of that single file, so that scales and rotations could be consistent.
Our trailer was sequenced in Blender too from fraps recorded in-game footage, despite a rocky start with converting absolute to relative paths and some issues with speed (I really need to learn how proxies work ) it all went pretty well.
If there are any more questions, drop me a line in the comments and I’ll make additions to this post.
Cables, vines, tentacles and pipes can be very fiddly things to unwrap, a proces made much easier by the cool UV tools within Blender! The video tutorial below goes through the process from beginning to end, complete with an example of what to do when a common UV unwrapping error occurrs: unwrapping a mesh with inconsistent normals.
This is the result of about 30 minutes of python and a loose understanding of Jacobson’s Verlet Integrator. A method that allows for soft editing of organic meshes. Not sure if I’ll take this further, some changes might need to be made to Blender to make this easier.
Just add a Monkey into the above scene, don’t modify the monkey that’s already in the scene, that is the reference model. Enter the second monkey’s edit mode, press Space and type Verlet, hit enter. Move vertices around to see their effect (watch the video below).
Note, the above is released free for any and all use, if you use it for something cool feel free to drop my name.