Although the following scene file contains a somewhat complex HyperMatter animation, the tutorial has been streamlined to take you quickly through the process used to create character animation with HyperMatter. You will see how HyperMatter Solids can be applied to an entire character or just to selected parts of a character. You will also see how HyperMatter Constraints can be used to control both object motion and shape. In this tutorial you will:

• Examine an advanced HyperMatter character animation

• Compare the differences between Object and Sub-Object Solids

• See how Constraints affect Object motion and deformation

• Enable and Disable selected HyperMatter Solids to enhance performance

Download Cannon.zip (650K)

View the Animation

You will begin by opening CH2_dd01.max, a 3DS MAX scene depicting a mouse which is fired from a cannon and crashes into a platform as another mouse recoils from the impact. The collision uses a hidden HyperMatter Walls Object with the floor aligned to the CrashPlatform. The animation opens as SaluteMouse salutes the camera and slowly disappears into the cannon. Because SaluteMouse is not required to deform or react, a keyframed MAX mesh was used. At frame 50 SaluteMouse stops and H_CannonMouse begins its ascent from the cannon and flies wobbling, through the air.

H_CannonMouse is a Object Level Solid which contains all of the character’s geometry and thus is entirely under HyperMatter control. As you will see, the character’s trajectory, as well as its deformation is guided by a combination of HyperMatter substance properties along with several Constraints.

Start 3DStudio MAX and open CH2_dd01.max.

A scene is loaded consisting of three mouse characters, a cannon, and two round platforms.

The SaluteMouse descends into the cannon as the camera orbits and dollies back. The cannon then fires and recoils as H_CannonMouse exits the cannon and flies through the air toward the CrashPlatform. On impact H_CannonMouse collapses like an accordion and rolls about from inertia.

As H_CannonMouse flies through the air, H_SpectatorMouse follows its motion path finally reacting to the impact at frame 216. H_SpectatorMouse is jolted from the impact of H_CannonMouse, and as its head rotates toward camera its ears , snout, and left hand react to the changes in its head and body positions.

Object Level Solid - H_CannonMouse

These two mouse characters demonstrate the two essential methods of applying HyperMatter Solids; at Object Level and at Sub-Object Level. Generally speaking, Object Level Solidify is easiest to apply and works well when you want an entire character or object to act as if it is embedded in a solid block of HyperMatter material. In this case, the object is completely controlled by HyperMatter’s physically-based animation. Alternatively, you can apply HyperMatter at Sub-Object level. This offers the distinct advantage of enabling you to use HyperMatter to enhance keyframe animation—your characters can react naturally to kinematic motion.

H_CannonMouse is an Object Level Solid. HyperMatter is applied to the entire character because you want the entire character to be completely controlled by HyperMatter Dynamics. This assures that its entire body reacts to the initial force of the cannon blast, and its impact with the CrashPlatform.

In the following steps you will look at H_CannonMouse and see how Solid Object Solidify was used to create a HyperMatter Solid from the entire character. You will also see how Solid’s Resolution and Fit direction were set up for the character. The HyperMatter Solid’s Fit and Resolution should be designed to optimize the fit around the geometry while minimizing the number of points in the Solid Object, thus minimizing processing time. Fit is important because it is the HyperMatter Solid Objects and not the character’s geometry that collide with each other.

Resolution is significant because of its impact on processing time. The memory and time required to process a HyperMatter animation is based on two essential issues. The first issue is the number of points comprising each Solid Object (Resolution) and the second issue is the number of times per frame that Hypermatter evaluates these Points (Sampling Rate). The memory and processing requirements of Solid Objects increase linearly with respect to the number of HyperMatter points in the Solid Object. This is related to the cube of the Resolution value. For example, if you Solidify a cube-shaped object at a Resolution of 4 the resulting Solid Object will require up to 4 x 4 x 4 = 64 points. If you increase the Resolution to 5, the object will require 5 x 5 x 5 = 125—nearly twice the number of points and essentially twice the processing time. Many times, relatively low Resolution HyperMatter objects provide excellent results.

Next you will examine the Resolution of the previously Solidified H_CannonMouse.

1. Use Select by Name and select H_CannonMouse.

2. Select the Display Panel, click Hide Unselected and Zoom Extents.

The H_CannonMouse geometry is displayed in the view. A black HyperMatter Solid envelopes the character.

3. Select the Modify Panel, close the Modifiers rollout, and click Automatic Solidify from the HyperMatter Control rollout.

Automatic Solids rollout appears.

4. Click the Resolution up arrow.

Topology Change Warning dialog appears, warning you that you are about to Solidify.

5. Click OK and click to increase the Resolution from 3 to 6 while viewing the mouse in the Front and Top views.

With each mouse click the Solid’s Resolution is increased by one cube in the direction specified by the Fit. As Resolution increases the HyperMatter Solid becomes more detailed and more closely follows the mouse’s contour, however as you increase the Resolution you also increase HyperMatter’s processing time.

6. Click to decrease the Resolution from 6 to 1.

With each mouse click, the Solid’s Resolution is decreased by one cube in the direction specified by the Fit. As the Resolution decreases, HyperMatter Solid becomes less detailed and the Solid just slightly suggests the mouse’s contour. As you decrease Resolution, you reduce HyperMatter’s processing time.

7. Select Edit/Fetch.

The original scene is restored.

H_CannonMouse Animation

The Lifespan is the frame interval within which HyperMatter Solids are controlled by HyperMatter Dynamics. In this animation H_CannonMouse’s Lifespan begins at frame 50. Prior to that time, the mouse would be subject to 3DS MAX MAX kinematic animation. However, in this case, no MAX keyframes are used.

H_CannonMouse Constraints

Next you will examine a few of the Constraints applied to the H_CannonMouse character. A Constraint is a control applied to a Part which affects the natural motion of the Part in some way. HyperMatter provides a range of Constraints including Collide—which enables collisions between Solid Objects—Velocity for constant speed in a specified direction, and Set which freezes a Solid’s shape. You can apply any number of Constraints to one or more Points or Parts in a Solid Object. Furthermore, each Constraint also has its own associated Lifespan. This enables you precisely to control HyperMatter.

H_CannonMouse uses four Constraints; Velocity, Set, and two Angular Velocity Constraints. It also uses three Selection Sets; Interior, All, and Body which are used to constrain different areas of the mouse’s body.

The Velocity Constraint is used to simulate the violent force of the cannon blast on the mouse’s body. It is applied on all three axes from frame 51 to frame 61. The first Angular Velocity Constraint causes the mouse to rotate around the Y axis and to plunge head first toward the collision point. It is applied to the entire Solid from frame 51 to 58. This assures that the timing of the rotation will produce the desired approach angle.

The Set Constraint is applied from frame 212 to 350 and is used to freeze the mouse’s shape in the distorted shape that results from the collision. The final Angular Velocity Constraint from frame 212 to 220 causes the flattened mouse to spin slowly toward camera.

Next you will see how the mouse’s Constraints were applied and you will examine each.

1. Select H_CannonMouse, the Modify Panel, and click to collapse the Modifiers rollout.

The HyperMatter Control rollout appears and the Command Column is optimized for viewing HyperMatter rollouts.

2. Select Sub-Object HyperMatter and click Constraints from the HyperMatter Control rollout

The mesh surrounding the H_CannonMouse turns bright yellow indicating Sub-Object HyperMatter selection level and the Constraints rollout appears. There are several buttons (grayed out) representing the Constraints that can be applied to HyperMatter objects. Below the Constraints buttons is the Constraints List, showing the currently applied Constraints, and the corresponding Named Selection Set.

3. Click to highlight the first Constraint in the list, VEL [Interior].

The Interior Selection Set is highlighted. The Constraints rollout becomes active and the Velocity rollout appears below it. The X, Y, and Z boxes are checked, and there are values entered in each spinner window. The Value of 200 in both the X and Z direction provide the initial force at an angle about 45 degrees to the world X Y plane. This is what shoots the mouse out of the cannon. Note that the Lifespan only lasts for 10 frames, starting at frame 51. This means that a constant velocity will begin abruptly at frame 51, then the mouse will be on its own when the Constraint Lifespan ends at frame 61.

NOTE: Whenever you select or apply a Constraint you must first select or create a HyperMatter Part. A Part is a named selection set of Solid Object points. A Constraint can only be applied to a selected Part.

4. Click to highlight ANG [All].

The All Selection Set is highlighted. The Angular Velocity Controller rollout appears. Angular Velocity will cause an object to spin about the X, Y or Z axis. In this instance, the Angular Velocity constraint makes the mouse rotate from the initial position inside the cannon into a nose dive as it travels through its arc shaped path to the landing platform. By applying Angular Velocity about the Y axis for only 7 frames, the animator has given the H_CannonMouse a gentle push to get it to rotate slowly into a nose dive.

5. Click to Highlight SET [body].

The body Selection Set is highlighted. The Set rollout appears, and the Lifespan number fields read Start: 212, End: 350. The Set Constraint causes the particular part to hold its current shape,even if it is in the midst of deformation. This is what keeps the H_CannonMouse in a folded up state after it impacts the CrashPlatform. The Set is applied to the body. The tail points were intentionally left out of the constraint selection so that the tail would be free to flop around as the mouse moves.

6. With SET [body] selected, click Enabled in the Constraints rollout.

The body Selection Set is highlighted. The Set Constraint is temporarily disabled.

7. Click Display Preferences from the HyperMatter Control rollout and click to deselect Solid.

The yellow HyperMatter Solid is hidden. This provides an uncluttered view of the character.

8. Play the animation.

The mouse now bounces off of the landing platform and maintains its shape and rubber-like consistency.

9. Click to enable the Set Constraint, and highlight ANG [All].

The All Selection Set is highlighted. A second Angular Velocity Controller is applied to the mouse. A value of 1 is applied about both the X and Y axis starting at frame 212. This will provide some rotational noise to the mouse after frame 212 (after the mouse is squashed). This is what makes the mouse’s body appear to be affected by the inertia of its flight.

NOTE: For more information regarding Constraints and how to apply them, see Chapter 6, Constraints & Forces.

Sub-Object Level Solids - H_SpectatorMouse

You have seen briefly how HyperMatter works and how it can move and deform a character based on real world physics alone. In the previous animation, H_CannonMouse is fully controlled by HyperMatter Dynamics, however H_SpectatorMouse is only under partial HyperMatter control. Its head and left hand are Sub-Object Level Solids and thus react to the keyframed animation of the remainder of the character.

Next you will see how Sub-Object Solids work and enable you to make selected portions of a character react not only to physics but to keyframe animation that has been applied to the object prior to Solidification.

1. Go to the MAX Display panel; Hide H_CannonMouse and Unhide H_SpectatorMouse.

2. Click Zoom Extents All and change the CannonCam view to SpectatorCam.

SpectatorCam gives you a close up view of H_SpectatorMouse.

3. Select H_SpectatorMouse and go to the Modify panel.

The mouse is selected.

Note that there are two orange HyperMatter Objects; one which envelopes the mouse’s head and a second on its left hand.

4. Select Sub-Object HyperMatter from the Modifier Stack rollout.

The HyperMatter Solid Objects pull down is active and SO_SpectatorMouse1, the sub-object enveloping the mouse’s head, is selected and highlighted yellow.

TIP: You can select sub-object Solids either by clicking the Solid in a View or using the HyperMatter Solid Objects pull down.

H_SpectatorMouse Animation

H_SpectatorMouse consists of two Solids, both of which are controlled by HyperMatter for the entire animation. These objects are joined to the Control Object so that wherever it goes, the Sub-Object Level Solids follow. This is what makes it possible to have both the mouse’s head and hand react to any keyframe motion that is applied to the character before HyperMatter.

H_SpectatorMouse follows H_CannonMouse through its flight, and collision. It also is jolted by H_CannonMouse’s impact. Finally H_SpectatorMouse’s ears and snout react to its head motion as it follows H_CannonMouse and nods toward the camera at the end.

H_SpectatorMouse Constraints

H_ SpectatorMouse has six Constraints applied to the head Solid Object (SO_SpectatorMouse0)—Orientation, Angular Velocity, two Fix and two Follow Constraints. The Fix [Join] is automatically applied to any Sub-Object Solid. This consists of a Fix constraint that is applied to a default Part named Join. The Join Part provides a boundary between the Sub-Object Level Solid and the remaining Snapshot Geometry. It is linked to the Control Object by a Fix Constraint.

The two Follow Constraints lock selected points to animated dummy objects. This enables the mouse’s head to follow H_CannonMouse though the air from frame 0-310, for instance.

The Angular Velocity Constraint adds some head rotation around Z at the end of the animation. The second Fix Constraint localizes the motion in the head to just the nose and ears for frames 310-350.

The hand Solid, SO_SpectatorMouse1, has only the default FIX [Join] Constraint applied.

The hand Solid reacts to the keyframed movement of the non-Solidified Snapshot Geometry.

1. Select the Modify Panel, click to select H_SpectatorMouse, and select SO_SpectatorMouse0 from the HyperMatter Solid Objects pull down.

The HyperMatter Solid around the mouse’s head is highlighted yellow.

2. Click Constraints and select FOL [nose]->SpecNoseDummy Constraint from the Constraints list.

The nose Selection Set is highlighted and the Follow rollout appears. The nose Selection Set is constrained in the X, Y, and Z axes from frame 0-310. This in effect forces these points and therefore the remaining HyperMatter Solid to track the path of the SpecNoseDummy Object.

3. Click the ORI [neck] Constraint.

The neck Selection Set is highlighted. No Spin keeps the associated vertex Selection from changing its orientation. In this case, the neck is to remain stationary while the head turns.

4. Click the ANG [all] Constraint.

The All Selection Set is highlighted. This Constraint helps to create a more exaggerated head movement as the mouse’s head snaps over to look at the camera.

5. Click to Disable ANG [all] and create an AVI preview using the SpectatorCam view.

The animation shows frames 250 through 350 from the SpectatorCam view. Notice that the head doesn’t have as expressive a movement. The Angular Velocity was applied to help make the wobble more pronounced, and to increase the speed of the head rotation so that the ears and nose will wobble more when the head snaps into its final position.

7. Select FIX [Interior].

The Interior Selection Set is highlighted. The Fix Constraint makes the inside portion of the mouse’s head freeze in its current position and shape. Without this Constraint, the head will attempt to return to its original shape and position. The Interior Part was used so that the mouse’s ‘skin’ would appear to slide over his ‘skeleton’.

8. Experiment further with each Constraint. For instance, try editing the Lifespan of the Angular Velocity [All] and Fix [Interior] Constraints. Experiment with the H_CannonMouse Constraints. Try editing the Lifespan and X Z values for the Velocity [Interior] Constraint. Also try editing the Substance properties, such as the Elasticity and Damping values, for each character.

Congratulations! You’ve completed a very detailed introduction to HyperMatter. None the less, you have discovered just a part of the remarkable power and flexibility of this unique plug-in. Once again welcome to a whole new way of producing natural physically based animation on a PC. We hope you enjoy using HyperMatter as much as we have creating it.