Pete was rattled from his thoughts by the clinking of a coffee mug next to him.
"Pete..." his wife began, "Will you be coming to church today?"
Pete stared at the steam billowing from the mug. "Please enjoy yourself without me."
Without turning, Pete listened for the sounds of Maria's footsteps as she walked to the door...
...but was surprised when they became louder again as she reapproached.
"Pete, I know you can get moody sometimes, and I can't fix it ...but I'm here for you."
Pete dared not look at Maria, until she reached for his cheeks and guided his gaze to hers.
"I will only bring you down today...please go to church and enjoy yourself," he said.
Maria looked intently, as if she could stare through his mind and dissolve his troubles... "Church is where we uplift one another. The building does not matter..."
Pete looked away again. "Now that winter has come, I have nothing to distract me from my useleness."
Maria sighed: "...no one thinks that of you. Everyone loves you."
She continued: "Uselessness? For the other three seasons, you grew enough for the entire village to stockpile!"
Pete was unmoved: "But the village has few people. That's no accomplishment."
"When my father returns, he will not be impressed by what little has been done here..."
Maria's next sigh was even more exasperated: "But my father, the mayor, loves you. Does that not matter?"
In his state, Pete didn't know how to be kind or polite, so he spoke with daggers cold as winter: "No, it doesn't matter. You and the village are not enough!"
"Just...leave me be." He said again. Maria inspected him, again, but could not see past the wall. Shaking her head, she left.
Pete sat with himself, not moving. Why had he left the city for this farm?
He knew Maria was right -- he should have been happier with his progress here, having created something from nothing...and yet...
he knew that the villagers expected crops from him. But farming crops...wasn't what he actually wanted to do.
He was running away from a life of business in the city, yet, here on the farm, he had discovered yet another business. City...farm...every world revolving around commerce.
Was the only worth of a person in their ability to provide something of economic value?
Would everyone leave him when they thought he could not meet their expectations anymore?
The door swung open, waking Pete from his reverie.
First came the embrace of his wife, but one by one followed the rest of the villagers. ...She and the villagers were enough, after all.
For more infomation >> Harvest Moon - Winter Theme [🎷Sax Cover Story📖] - Duration: 2:55.-------------------------------------------
Facts: The Seahorse - Duration: 2:37.
Seahorses are unique slow-moving fish that are found in shallow,
temperate and tropical waters around the world
Their bodies contain bony plates, instead of scales
There are around 50 species of seahorses
They utilize specialized cells called chromatophores
to blend in with their surroundings
Seahorses like to inhabit areas with sea grasses,
mangroves, or coral that they can cling on to with their tail
This keeps them from being swept away with the current since they are poor swimmers
The fins on the side of their head can beat 50 times a second, helping them to steer
while they swim by moving the long fin on their back
The size of a seahorse depends on the species
The tiniest seahorse only grows to the size of a grain of rice
while the largest species can reach over a foot (.3 m) long
Tiny crustaceans are their primary food source
Since seahorses have no teeth,
they must use their straw-likes snout to suction their food from the water.
They spend most of the day eating
Their eyes can move independently of one another so that they can look for food and lookout for predators at the same time
Some species mate for life
Unlike the majority of animals in the world, male seahorses give birth,
not the females
Male seahorses carry the developing embryos in a pouch, much like a kangaroo
A female will deposit her eggs into the pouch.
The pouch is sealed and the male fertilizes the eggs
The young will develop inside the pouch for a few weeks
When they are born, the seahorses already resemble miniature adults
Depending on the species, a male may only give birth to a few babies or over 1,000
A baby seahorse is called a fry
Only a small percentage will survive until adulthood
Due to low birth rates and long parental care, many seahorse species are in decline
Millions of seahorses are harvested from the wild every year for the aquarium trade,
for decorations, and for use in traditional
Chinese medicine
Some people believe that ingesting seahorses can help to treat various ailments such as asthma
For more marine facts, click the SUBSCRIBE button!!
-------------------------------------------
TEK GÖZLÜ KORSANLAR OYUNCAK KORSAN SETİ EKİPMANLARI KILIÇ - BIÇAK - MASKE - Duration: 4:06.
Toy Pirate Set One-Eyed Pirate Sword - Knife - Mask Video for Kids!
-------------------------------------------
Happy New Year 2019! New Year's Resolutions (with subtitles / captions) - Duration: 3:18.
For more infomation >> Happy New Year 2019! New Year's Resolutions (with subtitles / captions) - Duration: 3:18. -------------------------------------------
Map Đón Năm Mới 2019 | Có Link Tải - Ice Dragon VN - Duration: 8:40.
For more infomation >> Map Đón Năm Mới 2019 | Có Link Tải - Ice Dragon VN - Duration: 8:40. -------------------------------------------
Indian Train Track Construction: Train Games 2019 - Trailer Gameplay (Android, iOS) HQ - Duration: 8:55.
Indian Train Track Construction: Train Games 2019 (by Canvas Illusion) - Trailer Gameplay (Android, iOS) HQ
-------------------------------------------
САМЫЕ КРУТЫЕ УКРАИНСКИЕ КЛИПЫ 2018 ГОДА В ЖАНРЕ МЕТАЛ - Duration: 8:03.
For more infomation >> САМЫЕ КРУТЫЕ УКРАИНСКИЕ КЛИПЫ 2018 ГОДА В ЖАНРЕ МЕТАЛ - Duration: 8:03. -------------------------------------------
PRODUZIONE HARDSTYLE #1: LA METRICA (SUB ENG) - Duration: 7:58.
Hi I'm Vitipaker and in this series of tutorials I'll explain how to create a hardstyle track from scratch
trying to make you understand the concepts I have learned over the years.
In this episode I will explain the metric of a track.
We will analyze the structure of a hardstyle track and its metric.
They are very important information and you will need them not to make mistakes either during production or in the mixing phase.
The Hardstyle genre but also all the other genres, are formed by beats.
That is 4/4 of beats, so 4 beats form a bar
the bar is a fundamental measure but other measures continue after you, take a look at the chart.
It seems a trivial concept but many emerging producers skip this notion finding difficulties in the future
A hardstyle track normally contains 150 bpm or beats per minute
It is divided as in graph
Analyzing them, we can say that the intro is the initial part of a track and usually contains 16 bars.
It develops in a adjunction of sounds and every 4 - 8 bars are inserted, also anticipating the atmosphere of the central part of the track.
While the break is many times come with the buildup.
We can have a crazy mid-intro but if we do not have a break and a powerful buildup, the mid-intro will be unloading.
Break duration is 8-16-32 beats
The buildup duration is 4-8-16 beats.
The mid-intro is the powerful part of the track where the skill of the producer comes into play.
Many leave this passage leaving the track empty only to get to the climax first.
The duration of the mid-intro is 16 or 32 beats.
Immediately afterwards we have a break + buildup that brings us to the central part or the climax.
The climax is the danceable part of the track with a duration of 16 bars, followed by a 16 bars break and a further 16 bars climax (2)
Then we have the mid-outro that is often the copy-paste of the mid-intro, while other times it is eliminated. Its duration is 16-32 bars
The outro is the final part of the track where all the sounds decrease. Its duration is 8-16 bars.
With this premise, we can listen to a track of Udex - Tears, analyzing it together.
Bene siamo arrivati alla fine di questo video tutorial sulla metrica di una traccia Hardstyle.
I hope this video can help you by recognizing the fact that for many of you these may be simple notions.
See you next Tutorial
Ciao :)
-------------------------------------------
Our Wyoming Life 2018 Ranch Review - Duration: 16:02.
hi I'm Mike 2018 is all but in the books only a few hours of it left and as we
head into the next year today we get a chance to look back at the highs and the
lows the numbers and what the future holds for our Wyoming life
and bulb police and the award for the most viewed video on our wining life in
2018 goes to with three hundred and ninety thousand views most of them
gained within the first two weeks of being released before it was stopped
dead in its tracks 1.5 million minutes almost three years of total watch time
the most viewed video for 2018 for our wining life was putting the Bulls in
with the cows the original uncensored version wasn't that a kick in the gut
you know when I watched that video kind of start to climb up in the in the
rankings and all that good stuff I was ecstatic the the first week 170,000
people saw it by the next week it was a three hundred and twenty thousand and I
kind of got to thinking that it was going to be the video that might put us
on the map might give us some really good exposure
to agriculture and then hit ball came tumbling down after being reported as an
appropriate of sexual content it was shut down and laid to rest still barely
moving under the rule of hear no evil speak no evil see no evil that was a
tough one to come back from but we did and once again we filled up an entire
year from the ranch bringing you along for every last bit of it that we can now
we go to only a few minutes with you a week but we always try to bring you the
best of what we have sometimes it's not rainbows and unicorns but it's all real
and it's meant to bring us all a little bit closer to something that does matter
and that's our relationship with agriculture where our food comes from
and the families behind it with 2018 and it's the last throes of
life I look back at this year and what made it special the good in the bat
stick around because we're not only going to look back at some of the
highlights this year we're gonna look at the numbers behind YouTube and what the
future holds a life that we never would have dreamt for ourselves a life that
when it really comes down to it is all thanks to one person and his name was
Gilbert Otto Kelvin and he was my father-in-law this year we really got
the chance to dig into the history of the ranch and all that started with a
video back in April on the anniversary of the death of the man that got us here
in the first place my father-in-law Gilbert later in the year we decided to
go farther down the rabbit hole and bring more from the early history
showcasing not only how we got here but how those long before us settled the
land
these kind of videos are a little different from the norm but we really
wanted to show people why the ranch was so important to us one of the comments
we get occasionally is why don't you sell it all and move away retire and
live on a beach somewhere well it would be easier but then not only do we lose
our connection to the land that means so much to us we lose all the history
behind it and our hope is that someday our kids will be right here working the
same land that I and many before me have a sweat heart over and that they can
appreciate it as well but it's not only us that appreciate it it's you
throughout the year of telling our stories the YouTube channel has it grown
by leaps and bounds On January 1st of this year we had 8500 subs today we're
over 65,000 on average we gained 4700 new subscribers to our community each
month in fact each month we gain more new subscribers than we gathered our
entire first 10 months of making videos that just blows me away
but it also proves to me that people do care as they should about where our food
comes from and the families behind it but subscribers are only half of the
equation when it comes to YouTube and what matters even more is views we'll
take a look at those in a minute but first let's look in at some of our
in-person visitors to the channel this year
okay ranching can be a very solitary activity in fact most of the time you're
off by yourself whether you're checking fence or feeding cows but it's nice to
bring in new blood and new faces clear back in January we had our very first
guest on the couch during a live stream Blake from another Wyoming youtube
channel called guy in Wyoming but it didn't stop there
Aaron invited her friend and the county horticulturist Hannah out to help prune
apple trees taking sections about a foot apart and the idea is that you're
wanting these branches to grow out and so that you have layers and we have
friends stop by from North Carolina and as they learned if you stop by get put
to work our friends Dave and Tammy are here visiting and luckily for us they
find it fun to help us with our work we put them to work hooking up water and
Lane irrigation hunters came in to visit during another live stream Bob is here
hunting this week you guys got your opening day we've got here on on Sunday
well yeah you got here on Sunday but you started you started fucking day when it
comes you know we have a lot of questions a lot of people asked about a
little buddy if you have a question for Bob feel free to throw it up there
because I'm sure he'd be happy to answer any question that you have
and even the owner of our local feed store couldn't escape the camera Jessica
van and I am the current owner of Govans permanent supply in Gillette Wyoming
normally known as ours beep as she let us go in and take a look around and get
to know her store 1877 I started working here in 2005 over 13 years came to work
part-time here I just went from being part time to by the time did you see
yourself as owning the place back in 2005 are you coming in like probably not
right away if somebody it's willing to join us
we're more than willing to put them on camera and for us it's a godsend because
I know all of you get tired of looking at me pretty quick but someone is still
watching and a1 staggering statistic that's worth looking at is the number of
views on our winding life and how they add up fast
this year we received 6.7 million views leading to 43 million minutes of watch
time 43 million minutes equates to about seven hundred and thirty thousand hours
over 30 thousand days or 83 years of total watch time on our wining life in
2018 that's a long time to be watching and even longer to be staring at this
mug lucky for you there's a much prettier face that you can be staring at
and that's my wife Erin over this year she's really come into her own on the
channel I think the episodes for me that are the
most fun are the ones that seem so off-the-wall doing the lip-sync
challenge was a huge step outside of our comfort zone seen all this lip-synch
challenge stuff that's been going around on the Internet
No what do you got look our local camel County Sheriff's Department did a
lipstick challenge to Shania Twain
that's the way
yeah for some reason watching Mike blow up his summer hat was oddly satisfying
mostly because that thing stinks and I'm always happy to see it go at the end of
the summer
but my favorite episode this summer this year was cow tipping snipe hunting and
the elusive Jackalope it was really fun to go out and try and film Mike tip
Bambi over she's always such a nuisance and she's
such a loving friendly cow that it was such a challenge to try and get her to
stay in frame and for Mike to be able to try and tip her over and she obviously
had no interest in being tipped the odd and the bizarre and also the curious
every state has their oddities in Texas it's a chupacabra which might be a
coyote with mange in New Jersey it's the Jersey Devil a creature with
bat wings goats legs at the head of a horse which seems like a great thing to
a mahaki team after this year also saw the project list come into full swing
each and every Tuesday we have the chance to do something around the ranch
together and cows need water and this morning we have a very serious problem
with a hydrant that supplies water to them and we have to get it fixed
some successfully and some not so much but no matter what we do we definitely
learn along the way Ned wrap is a petroleum-based product
and apparently the net wrap that we didn't get into the incinerator last
night when the girls were loading it was a bit too close to the incinerator and
got too hot bursting into flames flooding it burned for a while as long
as there's somebody here to watch it and once the net wrap is gone we can douse
the ashes with a hose I guess with over fifty six thousand new subscribers
coming into the fold this year we can expect to see some go to and this year
we lost 8,000 subscribers through one race or another but as things go it's
sometimes just part of ranch life hi I'm Mike and this is part two of saying
goodbye to the pigs it's time for them to go and it's not going to be easy in
many different ways today is bubble the Bulls last day here on the ranch and
today is the one paycheck the year that the ranch gets its sale
day and even though friends come and go there's still plenty of work to be done
as air and I tackle the ranch and usually it's just the two of us this
board here on the ground is our spacer board the garage door that needs to go
in here needs to be nine feet so the board will make sure there's nine feet
in between these two inside posts today is actually our 10-year wedding
anniversary and I can't think of a better wedding gift than a completed
high tunnel 99% complete hi I was feeding I made it I did it no nothing
broke I didn't run into anything and they're eating so from good food now
here's a very important question is the cake the best part
do we even like carrot cake or do we just all love cream cheese frosting so
much that it makes the carrot cake tolerable to good work his mom has left
him he's alone and cold and sick cows just like most animals can sense
sickness in their offspring when they know it's something that this
life-threatening sometimes they'll just leave their cows to die but we can't let
that happen it has truly been our honor to have you
along for the ride this year even if this is your very first video with us
and if it is please consider hitting that subscribe button and continuing
with us into a whole new year what's it got in store well we have some idea
calving is coming up soon so where farmers markets hang tractor maintenance
fencing doctor and cows eating and a whole lot more in fact this year we
invite you on to the ranch itself on August 24th we're hosting the very first
ranch roundup and you have a chance to come and hang out with us for the day
and with each other we're gonna have food from right here on the ranch games
tours special guests and a whole lot more including a live stream in front of
a live studio audience or you can come and sit on the couch
with us speaking of our next live stream as we kick off the new year is gonna be
January 3rd that's Thursday at 7 p.m. so come and
join us in our brand-new livestream studio and chat with us in real time ask
your questions or voice your complaints either way we love having a chance to
get to know you so that's it
2018 is all but done another years in the books and I'm happy that we got to
share it with you here is to another great year not for us but for you I'll
see you next year and until then have a great week and thanks for joining us in
our Wyoming life
-------------------------------------------
Do Dehumidifiers Require A Condensate Pump? | How To Prevent Condensation Lines From Freezing - Duration: 2:57.
Hey there Michael Church, CrawlSpaceNinja.com and I got a great question.
Does an Aprilaire dehumidifier or any dehumidifier for that matter installed in a crawl space
require a condensate pump?
Stay tuned.
Okay I don't know if you had a chance to check out our videos that we did with Brian from
Aprilaire, but they are in the really cold central part of the country, and what they
do when they install a dehumidifier in a crawl space is, they can't run the condensate line
outside because it would freeze.
Unless they put it really deep through the foundation wall and coming out and popping
up, but even then they've got snow on the ground when that condensate line pops up.
If it's exposed to the air it's going to freeze.
So what they do in that situation is they will dig a 12x12x12 pit underneath the plastic,
and they will run the condensation from the dehumidifier in to that pit and allow that
to just dissipate into the ground naturally.
So that's one way you can do it.
If you're doing it that way you don't need a condensate pump, you can just let the gravity
feel line out of the dehumidifier go down in there.
We don't like to do that because we don't have that type of climate.
We want to get that water out of the crawl space so we wind up putting in a condensate
pump because around here most of our crawl spaces are below the outside ground level.
Obviously water won't run uphill without a pump, so we have to put in a condensate pump
and then be able to push the water up and out of the crawl space.
Underground, so that way it's still protected in the Wintertime, to a dry well that we dig
outside in the yard.
So those are a couple different ways that you can address the condensation from a dehu,
if you're in the cold areas, you may just want to let the water go underneath the vapor
barrier into a dry well that you dug.
If you're in a climate like ours, or maybe down in Georgia, I would still bury it, but
just make sure you put it into a dry well out in the yard, to get that water out of
the crawl space completely.
If you have a sump pump inside the crawl space you can also drain the dehumidifier into the
sump pump, and then let the sump pump take the water out.
Great questions, my name is Michael Church, CrawlSpaceNinja.com.
Be sure to check out our new DIY Store that we just launched.
Hope you make it a happy and blessed day.
We'll see you later.
-------------------------------------------
SFM Tutorial - MLP Anthro Setup (Part 1) - Duration: 15:38.
Hello people, ImAFutureGuitarHero here.
If you remember a few months ago, I released the "Soup Store" animation,
in which I used anthropomorphic versions of Sunset and Starlight as the main characters.
When I made that, I mentioned in the description that I might eventually do a tutorial on how I go about setting up these models,
since it's not exactly a straight-forward process,
and more recently I've been getting questions on DeviantART and on Derpibooru about how it's done –
or comments about how my style of anthro is different from nearly all of the other SFM anthro art out there –
and the occasional comment about how the head's too big, but hey,
I figured I'd do one for you guys.
Also, I'd possibly be doing some other tutorials on my methods in Source Filmmaker,
so stay tuned for that.
SUNSET: [Exclaims]
Uh, with all that said, let's start by turning this human model of Sunset
into an abominati--
[oy blyat]
into an anthropomorphic version of her.
Let's begin.
SUNSET: [Grunts]
Before we load Source Filmmaker and get to making an anthro,
we need to do some prep work involving the texture files for the models we'll be using.
We need to make sure that the coat colour for the head will match that of the body.
With the Sunset model, the coat colour is a honey yellow colour,
and that's way darker than that of the EQG Sunset model, which is closer to a light skin tone.
What I'll be showing here is how to match the two skin colours using the EQG model as a base,
but if you wanted to, you could easily do it the other way around, using the pony model colour as a base.
The textures you'll be looking for will be:
"body.vtf" for the pony model;
and then "skin.vtf" and "lips.vtf" for the EQG model.
Locate these three textures and open them with VTFEdit.
If you don't have VTFEdit, there's a download link in the description,
it's a free program and it comes in hella handy for any texture modifications, like this one.
What we'll be using VTFEdit for is to export the .vtf file to a format that can be read by Photoshop,
or indeed any image editing software, like Paint.NET or Gimp.
Go to "File" and then "Export" to save it as a .tga file.
You can also save it as a .png if you want to.
Or a .jpg.
Not
Not sure why you'd want to, but there's the option anyway.
¯\_(ツ)_/¯
Now that you have the textures exported, you can open them in your image editor of choice.
I'll be using Photoshop for this example, and as such the methods I show will pertain more to Photoshop,
but you should be able to achieve basically the same thing in any other software you decide to use.
In "body.tga", you want to use the Magic Wand tool –
If you don't see it, it should be under the Quick Select tool. – and select the body colour.
I'm using a tolerance of 32 for this.
If we just fill this as-is, we'll have some sharp and pixellated edges,
so we need to go to "Select and Mask..." at the top here,
and in the control panel that appears, turn up the "Smooth" slider a bit.
Don't go overboard with this, otherwise it'll interpolate the pixels too much
and you'll lose some definition in sharp angles like on the corners of the lips.
You can also play with the "Shift Edge" control a little bit to taste, see how that works.
Once you're done with that, click "OK".
With this selection made, you want to go to the "skin.tga" file from the EQG model,
and use the Eyedropper tool to select the colour from this texture file.
Now you go back to "body.tga", and you now want to make a new layer,
and using the Paint Bucket tool, fill in the area we selected from before.
You can deselect that now.
Since we have made this edit on a new layer, separate from the background,
to adjust the lip colour (if we need to) is very simple.
You just make a new layer between the "Background" and the skin colour layer,
and we can just use the Brush tool to colour over the original lip colour.
It's a bit more involved though for the lip colour around the inner mouth area,
due to this gradient that happens here.
For this, we need to use the Magic Wand tool again, this time on the pink area of the texture,
and then under "Select and Mask..." we need to adjust the sliders to recreate that gradient in the selection.
Setting the "Feather" slider to 6 px and "Shift Edge" to +30% gets pretty close to the original gradient level.
Then click "OK".
Use the Eyedropper tool on the pink colour, make a new layer above the layer you're using for the lip colour,
and fill the selection in with pink on this layer.
Then you can colour in on the lip layer with the new lip colour.
With that, the updated texture is now finished.
You can save this as a Photoshop file (.psd), preferrably with a different name from the original texture so you don't overwrite it.
I'm just naming it "body_2.psd".
And then the same file, as a .tga file this time.
You can now import the new texture into VTFEdit,
making sure that the "Resize", "Generate Mipmaps" and "Generate Normal Map" options are unchecked.
Once it loads up in VTFEdit successfully (might take a little while),
you can save this as a .vtf file.
If you're overwriting the original texture, that's all you'll have to do –
the model will have the new texture by default in Source Filmmaker now.
But since we're saving a copy so we retain the original texture as a backup,
we need to edit the .vmt file so that Source Filmmaker uses the new texture instead of the old one.
Open "body.vmt" and look for the "$basetexture" line, should be somewhere at the top.
Change the filename and directory following "$basetexture" to the new filename, in this case, "body_2".
Save the .vmt file, and now the pony model is ready to be used in an anthro setup.
Alright, once you've loaded into Source Filmmaker
and you've loaded the map and camera position
and SFM hasn't crashed yet,
we will start with headhacking.
If you don't know what headhacking is, it can be summarised as
taking the head from one model, and putting it onto another.
And to do this, you want to start by spawning in the body model.
I generally use the Equestria Girls V2 models by Sindroom,
but you can use the original ones made from CreatorOfPony's base.
There are some slight differences between them, mainly with anatomical proportions,
and so this tutorial will be focusing on the V2 models, so keep that in mind.
A word of advice at this point: I would avoid moving the camera or rotating the models from their base orientation
until you've finished setting up the character, and I'll show the reason for this in a moment.
You now want to load in the pony model you'll be using for the head.
Both of these models should be facing the same orientation, which will make it easier to join the head onto the body.
Now you want to navigate to where the head bone on each of the models are located in the Animation Set Editor,
and click and drag the head bone from the body model onto the head bone of the pony model,
which will lock the pony model's head to that of the body model.
This is where we start joining the models together.
You want to enter the Motion Editor, click only the "pos" attribute, or position – this is important –
and slide the "Zero" slider all the way to the right.
If you were to select both "pos" and "rot", "rot" being rotation,
it would also rotate it, which is not what we want.
As of right now, this looks extremely weird, and that's because the head is extremely big and the rest of the pony body is still showing,
but this is what the model should look like right now.
SUNSET: [Grunts]
Something's not quite right here.
So, we need to hide the rest of the pony body, and the way we can do that,
we can use the same method we used for the head, now for the neck and pelvis bones.
You need to lock the neck bone of the pony model to the neck bone of the body,
and then the pelvis bone of the pony model to "spine_2" on the body,
and then using the "Zero" slider on both of these.
At this point, you'll also need to re-lock the head, this time to the neck bone,
because we will be needing to hide the original head from the body model.
Select the head, neck and pelvis bones on the body model, right-click on any one of them, and select "Add Scale Control to Transforms".
This will allow you to change the size of each of these bones.
For the pelvis bone, you'd want to size that down to 0 to hide it completely,
And for the head and neck bones, I generally go with 0.06 on the head and 0.045 or 0.05 on the neck.
These sizes obviously depend on the body model you decide to use, and partly personal preference.
You also need to right-click on the pony model, go to "Utilities" and click "Bake Procedural Bones".
This'll keep the mane the size it should be in relation to the head,
because by default, scaling down the head doesn't scale down the jigglebones in the hair or the ears,
therefore you'd get something that looks like it came out of the 80s, if you know what I mean.
We have a few more things to fix.
Notice we still have the head from the body model that's visible.
We can fix that by adding a scale control to that and sizing it down.
However! You don't want to size it down to 0,
because that can cause the body model to cull and disappear when you aim the camera too far down, as shown here.
Instead, it needs to be a number like 0.001, or something extremely small.
This means that you'll also need to bake the jiggles on the body model,
but it also prevents the culling that happened before.
The other thing to fix is the neck, which, by default, from the "Zero" slider, is a bit too high up.
You can simply move it down a bit to fix it.
One more thing left is the eyeposing controls. This is optional, but I prefer to do this, it just makes it easier for me.
You want to go to where the "viewTarget" controls are on the two models,
and lock the control on the pony model to the same control on the body, and then "Zero" that.
What this means is that the "viewTarget" control on the human model now works on the eyes on the pony head.
And with that, we have set up a basic anthro model.
A couple of things to keep in mind is that
the neck seam is pretty much unavoidable without at least some post-processing,
so if you're doing animation with an anthro model, you'll need to put extra work into hiding the seam with lighting and positioning in SFM.
Speaking of animating, if you do intend to animate an anthro model and you want to use the default jigglebones,
you'll need to re-enable the jigglebones and bake them again once you've animated the character.
However, ideally, or at least for me, I'd want jiggles enabled while I animate,
so what I would recommend is to add a scale control to the "rootTransform" bone of the body model
and then size it up so that the jiggles stay the same size whether they're baked or enabled.
For the size of 0.06 on the head, you want to set the "rootTransform" scale to 0.166 repeated. (0.16666666...)
Now this does mean that everything else in the scene will have to be sized appropriately to match,
but it does mean that you can animate with jiggles activated.
This segues into the next stage of anthro setup:
hair replacement.
Let's say you don't want the mane that comes on the pony model by default,
and you want to replace it with the Equestria Girls variant that looks more natural in a bipedal context.
For this I've found the V1 models to work best due to the shape of the head and the extra jigglebones in the hair, at least for the most part.
In the case of Sunset here, I'm going to grab the Equestria Girls V1 model of Sunset that's made by EmpireOfTime.
Also I want to mention that if you do this step, and that you do want to change the hair out for one from an Equestria Girls model,
usually these models have a slightly different colour palette used on the hair compared to the pony counterparts,
and by default they have a bump map.
Which frankly, looks
Which frankly, looks bloody hideous to me.
In the case of Sunset here I haven't changed the hair colour because it looks alright as it is, actually,
but I have disabled the bump map, and you can do this by
going into the .vmt file for the hair using either Notepad++ or VTFEdit, or even regular old Notepad works as well,
and commenting out or removing the "$bumpmap" line altogether.
If you do decide to do this, you'll also need to add "$basemapalphaphongmask" "1".
Otherwise, ambient occlusion won't show up on the model.
Now that you have that sorted out, you can start doing a similar process to the headhacking from before.
Lock the Equestria Girls head that you're using for the hair, this time to the pony head, and then use the "Zero" slider on the "pos" attribute.
Do the same to lock the pelvis bone of the Equestria Girls model to the head of the pony model, and again with the "Zero" slider.
Since this model has jigglebones that will be showing, you'll also need to bake those as well.
Now you can add a scale control to the head and pelvis, sizing the pelvis down to 0 to hide it altogether,
and sizing up the head so that the hair covers the head properly.
I find that 0.125 on the head works well.
So here we have the Equestria Girls model's hair on the pony head, but we can still see the original hair clipping through it.
SUNSET: [Exclaims]
Depending on the pony model hiding this is either easy or hard.
Most of the enhanced models, or at least the ones by JuiceDane, like the one for Twilight here,
have a bodygroup that allows you to simply hide the mane altogether.
But in the case of Sunset here, she does not, so we'll have to do some extra work to make this work.
We need to hide the original mane through the Element Viewer, through Material Overrides.
Right-click the pony model and select "Add Override Materials".
Then right-click the model again, go to "Show in Element Viewer", and then select "Model."
This window will pop up.
Scroll down to "materials" and find a material called "hair" or "mane", or somethings similar, some models have it named differently.
Right-click on the material, go to "Add Attribute" and then click "float".
In the window that pops up, where it says "newAttribute", you want to type "$alpha", and click "OK".
This will hide the mane.
Now at this point, you might be thinking, "Yes! I'm done with the hair part!"
...
...Not quite.
Let me show you what happens when you enable lighting.
[Loud switch] [Lights turn on]
See, there's a shadow where the mane used to be,
and this happens because the mane is actually still there, and casting shadows;
only difference being that it's not visible.
So now you need to disable shadow-casting on the hair, and there's two methods to go about this.
Method 1 is to add a scale control to the jigglebones for the hair, and size them down to 0.
That'll get rid of most of the shadows, but you might have to play with
moving around the jigglebones inside the head to further remove them.
Other than that, this method does work, for the most part.
Method 2, however, works better than Method 1, and is basically foolproof,
but there's a caveat that I'll get to in a moment.
For method 2 you need to go into the .vmt file for the hair,
and you want to add "$translucent" "1" to it.
And make sure it's before the "$basetexture" line. It has to be before that.
To make this take effect in SFM without actually reloading the program,
you can go into the command console and type "mat_reloadallmaterials", and click Enter.
It might take a moment.
And what "$translucent" does is that it allows the material to let light through it,
and therefore disables shadow casting for that material.
Now the caveat I mentioned is that,
say, in the future, you wanted to use the mane as it was intended without doing this mane-swap/hair-swap process.
You'd need to comment out or remove this line from the .vmt to make it appear as normal again,
since "$translucent" is a .vmt-only command,
so you can't add it through Material Overrides, and you can't edit it through Material Overrides.
so I just generally go with method 1 when I'm doing this.
You'll also notice that some of the parts of the Equestria Girls model are showing through the head,
such as the eyelashes and the human ears.
The way we can fix that is to add "$alpha" to the parts we don't want visible, through the Material Overrides.
The materials marked "oral", "body", "head" and "ink" are the ones that I add "$alpha" to.
With that, the anthro now has a bigger bed of hair.
Depending on the model and the size of the hair,
you might also need to move the ears of the pony model outwards to make them show through the hair,
especially in the case of Sunset's hairstyle here.
The trick to allow jigglebones to be enabled by scaling "rootTransform" also works with this,
but you'd need to scale it to a different amount, since the hair is also scaled.
For the hair being at 0.125 and the head being at 0.06,
setting the "rootTransform" scale to 0.133 repeated (0.13333333...) allows you enable the jigglebones without any issues.
Compared to replacing the hair,
adding a tail is probably the easiest part of setting up an anthro character, comparatively speaking at least.
For this, you need to spawn another instance of the pony model in,
and this time locking the pelvis of the pony model to the pelvis of the body model, and then using the "Zero" slider again.
Next, you need to lock the first tail bone to the pelvis of the body model,
because we need to hide the rest of the pony body with a scale control.
Add a scale control to both "Pelvis" and "Tail1".
Make sure you lock the jigglebones and size the pelvis down to 0.
I generally size the tail around between 0.06 or 0.08,
but the size of the tail depends on how big you want the tail and how big or long the tail is to begin with.
So now your anthro character has a tail.
This is generally the point that I settle on for my anthro pictures,
but there is another step that I occasionally decide to do, and that is
making the legs unguligrade.
[Exclaims]
Like this.
If you wanted to see what goes into replacing the legs, I'll be putting that into a Part 2 video, as
this anthro is set up right now and can be posed or animated in its current state,
and to be honest it's easier to leave it at that.
But if you really want to make the legs unguligrade, there is a video for Part 2 on the screen right now.
So with that, I'll leave you with the end of Part 1 of this anthro tutorial.
Thanks for watching.
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