Some members of our congregation have expressed concern and the opinion that applause is not appropriate during worship. “From time to time in Massanutten Church, those attending worship applaud during the worship service. A continuation of this important discussion will be offered by Dr. A number of resources have been consulted, and will be mentioned both in the blog and in the footnotes at the end of the article. After speaking first about why most Protestants have shied away from applause in worship, the article will then address why some churches are accepting it. But that is something I learned from this project and the next time I will do better.Musings on Applause as Part of the Worship ExperienceĪUTHOR’S NOTE: This article will be longer than most of the Pinnacle blog posts, because it is important for readers to consider different sides of the question. The hair is made up of three layers, the first one being the densest and the third one - most opaque, although in hindsight I did not make the third layer opaque enough and I should have put more variation in the length of the hairs in the outer layers. I placed my hair texture on a flat plane, cut out each card and placed them by hand using soft selection in Maya, sometimes one at a time but often placing clumps of three hair cards to make volume. The hair cards themselves were placed manually in Maya in a pretty standard manner. Aside from this plugin, I don't use Substance Designer at all but after watching the tutorials for Hair and Fur I was pretty much ready to go. So when I saw the Hair and Fur plugin for Substance Designer by Eyosido that allowed to easily generate nice-looking hair textures with all the relevant maps without exporting any geo or baking a single thing, make as many tweaks as I wanted and just hit export to instantly update everything, I was pretty excited. I like to constantly iterate and change things on the fly which is why I like working as non-destructively as possible. In that case, the results are nice but iteration takes a long time - you have to alter the hair geometry, re-export everything, and rebake multiple maps just to make a tiny change that you might not even like after all. One of the things that bothered me about making hair for UE4 was that you need a few different maps, and most workflows seem to involve generating them by baking hair geometry down to a plane. Game-ready hair was both something I'd struggled with for quite a bit and one of the things I wanted to tackle in the project. The jacket, the backpack, and the pants were all made in separate Marvelous scenes to keep my workspace from getting too heavy and tedious to work in. It's a handy trick I picked up from a tutorial by Olivier Couston. The straps, however, were made in Maya and imported into Marvelous as morph targets to affect the clothes where needed. I've been making attempts to learn it recently, mostly through tutorials at which is a really good resource for that purpose. ClothesĪll the clothes were simulated in Marvelous Designer. I knew most of the body would be covered up by clothes, so to speed things up I decimated my sculpt to get it into Marvelous as soon as possible and only retopologized those parts that you can see in the final model. I also duplicate my head and stack it up about seven and a half times next to my model to use as a reference for how tall the model should be and where to place certain landmarks. I usually make rough versions of the torso, arms, and feet separately and then combine them. The body is sculpted from a dynamesh sphere.
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