Sculpt deformers are spherical objects which create rounded deformations. They can be used to simulate effects such as liquid pumping through tubes, or a character chewing and swallowing
By first bringing in a line-drawing from a previous lecture (Design 2), we learn how to use the digital medium to create a finished rendering.
There are many ways to create and design particle effects animation in Maya.
While surfaces are the obvious application of softbodies, lattices and curves can also be converted to yield several useful results.
This series introduces the essential techniques for creating digital sets and backgrounds, an area of visual effects growing in prominence.
In this continuation of the Digital Sets series, visual effects designer Eric Hanson illustrates a unique and powerful method to capture and re-create natural landscapes within a 3D environment.
Particle expressions are a way of using MEL (Maya-Embedded Language) to form and control relationships between particle and object attributes over time.
Starting with thumbnail silhouettes chosen from the previous lecture, two distinctive designs are drawn, refined and rendered for client presentation
In this fourth DVD in the series, veteran storyteller and concept artist Iain McCaig shows you how to build alternate worlds, costumes, and human characters
In this DVD, Laurent shares his techniques for detailing and refining the model he started in Creature Modeling for Production.
NUKE, short for "New Compositor", began as the in-house compositing and effects application at Digital Domain, where it won an Academy Award for Technical Achievement.
In this polygonal modeling DVD, Sean Mills shows you how to create a bipedal humanoid model. Sean begins with a set of primitives for different body parts - arms, legs, torso and face
Character UV MappingStarting with a complicated humanoid character in an animation pose, Sean Mills takes you through the process of deforming the model to a projection-friendly pose.
In visual effects work, it is common to have an element in the live-action footage that needs to be tracked. This is often the case when you need to add an effect to an actor's face
To become a skilled matte painter, one must understand the essential properties of photographed light. This DVD follows Dusso through the first stages of the matte painting process
Constraints allow the user to set up animatable 'transform node' relationships between objects. These can be used in a wide range of applications, from how a character’s eyes follow an object
Building upon the foundation of his first two DVDs, Dylan takes you through the entire matte painting process, from pencil sketch to color study to final rendering.
The ability to sketch and render vehicles is an important asset in the field of concept design. Using materials standard in the design industry
For students heading into set design, the ability to sketch and render environments is essential. Learn how to plan out perspectives, set up compositions, establish lighting, and create mood
Adobe Photoshop is the preferred, industry-standard software for photo manipulation and graphics creation, but using it effectively for projects in production is key.
In this lecture we begin a four part series which delves into a myriad of softbody effects.One of the most interesting aspects of Maya’s dynamic engine is the ability to constrain vertices to particle
Fire, smoke, energy blasts and rain are just some of the dynamic effects required by today’s demanding visual effects industry. In this DVD you will learn about the main hardware render types
In the second of a series, Ethan Summers teaches you to tune your brushes, optimize large-scale scenes, use Paint Effects objects as particle emitters, and create wind deformations.