In the first of two DVDs, Aaron Sims illustrates the techniques he uses when designing creatures for movies. Designing in Photoshop, Modeling a Creature Head in XSI, Detailing and Texturing in ZBrush
Particle expressions are a way of using MEL (Maya-Embedded Language) to form and control relationships between particle and object attributes over time.
This lecture has two main components, each covering an important part of the design process. First, you will see how designs are generated, by watching Feng sketch over forty rough thumbnails
In MEL For Effects Artists, effects technical director Kevin Mannens offers an in-depth and hands-on dissertation on how to streamline and perfect your effects pipeline.
In this two-disc set, Mark Lefitz creates a fully realized 3D model from an original concept painting by Feng Zhu. He discusses the analysis and setup of the shot, and demonstrates his techniques
In this lecture, Neville leads you methodically through the process of creating a wet, fleshy creature.First emphasizing the importance of reference the properties of fleshy surfaces are deconstructed
This demo shows the digital techniques Nick uses to render a creature that was previously created in the Originality in Design DVD.
Objects created using 3D computer graphics have a tendency to appear too perfect and therefore slightly unrealistic. This DVD focuses on how the understanding and use of aging, and “wear and tear”
In this second DVD in the Boujou Matchmoving Series, Stephen McClure demonstrates advanced techniques for creating working tracks in Boujou, setting up those tracks in Maya, creating effects in Maya
On this last of three DVDs in the Matte Surface rendering series, Scott shares with you the complex curved surface shading techniques he has been teaching for over a decade.
This DVD demonstrates the basic techniques of digital matte painting for visual effects in a production environment. Dusso combines elements of photography, simple 3D models
There are many ways to create and design particle effects animation in Maya.
The ability to draw and paint the human head is a fundamental skill that all artists should have. In this first DVD in a series, Bob Kato demonstrates step-by-step how to draw the human head.
Carlos walks you through the step-by-step design of a dynamic creature. Watch along as he draws with a wax based pencil.
He takes the viewer step-by-step through the creation of a high-end digital painting, which can be used as either the visual base for a digital matte painting, or for an advanced conceptual art
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.
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 the second DVD in this series on Maya Fluid Effects, effects animator David Schoneveld imparts a detailed view of the various methods and advanced features of particle and rigid body control
This DVD shows the process of taking a marker sketch from the previous DVD into Adobe Photoshop to create a full color digital painting.
In Rendering Eyes, Neville Page clearly describes a process for rendering beautiful, frightening, or appropriately horrible eyes.
When anatomical accuracy is required, it is necessary to supplement joint weighting with auxillary tools. Joint weights determine what percentage of a rotational arc a vertex receives as joints rotate
Using the value study prepared during the previous DVD, the artist is ready to create a color version of the Value Prelminary.
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
In this DVD, Tim Dobbert takes you through the more advanced aspects of matchmoving and camera tracking. He discusses how to use survey data to force a camera solution to fit a pre-built environment