Deformers are intuitive and interactive tools used to sculpt surfaces into new shapes, circumventing the need to edit vertices one-by-one.
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.
This series introduces the essential techniques for creating digital sets and backgrounds, an area of visual effects growing in prominence.
Particle expressions are a way of using MEL (Maya-Embedded Language) to form and control relationships between particle and object attributes over time.
This demo deals with the integration of a rendered vehicle into a city environment. This is a basic step-by-step of how to render a vehicle, set up a photo of a cityscape and integrate the vehicle
The demand for computer simulated clothing is rising with the increased production of computer animated films as well as character-driven effects sequences in live-action movies.
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
Organic Modeling 2 Head PatchingWhile there are several methods for creating a character, patch modeling can yield the cleanest results. It allows for high amounts of localized detail, clean parameter
The skills required to dramatically, accurately and quickly depict aircraft and spacecraft are of immense value to any concept designer.
Ryan’s demo takes the viewer step-by-step through the creation of a digital illustration of a design for a moody futuristic cityscape, from blank-page through to final rendering.
This lesson takes the viewer on a two hour demo showing techniques used to address such complex issues as perspective sketch painting, shot composition, lighting and cinematography
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
In this polygon modeling DVD, Sean Mills moves from relatively simple hard-surface forms to the creation of more complex and detail-oriented shapes.
In this DVD, one of the industry’s top concept designers will take you step-by-step through the creation of a digital painting of lacquered vehicles speeding above city rooftops.
In this lecture, one of the industry’s top concept designers takes you step-by-step through the creation of a dramatic digital rendering showcasing historically based architecture
The secondary effects of lighting can be simulated through a variety of tools Maya provides. Extremely complex light phenomena like the light filtering through curtains, firelight
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.
Using D2 Software's award-winning NUKE, this lecture explores complex systems and approaches for compositing workflows.
Whether in film, episodic television, commercials or music videos, the integration of 3D elements and effects is now a mainstay of modern post production.
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.