The process of animating a skeleton via joint rotation is known as forward kinematics. Useful applications of these techniques range from spines and tails to hands and fingers.
3D game artists are faced with certain restrictions when creating models for use in real-time. Game hardware, art direction and development time all have an impact.
In this DVD, Mayan continues from the head model and design used in Head Modeling for Games, demonstrating the tools and techniques used to create low polygon characters.
This lecture will cover the tools and techniques necessary to create efficient UV maps. It is important to use that space in the most efficient manner, while minimizing seams and distortion.
In this DVD, Matt Hartle focuses on teaching the fundamental aspects of the Mental Ray renderer, including memory and performance, sampling, image output, motion blur
Continuing from knowledge gained in Modeling, 1, two projects are used to demonstrate NURBS modeling of intermediate level complexity.
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
Using D2 Software's award-winning NUKE, this lecture explores complex systems and approaches for compositing workflows.
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 DVD, Kevin Hudson presents an overview of various issues and techniques related to modeling cars for a polygon/sub-d surface pipeline.
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 the third disk of this series, Matt Hartle focuses on Mental Ray's special rendering features, including global illumination, caustics, final gathering, and image-based lighting.
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
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
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”
The skills required to dramatically, accurately and quickly depict aircraft and spacecraft are of immense value to any concept designer.
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.
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.
This lecture explains all of the IK Handle Tool's settings from a real-world workflow point of view. The four IK Handle Tool types are demonstrated and their settings explained.
The Organic Modeling titles cover the entire process of modeling a multi-patch head with Maya. Using a 200 surface head as an example, we go over all of the steps involved in it's creation.