In this DVD, Laurent shares his techniques for detailing and refining the model he started in Creature Modeling for Production.
In this DVD, Laurent reveals his techniques for creating the textures and shaders for the final stage of the creature modeling and texturing pipeline
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.
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.
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 this DVD, Matt Hartle focuses on teaching the fundamental aspects of the Mental Ray renderer, including memory and performance, sampling, image output, motion blur
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 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
Continuing from knowledge gained in Modeling, 1, two projects are used to demonstrate NURBS modeling of intermediate level complexity.
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
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.
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”
This lecture covers the setup of a two-character scene that includes a simple character, with few keyable attributes, and a complex character with many keyable attributes.
Carlos walks you through the step-by-step design of a dynamic creature. Watch along as he draws with a wax based pencil.
In this DVD, Carlos demonstrates his digital creature/character painting techniques. Masking in Photoshop, Adding Base Color, Drawing within Painter, Punching Up the Color
In this lecture on the subject of Global Illumination lighting techniques, Christopher Nichols discusses the subject of exterior lighting.
Continuing from his first DVD, Global Illumination: Exteriors, Christopher Nichols explains how interior global illumination differs from exterior GI.
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
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
In this DVD, Dylan discusses the fundamentals of landscape matte painting by demonstrating how to design a shot, both from a plate and from scratch.
In this DVD, Dylan discusses the fundamentals of cityscape matte painting by demonstrating how to design a shot, both from a plate and from scratch.