In this series instructor Jeff Parrott takes us through the entire workflow for our stylized treasure chest game asset. We'll be using Maya, Zbrush, Photoshop and even 3D-Coat to produce a great looking stylized treasure chest.
In this tutorial we will learn about the process of creating concept art for a transforming robot within a production pipeline. To get started, you should know that this course will focus on providing you with a high level glimpse at my thought process in designing our robot. While we won't focus on painting every brush stroke, I will be walking you through each step, demonstrating techniques as well as providing insight into the process. First, we'll jump in and knock out some quick silhouette options to establish our robots form and pose. After spending some time roughing in possible details for our silhouette, we will begin refining forms in grayscale. We will then learn about the coloring process for this project from base color all the way through finishing details. We'll wrap things up by learning about some final steps that were taken before handing our artwork to the next artist in the pipeline. After completing this course, you'll not only know how the concept art was painted but also understand the design decisions were made leading up to our finished concept.
In this Citizen video for 3ds max, we’ll explore more FumeFX, and this time we’ll take a look at how to use it with deforming objects as an animatre character. We’ll pick the Dragon sample scene that can be found in the Sample DVD of 3ds max installation, and we’ll try to create an FX shot with a fire dragon emitting flames, smoke, dust, ashes, etc etc...
This tutorial is a look into visual effects from a motion-graphics artists' perspective. The goal is to learn the basics of using image-based, projected textures with projection man, combined with creating a basic explosion and crumbling sequence that does not require a team of people, or weeks to put together.
This 8 and a half hour video will show you how I approach material creation in V-Ray. It’s fully narrated and I try to explain everything I’m doing. I’ll show you how to create more than 70 materials, which can be further modified to make countless variations. The techniques I’m using can be mixed and matched, or used to create completely different materials. This video will show you some tricks you can apply to your own work in more than one way. The tutorial is made using 3Ds MAX 2012 and Vray 2.2, but 99% of the techniques are applicable to earlier versions.
Авторские пресеты (настройки) и готовые проекты AE с использованием плагинов Red Giant, анонсированные непосредственно самой компанией Red Giant как Guru Presets. В данной раздаче собраны все Guru Presets по состоянию на 14.12.2011
Welcome to the Rigging Master Course, where you can discover the concepts and techniques essential to rigging models for animation in modo 501. Your instructor, Rich Hurrey, takes you from the basics of the modo interface and tools, through to covering in-depth such challenging topics as ‘Inverse Kinematics’ and the ‘Schematic Viewport’. With the advanced skills gained in the foundation section, you can tackle a tutorial that ultimately results in a full production-ready asset.
This course, taught by returning Nuke prof Russell Dodgson is a fully production based course. It is designed to tie in directly with it's companion course, MYA214: Production-based Lighting and Rendering being taught by Robert Harrington. The class will be dealing with a full vfx sequence shot bespoke for the course. The classes will attack a variety of compositing tasks week by week and will pay attention to how we view a sequence as a whole as well as concentrating on the minutia of each individual shot. One of the courses main goals is to get full understanding of how we should approach the compositing of cg elements, and correctly using renders to rebuild our cg in comp so that we can adjust certain passes without incorrectly corrupting the contribution of others...