My Digital Tutors
http://www.digitaltutors.com
Digital Tutors - Capturing the Essence of a Character in Photoshop CS5
English | 782x646 | 4 hours 22 mins | FLV | 1.40 GB
Gender: elearning
In this collection of lessons we will learn how to capture the essence of a character based on their back story and then execute it in a final character concept. We will begin this process by taking a look at the character bio and learning a bit about our character. After exploring the detailed information we have been supplied with, we will get started by first learning about a few areas that are critical to successfully capturing our characters essence. We will learn about the importance of her anatomy, pose, hairstyle and wardrobe. After a few quick explorations in each of these areas, we will get started in painting our final character concept from start to finish. After completing this course, you should have some great ideas on how you can create more effective and appealing character designs.
Video Sections:
1. Introduction and project overview
2. Character back story
3. Character anatomy and pose
4. Exploring hair styles for our character
5. Exploring wardrobe options for our character
6. Beginning the final character concept
7. Continuing to block in shapes for clothing
8. Beginning to bring out the volume in the initial shapes
9. Beginning to add detail to the character's vest
10. Continuing to add detail to the character's vest
11. Adding detail to the character's undershirt and utility belt
12. Continuing to add detail to the character's utility belt
13. Detailing the belt buck and ammunition magazines
14. Beginning to detail the character's pants
15. Adding detail to the character's pants pocket and holster
16. Beginning to detail wrinkles in the character's pants
17. Continuing to detail wrinkles in the character's pants
18. Beginning to detail the character's right boot
19. Continuing to detail the character's right boot
20. Finishing the detail in the character's right boot
21. Beginning to detail the character's left boot
22. Continuing to detail the character's left boot
23. Finishing the character's left boot and pants around the boots
24. Painting throwing knives and final tweaks
25. Adding final shadows and specular highlights
Digital Tutors - Creating a Stylized Pin Up Cover Design in Photoshop CS5 | project files | .flv | 1.08Gb
In this collection of lessons we will focus on Creating a Stylized Pin Up Cover Design in Photoshop.
We will begin this process by learning how to use the refine mask features in Photoshop to successfully extract a our model from her background. Next we will walk through recreating the environment for our model as well as grounding her into it. From there, we will shift our focus to the typography on our cover, looking to create a sense of movement that compliments the pose of our model. After completing the background elements in our composition, we will work on color correction to help our model fit better into the scene and give her more of a vintage look. Next, we will learn how to paint stylized flames that will highlight the movements of our model. Finally, we will shift our focus to lighting and really add that last bit of polish that makes our piece shine. After completing this course, you will have an understanding of the tools, techniques and workflows that go into creating a professional magazine cover.
Homepage: http://www.digitaltutors.com/11/training.php?pid=469
Digital Tutors - Creative Development: Enhanced IK Animal Rigging with Farley Chery | project files | .flv | 3.91Gb
This course will teach the viewer how to rig a mountain lion harnessing the power of Enhanced IK in Maya.
In this course, Farley Chery will lead the viewer through the rigors of creating a control rig for one of the great cats using Enhanced IK in Maya 2012. While the course centers on a puma/panther these techniques work on all the great cats and any quadruped with similar anatomy. Much like his prior tutorial Motion Flow Rigging in Maya, and much like the first amazing techniques are unveiled. New ideas on internal automation principles will be explored and old ones expanded on. The artist will create a robust rig with a more straight forward workflow then the previous course, while still providing examples of problem solving techniques that arise when creating a complex rig. The course focuses on presenting new or different techniques wherever possible for comparison with more established systems. Rigging one of the great cats with enhanced IK makes for a very flexible control rig. The base system of Enhanced IK though is versatile enough to use with many other methodologies in Maya. Enhanced IK greatly improves the functionality of Inverse Kinematics in Maya. By the end of this course you will be armed with techniques to make efficient and robust rigs for feline and canine quadrupeds, utilizing an enhanced control rig that is ready to be modified and finalized with your preferred hierarchies and dynamic parenting setups.
Homepage: http://www.digitaltutors.com/11/training.php?pid=179
Digital-Tutors : Introduction to Maya 2012
Digital-Tutors : Introduction to Maya 2012
Filesonic Uploadstation WUpload | 3.42 GB
Orignal Content Provider - Heroturko.biz
10 hrs. 29 min.
Released on August 1, 2011
Project Files Included (42 MB)
Required Software: Maya 2012 and up
In this series of lessons, we will help you get a strong understanding of Maya and how it works. Youll get the chance to work with many of the Maya instructors here at Digital-Tutors who will show you how to use some of the major components of Maya.
In this course, well start by giving you the foundational skills and vocabulary youll need in order to move around within Maya, and then well jump right into the Modeling section of the course. After completing the Modeling section, youll get the chance try your hand at Texturing, Rigging, Animation, Dynamics, and finally, Lighting and Rendering your own animation. Our goal is not to weigh you down with technical information, but rather to help you form good habits and strong workflows so you can become a proficient Maya artist.
90 videos in this course
1. Introduction and project overview
2. Camera navigation and object creation in Maya
3. Maya interface overview
4. Creating your first Maya project
5. Saving Maya files
6. Viewport shading modes in Maya
7. Object transformation tools
8. Working with the Channel Box and Layer Editor
9. Using the Attribute Editor
10. Grouping and parenting objects in Maya
11. Working with the Maya Hotbox
12. Selection Masks in Maya
13. Writing your first MEL script
14. Working with shelves in Maya
15. Modeling Section Overview
16. Lofting the fuselage with curves
17. Trimming out part of the body
18. Creating the sides of the cockpit
19. Building the wing base
20. Converting the wing to polygons
21. Cutting flaps from the wing
22. Building the rear engine block
23. Adding curved pipes to the engine
24. Starting the turbo fan
25. Building the fan blades
26. Starting the front spine piece
27. Adding detail to finish the spine
28. Duplicating geometry to add overlapping pieces
29. Adding secondary details on the fuselage
30. Building panels from converted geometry
31. Extracting curves to build the windscreen
32. Building the fins from primitive geometry
33. Modeling the interior of the cockpit
34. Adding the exhaust ports
35. Modeling final details
36. Importing geometry and adding the fuel line
37. Materials and Texturing Overview
38. Working with the Hypershade
39. Applying and manipulating simple materials
40. Using ramps
41. Adding multiple materials to objects
42. Working with transparency
43. The basics of UVs
44. Working with procedural textures
45. Combining procedural nodes
46. Adding specialized materials
47. Using external file textures
48. Working with Substance textures
49. Rigging Section Overview
50. Creating control curves
51. Using display layers to organize our rig
52. Modifying an objects orientation and pivot
53. Utilizing selection handles
54. Working with Clusters
55. Creating custom attributes
56. Using the Connection Editor to drive attributes
57. Using Set Driven Keys to simplify the rigging process
58. Automating movement with expressions
59. Adding a speed setting for the expression
60. Drawing your first joint chain
61. Using Mayas IK Handle Tool
62. Binding geometry to joints
63. Making your scene animator-friendly
64. Animation Section Overview
65. Learning to keyframe and modify keys on the Time Slider
66. Managing keyframes in the Graph Editor
67. Seamlessly cycling animation
68. Animating an object along a path
69. Modifying how an object interpolates along a path
70. Working with Autokey
71. Correcting animation with Editable Motion Trails
72. Previewing animation in real-time with playblasts
73. Dynamics section overview
74. Creating a dynamic fire effect
75. Creating a particle emitter
76. Connecting emitters to objects
77. Creating per-particle attributes
78. Using the Particle Volume Shader
79. Lighting and Rendering section overview
80. Working with the Maya Render View
81. Controlling anti-aliasing quality of your renders
82. Understanding Clipping Planes and Resolution Gates
83. Understanding the various light types in Maya
84. Common light attributes
85. Adding shadows to your renders
86. Changing the Render Stats of objects
87. Matching lights to a photographic environment
88. Using the Attribute Spread Sheet
89. Adding motion blur to your renders
90. Rendering an animated sequence from Maya
Digital Tutors Introduction To Modeling In 3DS Max (2011)
English | MOV | SVQ3 969 kbps 15 fps | 788x648 | MP3 22 kbps 48 KHz | 1.04 GB
Genre: elearning
Learn a fundamental workflow to Polygon, NURBS, and Splined based modeling and time saving techniques to creatively utilizing the robust tools available in 3ds Max.
Contains nearly 4 hours of self paced training for artists new to modeling in 3ds Max and experienced artists seeking a refresher.
Popular highlights include: NURBS Workflow; Polygon Workflow; Splines and Patches Workflow; Scene Organization with Layers; Smoothing Methods; Working with Sub objects; Sub object Selection Methods; Adding Viewport Background Images; Scale Deformation; Cloning Geometry and Shapes; Mirroring Geometry; Sweep Modifier; Shell Modifier; Symmetry Modifier; Surface Modifier; FFD Modifiers; Lathe Modifier; Modifier Stack; Moving Pivot Points; Transforming Geometry and Shapes; Modifying Creation Parameters; Creating Booleans; Attaching and Detaching objects; Welding Vertices; Rendering and Viewing Curves; HSDS Modifier for Subdivision Surfaces.
Digital Tutors - Maya Unlimited Advanced Fluid Effects
Digital Tutors - Maya Unlimited Advanced Fluid Effects
English | MOV |780x584 498kbs 15fps | 88.2kbps 1 channel 11.025 KHz | 628MB
Genre: Video Training
Learn how to create advanced fluid effects in Maya resulting in extraordinary realism with 3.5 hours of interactive training. Great for intermediate and advanced users.
Popular highlights include: Realistic Fire and Smoke Effects; Navier-Stokes Fluid Solvers; Spring Mesh Fluid Solvers; Interacting Fluids with Particles; Fluid Container Properties; Expression-controlled Fluids; Advanced Heat Dynamics; Combustible Fluids; Soft Surface Simulations; Realistic Liquid Simulations; Converting Fluids to Polygons;
Digital Tutors - Procedural ICE Modeling in Softimage 2012 | project files | .flv | 864Mb
In this course we will take a look at building an advanced ICE modeling compound to control the copying of an element with two control curves.
Well begin this project by creating ICE extrusions with curves and strands to create our base stair element. We'll then create copies of our element inside an empty mesh. Then we'll create a control curve, find the transformations at various locations along the curve, and transform our copies to be on the curve. We'll then create a second curve to control other aspects of our copies and package everything into a compound. We'll then learn how to create controls to easily modify our copies without having to understand our ICE tree.
Homepage: http://www.digitaltutors.com/11/training.php?pid=153
Digital Tutors - Sculpting Workflows in Mudbox 2012
Digital Tutors - Sculpting Workflows in Mudbox 2012
| project files | .flv | 709Mb
In this series of lessons we will cover all of the different sculpting tools in Mudbox and talk about some workflow tips to keep in mind as you sculpt.
Within Mudbox, there is a wide range of sculpting tools that allows artists to create many different effects. Some of these tools are more commonly used so they are well covered in many of our Mudbox courses, but all of them serve a purpose and can be an important part of your artist's toolbox. In this course we will cover all of the sculpt tools, one by one, talking about how they can be used and what some of the unique properties are for each one. We'll cover the more commonly used tools like the Sculpt Tool and Grab Tool and lesser used tools like Flatten and Scrape. We'll look at the reasons for using each one and talk about how to add our own custom tools to the tool tray. We'll finish up by talking about a couple of different sculpting workflows you can take advantage of. In the end, you'll have enough knowledge of all of the Sculpt Tools in Mudbox to begin integrating them into your workflow..
Homepage: http://www.digitaltutors.com/11/training.php?pid=88
Digital-Tutors : Introduction to Mudbox 2012
3 hrs. 28 min. |Released on June 30, 2011 |Project Files Included (2149 MB)
Required Software: Mudbox 2012 and up
In this course we will go over every thing you need to know to start using Mudbox 2012.
In this series of lessons you will get a ground up look at the powerful sculpting and texture painting application, Mudbox. We will begin by taking a look at the Mudbox interface and talking about the basics of working with geometry in Mudbox. We will cover methods for getting geometry into Mudbox, how to transform it around the scene, and subdivide it in preparation for sculpting. We will proceed from there by using a project based approach to cover the sculpting and painting tools. We will also create our own Vector Displacement Maps that we can use to sculpt. We will talk about changing our tool properties to get different results and using stamps and stencils to create various looks. We will go over some on-target presentation features in Mudbox and move on to painting textures. We will cover the Mudbox paint layer functionality and talk about new features in 2012 like uv-less PTEX painting and layer masks. We will talk about the Pose tools and painting opacity maps for our meshes. Well finish up by talking about how Mudbox integrates with other applications like Photoshop, Maya, 3ds Max, and Softimage. This course will give you the chance to learn the ins and outs of Mudbox by going through the process with a project based approach. Once you have completed these lessons, you will be able to take what you have learned and apply it to your own work.
30 videos in this course
1. Introduction and project overview
2. Overview of the user interface
3. Navigating the 3d view
4. Using Mudbox starting points
5. Importing geometry
6. Subdividing geometry
7. Working with geometry
8. Overview of the sculpting and painting tools
9. Beginning the dragonfly sculpt
10. Detailing the dragonfly body
11. Detailing the dragonfly head
12. Adding surface detail with stamps
13. Using the pose tools to shape the legs
14. Sculpting the legs
15. Creating and using Vector Displacement Maps
16. Using sculpt layers
17. Working with materials
18. Adding lights to the scene
19. Using the viewport filters
20. Adding a base color to the body
21. Painting the main body color
22. Using layer masks to modify the texture
23. Adjusting the body color
24. Painting the leg texture
25. Painting an opacity map for the wings
26. Painting the wing color
27. Using PTEX to paint the eyes
28. Modifying textures with Photoshop
29. Extracting maps in Mudbox
30. Integrating Mudbox with other applications
Digital-Tutors - Getting Started with Digital Painting in Photoshop CS5
Duration: 2h 37m | Video: VP6 (.flv) 1280x720 15fps 500Kbps | Audio: MP3 44.1KHz 96Kbps | 1.01 GB
Language: English | Level: Beginner
Genre: eLearning
In this collection of lessons we will learn how an artist can get started painting digitally inside of Photoshop.
We will begin by taking a quick tour around the user interface learning the location of important tools and panels. Next, we will learn how we can create and manage layers in Photoshop. From here we will dive into some of the most commonly used tools for digital painting, learning where they are and how they work. After spending some time learning how to select and store colors, we will jump right into setting up a composition with a sketch where we will discover the difference between resizing and resampling our artwork. Next we will take a glimpse into the painting process by first blocking in some color and then blending it together. Along the way, we will learn how to create custom brushes and patterns as well as how we can utilize these to paint textures. We will wrap things up by learning about layer masks and what we can be on the look out for to make our textures more believable.
Digital-Tutors : Exploring NURBS in Maya 2012
1 hrs. 28 min.| Released on August 1, 2011|Project Files Included (307 KB)
Required Software: Maya 2012
In this course we will discuss the basics of using NURBS geometry in our modeling workflow.
NURBS stands for Non-Uniform Rational B-Spline, but they are much more useful to a 3d artist than the name might indicate. In this series of lessons well get up to speed on NURBS geometry and talk about some of the ways it can be used in our modeling workflows. Well begin by talking about the basic NURBS building blocks and look at the different NURBS components that can be manipulated to get the shapes we want. We'll cover methods for creating curves, the framework of NURBS objects. We'll then explore many of the ways that we can use curves to create different types of NURBS objects, from revolving to extruding and lofting. We'll also talk about using trimmed surfaces to create complex cut-outs and we'll discuss NURBS parameterization. In addition, we'll look at ways of attaching and detaching curves and surfaces, combining objects with Booleans, and methods of blending together multiple objects. In the end, you'll have a better idea of what NURBS geometry is and how you can start to integrate it into your modeling workflow.
13 videos in this course
1. Introduction and project overview
2. What are NURBS?
3. Using NURBS primitives
4. Creating curves
5. Creating surfaces
6. NURBS parameters
7. Working with trims
8. Combining curves and surfaces
9. Using Booleans
10. Blending multiple surfaces
11. Texturing NURBS objects
12. Stitching patches together
13. Converting NURBS to other geometry types
Maya Modeling Reference Library: Edit Mesh
1 hrs. 26 min.
|
Released on June 1, 2011
Required Software: Maya 2011 and up
In this series of lessons, we will be taking a detailed look at each of the commands found in Maya's Edit Mesh menu.
Each video in this course is a self-contained lesson centering on one of the commands found in the Edit Mesh menu in Maya. This means that these lessons can be viewed in any order you wish, allowing you to jump straight to the content that is most relevant to you. Over the course of these lessons, we'll take a detailed look at each of the Edit Mesh commands and how each of them can be used to speed up our workflow.
Maya Modeling Reference Library: Normals
43 min. 20 sec.
|
Released on August 1, 2011
Required Software: Maya 2011 and up
In this series of lessons, we will be taking a detailed look at each of the commands found in Maya's Normals menu.
Each video in this course is a self-contained lesson centering on one of the commands found in the Normals menu in Maya. This means that these lessons can be viewed in any order you wish, allowing you to jump straight to the content that is most relevant to you. Over the course of these lessons, we'll take a detailed look at each of the Normals commands and how each of them can be used to speed up our workflow.
Creative Development: Motion Flow Rigging in Maya with Farley Chery
7 hrs. 8 min.
|
Released on June 15, 2011
|
Project Files Included (13 MB)
Required Software: Maya 2011
In this series of lessons, learn the process of rigging with an emphasis on fluidity and natural motion.
In this course, Farley Chery will be introducing extraordinary new rigging concepts to help animators achieve natural fluidity in our body movement. He will cover different theories and methods used in combination to give natural articulation that occurs during body movement. The artist will explain the theory and reasoning through the rig development process. This leads into the creation of an innovative shoulder setup, based on the postion of the elbows mimicking the proper actions of human anatomy, which uses the concepts covered to make it intuitive to use in both FK and IK systems. This implementation of a remarkable no flip knee setup, which is used to create an automatic hip system, magically orients itself to the average position of the knees allowing for quick and natural poses for the character. This course is concluded by building a squash and stretch nSpine and an easy method for creating spine twists. These revolutionary methods come directly from the artist and can not be found anywhere else.
Pipeline Integration with Maya 2011 and ZBrush 4
1 hrs. 33 min.
|
Released on December 1, 2010
|
Project Files Included (523 MB)
Required Software: Maya 2011 and higher, ZBrush 4
In this course we will cover many of the methods for working between ZBrush 4 and Maya.
ZBrush and Maya are both very powerful 3D applications that each offers its own strengths. By combining these two programs into our workflow, we can take advantage of those strengths to get our work done quicker and more efficiently. In this course, we'’ll cover many of the tools and techniques we can use to merge ZBrush and Maya into our workflows. We'll explore methods for manually transferring geometry back and forth between the two applications. We'll also look at creating color maps, Normal maps, and Displacement maps, and transferring those to Maya. We'll look at the GoZ pipeline and how it will make working with ZBrush and Maya a really seamless process. We'll also look at some practical reasons for choosing to use Maya and ZBrush in tandem. In the end, you'll have a good understanding of how you can work efficiently between Maya and ZBrush, leveraging the strengths of both to create your best work.
12 videos in this course
http://www.digitaltutors.com
Digital Tutors - Capturing the Essence of a Character in Photoshop CS5
English | 782x646 | 4 hours 22 mins | FLV | 1.40 GB
Gender: elearning
In this collection of lessons we will learn how to capture the essence of a character based on their back story and then execute it in a final character concept. We will begin this process by taking a look at the character bio and learning a bit about our character. After exploring the detailed information we have been supplied with, we will get started by first learning about a few areas that are critical to successfully capturing our characters essence. We will learn about the importance of her anatomy, pose, hairstyle and wardrobe. After a few quick explorations in each of these areas, we will get started in painting our final character concept from start to finish. After completing this course, you should have some great ideas on how you can create more effective and appealing character designs.
Video Sections:
1. Introduction and project overview
2. Character back story
3. Character anatomy and pose
4. Exploring hair styles for our character
5. Exploring wardrobe options for our character
6. Beginning the final character concept
7. Continuing to block in shapes for clothing
8. Beginning to bring out the volume in the initial shapes
9. Beginning to add detail to the character's vest
10. Continuing to add detail to the character's vest
11. Adding detail to the character's undershirt and utility belt
12. Continuing to add detail to the character's utility belt
13. Detailing the belt buck and ammunition magazines
14. Beginning to detail the character's pants
15. Adding detail to the character's pants pocket and holster
16. Beginning to detail wrinkles in the character's pants
17. Continuing to detail wrinkles in the character's pants
18. Beginning to detail the character's right boot
19. Continuing to detail the character's right boot
20. Finishing the detail in the character's right boot
21. Beginning to detail the character's left boot
22. Continuing to detail the character's left boot
23. Finishing the character's left boot and pants around the boots
24. Painting throwing knives and final tweaks
25. Adding final shadows and specular highlights
Digital Tutors - Creating a Stylized Pin Up Cover Design in Photoshop CS5 | project files | .flv | 1.08Gb
In this collection of lessons we will focus on Creating a Stylized Pin Up Cover Design in Photoshop.
We will begin this process by learning how to use the refine mask features in Photoshop to successfully extract a our model from her background. Next we will walk through recreating the environment for our model as well as grounding her into it. From there, we will shift our focus to the typography on our cover, looking to create a sense of movement that compliments the pose of our model. After completing the background elements in our composition, we will work on color correction to help our model fit better into the scene and give her more of a vintage look. Next, we will learn how to paint stylized flames that will highlight the movements of our model. Finally, we will shift our focus to lighting and really add that last bit of polish that makes our piece shine. After completing this course, you will have an understanding of the tools, techniques and workflows that go into creating a professional magazine cover.
Homepage: http://www.digitaltutors.com/11/training.php?pid=469
Digital Tutors - Creative Development: Enhanced IK Animal Rigging with Farley Chery | project files | .flv | 3.91Gb
This course will teach the viewer how to rig a mountain lion harnessing the power of Enhanced IK in Maya.
In this course, Farley Chery will lead the viewer through the rigors of creating a control rig for one of the great cats using Enhanced IK in Maya 2012. While the course centers on a puma/panther these techniques work on all the great cats and any quadruped with similar anatomy. Much like his prior tutorial Motion Flow Rigging in Maya, and much like the first amazing techniques are unveiled. New ideas on internal automation principles will be explored and old ones expanded on. The artist will create a robust rig with a more straight forward workflow then the previous course, while still providing examples of problem solving techniques that arise when creating a complex rig. The course focuses on presenting new or different techniques wherever possible for comparison with more established systems. Rigging one of the great cats with enhanced IK makes for a very flexible control rig. The base system of Enhanced IK though is versatile enough to use with many other methodologies in Maya. Enhanced IK greatly improves the functionality of Inverse Kinematics in Maya. By the end of this course you will be armed with techniques to make efficient and robust rigs for feline and canine quadrupeds, utilizing an enhanced control rig that is ready to be modified and finalized with your preferred hierarchies and dynamic parenting setups.
Homepage: http://www.digitaltutors.com/11/training.php?pid=179
Digital-Tutors : Introduction to Maya 2012
Digital-Tutors : Introduction to Maya 2012
Filesonic Uploadstation WUpload | 3.42 GB
Orignal Content Provider - Heroturko.biz
10 hrs. 29 min.
Released on August 1, 2011
Project Files Included (42 MB)
Required Software: Maya 2012 and up
In this series of lessons, we will help you get a strong understanding of Maya and how it works. Youll get the chance to work with many of the Maya instructors here at Digital-Tutors who will show you how to use some of the major components of Maya.
In this course, well start by giving you the foundational skills and vocabulary youll need in order to move around within Maya, and then well jump right into the Modeling section of the course. After completing the Modeling section, youll get the chance try your hand at Texturing, Rigging, Animation, Dynamics, and finally, Lighting and Rendering your own animation. Our goal is not to weigh you down with technical information, but rather to help you form good habits and strong workflows so you can become a proficient Maya artist.
90 videos in this course
1. Introduction and project overview
2. Camera navigation and object creation in Maya
3. Maya interface overview
4. Creating your first Maya project
5. Saving Maya files
6. Viewport shading modes in Maya
7. Object transformation tools
8. Working with the Channel Box and Layer Editor
9. Using the Attribute Editor
10. Grouping and parenting objects in Maya
11. Working with the Maya Hotbox
12. Selection Masks in Maya
13. Writing your first MEL script
14. Working with shelves in Maya
15. Modeling Section Overview
16. Lofting the fuselage with curves
17. Trimming out part of the body
18. Creating the sides of the cockpit
19. Building the wing base
20. Converting the wing to polygons
21. Cutting flaps from the wing
22. Building the rear engine block
23. Adding curved pipes to the engine
24. Starting the turbo fan
25. Building the fan blades
26. Starting the front spine piece
27. Adding detail to finish the spine
28. Duplicating geometry to add overlapping pieces
29. Adding secondary details on the fuselage
30. Building panels from converted geometry
31. Extracting curves to build the windscreen
32. Building the fins from primitive geometry
33. Modeling the interior of the cockpit
34. Adding the exhaust ports
35. Modeling final details
36. Importing geometry and adding the fuel line
37. Materials and Texturing Overview
38. Working with the Hypershade
39. Applying and manipulating simple materials
40. Using ramps
41. Adding multiple materials to objects
42. Working with transparency
43. The basics of UVs
44. Working with procedural textures
45. Combining procedural nodes
46. Adding specialized materials
47. Using external file textures
48. Working with Substance textures
49. Rigging Section Overview
50. Creating control curves
51. Using display layers to organize our rig
52. Modifying an objects orientation and pivot
53. Utilizing selection handles
54. Working with Clusters
55. Creating custom attributes
56. Using the Connection Editor to drive attributes
57. Using Set Driven Keys to simplify the rigging process
58. Automating movement with expressions
59. Adding a speed setting for the expression
60. Drawing your first joint chain
61. Using Mayas IK Handle Tool
62. Binding geometry to joints
63. Making your scene animator-friendly
64. Animation Section Overview
65. Learning to keyframe and modify keys on the Time Slider
66. Managing keyframes in the Graph Editor
67. Seamlessly cycling animation
68. Animating an object along a path
69. Modifying how an object interpolates along a path
70. Working with Autokey
71. Correcting animation with Editable Motion Trails
72. Previewing animation in real-time with playblasts
73. Dynamics section overview
74. Creating a dynamic fire effect
75. Creating a particle emitter
76. Connecting emitters to objects
77. Creating per-particle attributes
78. Using the Particle Volume Shader
79. Lighting and Rendering section overview
80. Working with the Maya Render View
81. Controlling anti-aliasing quality of your renders
82. Understanding Clipping Planes and Resolution Gates
83. Understanding the various light types in Maya
84. Common light attributes
85. Adding shadows to your renders
86. Changing the Render Stats of objects
87. Matching lights to a photographic environment
88. Using the Attribute Spread Sheet
89. Adding motion blur to your renders
90. Rendering an animated sequence from Maya
Digital Tutors Introduction To Modeling In 3DS Max (2011)
English | MOV | SVQ3 969 kbps 15 fps | 788x648 | MP3 22 kbps 48 KHz | 1.04 GB
Genre: elearning
Learn a fundamental workflow to Polygon, NURBS, and Splined based modeling and time saving techniques to creatively utilizing the robust tools available in 3ds Max.
Contains nearly 4 hours of self paced training for artists new to modeling in 3ds Max and experienced artists seeking a refresher.
Popular highlights include: NURBS Workflow; Polygon Workflow; Splines and Patches Workflow; Scene Organization with Layers; Smoothing Methods; Working with Sub objects; Sub object Selection Methods; Adding Viewport Background Images; Scale Deformation; Cloning Geometry and Shapes; Mirroring Geometry; Sweep Modifier; Shell Modifier; Symmetry Modifier; Surface Modifier; FFD Modifiers; Lathe Modifier; Modifier Stack; Moving Pivot Points; Transforming Geometry and Shapes; Modifying Creation Parameters; Creating Booleans; Attaching and Detaching objects; Welding Vertices; Rendering and Viewing Curves; HSDS Modifier for Subdivision Surfaces.
Digital Tutors - Maya Unlimited Advanced Fluid Effects
Digital Tutors - Maya Unlimited Advanced Fluid Effects
English | MOV |780x584 498kbs 15fps | 88.2kbps 1 channel 11.025 KHz | 628MB
Genre: Video Training
Learn how to create advanced fluid effects in Maya resulting in extraordinary realism with 3.5 hours of interactive training. Great for intermediate and advanced users.
Popular highlights include: Realistic Fire and Smoke Effects; Navier-Stokes Fluid Solvers; Spring Mesh Fluid Solvers; Interacting Fluids with Particles; Fluid Container Properties; Expression-controlled Fluids; Advanced Heat Dynamics; Combustible Fluids; Soft Surface Simulations; Realistic Liquid Simulations; Converting Fluids to Polygons;
Digital Tutors - Procedural ICE Modeling in Softimage 2012 | project files | .flv | 864Mb
In this course we will take a look at building an advanced ICE modeling compound to control the copying of an element with two control curves.
Well begin this project by creating ICE extrusions with curves and strands to create our base stair element. We'll then create copies of our element inside an empty mesh. Then we'll create a control curve, find the transformations at various locations along the curve, and transform our copies to be on the curve. We'll then create a second curve to control other aspects of our copies and package everything into a compound. We'll then learn how to create controls to easily modify our copies without having to understand our ICE tree.
Homepage: http://www.digitaltutors.com/11/training.php?pid=153
Digital Tutors - Sculpting Workflows in Mudbox 2012
Digital Tutors - Sculpting Workflows in Mudbox 2012
| project files | .flv | 709Mb
In this series of lessons we will cover all of the different sculpting tools in Mudbox and talk about some workflow tips to keep in mind as you sculpt.
Within Mudbox, there is a wide range of sculpting tools that allows artists to create many different effects. Some of these tools are more commonly used so they are well covered in many of our Mudbox courses, but all of them serve a purpose and can be an important part of your artist's toolbox. In this course we will cover all of the sculpt tools, one by one, talking about how they can be used and what some of the unique properties are for each one. We'll cover the more commonly used tools like the Sculpt Tool and Grab Tool and lesser used tools like Flatten and Scrape. We'll look at the reasons for using each one and talk about how to add our own custom tools to the tool tray. We'll finish up by talking about a couple of different sculpting workflows you can take advantage of. In the end, you'll have enough knowledge of all of the Sculpt Tools in Mudbox to begin integrating them into your workflow..
Homepage: http://www.digitaltutors.com/11/training.php?pid=88
Digital-Tutors : Introduction to Mudbox 2012
3 hrs. 28 min. |Released on June 30, 2011 |Project Files Included (2149 MB)
Required Software: Mudbox 2012 and up
In this course we will go over every thing you need to know to start using Mudbox 2012.
In this series of lessons you will get a ground up look at the powerful sculpting and texture painting application, Mudbox. We will begin by taking a look at the Mudbox interface and talking about the basics of working with geometry in Mudbox. We will cover methods for getting geometry into Mudbox, how to transform it around the scene, and subdivide it in preparation for sculpting. We will proceed from there by using a project based approach to cover the sculpting and painting tools. We will also create our own Vector Displacement Maps that we can use to sculpt. We will talk about changing our tool properties to get different results and using stamps and stencils to create various looks. We will go over some on-target presentation features in Mudbox and move on to painting textures. We will cover the Mudbox paint layer functionality and talk about new features in 2012 like uv-less PTEX painting and layer masks. We will talk about the Pose tools and painting opacity maps for our meshes. Well finish up by talking about how Mudbox integrates with other applications like Photoshop, Maya, 3ds Max, and Softimage. This course will give you the chance to learn the ins and outs of Mudbox by going through the process with a project based approach. Once you have completed these lessons, you will be able to take what you have learned and apply it to your own work.
30 videos in this course
1. Introduction and project overview
2. Overview of the user interface
3. Navigating the 3d view
4. Using Mudbox starting points
5. Importing geometry
6. Subdividing geometry
7. Working with geometry
8. Overview of the sculpting and painting tools
9. Beginning the dragonfly sculpt
10. Detailing the dragonfly body
11. Detailing the dragonfly head
12. Adding surface detail with stamps
13. Using the pose tools to shape the legs
14. Sculpting the legs
15. Creating and using Vector Displacement Maps
16. Using sculpt layers
17. Working with materials
18. Adding lights to the scene
19. Using the viewport filters
20. Adding a base color to the body
21. Painting the main body color
22. Using layer masks to modify the texture
23. Adjusting the body color
24. Painting the leg texture
25. Painting an opacity map for the wings
26. Painting the wing color
27. Using PTEX to paint the eyes
28. Modifying textures with Photoshop
29. Extracting maps in Mudbox
30. Integrating Mudbox with other applications
Digital-Tutors - Getting Started with Digital Painting in Photoshop CS5
Duration: 2h 37m | Video: VP6 (.flv) 1280x720 15fps 500Kbps | Audio: MP3 44.1KHz 96Kbps | 1.01 GB
Language: English | Level: Beginner
Genre: eLearning
In this collection of lessons we will learn how an artist can get started painting digitally inside of Photoshop.
We will begin by taking a quick tour around the user interface learning the location of important tools and panels. Next, we will learn how we can create and manage layers in Photoshop. From here we will dive into some of the most commonly used tools for digital painting, learning where they are and how they work. After spending some time learning how to select and store colors, we will jump right into setting up a composition with a sketch where we will discover the difference between resizing and resampling our artwork. Next we will take a glimpse into the painting process by first blocking in some color and then blending it together. Along the way, we will learn how to create custom brushes and patterns as well as how we can utilize these to paint textures. We will wrap things up by learning about layer masks and what we can be on the look out for to make our textures more believable.
Digital-Tutors : Exploring NURBS in Maya 2012
1 hrs. 28 min.| Released on August 1, 2011|Project Files Included (307 KB)
Required Software: Maya 2012
In this course we will discuss the basics of using NURBS geometry in our modeling workflow.
NURBS stands for Non-Uniform Rational B-Spline, but they are much more useful to a 3d artist than the name might indicate. In this series of lessons well get up to speed on NURBS geometry and talk about some of the ways it can be used in our modeling workflows. Well begin by talking about the basic NURBS building blocks and look at the different NURBS components that can be manipulated to get the shapes we want. We'll cover methods for creating curves, the framework of NURBS objects. We'll then explore many of the ways that we can use curves to create different types of NURBS objects, from revolving to extruding and lofting. We'll also talk about using trimmed surfaces to create complex cut-outs and we'll discuss NURBS parameterization. In addition, we'll look at ways of attaching and detaching curves and surfaces, combining objects with Booleans, and methods of blending together multiple objects. In the end, you'll have a better idea of what NURBS geometry is and how you can start to integrate it into your modeling workflow.
13 videos in this course
1. Introduction and project overview
2. What are NURBS?
3. Using NURBS primitives
4. Creating curves
5. Creating surfaces
6. NURBS parameters
7. Working with trims
8. Combining curves and surfaces
9. Using Booleans
10. Blending multiple surfaces
11. Texturing NURBS objects
12. Stitching patches together
13. Converting NURBS to other geometry types
Maya Modeling Reference Library: Edit Mesh
1 hrs. 26 min.
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Released on June 1, 2011
Required Software: Maya 2011 and up
In this series of lessons, we will be taking a detailed look at each of the commands found in Maya's Edit Mesh menu.
Each video in this course is a self-contained lesson centering on one of the commands found in the Edit Mesh menu in Maya. This means that these lessons can be viewed in any order you wish, allowing you to jump straight to the content that is most relevant to you. Over the course of these lessons, we'll take a detailed look at each of the Edit Mesh commands and how each of them can be used to speed up our workflow.
Maya Modeling Reference Library: Normals
43 min. 20 sec.
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Released on August 1, 2011
Required Software: Maya 2011 and up
In this series of lessons, we will be taking a detailed look at each of the commands found in Maya's Normals menu.
Each video in this course is a self-contained lesson centering on one of the commands found in the Normals menu in Maya. This means that these lessons can be viewed in any order you wish, allowing you to jump straight to the content that is most relevant to you. Over the course of these lessons, we'll take a detailed look at each of the Normals commands and how each of them can be used to speed up our workflow.
Creative Development: Motion Flow Rigging in Maya with Farley Chery
7 hrs. 8 min.
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Released on June 15, 2011
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Project Files Included (13 MB)
Required Software: Maya 2011
In this series of lessons, learn the process of rigging with an emphasis on fluidity and natural motion.
In this course, Farley Chery will be introducing extraordinary new rigging concepts to help animators achieve natural fluidity in our body movement. He will cover different theories and methods used in combination to give natural articulation that occurs during body movement. The artist will explain the theory and reasoning through the rig development process. This leads into the creation of an innovative shoulder setup, based on the postion of the elbows mimicking the proper actions of human anatomy, which uses the concepts covered to make it intuitive to use in both FK and IK systems. This implementation of a remarkable no flip knee setup, which is used to create an automatic hip system, magically orients itself to the average position of the knees allowing for quick and natural poses for the character. This course is concluded by building a squash and stretch nSpine and an easy method for creating spine twists. These revolutionary methods come directly from the artist and can not be found anywhere else.
Pipeline Integration with Maya 2011 and ZBrush 4
1 hrs. 33 min.
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Released on December 1, 2010
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Project Files Included (523 MB)
Required Software: Maya 2011 and higher, ZBrush 4
In this course we will cover many of the methods for working between ZBrush 4 and Maya.
ZBrush and Maya are both very powerful 3D applications that each offers its own strengths. By combining these two programs into our workflow, we can take advantage of those strengths to get our work done quicker and more efficiently. In this course, we'’ll cover many of the tools and techniques we can use to merge ZBrush and Maya into our workflows. We'll explore methods for manually transferring geometry back and forth between the two applications. We'll also look at creating color maps, Normal maps, and Displacement maps, and transferring those to Maya. We'll look at the GoZ pipeline and how it will make working with ZBrush and Maya a really seamless process. We'll also look at some practical reasons for choosing to use Maya and ZBrush in tandem. In the end, you'll have a good understanding of how you can work efficiently between Maya and ZBrush, leveraging the strengths of both to create your best work.
12 videos in this course
