Cartoon Smart - Smoke And Clouds
CartoonSmart's Flash 8 Tutorial on Smoke and Clouds tutorial teaches how to illustrate and animate realistic clouds from scratch. Using some of simplest Flash tools (like the paint brush) you can quickly brush in some simple shapes then use the new Flash 8 filters to blur them into a smoke effect. Shown here are Night Clouds, Day Clouds, and a Billowing Smoke Effect.
This video tutorial is for Flash 8 only, and is recorded in high quality Quicktime.
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Do you want to create realistic vehicles similar to pod racers with the same stunning detail as seen on TV and film? "Maya Basics" answers your question in the industry's most comprehensive step-by-step training kit. "Maya Basics", over 250 minutes of the most innovative and revolutionary training in the world, allows you to learn the essential basic techniques, concepts, and methods of Maya - making "Maya Basics" a must-have.
Introduction to Maya, 2nd Edition
Learning Maya is easier than ever! "Introduction to Maya - 2nd Edition" provides over 9 hours of project-driven training and guides you through the entire process of modeling, texturing, lighting, animation, and rendering within Maya. Ideal for students, professionals, and companies using Maya as part of their creative arsenal, "Introduction to Maya - 2nd Edition" provides a unique approach to learning the most critical concepts of Maya.
Maya Basics: Introduction to Paint Effects
Begin expressing yourself creatively! "Introduction to Paint Effects" provides over 4 hours of project-driven training and guides you step-by-step through Maya’s powerful brushed-based technology, Paint Effects. Ideal for students, enthusiasts, and professionals, integrating Maya Paint Effects into their creative workflow, "Introduction to Paint Effects" provides an interactive approach to learning Maya Paint Effects and unleashes your creativity.
Introduction to Maya: Hypershade Basics
"Introduction to Maya: Hypershade Basics" focuses on the innovative rendering technology, which gives you complete control over the appearance of your rendered objects. The interactive projects, concepts, and lessons are presented in clear and easy to follow steps, designed to save you time and frustration. Highlights from the topics include: overview of surface materials, working with both 2D and 3D textures, using projections, creating shading networks, using the Connection Editor, using the Attribute Spread Sheet, and numerous additional tips and tricks allowing you to work smarter, faster, and with more creativity.
Introduction to 3D" MEL Basics
Not a programmer, Perfect! Want to take your productivity and creative workflow to the next level? "Introduction to 3D: MEL Basics", is the first comprehensive training kit for MEL scripting language designed specifically for anyone with limited programming experience. In over 2.5 hours of our revolutionary training methods, Digital-Tutors takes the fear out of MEL scripting, guides you step-by-step through Maya's intricate and powerful MEL system, and allows you to focus on what's most important - your creativity.
Maya Character Animation Bundle
Character Rigging, the intricate and compound process of preparing a character (or object) for animation, is greatly regarded as an industry perquisite for the animation world. Character Rigging involves developing an internal skeleton which directly affects how a character's joints will be in motion. More benefits you will learn from "Essentials: Character Rigging in Maya" include, building the surfaces, skeleton basics, local rotations, foot controls, foot and hand rigs, controlling IK's with Spline, and countless production level controls to animate your rig in preparation for Binding.
Character Binding, another intricate and compound process of preparing a character for animation, is often regarded as an industry perquisite for the animation world. Character Binding involves developing an external muscular system which directly affects how a character will be in motion and how to control the skin deformations. Highlights of what you will learn from this training kit include, rigid binding, flexors, smooth binding, muscles, indirect binding, creating a character, understanding the Set Membership and Paint Weights tools, and countless other short cuts and problem solving techniques.
Fundamentals of mental ray
Digital-Tutors proudly bring you Fundamentals of mental ray, the industry's first comprehensive training kit for photorealistic rendering. This step-by-step training kit will help you to discover the art and simplicity of mental ray and allow you to create images with unsurpassed realism and stunning visual details. The Fundamentals of mental ray training kit systematically lowers the learning curve and equips you with the fundamental elements needed to achieve artistic goals in 146 minutes of our revolutionized training methods.
Fundamentals of Maya Dynamics: Particles / Fields
"Fundamentals of Maya Dynamics: Particles and Fields" guides you through Maya's particle and dynamics system, which is used to create effects such as sparks, rain, smoke, fire, and dust. In addition, you will also learn dynamic fields such as gravity, wind, turbulence, and drag, which can be applied to these particles to create simulations that behave according to the laws of physics.
Fundamentals of Maya Dynamics: Soft / Rigid Bodies
"Fundamentals of Maya Dynamics: Soft and Rigid Bodies" provides users with fundamental techniques, diverse interactive projects, time-saving concepts, and valuable tools that will greatly enhance the user's productivity and as well as accurately automate and create effects often difficult to emulate. "Fundamentals of Maya Dynamics: Soft and Rigid Bodies" features comprehensive training on creating rigid-body dynamics, applying constraints, shatter, lattices, goals, adding springs, creating soft-body dynamics, active and passive rigid bodies, active and passive keys, determining initial states, setting static and dynamic friction, damping, mass, bounciness, and an array of additional methods and interactive projects all presented in a clear and easy-to-follow format.
Fundamentals of Maya: Polygon and Sub-D Modeling
Finally, the art of creature modeling has arrived. "Fundamentals of Maya: Polygon and Sub-D Modeling" focuses on the fundamentals of modeling organic forms with complexity and realism, allowing the user's imagination to become reality! Get unrivaled experience with the innovative tools and powerful modeling techniques presented in over 3.5 hours and 2 discs of comprehensive training methods by Digital-Tutors.
Fundamentals of Maya: UV Layout
"Fundamentals of Maya: UV Layout" concentrates on the essential techniques needed to define and apply flawless textures to Polygon and Sub-D models, resulting in phenomenal detail and accuracy. Each of the concepts, methods, and tools used for every process are presented in clear and easy to follow steps, specifically designed to save you time and frustration throughout your workflow. Easily learn Planar, Cylindrical, Spherical and Automatic Mapping methods, Cutting UVs. Sewing UVs, UV Transfer, Averaging Vertices, working in the UV Texture Editor, and achieving clean and efficient UV layouts with precision.
Fundamentals of Photoshop / Maya: 3D Texturing
"Fundamentals of Maya: 3D Texturing in Photoshop" concentrates on the essential techniques needed to create and apply flawless textures to your existing models, resulting in extraordinary realism and detail. Each of the concepts, methods, and tools used are presented in clear and easy to follow steps, specifically designed to save you time and frustration throughout your workflow. Master texturing in Photoshop using PSD textures in Maya, using Layer Sets in Photoshop, manipulating existing photos for 3D textures, creating custom brushes in Photoshop, building Blend Modes in Photoshop, creating Bump Maps, creating Specular Maps, base textures, skin coloring, creating color maps, and several additional techniques resulting in flawless visual detail.
Fundamentals of Maya: Mastering Render Nodes
"Fundamentals of Maya: Mastering Render Nodes" guides you step-by-step through Maya's Render Nodes and provides you with innovative project-driven exercises designed to save you time and frustration throughout your workflow. Interactive lessons include: a thorough breakdown of all of Maya's Utility Nodes, using Sampler Info and Condition Nodes to create Interactive shading networks, Light Info and Distance Between Nodes to create distance-driving shading networks, incorporating Maya's Color Utility Nodes to perform advanced color-correction operations on textures, integrating Hypershade Nodes to automatically add animation to objects, and utilizing Switch Nodes to minimize render time in Maya.
Maya Unlimited: Fur"Maya Unlimited: Fur" guides you through the entire Fur process in the same series of interactive projects, which earned Digital-Tutors a Telly Award for the broadcast community. The concepts, methods, and tools used for each process are presented in clear and easy to follow steps with an array of self-paced training exercises. The breakthrough techniques you will learn include adjusting fur attribute, randomizing fur attributes, shading the fur, adding attractors, adjusting the attractors, connecting dynamic forces, creating a grid of attractors, adding the fur to the body, creating custom maps, and countless added techniques giving you the ability to create realistic imagery that until recent were almost impossible to achieve.
Maya Production Series vol.2 - Advanced Modeling
"Maya in Production: Advanced Modeling" focuses on advanced modeling techniques using Polygon and NURBS tools. The concepts, methods, and tools used for each process are presented in clear and easy to follow steps with an array of interactive training exercises. You will learn award-winning techniques that will enhance your imagination and creative production work including: prepping and setting image planes, establishing volume, shaping and building appendages, tweaking vertices, assembling the halves together, building stand-in objects, modeling the environment, patch modeling, and several additional techniques necessary to create work with intricate and striking realism.
Maya Production Series vol.3 - Advanced Texturing
"Maya in Production: Advanced Texturing" focuses on advanced texturing techniques using an array of tools and techniques. This training kit presents concepts, methods, and tools used for each process in clear and easy to follow steps with a number of interactive training exercises. You will learn cutting-edge techniques and key concepts that will increase your creativity and artistic detail including: UV Layouts, base textures, skin coloring, working with custom brushes, Photoshop texturing, building Bump Maps, creating Specular Maps, using Ramp Nodes, using the Connection Editor, building Alpha Channels and Color Maps, building custom shaders, using 3D paint tool, filter shaders, and several additional techniques necessary to create work with intricacy and startling photorealism.
Maya Production Series vol.4 - Advanced Rigging
"Maya in Production: Advanced Rigging" focuses on advanced rigging and binding techniques using tools. The concepts, methods, and tools used for each process are presented in clear and easy to follow steps with an array of interactive training exercises. You will learn award-winning techniques that will enhance your imagination and creative production work including: working with Clusters, creating Blend Shapes, skeleton rig setup, skin weights, custom rig controls, and several additional techniques necessary to create work with intricate and striking realism.
Maya Production Series vol.5 - Fundamentals of Animation
Designed with new and existing users in mind, "Maya in Production: Fundamentals of Animation" focuses on learning the foundation of animation in a production setting and adding life to animations. Each interactive lesson is presented in clear and easy to follow steps, designed to save time and increase creativity throughout your workflow. Popular topics from "Maya in Production: Fundamentals of Animation" include: file referencing, key framing, adjusting keyframe curves, camera set up, animating deformers, using Lattices, working with IK and FK, creating story-telling animations, producing facial animations with blendshape, developing an animation-friendly production pipeline, and several additional techniques designed to help you build and sharpen your existing skills.
Maya Intermediate: Photorealistic Car Modeling
"Maya Intermediate: Photorealistic Car Modeling" focuses on the newest trend of Polygon and Subdivision modeling and photo realism making this training kit an absolute must-have! The concepts, methods, and tools used for each process are presented in clear and easy to follow steps with an array of interactive training exercises. As you learn cutting-edge Polygon and Subdivision surface modeling techniques in detail, other techniques you will learn include: High Dynamic Range Images (HDRI), displacement mapping, subdivision creasing, UV layouts for texturing, rendering in mental ray, texture creation in Photoshop, and the controls necessary to create a sophisticated and visually stimulating sports car of professional magnitude.
Maya Intermediate: Female Android Kit
"Maya Intermediate: Female Android Modeling" focuses on the latest trend of modeling with complexity and photorealism, blurring the line between digital and reality! The concepts, methods, and tools used for each process are presented in clear and easy to follow steps, specifically designed to save you time and frustration throughout your workflow. Easily learn Polygon and Subdivision surface modeling techniques and countless added training exercises including: High Dynamic Range Images (HDRI), shader network creation, surface conversion, rendering in mental ray, subdivision creasing, UV layouts for texturing, image plane setup, and the necessary steps to create a photorealistic and production-level imagery.
Add-On: Street Racer Kit
"Modified Street Racer" focuses on the latest trend of car modification. The innovative concepts and techniques are presented in clear and easy to follow steps with an array of interactive training exercises. Learn breakthrough Polygon and Subdivision surface modeling techniques, create visually stunning paint schemes using layered shaders, design flawless decals and dirt maps using Photoshop, easily use Adobe Illustrator curves in Maya, and create various performance add-ons using advanced modeling techniques.
Maya Advanced: Building Advanced Shading Networks
"Maya Advanced: Building Advanced Shading Networks" concentrates on creating sophisticated shading networks using expressions, particles, and utility nodes to achieve deeper levels of realism - often times considered difficult and unattainable using individual render nodes. Each interactive lesson is presented in clear and easy to follow steps, designed to save time and increase productivity throughout your workflow. Popular topics covered in "Maya Advanced: Building Advanced Shading Networks" include: building light-based shading networks, using the Expression Editor to write expressions, writing expressions for interactive shading networks, creating networks that can simulate light emission, building a shading network to control particles, assembling distance controlled shading networks, randomizing texture placement with shading networks, building a shading network controlled by particles, and numerous additional lessons.
Maya Advanced: Ultimate Fluids
"Maya Advanced: Ultimate Fluids" concentrates on mastering Maya's integrated fluid technology to achieve tremendous professionalism in simulating and rendering advanced fluid effects. Each interactive lesson is presented in clear and easy to follow steps, designed to save time and increase productivity throughout your workflow. Popular topics covered in "Maya Advanced: Ultimate Fluids" include: realistic fire and smoke effects, Navier-Stokes Fluid Solvers, Spring Mesh Fluid Solvers, interacting fluids with particles, fine-tuning fluid container properties, expression-controlled fluids, advanced heat dynamics, combustible fluids, soft surface simulations, realistic liquid simulations, converting fluids to polygons, and an array of additional lessons designed to give you the ability to create stunning fluid effects with complete professionalism.
The Vegas 6 Companion by Gary Kleine - 5 DVDRip's
VegasTrainingAndTools | video: H.264 720Ñ…480, 29.97 fps, ~900 kb/s | audio:m4a, 1411 kbs, 44100 MHz, 2ch. | English | 3,22 GB
The Vegas Pro 8 Companion by Gary Kleiner is a comprehensive learning resource for Sony Vegas users. This DVD set is a great in-depth reference for beginning and advanced users alike. You also get media and project files so you can work right alongside Gary as he demonstrates the power of Vegas Pro 8.
Disc 1: Vegas Basics, Tips & Tricks I ( 2h:28m )
• Brief Overview
• DV and Still Capture
• Explorer
• Project Media
• Media Manager
• Edit Details
• Trimmer
• Transitions
• Video FX
• Media Generators
• Monitor Calilbration
Disc 2: Vegas Basics, Tips & Tricks II ( 2h:30m )
• The Vegas Interface in depth
• Saving Configurations
• Customizing Keyboard
• Time Selections
• Working with Media
• Keyboard Shortcuts
• Trimming, Split Edits, Slip, Slide,
• A/V Sync
• Nested Projects
• Takes
• Ripple Modes
• Subclips
Disc 3 ( 1h:39m )
• Envelopes
• Keyframes
• Working with 3D
• Parent/Child Tracks
Disc 4 ( 2h:21m )
• Pan/Crop tools
• Bezier Masking
• Monty Python
• Write-On
• Rack Focus
• 3D from 2D
• Audio
• Channels
• Busses
• External Surface Control
• Audio FX
• VST Plugins
• Automated Envelopes
• Surround Sound
• Recording
• Pitch Shifting
Disc 5 ( 2h:40m )
• Custom Composite Mode
• Color Correction
• Using Scripts
• Multi-camera Editing
• Color Isolation Techniques
• Rendering
• Network Rendering
• Printing to Tape
• DeckLink Support
• Working with HDV
Jason Ryan Animation [Tutorial] |
US$1,000 | Trainer: Jason Ryan | .MOV | GUI | ProjectFiles | For Windows and Mac
Over US$1000 of high-quality Maya and FlipBook animation training -- from high-quality Maya to FlipBook animation training, spanned over 18 lessons. This DVD contains Animated Tutorials from "Basics to Advanced", concentrating on Jason Ryan's "anti-technical" approach to Animation. It also contains a fully rigged character "Boris" and various free props to help you get started in the animation industry.
VTC - FileMaker Pro 10: Beginner Tutorials
FileMaker Pro is powerful enough to handle most database jobs yet easy
enough to create simple solutions in minutes. This practical, 15-hour
"how to" course by FileMaker expert John Mark Osborne starts from
beginner level and uses a single invoicing example to demonstrate all
the features in FileMaker Pro 7, 8, 8.5, 9 and 10 including field
creation, finding, sorting, layout mode, container fields, auto-entry,
validation, printing, scripts, calculations, importing, exporting,
interface design and new FIleMaker Pro 10 features. Examples of the
invoice file are provided at every stage of the creation process so
the user can easily review one section without starting from the
beginning. To begin learning FileMaker Pro today, simply click on
the movie links.
VTC - FileMaker Pro 10: Intermediate Tutorials
FileMaker Pro is powerful enough to handle most database jobs yet easy
enough to create simple solutions in minutes. This practical "how to"
course by FileMaker expert John Mark Osborne starts from intermediate
level and uses a single invoicing example to demonstrate FileMaker
Pro 7, 8, 8.5, 9 and 10 features and techniques including interface
design, relational database design, relationship operators, multiple
predicates, table occurrences, portal filters, security, scripts,
calculations, FileMaker Pro Advanced, multi-user solutions, record
locking, multi-keys, deleting duplicate records and new FileMaker Pro
10 features. Examples of the invoice file are provided at every stage
of the creation process so the user can easily review one section
without starting from the beginning.
VTC - FileMaker Pro 10: Advanced Tutorials
FileMaker Pro is powerful enough to handle most database jobs yet easy
enough to create simple solutions in minutes. This practical "how to"
course by FileMaker expert John Mark Osborne starts from intermediate
level and uses a single invoicing example to demonstrate FileMaker
Pro 7, 8, 8.5, 9 and 10 features and techniques including interface
design, relational database design, relationship operators, multiple
predicates, table occurrences, portal filters, security, scripts,
calculations, FileMaker Pro Advanced, multi-user solutions, record
locking, multi-keys, deleting duplicate records and new FileMaker Pro
10 features. Examples of the invoice file are provided at every stage
of the creation process so the user can easily review one section
without starting from the beginning.
In this DVD, Darin takes you through the production and completion of a camera projected 3D Matte painting using Autodesk Maya and Adobe Photoshop®. Darin covers the essential techniques and solutions for 3D matte painting as he progresses from rough concept to modeling, rendering and creating the painting in Photoshop®. After bringing the finished matte painted layers back into Maya, he describes how to apply them in the scene. Darin also shows methods for solving common texture distortions with additional projections. Finally, he demonstrates simple techniques for bringing life to your scenes.
| 1. | Introduction and project overview | 2:15 |
| 2. | Getting Started with UVs in XSI | 11:06 |
| 3. | Applying UV subprojections to your objects | 7:55 |
| 4. | Working with Unique UVs in XSI | 4:01 |
| 5. | Exploring common tools and functions in the Texture Editor | 7:03 |
| 6. | Separating and Healing UVs | 5:40 |
| 7. | Using the Island Heal tool | 7:23 |
| 8. | Mirroring and Matching UVs in the Texture Editor | 8:42 |
| 9. | Getting started on the UV Layout of the Rhinoceros | 10:52 |
| 10. | Creating the subprojections for the Rhino's front legs | 16:50 |
| 11. | Building the subprojections the Rhino's back legs | 15:56 |
| 12. | Laying out the UVs for the Rhino's body | 10:24 |
| 13. | Creating the UVs for the Rhino's head (part 1) | 9:07 |
| 14. | Creating the UVs for the Rhino's head (part 2) | 8:52 |
| 15. | Healing the UV Islands of the Rhinos head | 14:05 |
| 16. | Cleaning and relaxing the UVs of the head | 8:52 |
| 17. | Creating the UV subprojections for the Rhino's horns | 14:05 |
| 18. | Looking at different methods for subprojecting the tail | 8:52 |
| 19. | Using Contour Stretch UVs on the Rhino's ears | 10:09 |
| 20. | Cleaning up any stray UVs in the Texture Editor | 6:38 |
| 21. | Transferring UV information to another object | 11:19 |
| 22. | Creating the UV Stamp | 3:28 |
Total Run Time: | 3:16:32 |
| 1. | Introduction and project overview | 1:19 |
| 2. | Getting Started with Shading Networks | 9:51 |
| 3. | Iridescence Shading Network: constructing a shading network that can add realistic iridescent qualities to surfaces such as bubbles | 9:27 |
| 4. | Realistic Lighting Shaders | 7:57 |
| 5. | Curve-Controlled Shaders (part 1): constructing a network that can use a NURBS curve to create realistic animated textures | 9:21 |
| 6. | Curve-Controlled Shaders (part 2): creating an animated texture based on NURBS curves | 8:51 |
| 7. | Light-Based Shading Networks: realistically simulating light coming from a computer monitor or a television set | 11:04 |
| 8. | Reusing Textures in Maya: constructing a shading network that will make a single texture look different on each object that it is applied to | 9:41 |
| 9. | The Hologram Shader (part 1) | 6:44 |
| 10. | The Hologram Shader (part 2) | 8:27 |
| 11. | Particle-Based Shading Networks (part 1): building an expression-controlled network that can generate textures based on particle collisions | 10:12 |
| 12. | Particle-Based Shading Networks (part 2): writing expressions for the particles of the paintball gun | 6:48 |
| 13. | Particle-Based Shading Networks (part 3): writing an expression that can generate textures based on the particle expression from the previous lesson | 5:54 |
| 14. | Particle-Based Shading Networks (part 4): finishing the expression from the previous lesson | 12:35 |
| 15. | Particle-Based Shading Networks (part 5) | 9:37 |
| 16. | Texture-Based Particles (part 1): begin constructing a shading network that can dynamically control particles | 9:49 |
| 17. | Texture-Based Particles (part 2): writing the necessary expressions for the shading network created in the previous lesson | 12:10 |
| 18. | Texture-Based Particles (part 3): importing and using the image sequence that was created in the previous lesson | 5:36 |
| 19. | Texture-Based Particles (part 4): constructing a shading network that adds white areas to the water wherever the NURBS torus touches its surface | 6:18 |
| 20. | Texture-Based Particles (part 5): setting up the steam particles to be emitted wherever the NURBS torus touches the water surface | 6:25 |
Total Run Time: | 2:48:00 |
| 1. | Working with models and groups | 10:21 |
| 2. | Creating a custom toolbar | 10:06 |
| 3. | Studying a diagram of a horse skeleton, building the thoracic limb | 9:06 |
| 4. | Repositioning chain elements / renaming objects | 13:31 |
| 5. | Beginning the horse's phalangeal controls | 12:27 |
| 6. | Adding pivot controls for the hoof | 14:29 |
| 7. | Primary control for the thoracic limb | 8:04 |
| 8. | Creating custom parameters for finger joints | 10:36 |
| 9. | Controlling the finger joints with custom parameters | 14:28 |
| 10. | Twist control for horse's elbow | 5:42 |
| 11. | The shoulder control | 12:55 |
| 12. | Mirroring rig elements | 10:06 |
| 13. | Cleaning up mirrored objects | 8:26 |
| 14. | Finishing both thoracic limbs | 11:48 |
| 15. | Building the bones for the pelvic limb | 7:52 |
| 16. | Renaming chain elements for the pelvic limb | 5:59 |
| 17. | Creating toe controls | 7:33 |
| 18. | Pivot controls for the toe | 8:43 |
| 19. | Main control for the pelvic limb | 7:04 |
| 20. | Expressions for toe controls | 7:20 |
| 21. | Twist control for the knee | 3:16 |
| 22. | Finalizing the left pelvic limb / mirroring controls | 4:26 |
| 23. | Completing the right pelvic limb | 10:05 |
| 24. | Starting on the vertebrae | 5:16 |
| 25. | Using XSI spines for the vertebrae | 11:50 |
| 26. | Connecting vertebrae to hip and chest objects | 6:14 |
| 27. | Controls for the vertebrae / connecting limbs | 6:25 |
| 28. | Finishing the controls for the spine | 10:18 |
| 29. | Constructing the head, cervix and jaw bones | 3:57 |
| 30. | Renaming chain elements / primary connections of the head and neck | 6:01 |
| 31. | Creating the head and neck twist controls | 7:46 |
| 32. | Custom parameters for the jaw | 4:49 |
| 33. | Working on the ears | 10:35 |
| 34. | Proxy parameters for the ears | 11:23 |
| 35. | Neck control / adding broken hierarchy control to the rig | 6:56 |
| 36. | Finishing the broken hierarchy control | 7:32 |
| 37. | Starting on the tail / creating custom control splines | 6:25 |
| 38. | Using Up Vectors to prevent flipping in tail | 11:55 |
| 39. | Building controls for the tail | 9:02 |
| 40. | Completing the tail | 10:15 |
| 41. | Global rig control with scaling capabilities | 11:43 |
| 42. | Cleaning up the rig | 12:21 |
| 43. | Methods for creating a proxy cage | 13:16 |
| 44. | Creating buttons to switch between a real and proxy horse | 6:42 |
| 45. | Discussing rotation order | 5:56 |
| 46. | Utilizing character key sets | 15:19 |
| 47. | Enveloping the horse / adding envelope deformers | 6:52 |
| 48. | Blocking envelope weights | 8:11 |
| 49. | Working on the left pelvic limb | 7:10 |
| 50. | Blending envelope weights | 11:33 |
| 51. | Smoothing the thighs weights | 9:24 |
| 52. | Techniques for painting weights on difficult areas | 10:41 |
| 53. | Mirroring weights | 8:30 |
| 54. | Bonus: Adding muscle bulges with deform keys | 10:52 |
Total Run Time: | 8:09:32 |
| 1. | Introduction and project overview | 3:27 |
| 2. | Assigning and modifying the materials to the main body of the bus | 8:11 |
| 3. | Sharing materials between multiple objects and assigning materials to the rest of the bus | 6:54 |
| 4. | Creating Textures for the bus headlight in Photoshop and assigning textures in XSI | 13:47 |
| 5. | Creating High Dynamic Range images in Photoshop for the surrounding environment | 9:08 |
| 6. | Assigning textures and texture coordinates to the bus environment | 9:09 |
| 7. | Modifying the bus body's reflectivity parameters and exploring blurred reflections in XSI | 9:12 |
| 8. | Exploring the differences and similarities of the various light types available in XSI | 12:56 |
| 9. | Faking blurred reflections in XSI for faster renders | 10:33 |
| 10. | Exploring Final Gather techniques in XSI | 11:27 |
| 11. | Using image-based lighting techniques in XSI to add realism to our final renders | 10:27 |
| 12. | Exploring the process of setting up and modifying Render Passes | 11:34 |
| 13. | Creating a custom Render Pass in XSI for Ambient Occlusion Effects | 10:09 |
| 14. | Setting up render channels to output various render passes in XSI 6 (requires XSI 6 Essentials and higher) | 11:41 |
| 15. | Using XSI's built-in FX Tree compositor to combine our separate render passes back into one complete image (requires XSI Essentials and higher) | 13:37 |
| 16. | Using the FX Tree to add post effects such as depth-of-field and re-coloring (requires XSI Essentials and higher) | 14:26 |
Total Run Time: | 2:46:45 |
| 1. | Introduction and project overview | 1:47 |
| 2. | Identifying key points to be aware of when approaching lighting in XSI | 5:26 |
| 3. | Creating the primary light source for a daytime render | 8:43 |
| 4. | Adding textures to the floor and creating an outside environment | 10:24 |
| 5. | Creating a photon casting light and adding rough Global Illumination | 13:39 |
| 6. | Adding glossy reflections to the floor and altering its photon interaction properties | 8:44 |
| 7. | Adding Final Gather to the scene to smooth out the Global Illumination result | 7:16 |
| 8. | Modifying the room's geometry in order to get a cleaner Global Illumination result (part 1) | 10:56 |
| 9. | Modifying the room's geometry in order to get a cleaner Global Illumination result (part 2) | 17:17 |
| 10. | Modifying the room's geometry in order to get a cleaner Global Illumination result (part 3) | 11:00 |
| 11. | Assigning and adjusting the materials for the couch and chair | 12:07 |
| 12. | Creating realistic glass and chrome materials for the coffee table | 9:41 |
| 13. | Controlling how lights and photons interact with translucent surfaces | 9:51 |
| 14. | Creating and adjusting the materials for various smaller objects in the living room | 10:53 |
| 15. | Altering the room's geometry to extend the floor into the hallway | 7:43 |
| 16. | Using BSP diagnostics to control the scene's render performance | 12:57 |
| 17. | Fine-tuning the overall lighting in the scene | 14:32 |
| 18. | Creating an ambient occlusion pass to enhance shadowed detail | 10:52 |
| 19. | Using directional ambient occlusion to simulate more realistic soft shadows | 13:16 |
| 20. | Using the Render Manager to set up final image output | 9:40 |
| 21. | Using an external image editing application to make final adjustments to rendered frames | 9:12 |
| 22. | Resetting your XSI scene in preparation for a nighttime light setup | 7:19 |
| 23. | Setting up the lamp as the room's primary light source | 5:04 |
| 24. | Adding primary and secondary final gather rays to simulate the effects of global illumination | 16:37 |
Total Run Time: | 4:04:55 |
| 1. | Introduction and project overview | 1:42 |
| 2. | Exploring custom tool settings in XSI | 3:53 |
| 3. | Preparing Rotoscope images in Photoshop | 7:50 |
| 4. | Modeling the first piece of geometry for the main body | 7:38 |
| 5. | Rough shaping of the body | 7:15 |
| 6. | Refining the front shoulder area of the body | 4:50 |
| 7. | Roughing in the shape of the front leg | 9:26 |
| 8. | Refining the shape of the front leg | 6:21 |
| 9. | Roughing in the shape of the back leg | 6:00 |
| 10. | Connecting the back leg to the main body | 4:18 |
| 11. | Refining the shape of the back leg | 11:20 |
| 12. | Modeling the rhino's foot | 10:45 |
| 13. | Creating the basic head shape | 8:58 |
| 14. | Modeling the rhino's mouth | 10:33 |
| 15. | Building the rhino's eye socket | 6:02 |
| 16. | Constructing the other areas of the head | 7:49 |
| 17. | Refining geometry of the rhino's head | 6:44 |
| 18. | Building the nostrils on the face | 6:10 |
| 19. | Creating the rhino's horns | 7:18 |
| 20. | Detailing and refining the rhino's mouth | 6:18 |
| 21. | Detailing and refining the eye structure | 9:21 |
| 22. | Modeling the rhino's ears | 8:53 |
| 23. | Subdividing the base mesh | 6:33 |
| 24. | Building the rhino's toenails | 9:33 |
| 25. | Extracting and repurposing geometry | 3:45 |
| 26. | Using XSI's Deformers to create wrinkles and folds in the skin | 11:44 |
| 27. | Using the Proportional Modeling tool in XSI | 6:30 |
| 28. | Cleaning up and finalizing your scene | 5:29 |
Total Run Time: | 3:23:13 |
| 1. | Introduction and project overview | 1:28 |
| 2. | Using Toolbars with Particles Simulations | 4:40 |
| 3. | Particle Simulations and Operators | 5:36 |
| 4. | Emitters and Emissions (part 1) | 5:41 |
| 5. | Emitters and Emissions (part 2) | 7:26 |
| 6. | Ptypes Overview (part 1) | 6:30 |
| 7. | Ptypes Overview (part 2) | 9:51 |
| 8. | Instancing Particles | 9:25 |
| 9. | Deforming Particles | 5:59 |
| 10. | Interparticle Interaction | 3:36 |
| 11. | Goals (or How to Make Heat Seeking Missiles) | 11:36 |
| 12. | Using Events to create a particle reaction to specific circumstances, such as homing missiles striking UFOs | 6:26 |
| 13. | Using the Render Tree with Particles | 7:38 |
| 14. | Billboards | 8:22 |
| 15. | Sprites as Imposters | 5:26 |
| 16. | Particle Sparks | 8:20 |
| 17. | Forces: Attractor | 5:52 |
| 18. | Forces: Drag | 5:21 |
| 19. | Forces: Eddy | 6:39 |
| 20. | Forces: Fan | 3:15 |
| 21. | Forces: Gravity | 6:24 |
| 22. | Forces: Turbulence | 6:59 |
| 23. | Forces: Vortex | 3:01 |
| 24. | Forces: Wind | 2:06 |
| 25. | More on Sprites: Creating a Falling Snowflake Simulation | 7:08 |
| 26. | Driving Particles with Texture | 5:32 |
| 27. | Painting Particle Emissions | 7:05 |
| 28. | Sketching Particles | 6:46 |
| 29. | Using the sketching particles technique to create a mini-project of shaving a man's face | 7:00 |
| 30. | Using events and expressions to achieve complex, time-saving particle behaviors | 11:11 |
| 31. | Using Fluids to rapidly create an oil slick | 5:12 |
| 32. | Creating a flaming expulsion with Explosion Emitters | 8:15 |
| 33. | The Volcano Project | 15:24 |
Total Run Time: | 3:40:00 |
| 1. | Introduction and project overview | 1:44 |
| 2. | Storing and reusing Global Illumination Photon maps to increase rendering speed | 8:48 |
| 3. | Storing and reusing Final Gather maps to increase rendering speed | 10:06 |
| 4. | Using BSP Diagnose in order to increase mental ray's render performance | 9:25 |
| 5. | Setting limits on mental ray's memory usage as a way of improving rendering stability | 4:23 |
| 6. | Using the mental ray Render Diagnostics to pinpoint potential rendering complications in your scene | 10:02 |
| 7. | Using Render Layers to break your renders up into multiple passes - giving you a much higher level of control over the final render | 14:12 |
| 8. | Using Maya's Layer Overrides to enable or disable attributes on individual Render Layers | 9:37 |
| 9. | Using a custom MEL script to alter special attributes across multiple selected objects | 9:34 |
| 10. | Compositing separate Render Layers together into a final image | 12:38 |
| 11. | Using a depth pass to very quickly create depth-of-field effects in your final renders | 9:39 |
| 12. | Creating a Motion Vector pass in order to create very fast motion-blurring effects to your rendered shots | 9:02 |
| 13. | Utilizing stored Motion Vector information within Maya to add very fast motion-blurring to your rendered images | 14:36 |
| 14. | Using the Final Gather Render Mode to quickly cast and store Final Gather point information | 13:23 |
Total Run Time: | 2:17:06 |
| 1. | Introduction and project overview | 2:27 |
| 2. | Simulating indirect lighting and color bouncing with Global Illumination | 11:07 |
| 3. | Final Gather (part 1): simulating highly realistic soft shadows and indirect lighting without having to cast photons into the scene | 13:02 |
| 4. | Final Gather (part 2): looking at advanced options and techniques for saving render time | 7:24 |
| 5. | Combining Global Illumination and Final Gather | 5:57 |
| 6. | Image Based Lighting | 11:46 |
| 7. | Using Caustics to simulate the way light refracts through transparent objects and casts a pattern of light onto the floor | 15:40 |
| 8. | Using Environmental Shaders to create a very fast reflected environment, or as an alternative to the light dome when using .HDR images | 5:52 |
| 9. | Using Ambient Occlusion Node, which can produce soft indirect shadows similar to Final Gather, but without the added render time | 10:06 |
| 10. | Render Map (part 1): baking color, bump, and lighting information into a single image map | 8:56 |
| 11. | Render Map (part 2): optimizing render map to work correctly with scenes that use Final Gather or Image Based Lighting | 9:58 |
| 12. | Using Subsurface Scattering node | 7:23 |
| 13. | Toon Rendering | 13:49 |
| 14. | Using Depth of Field to add more realism and distance to the rendered images | 7:10 |
| 15. | Using the Shader Wizard to build the necessary project files and templates for coding and integrating your own shaders | 8:02 |
| 16. | Coding Your Own Shaders | 8:37 |
Total Run Time: | 2:30:00 |
| 1. | Loading the fur plug-in and adding fur descriptions | 7:15 |
| 2. | Adjusting the attributes - color and shape | 10:35 |
| 3. | Adjusting the attributes - curly and rough fur | 7:21 |
| 4. | Shading the fur and adjusting shadows | 6:59 |
| 5. | Randomizing fur attributes to recreate a little bit of chaos of the real fur | 4:41 |
| 6. | Adding attractors to fur to get the extra movement when animating | 5:32 |
| 7. | Adjusting the attractor attributes | 5:19 |
| 8. | Creating a grid of attractors to use as influence objects that control the movement of fur | 5:39 |
| 9. | Connecting dynamic forces to attractors | 5:22 |
| 10. | Creating a grid of attractors with dynamics | 4:18 |
| 11. | Adding fur to the top of Furby's head | 7:56 |
| 12. | Adding fur to the Furby's tail | 3:41 |
| 13. | Setting color and increasing the resolution of the fur | 4:46 |
| 14. | Painting custom maps for baldness | 9:14 |
| 15. | Creating custom maps for the color of the fur | 7:52 |
| 16. | Shading and shadowing the fur for the render | 2:30 |
| 17. | Combing the fur for a custom look | 2:59 |
| 18. | Clumping the fur using attractors | 3:33 |
| 19. | Bonus: setting up image planes for the Furby model and building the base | 8:16 |
| 20. | Bonus: modeling Furby's eyelids and beak | 7:20 |
| 21. | Bonus: creating the plastic face plate | 9:33 |
| 22. | Bonus: modeling Furby's ears | 7:02 |
Total Run Time: | 2:24:00 |
