In this series of lessons we will explore techniques and workflows for setting up realistic lighting for your interior scenes, and rendering these scenes using mental ray.

In this series of lessons well learn how to use MatchMover to track an object as if it was our scene, then finish the shot with Maya and NUKE.

In this Maya tutorial, you will be equipped with the knowledge you need to incorporate Maya Muscle into your own rigging pipeline. Over the series of tutorials, we will use Mayas very robust and intuitive muscle system improve the overall realism of an animated character. We will start with an animated rig that has some major deformation problems that will need to be addressed. From there, we will start to strategically build an efficient muscle rig that will preserve volume in critical areas that are prone to collapse, like the shoulders and forearms. Well learn how to customize Maya muscle shapes and follow-through effects to create the illusion of weight and realism! Well also cover integrating blend shapes with Maya Muscle and file referencing to work smarter, not harder. By the end of this tutorial, you will be equipped with the knowledge you need to incorporate Maya Muscle into your own rigging pipeline.

In this high-level tutorial we will learn how to handle data between ICE clouds and get around many common issues in ICE and Lagoa. The objectives for this fast-pace, intensive course include successfully transferring data between two ICE trees, create custom particle effects and understand how data flows in Softimage. By the end of this training, you will have the ability to solve these types of ICE problems in your own projects. Before following along with this tutorial, you should have experience using Softimage and ICE as we cover what would normally take hours to accomplish in a shorter span of time. If you are an artist new to Softimage, ICE or Lagoa, we have several courses to get you started.

In this series of lessons well learn how to take some footage and move it through the entire MatchMover to Maya to Nuke pipeline to create a finished shot. Well begin this project by solving four of our shots in MatchMover and combining them in Maya into a cohesive 3d scene. Then well create our last camera in Maya and match it. Once all our camera are set-up, well learn how to model our object, create dynamics, animate, texture and render our scene. Well then jump into Nuke to do some color treatment on our backgrounds and then composite our layers together. Now, this is a long project that will take some time to complete. If you get stuck or have any questions, please join our forums and ask. We check the forums often and have a very active and helpful community.

In this collection of lessons we will learn how to animate a swinging character. In this course, we will create an animation of a character swinging to a platform. Step by step, we will create this performance while covering various techniques that will help you improve your animation skill set. Techniques like: how to block in your extremes so that finalizing the animation becomes a faster process, improving arcs in the movement of your characters, animating between IK and FK modes, and overall we will learn how to animate with proficient workflows! By the end of this course, you will have the knowledge you need to create polished animations at a faster pace.

In this tutorial we will discuss a variety of ways that we can work efficiently between Mudbox and Maya. Mudbox and Maya are very complementary packages. Maya gives us the ability to build up our models, rig and animate them, and render them. But Mudbox allows us to use a much more artistic approach to shaping and sculpting our models. It also allows us to paint textures very quickly and with a lot of power. By leveraging these two applications together, we can really create a solid workflow. In this tutorial well look at ways to get geometry and textures back and forth between Maya and Mudbox.

In this series of lessons well learn how to get started using Autodesk Composite, which was previously called Autodesk Toxik.
Using Composite we can quickly color correct, mask, composite and animate still images and image sequences. Well begin this project by learning the basic composition creation process, learning how to move around the Composite user interface, begin compositing images together and render out our finished material. Well then move into the common uses of Composite such as Color Correction, Masking, 3D compositing and Animation. This series of lessons is a great starting point to learning Composite. By learning the tools and fundamental workflows of Composite, we will be able to create complex effects and images in no time. This will allow us to begin exploring other areas of Composite and start using Composite in our own production pipeline.

In this high-level tutorial we will learn how to handle data between ICE clouds and get around many common issues in ICE and Lagoa. The objectives for this fast-pace, intensive course include successfully transferring data between two ICE trees, create custom particle effects and understand how data flows in Softimage. By the end of this training, you will have the ability to solve these types of ICE problems in your own projects. Before following along with this tutorial, you should have experience using Softimage and ICE as we cover what would normally take hours to accomplish in a shorter span of time. If you are an artist new to Softimage, ICE or Lagoa, we have several courses to get you started.

Description:
Architectural Detailing in Zbrush
character and scene development
Creating Game Characters with Maya 2011 and ZBrush 4
Detailing Next-Gen Characters in ZBrush
Getting Started with ZBrush
Introduction to ZBrush 3 2007
Introduction to Zbrush 3.1
Materials And Rendering In ZBrush 3.1
Pipeline Integration with Maya 2011 and ZBrush 4

In this series of tutorials, we will talk about the steps that we went through in order to build the character and weapon models for our Unity mobile game project. We will start by referencing our game document, which will be our guide through the process of creating our Unity game. We can find information on the look of our models but also on the desired resolutions of the models and textures. We will concentrate on creating game topology for our two characters and two weapon models. We will also cover map generation and texture painting as part of the process. In the end we will have models ready to be rigged and animated or plugged directly into the game engine. We will use a variety of software packages from Maya, to TopoGun, to ZBrush and Mudbox in order to prepare our assets so there will be a lot of back and forth. This course references some pre-made assets and covers methods for modifying and prepping those assets for this particular game. In most of these cases, if youd like to learn to build these assets from start to finish, there is a tutorial that will fill your need. For instance, in this course we look at the steps we went through to modify the biker character from Creating High Resolution Characters in ZBrush 4 and Creating Game Characters with Maya 2011 and ZBrush 4. So if youd like to build the character from scratch, those two courses will take you through the process. The same goes for the enemy tick creature, which is from the Introduction the Mudbox 2011, and the assault rifle from Creating Next-Gen Game Assets in Maya.

In this tutorial we will discuss a variety of ways that we can work efficiently between Mudbox and Maya. Mudbox and Maya are very complementary packages. Maya gives us the ability to build up our models, rig and animate them, and render them. But Mudbox allows us to use a much more artistic approach to shaping and sculpting our models. It also allows us to paint textures very quickly and with a lot of power. By leveraging these two applications together, we can really create a solid workflow. In this tutorial well look at ways to get geometry and textures back and forth between Maya and Mudbox.

In this series of Maya tutorials, you’ll learn how to create realistic hairstyles for your characters using Maya Hair. We will begin the tutorial by learning how to create the basic shape and style of our hair with a high level of precision and a minimal amount of effort. We will use paint effects strokes to assist in the styling and creation of our hair, we will learn how to apply dynamic forces while retaining the styled shape of our hair, and many additional topics that will allow you to start creating beautiful hairstyles for your Maya characters.