In this collection of lessons we will learn the foundations for rigging in 3ds Max.
Introducing the Beginner Guide to Rigging in 3ds Max. In this course, we will start off by covering the most basic form of rigging, parenting. We will then take a look at how to modify the pivot of an object and how to work with groups. After that, you will learn about bones, inverse kinematics, and control objects. And to wrap up this project, we will go over the 3ds Max skinning process for skin deformations. By the end of the course, you will understand essential terms and definitions and build a solid foundation for rigging in 3ds Max.

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.

In this course we will talk about important concepts and workflow ideas to keep in mind as you create vehicle textures in MARI.

In this course, well learn how to create a 3D illustration for use on a magazine cover. Over the course of these videos we will learn how to efficiently model by only modeling what we need and how to reuse basic base meshes as starting points. Then we will look at how to efficiently UV map, looking at techniques to quickly produce distortion free UVs. Then using Ambient Occlusion bakes as starting points for our textures we will look at a efficient and repeatable texturing process. We will then look at how to pose our characters, setup shaders to replicate advanced effects such as refraction and sub-surface scattering, before setting up render passes and layers for compositing. Finally we will bring it all together in Photoshop using our layers to composite and adjust our image before looking at some final techniques to complete our 3D Illustration.

A tutorial for a creating a character maquette entirely in ZBrush and combining render passes in Adobe Photoshop. The focus of this tutorial will be the creation of the character maquette entirely within ZBrush, with goal of creating a great looking rendered still as an and product. It is intended as an overall introduction to many of the tools within ZBrush which make the creation and output of this kind of illustration possible. The Image you see above was sculpted, textured and rendered in a single 9 hour day using these techniques.

In this collection of lessons we will learn the foundations for rigging in 3ds Max. Introducing the Beginner Guide to Rigging in 3ds Max. In this course, we will start off by covering the most basic form of rigging, parenting. We will then take a look at how to modify the pivot of an object and how to work with groups. After that, you will learn about bones, inverse kinematics, and control objects. And to wrap up this project, we will go over the 3ds Max skinning process for skin deformations. By the end of the course, you will understand essential terms and definitions and build a solid foundation for rigging in 3ds Max.

In this series of lessons, we’ll be entirely removing a foreground object using camera projection techniques.

In this series of lessons, well work through a guerrilla-style compositing workflow in NUKE, focusing on a holistic approach to color and depth effects. These video lessons will introduce a compositing workflow that emphasizes efficiency. Well look at a variety of color correction methods, depth and height-based haze, and faked camera effects such as depth of field and motion blur. Throughout, well develop a visual style for our comp that will be easy to replicate and re-use for later shots.

In this series of lessons, we’ll be entirely removing a foreground object using camera projection techniques.

In this course we’ll learn how to create a 3d sky using a pan and tile technique in NUKE. By stitching together multiple photographs, we will be able to create a fake sky background for our composite.

In this Maya tutorial, we will learn how to create a creature image based on one camera while learning how to cheat certain details in Photoshop. This tutorial will go through all of the steps of the process of making a polished image of a creature character. We will learn the importance of each part to ensure that our image is appealing in the end.

In this video tutorial on NUKE , we will completely remove the foreground object, using the technique of Camera Projection . We will create a clean-plates in Photoshop , and place them on the cards in the NUKE to recreate the scene in 3D.

In this NUKE tutorial, we?ll be entirely removing a foreground object using camera projection techniques. Well create clean plates in Photoshop, then put them onto cards in NUKE to re-create the scene in 3D. Well begin the tutorial by solving a 3D camera with the NUKEX camera tracker. Then well make the 3D scene more human readable and examine the card workflow. Then well use Photoshop to create a clean-plate of our primary foreground element. Then well learn techniques for matching a card to our 3d footage. For here we will repeat the process a number of times for the rest of the foreground sign, the background sign and even the walls. Along the way we will encounter issues and examine ways to fix or get around these common problems. Well finish the tutorial with a shot that has the object completely removed

In this NUKE tutorial, we?ll be entirely removing a foreground object using camera projection techniques. Well create clean plates in Photoshop, then put them onto cards in NUKE to re-create the scene in 3D. Well begin the tutorial by solving a 3D camera with the NUKEX camera tracker. Then well make the 3D scene more human readable and examine the card workflow. Then well use Photoshop to create a clean-plate of our primary foreground element. Then well learn techniques for matching a card to our 3d footage. For here we will repeat the process a number of times for the rest of the foreground sign, the background sign and even the walls. Along the way we will encounter issues and examine ways to fix or get around these common problems. Well finish the tutorial with a shot that has the object completely removed