Gnomon Master Classes
Gnomon | 9.6 GB @ RS.com
All info :
http://www.gnomonschool.com/master/
Gnomon | 9.6 GB @ RS.com
All info :
http://www.gnomonschool.com/master/
Description: *Motion Control and Flashlights
In this presentation Grzegorz talks about the inspirations and creative process of his award winning shorts Ark and Legacy, as well as building miniature sets, lighting and filming backgrounds using Milo motion control rig, tracking, integrating cg characters into these sets and compositing with practical and digital elements. The presentation covers a simple pipeline, quite similar in both films, as well as the communication challenges between the director and a team of artists around the globe.
*A Generalist's Guide to VFX from Production to Delivery
The Story Of a Visual Effect - Ideas Behind The Images
Shooting VFX - Surviving On Set
Gearing Up- Getting what you need on location
Effects Cliches - Why they work and when to back off
How to Build It - A Bottom-Up Approach to Shot Construction
VFX Etiquette - Getting a Shot Finaled as Painlessly as Possible
Post Script - A List of Resources Every Generalist Should Have
*Matte Painting and VFX Art Direction
Using mixed media such as pencil sketching, digital painting, 3D modeling, HDR panoramic photography and mage based lighting, Jonathan demonstrate how to explore and create visuals used to support art direction and look development for films.
The Sci-Fi Prison
Chapter 1
Image composition & design phase through pencil sketching
Chapter 2
Shooting plates, environment maps and references
Chapter 3
Digital sketching on top of a plate
Chapter 4
Using modeling, lighting and texturing to maintain consistency
Chapter 5
Paint over stage and final detailing
Chapter 6
Final color grading and directing of photography & presentation
*From Concept to Film: Digital Characters and VFX
This workshop demonstrates a shot from a live-action fantasy short film that involves actors interacting with a CG character. We'll go through the process step-by step, revealing the concept, design, and pre-visualization of the shot. The presentation will focus on how to structure your action shot/sequence from a technical perspective to create the most impact and most believable interaction between your CG characters and live-action actors.
These tips and tricks will cover shot layout, action/stunt/fight choreography, motion-capture, roto and character animation, as well as a brief overview of the shot`s lighting and compositing challenges.
*Character Modeling for Production: 'The Villian' Bust
In this workshop, we will start from a generic head, and create an iconic villain character using Zbrush, Photoshop and Max to concept and create an original character bust. Starting from "scratch" using a simple base mesh to construct an original character, we will discuss how important initial loops and clean topology are for a reusable base mesh.
Examples will be shown of previous characters that vary in looks, but use the same starting point. 3ds Max is used to build a simple base cage for our sculpt. Also important to the demo is reference gathering, where we will discuss how to develop looks that define our character, so that it is instantly recognized as 'evil'.
*Concept Sculpting
Using Zbrush and Photoshop to concept characters on the fly. Once two or three initial concepts are done, I will pick the one I like best to do a 'final model'. In this I will cover existing zbrush tools, as well as how to make custom brushes that achieve results otherwise difficult. We will refine the primary forms sculpted in the initial session, then define them and clean them. Lastly we will add any accessories that are needed to complete the final bust.
*ZBrush for Character Artists
In this workshop, we focus exclusively on the tools and techniques that will make you a better artist inside of ZBrush. It is both a quickstart to ZBrush for character artists and a solid look at ZBrush’s sculpting toolset. You will learn the how and the why of ZBrush. We cover the following topics:
• Interface
• Tools and Documents
• Brushes
• Alphas
• Strokes
• Multiple Objects
• Morph Targets
• PolyPainting
• ZAppLink
• Basic Form Development
*ZBrush for Environments
This workshop demonstrates ZBrush’s advanced sculpting toolset for Environment Artists and is an important look at how to create backgrounds for Next-Gen games. We cover the following topics:
• Blocking in your base shape
• Understanding ZBrush’s brushes
• Using Alphas
• Sculpting Concrete, Bricks and other environment textures
• Controlling sculptural form development
• SubTools and Transpose Master
• Materials and Rendering
*ZBrush 3.1 in Production
In this workshop, we will look at how to get your sculpting out of ZBrush and into Maya 2009. We will explore the question of topology and how to get the most with the least. We will demonstrate a complete and fool-proof method for getting 16 bit and 32 bit displacement maps to work. We will also explore normal maps, ZMapper and how to make the most out of them. We cover the following topics:
• 16 bit displacement maps
• 32 bit displacement maps
• Normal Maps
• ZMapper
• Multi-Displacement Exporter 3
• Topology
• ZProject Brush
• Project All
*Creature Head Texture Look Dev
In this workshop Alex will show his techniques for designing the texture style for a creature head. Using a new model made for this workshop based on a personal sketch, the creature's skin detailing and style is designed in both 2D and 3D. With a 2D grayscale drawing, little information exists for how the creature would look once textured. Using Photoshop we can quickly develop a variety of looks which can be photo-realistically previewed in both Photoshop and Maya.
By layering specular, reflection and ambient occlusion passes out of Maya, the textures can be designed photorealistically in Photoshop while being projected onto the surface and rendered from different angles in 3D. This approach allows a texture artist to show a supervisor various approaches to a creature's texture design in little time. Once a look is approved, this technique makes the process of developing the final textures quick and straight forward.
*Mudbox 2009
In this workshop we will discuss the principles and workflow of Mudbox 2009 and how to integrate it into a Mudbox and Maya pipeline. During the demonstration we will proceed to a production level example, while discussing tools such as sculpting, texturing, shaders, image based lighting, layers, surface evaluation, simulating ambient occlusion, viewport filters, tone mapping, CGFX hardware materials and Normal/Displacement map generation. We will also look at Mudbox's integration with Adobe Photoshop.
*Vehicle Rendering: Retro Russian Skimmer
In this workshop Christophe Desse will demonstrate the creation of a Russian Skimmer, with a focus on his artistic approach while trying to keep everything as simple as possible. He will take us through the process of rendering a small flying vehicle on a mini diorama base, from uv layout, through the texturing in Zbrush, shading and lighting in Maya, up to the final post-processing in Digital Fusion and Adobe Photoshop.
- Creation of the uv's using the tools3d free plugin for maya
- Detailing, color map + grunge map in zbrush
- Extraction of the different maps in xnormal and zbrush
- Shader creation in maya
- Lighting in maya
- Setup of the render layers/passes
- Post processing in fusion and photoshop
*Mental Ray: Production Practices
In this course, we will examine the steps necessary to produce a finished VFX shot from conception to the final composited rendering. Along the way we will examine modeling, texturing, animation, lighting, and rendering using Mental Ray. We will then composite the rendered layers in After Effects, using a 3D composition with a camera exported from Maya. By bringing in the camera from Maya we will be able to integrate photographed elements with our rendered elements to create a final composite. Render layers from our maya scene will include beauty, ambient occlusion, zdepth, light fog, particles, ground fog, and color alpha, among others.
*Mental Ray Lighting Techniques
This workshop will focus on various lighting scenarios such as creating a soft-box setup for product visualization, rendering a still-life scene, and using .HDR files for illumination. Some of the specific techniques discussed in this workshop include:
• Editing .mi files to unlock and adjust hidden shaders.
• Using the Blackbody & CIE_D shaders on light sources.
• Controlling light color via Kelvin controls on light sources and the mr Photographic exposure control.
• Discuss the pro’s and con’s of the various area light options available for mental ray in 3ds Max.
• Using various Final Gather techniques, including the FG Force mode.
• Installing & using Irradiance Particles in the HDR scene.
*Architectural Rendering
In this workshop I will discuss lighting, texturing, and rendering an architectural interior and exterior scene. These scenes will be configured in a daylight setup as well as an evening scenario. Some of the specific techniques discussed in this workshop include:
Daylight & evening lighting/exposure configuration of architectural interior & exterior scenes.
• Importance of properly targeting Global Illumination photons
• Photometric lights and IES profiles
• Creating & using .fgm & .pmap files
• Using an HDR with the daylight system
• Tuning the look of the mrSun/mrSky
• Controlling color bleed
*Efficient Cinematic Lighting
In this course Jeremy will take the principles from his Practical Light and Color DVD and apply it in some 3D scenes using Maya. The focus will be on simple, fast and efficient ways to light a scene well in a short amount of time. Principles of good cinematic lighting will be covered. A basic knowledge of Maya is required.
*Texture Painting: VFX Style
During this demonstration Ted Davis will outline various tips and techniques for developing texture maps for use in VFX. This will briefly encompass:
• Managing/gathering texture reference material
• UV layouts
• Painting in Body Paint
• Organizing/enhancing texture maps via Photoshop
• Shader setup and Renderlayers
• Ted will also go over some basic lighting set ups in Maya and creation of Photoshop Actions and custom brushes.
*Fluid Simulation in Destruction
Using fluids we will simulate the dust/smoke created during a demolition. This lecture will discuss the benefits of fluids and demonstrate some of the Maya fluid simulation attributes applied to destruction. We will also discuss emission techniques to cause explosive motion and study the built in turbulences of a fluid container. Finally, we will briefly walk through shot set up and use the techniques discussed on a quick fx shot.
The test shot will be an example of a car smashing through a wall. I'll also quickly fly through the set up of the scene for students. It will be a projection mapped car and wall. It's a short shot, but will give students an idea of how to build similar shots for their reel. I'll also show some cool things I've learned on the particle instanter from a friend who wrote it while at Alias.
In this presentation Grzegorz talks about the inspirations and creative process of his award winning shorts Ark and Legacy, as well as building miniature sets, lighting and filming backgrounds using Milo motion control rig, tracking, integrating cg characters into these sets and compositing with practical and digital elements. The presentation covers a simple pipeline, quite similar in both films, as well as the communication challenges between the director and a team of artists around the globe.
*A Generalist's Guide to VFX from Production to Delivery
The Story Of a Visual Effect - Ideas Behind The Images
Shooting VFX - Surviving On Set
Gearing Up- Getting what you need on location
Effects Cliches - Why they work and when to back off
How to Build It - A Bottom-Up Approach to Shot Construction
VFX Etiquette - Getting a Shot Finaled as Painlessly as Possible
Post Script - A List of Resources Every Generalist Should Have
*Matte Painting and VFX Art Direction
Using mixed media such as pencil sketching, digital painting, 3D modeling, HDR panoramic photography and mage based lighting, Jonathan demonstrate how to explore and create visuals used to support art direction and look development for films.
The Sci-Fi Prison
Chapter 1
Image composition & design phase through pencil sketching
Chapter 2
Shooting plates, environment maps and references
Chapter 3
Digital sketching on top of a plate
Chapter 4
Using modeling, lighting and texturing to maintain consistency
Chapter 5
Paint over stage and final detailing
Chapter 6
Final color grading and directing of photography & presentation
*From Concept to Film: Digital Characters and VFX
This workshop demonstrates a shot from a live-action fantasy short film that involves actors interacting with a CG character. We'll go through the process step-by step, revealing the concept, design, and pre-visualization of the shot. The presentation will focus on how to structure your action shot/sequence from a technical perspective to create the most impact and most believable interaction between your CG characters and live-action actors.
These tips and tricks will cover shot layout, action/stunt/fight choreography, motion-capture, roto and character animation, as well as a brief overview of the shot`s lighting and compositing challenges.
*Character Modeling for Production: 'The Villian' Bust
In this workshop, we will start from a generic head, and create an iconic villain character using Zbrush, Photoshop and Max to concept and create an original character bust. Starting from "scratch" using a simple base mesh to construct an original character, we will discuss how important initial loops and clean topology are for a reusable base mesh.
Examples will be shown of previous characters that vary in looks, but use the same starting point. 3ds Max is used to build a simple base cage for our sculpt. Also important to the demo is reference gathering, where we will discuss how to develop looks that define our character, so that it is instantly recognized as 'evil'.
*Concept Sculpting
Using Zbrush and Photoshop to concept characters on the fly. Once two or three initial concepts are done, I will pick the one I like best to do a 'final model'. In this I will cover existing zbrush tools, as well as how to make custom brushes that achieve results otherwise difficult. We will refine the primary forms sculpted in the initial session, then define them and clean them. Lastly we will add any accessories that are needed to complete the final bust.
*ZBrush for Character Artists
In this workshop, we focus exclusively on the tools and techniques that will make you a better artist inside of ZBrush. It is both a quickstart to ZBrush for character artists and a solid look at ZBrush’s sculpting toolset. You will learn the how and the why of ZBrush. We cover the following topics:
• Interface
• Tools and Documents
• Brushes
• Alphas
• Strokes
• Multiple Objects
• Morph Targets
• PolyPainting
• ZAppLink
• Basic Form Development
*ZBrush for Environments
This workshop demonstrates ZBrush’s advanced sculpting toolset for Environment Artists and is an important look at how to create backgrounds for Next-Gen games. We cover the following topics:
• Blocking in your base shape
• Understanding ZBrush’s brushes
• Using Alphas
• Sculpting Concrete, Bricks and other environment textures
• Controlling sculptural form development
• SubTools and Transpose Master
• Materials and Rendering
*ZBrush 3.1 in Production
In this workshop, we will look at how to get your sculpting out of ZBrush and into Maya 2009. We will explore the question of topology and how to get the most with the least. We will demonstrate a complete and fool-proof method for getting 16 bit and 32 bit displacement maps to work. We will also explore normal maps, ZMapper and how to make the most out of them. We cover the following topics:
• 16 bit displacement maps
• 32 bit displacement maps
• Normal Maps
• ZMapper
• Multi-Displacement Exporter 3
• Topology
• ZProject Brush
• Project All
*Creature Head Texture Look Dev
In this workshop Alex will show his techniques for designing the texture style for a creature head. Using a new model made for this workshop based on a personal sketch, the creature's skin detailing and style is designed in both 2D and 3D. With a 2D grayscale drawing, little information exists for how the creature would look once textured. Using Photoshop we can quickly develop a variety of looks which can be photo-realistically previewed in both Photoshop and Maya.
By layering specular, reflection and ambient occlusion passes out of Maya, the textures can be designed photorealistically in Photoshop while being projected onto the surface and rendered from different angles in 3D. This approach allows a texture artist to show a supervisor various approaches to a creature's texture design in little time. Once a look is approved, this technique makes the process of developing the final textures quick and straight forward.
*Mudbox 2009
In this workshop we will discuss the principles and workflow of Mudbox 2009 and how to integrate it into a Mudbox and Maya pipeline. During the demonstration we will proceed to a production level example, while discussing tools such as sculpting, texturing, shaders, image based lighting, layers, surface evaluation, simulating ambient occlusion, viewport filters, tone mapping, CGFX hardware materials and Normal/Displacement map generation. We will also look at Mudbox's integration with Adobe Photoshop.
*Vehicle Rendering: Retro Russian Skimmer
In this workshop Christophe Desse will demonstrate the creation of a Russian Skimmer, with a focus on his artistic approach while trying to keep everything as simple as possible. He will take us through the process of rendering a small flying vehicle on a mini diorama base, from uv layout, through the texturing in Zbrush, shading and lighting in Maya, up to the final post-processing in Digital Fusion and Adobe Photoshop.
- Creation of the uv's using the tools3d free plugin for maya
- Detailing, color map + grunge map in zbrush
- Extraction of the different maps in xnormal and zbrush
- Shader creation in maya
- Lighting in maya
- Setup of the render layers/passes
- Post processing in fusion and photoshop
*Mental Ray: Production Practices
In this course, we will examine the steps necessary to produce a finished VFX shot from conception to the final composited rendering. Along the way we will examine modeling, texturing, animation, lighting, and rendering using Mental Ray. We will then composite the rendered layers in After Effects, using a 3D composition with a camera exported from Maya. By bringing in the camera from Maya we will be able to integrate photographed elements with our rendered elements to create a final composite. Render layers from our maya scene will include beauty, ambient occlusion, zdepth, light fog, particles, ground fog, and color alpha, among others.
*Mental Ray Lighting Techniques
This workshop will focus on various lighting scenarios such as creating a soft-box setup for product visualization, rendering a still-life scene, and using .HDR files for illumination. Some of the specific techniques discussed in this workshop include:
• Editing .mi files to unlock and adjust hidden shaders.
• Using the Blackbody & CIE_D shaders on light sources.
• Controlling light color via Kelvin controls on light sources and the mr Photographic exposure control.
• Discuss the pro’s and con’s of the various area light options available for mental ray in 3ds Max.
• Using various Final Gather techniques, including the FG Force mode.
• Installing & using Irradiance Particles in the HDR scene.
*Architectural Rendering
In this workshop I will discuss lighting, texturing, and rendering an architectural interior and exterior scene. These scenes will be configured in a daylight setup as well as an evening scenario. Some of the specific techniques discussed in this workshop include:
Daylight & evening lighting/exposure configuration of architectural interior & exterior scenes.
• Importance of properly targeting Global Illumination photons
• Photometric lights and IES profiles
• Creating & using .fgm & .pmap files
• Using an HDR with the daylight system
• Tuning the look of the mrSun/mrSky
• Controlling color bleed
*Efficient Cinematic Lighting
In this course Jeremy will take the principles from his Practical Light and Color DVD and apply it in some 3D scenes using Maya. The focus will be on simple, fast and efficient ways to light a scene well in a short amount of time. Principles of good cinematic lighting will be covered. A basic knowledge of Maya is required.
*Texture Painting: VFX Style
During this demonstration Ted Davis will outline various tips and techniques for developing texture maps for use in VFX. This will briefly encompass:
• Managing/gathering texture reference material
• UV layouts
• Painting in Body Paint
• Organizing/enhancing texture maps via Photoshop
• Shader setup and Renderlayers
• Ted will also go over some basic lighting set ups in Maya and creation of Photoshop Actions and custom brushes.
*Fluid Simulation in Destruction
Using fluids we will simulate the dust/smoke created during a demolition. This lecture will discuss the benefits of fluids and demonstrate some of the Maya fluid simulation attributes applied to destruction. We will also discuss emission techniques to cause explosive motion and study the built in turbulences of a fluid container. Finally, we will briefly walk through shot set up and use the techniques discussed on a quick fx shot.
The test shot will be an example of a car smashing through a wall. I'll also quickly fly through the set up of the scene for students. It will be a projection mapped car and wall. It's a short shot, but will give students an idea of how to build similar shots for their reel. I'll also show some cool things I've learned on the particle instanter from a friend who wrote it while at Alias.
Download
http://rapidshare.com/files/183501233/Master_Classes_-_UDS.part001.rar
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