Gnomon Master Class 2011 Organised Full collection
eLearning | 10.23 GB
In this lecture, Vitaly Bulgarov shows his process of creating a fully rendered 3D design for production-oriented pipelines. Using the example of an alien bust, Vitaly goes through the main steps of creating a sci-fi character design from scratch.
He begins by making a quick bust sketch in ZBrush. He then creates a detailed suit design in XSI using the block-out as a guideline for the proportions of the alien bust. By doing this, Vitaly shows the techniques and tools he uses to create complicated surfaces like multi-layered metal plates, rubber pads, tubes, and attachments. Solving design on the fly, without making any preliminary sketches, he builds a fully detailed mesh for the helmet and suit, explaining why certain design decisions are made.
Once the model is complete, Vitaly takes it into Keyshot for raytrace rendering and then brings the renders to Photoshop to finalize the design, push the overall look and bring more personality to the character by adding final textures and detail enhancements
This class will demonstrate a technique that will encourage the artist to pursue three-hour figure gesture paintings in 3D. These 3D gesture paintings allow the artist to experiment and avoid being consumed with the detail work ordinarily associated with the medium of 3D. While a photograph is used for the purposes of this class, all techniques are perfectly applicable to working in front of a live model.
Techniques will be demonstrated for the three phases of creating a quick study; modeling, texturing and lighting. Each of the phases will be built from the ground up, and the purpose of each component will be described. This technique can easily serve as a foundational "underpaint" for a more polished, realized work. When this underpaint is solid, finished work is solely a matter of adding additional layers and filling in details.
"At Weta Workshop we are often asked to help create a fantastical and original world that still has the cultural and historical believability of our own. In this workshop I will be sharing how many of the principles and techniques we employ as world designers can be applied to figurative illustration to give greater depth, detail and meaning to your work. This workshop will cover my conceptual and technical process behind an illustration produced for Coilhouse Magazine, Sherlock Holmes vs The White Fox Woman - a brief History of Chinese Pulp (2010)."
This course covering the design and construction of digital characters will focus on motion; primarily skeletal animation and surface deformation. Rick Grandy will discuss the biomechanics of real animals, taking the knowledge learned from nature and using it to help create creatures that move in a believable way. He'll also discuss when to break the rules, and how to improve the performance of your characters.
In this class, David Meng shares his thoughts on how he includes personality and expression in a character bust, striving to avoid anything innocuous or generic but still keeping subtlety in the sculpture. The practical aspects of working with plastaline and armatures will be addressed, as well as the subjective aspect of creative influences and the challenges involved in creating something that will entertain and surprise viewers.
Award-winning independent director Greg Jonkajtys shares his experience designing and executing the visual effects for his new live-action short film The 3rd Letter. Topics will include storyboards and animatics, shooting with the Canon 5D Mark II DSLR camera, blending computer generated effects with real props, and extending live-action sets with CG.
This class will focus on painting high-resolution organic texture maps for film industry production, utilizing the remarkably powerful and versatile texture painting software Mari. Gareth will demonstrate a range of tricks and techniques that he often utilizes to create the various qualities of lifelike and believable skin.
Gareth will take a sculpted bust by character designer Scott Spencer from start to finished render. In addition to demonstrating the tools and his workflow, Gareth will be covering topics such as the importance of reference and the qualities of different regions of skin.
In this master class, Alex Alvarez will discuss the creation of Dirge, his hellish new animated personal image. Created as an animated loop at 2560x1600 for viewing on a 30" framed display, Dirge was created using Maya, ZBrush, Photoshop, After Effects and Mental Ray. The entire workflow will be explored, including character and environment design, effects, animation, lighting and compositing.
In this tutorial, Scott Spencer shows a professional workflow for creature design using Pixologic ZBrush and Adobe Photoshop, using ZBrush to develop ideations on a creature head. Attention is given to design, shape relationships, physiology, and character.
This character sculpture is taken to a finish using quick sculpting techniques Scott has developed to help in creating dynamic character designs under tight deadlines. The sculpture is then rendered and exported to Photoshop where a final pass of color and atmosphere is applied to tie the design together into a cohesive whole, ready for presentation to a director.
This class covers real-world construction of motion picture style props, miniatures and practical effects gags. This course will cover all aspects of bringing an idea out of your head, to creating something with your own hands that is truly interactive.
Production steps include concept design, pre-production, multi-material application/allocation, engineering design and application, shop safety, base formation, machining, fabrication and alternatives, nernies and grebles, mold making, gadgets, gags, paint/faux finishes and other "weird science" tricks of the trade.
Independent filmmakers looking to build cost-effective props will benefit from this rare glimpse at a master's process and techniques.
Alex will introduce the new Mental Ray 3.8 Environment Lighting (IBL) and Progressive Rendering (PR) features, used in conjunction with the Physical Sky, the Mia Portal Light, Final Gathering, Global Illumination, Importons and Irradiance Particles features. Alex will also be sharing how to use the new Iray Rendering Engine in conjunction with the Progressive Rendering sampler algorithm.
In this class, the art direction process for motion graphics in a feature film production pipeline is revealed. Motion Graphics Art Director for James Cameron's Avatar, Neil Huxley, takes a step-by-step guide from creative brief, conceptualization and design in Illustrator and Photoshop through to animation in After Effects.
Some of the topics that will be covered include: creating a workflow that allows for creative freedom and clear communication, quick iterations for client approvals, creating a graphics bible, and setting up clean After Effects comps which allow for client feedback revisions. This masterclass will take you through every step of the art direction process.
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