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Digital Tutors Maya Unlimited Fluid Effects Tutorials, Maya
   
 
Digital Tutors Maya Unlimited Fluid Effects

Digital Tutors Maya Unlimited Fluid Effects

Website.Link..: http://www.digitaltutors.com/store/product.php?productid=76&cat=57&page=1

Learn how to accurately create and render fluid effects in
Maya with over 3 hours of interactive training. Ideal for
new and beginning users.

Popular highlights include:
* Dynamic Simulations
* Container Properties
* Texturing
* Color Maps
* Emitting Fluids from Objects and Curves
* Colliding Fluids with Objects
* Pond and Ocean Systems
* Wakes
* Explosions
* Creating Atmospheric Systems

 
 

Gnomon_Workshop_Maya_Animation_Deformers_Clusters and Blendshape Tutorials » Maya
   
 
Gnomon_Workshop_Maya_Animation_Deformers_Clusters and Blendshape
Gnomon_Workshop_Maya_Animation_Deformers_Clusters and Blendshape

Instructor:
Alex ALVAREZ


Formats:
DVD/DVD-ROM


Deformers are intuitive and interactive tools used to sculpt surfaces into new shapes, circumventing the need to edit vertices one-by-one. Maya offers a large suite of unique deformers which can be used in conjuction with each other to yield complex effects. Whether you are rigging a character or designing a crashing wave, a thorough understanding of Maya??s deformers is crucial. Simple mistakes made early on can cause big problems down the road.

Clusters and Blendshape are two indispensible deformers which you will find yourself relying on over and over again. Clusters allow you to apply transform node functionality to multiple vertices, while Blendshape is a morphing tool. We examine the application of these deformers to NURBS, Polygons and Subdivision surfaces (including NURBS patch models), with a focus on higher-level workflow techniques.

Product Code: DEF01


Clusters
Paint Select
Component Editor
Weight Tool
Edit Membership


Blendshape
NURBS
Polygons
SubD Surfaces
Deformation Order

01: Introduction
02: Clusters
03: Weighting
04: Relative Mode
05: Blendshape Basics
06: Organizing Targets
07: Poly / SubD
08: Patch Models
09: Inbetween
10: Credits

Click here to view a sample clip from this DVD. Note that while this clip is 640x480 the actual movie size is 720x480 with higher quality compression. View the stills to the right to see the actual resolution.

Alex is founder and director of The Gnomon Workshop and of Gnomon School of Visual Effects in Hollywood. Alex has been published in industry magazines, websites, and books - plus he has taught courses at several major trade conferences. His character animation projects have appeared on many computer graphics websites, on the cover of the ???Maya Character Animation?? book published by New Riders, and his 'Zufuhr' project was commissioned by Alias for their Siggraph stage presentations. Alex is president of the Los Angeles Alias Users Group and sits on the Advisory Board for Highend3D.com. Prior to Gnomon, Alex worked for Alias, as a consultant and trainer for studios in the Los Angeles area. Alex is an alumni of the Art Center College of Design and the University of Pennsylvania.

 
 

SIMPLYMAYA.COM SCIFI GORILLA MODELING DVDR Tutorials, Maya
   
 
SIMPLYMAYA.COM SCIFI GORILLA MODELING DVDR

SIMPLYMAYA.COM SCIFI GORILLA MODELING DVDR

http://www.simplymaya.com/movie_pages/tutorial.mhtml?tut_id=126

Doom meets King Kong in this tutorial that covers a combination of organic and hard surface

modelling. In the organic section you will learn how to create all the basic shapes and

proportions of your character with nurbs primitives. Once you have the right shapes and size

we'll convert all our nurbs into polygons to start attaching geometry and adding details.

 
 

The Oliphant Modeling and Texturing Tutorials » Maya
   
 
The Oliphant Modeling and Texturing

Description:

If you guys are fans of LOTR then this is just the project for you! Remember the awesome looking Oliphant? Well you to can now follow through this step by step tutorial and model it yourself!

We continue the Oilphant Modeling by laying out the UV's using strips of color which we will use to planar map as well as automatic map to achieve flat Uvs. Once we have our creatures UV's underway we will use tools such as move and sew UV's, as well as cut UV's, to combine and reshape to create a nice flat combined UV map. After our UV map is created its time to learn how to create a UV snapshot to import into a paint program like Photoshop so we can begin to hand paint both the skin color as well as the bump textures of the character. You will learn how to use layers and colors in Photoshop as well as different brush settings to build up skin color. Near the end of the project we will do some prodedural texturing using some of the built-in Maya materials and textures to texture the rigging on our characters back.

 
 



Gnomon Maya Training Skin Shading with Mental Ray Tutorials, Maya
   
 
Gnomon Maya Training Skin Shading with Mental Ray

Rendering skin with the natural appearance of translucency, specularity and reflection is achievable thanks to the Mental Ray Fast-Skin material. This tutorial demonstrates how to build the necessary shading network and manage the many attributes available. While the Fast-Skin material does have integrated control for specularity and reflections, we also look at how to implement a layered shader that allows for higher level control over these phenomenon. Using a female head as our example, we start from scratch and observe every step of the process, while explaining the logic behind our creative decisions.

 
 

Gnomon-Paint-Effects-Polygons-and-Dynamics Tutorials » Maya
   
 
Gnomon-Paint-Effects-Polygons-and-Dynamics
Gnomon-Paint-Effects-Polygons-and-Dynamics

Instructor:
Ethan SUMMERS


Formats: (Mac or PC only)
DVD-ROM
System Requirements


This DVD illuminates the particulars of getting the most out of Maya??s Paint Effects. In the second of a series, Ethan Summers teaches you to tune your brushes, optimize large-scale scenes, use Paint Effects objects as particle emitters, and create wind deformations. You??ll also learn to correct such frequently occurring errors as blown-out lighting and bad shadows. Finally, Ethan shows you how to integrate Paint Effects with Pixologic ZBrush and Maya??s Dynamics.

Over 4 hours of lecture.

Product Code: ESU02


Large Scale Scenes
Wind Deformation
Light and Shadow
Brush Tuning



Pixologic ZBrush with Paint Effects
Refining Poly Paint Effects Objects
Paint Effects as an Object Detailer
Paint Effects as Particle Emitters

01. Introduction - Recap of Paint Effects
02. Optimizing Complex Paint Effects Scenes
03. Lattices and Deformation
04. Detailing a Polygon Tree in Paint Effects
05. More Uses for Paint Effects
06. Typical Paint Effects Workflow
07. Paint Effects as Particle Emitters

Click here http://legacy.gnomononline.com/workshop/clips/esu02_lc.mov to view a sample clip from this DVD. Note that while this clip is 640x480 the actual movie size is 1024x768 with higher quality compression . View the stills to the right to see the actual resolution.

Ethan Summers is a multidisciplinary artist whose interests include CG environments, where he has 13 years experience for clients including NASA, Mattel, Microsoft, Electronic Arts, Hewlett Packard, Disney, Sundance Films, Viacom Interactive, Hasbro, Coca Cola and IBM. He is also a fine artist working in abstract painting and sculpted art cars. He has international work experience in Mexico, Japan and the USA. Ethan??s other interests include brainstorming design concepts for intuitive software for artists and riding his bicycle whenever possible. Ethan lives in Santa Cruz, California.

 
 

Gnomon-Workshop-Mental-Ray-Global-Illumination Tutorials » Maya
   
 
Gnomon-Workshop-Mental-Ray-Global-Illumination
Gnomon-Workshop-Mental-Ray-Global-Illumination

Instructor:
Matt HARTLE


Formats: (Mac or PC only)
DVD-ROM
System Requirements


In the third disk of this series, Matt Hartle focuses on Mental Ray's special rendering features, including global illumination, caustics, final gathering, and image-based lighting. Using multiple examples for each topic, this DVD teaches you efficient ways of using tools, examining numerous ways to recognize and eliminate artifacts.

2 1/2 hours of lecture.

Product Code: MHA03


Global Illumination
Caustics


Final Gather
Image Based Lighting

01: Global Illumination
02: Caustics
03: Final Gather
04: Final Gather and Global Illumination
05: Image Based Lighting

Click here http://legacy.gnomononline.com/workshop/clips/mha03_lc.mov to view a sample clip from this DVD. Note that while this clip is 640x480 the actual movie size is 1024x768. View the stills to the right to see the actual resolution.



Matt Hartle is currently 3D department head and senior animator at BLT Communications/AV. While at BLT, he has worked on many projects, including trailers for Troy, Riddick, Scooby Doo 2, Swat, and X-Men 2. As a freelance 3D artist and compositor, Matt's recent projects include Van Helsing, and Scorched. Matt has taught at various institutes for animation and visual effects, including the Academy of Art, San Francisco, the Art Institute of Los Angeles and Gnomon School of Visual Effects in Hollywood. Matt studied Illustration at the Art Center College of Design.

 
 



Gnomon-Workshop-Mental-Ray-Global-Illumination Tutorials » Maya
   
 
Gnomon-Workshop-Mental-Ray-Global-Illumination
Gnomon-Workshop-Mental-Ray-Global-Illumination

Instructor:
Matt HARTLE


Formats: (Mac or PC only)
DVD-ROM
System Requirements


In the third disk of this series, Matt Hartle focuses on Mental Ray's special rendering features, including global illumination, caustics, final gathering, and image-based lighting. Using multiple examples for each topic, this DVD teaches you efficient ways of using tools, examining numerous ways to recognize and eliminate artifacts.

2 1/2 hours of lecture.

Product Code: MHA03


Global Illumination
Caustics


Final Gather
Image Based Lighting

01: Global Illumination
02: Caustics
03: Final Gather
04: Final Gather and Global Illumination
05: Image Based Lighting

Click here http://legacy.gnomononline.com/workshop/clips/mha03_lc.mov to view a sample clip from this DVD. Note that while this clip is 640x480 the actual movie size is 1024x768. View the stills to the right to see the actual resolution.



Matt Hartle is currently 3D department head and senior animator at BLT Communications/AV. While at BLT, he has worked on many projects, including trailers for Troy, Riddick, Scooby Doo 2, Swat, and X-Men 2. As a freelance 3D artist and compositor, Matt's recent projects include Van Helsing, and Scorched. Matt has taught at various institutes for animation and visual effects, including the Academy of Art, San Francisco, the Art Institute of Los Angeles and Gnomon School of Visual Effects in Hollywood. Matt studied Illustration at the Art Center College of Design.