3danimationstuff.blogspot.com offers Animation stuff Animation Tutorials Character rigs Tips and Tr: 2009

Animation Mentor webinar - Live the Dream

Animation Mentor webinar - Live the Dream

Find out how our grads got their dream jobs at DreamWorks and Induatrial Light & Magic (ILM)! This Webinar is an interview between Mentor Kenny Roy and two of Animation Mentor’s recent graduates who discuss how they became animators and what they learned along the way. Recorded 29.08.09

http://rapidshare.com/files/273185137/AM_webinar.part1.rar
http://rapidshare.com/files/273186025/AM_webinar.part2.rar

Pass: extrox.com

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Animation Mentor webinar - Planning and Workflow

Animation Mentor webinar - Planning and Workflow

Animation training institutes in the world of professional animation knowledge Animation mentor Chupin good planning and workflow

The tutorial is called the first animation training institutes Animationmentor animation animated tutor expertise out of good planning and work processes, and create a great animation. In April 2009 released!

Of which software to use MAYA, when up to 100 minutes!

http://rapidshare.com/files/259814995/www.cgfriend.org.part1.rar
http://rapidshare.com/files/259806628/www.cgfriend.org.part2.rar

Password : www.cgfriend.org

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Digital Tutors - Introduction to Rigging in 3ds Max

Digital Tutors: Cartoon Character Rigging in Maya

CG Toolkit - The Art of Rigging, Volume 1

CG Academy: Intermediate Rigging SET

Gnomon Workshop - The Techniques of Dylan Cole (Vol.1-3)

Gnomon Workshop - The Techniques of Dylan Cole (Vol.1-3) | 907 + 779 + 2814 MB

In this DVD, Dylan discusses the fundamentals of landscape matte painting by demonstrating how to design a shot, both from a plate and from scratch. Intended for the beginning to intermediate matte painter, the quick studies in this lecture explore the necessary color and composition techniques for creating convincing landscapes. Learn how to lead the viewerâ€™s eye through a composition by manipulating light, color and line. Six different paintings are created in a variety of locales and lighting scenarios. From snowy mountains to lush jungles, moody dusk to bright daylight, this DVD offers an exciting look into the art of digital matte painting. Included in this DVD are the original layered Adobe PhotoshopÂ® files in addition to the original plate photography.

The Gnomon Workshop - The Techniques of Dylan Cole: Introduction to Landscape Matte Painting

In this DVD, Dylan discusses the fundamentals of landscape matte painting by demonstrating how to design a shot, both from a plate and from scratch. Intended for the beginning to intermediate matte painter, the quick studies in this lecture explore the necessary color and composition techniques for creating convincing landscapes. Learn how to lead the viewerâ€™s eye through a composition by manipulating light, color and line. Six different paintings are created in a variety of locales and lighting scenarios. From snowy mountains to lush jungles, moody dusk to bright daylight, this DVD offers an exciting look into the art of digital matte painting. Included in this DVD are the original layered Adobe PhotoshopÂ® files in addition to the original plate photography.

The Gnomon Workshop - The Techniques of Dylan Cole: Introduction To Cityscape Matte Painting

In this DVD, Dylan discusses the fundamentals of cityscape matte painting by demonstrating how to design a shot, both from a plate and from scratch. Intended for the beginning to intermediate matte painter, the quick studies in this lecture explore the necessary color and composition techniques for creating dynamic cityscapes. Learn how to lead the viewerâ€™s eye through a composition by manipulating light, color and line. Establish accurate linear perspective by taking cues from the plate and learn to set up an accurate 3 point perspective grid from scratch. A variety of architecture and lighting scenarios are explored, from sunset to bright daylight, and science fiction to old world. Enjoy this inside look into the art of digital matte painting. Included in this DVD are the original layered Adobe PhotoshopÂ® files in addition to the original plate photography.

The Gnomon Workshop - The Techniques of Dylan Cole: Advanced Digital Matte Painting

Building upon the foundation of his first two DVDs, Dylan takes you through the entire matte painting process, from pencil sketch to color study to final rendering. He demonstrates many techniques he uses in production, from various types of photo manipulation to hand painting methods. Many challenges are addressed, such as skies, water, architecture, linear perspective and atmospheric perspective. You will also learn how to relight a painting as Dylan transforms a daylight scene into a sunset shot. As an added bonus, the original photo references and the final Adobe PhotoshopÂ® file are included in this DVD-ROM.

vol1:
http://rapidshare.com/files/148591188/TGW-TToDC1.part01.rar
http://rapidshare.com/files/148591552/TGW-TToDC1.part02.rar
http://rapidshare.com/files/148592406/TGW-TToDC1.part03.rar
http://rapidshare.com/files/148591735/TGW-TToDC1.part04.rar
http://rapidshare.com/files/148591675/TGW-TToDC1.part05.rar
http://rapidshare.com/files/148591894/TGW-TToDC1.part06.rar
http://rapidshare.com/files/148592009/TGW-TToDC1.part07.rar
http://rapidshare.com/files/148592111/TGW-TToDC1.part08.rar
http://rapidshare.com/files/148592136/TGW-TToDC1.part09.rar
http://rapidshare.com/files/148591451/TGW-TToDC1.part10.rar
vol2:
http://rapidshare.com/files/148592146/TGW-TToDC2.part1.rar
http://rapidshare.com/files/148592153/TGW-TToDC2.part2.rar
http://rapidshare.co
http://rapidshare.co
http://rapidshare.co
http://rapidshare.com/files/148592549/TGW-TToDC2.part6.rarm/files/148592418/TGW-TToDC2.part3.rarm/files/148592404/TGW-TToDC2.part4.rarm/files/148592428/TGW-TToDC2.part5.rar
http://rapidshare.com/files/148592599/TGW-TToDC2.part7.rar
http://rapidshare.com/files/148592447/TGW-TToDC2.part8.rar

vol3:
http://rapidshare.com/files/148592698/TGW-TToDC3.part01.rar
http://rapidshare.com/files/148592878/TGW-TToDC3.part02.rar
http://rapidshare.com/files/148592542/TGW-TToDC3.part03.rar
http://rapidshare.com/files/148592865/TGW-TToDC3.part04.rar
http://rapidshare.com/files/148592656/TGW-TToDC3.part05.rar
http://rapidshare.com/files/148593149/TGW-TToDC3.part06.rar
http://rapidshare.com/files/148592810/TGW-TToDC3.part07.rar
http://rapidshare.com/files/148593247/TGW-TToDC3.part08.rar
http://rapidshare.com/files/148593376/TGW-TToDC3.part09.rar
http://rapidshare.com/files/148593234/TGW-TToDC3.part10.rar
http://rapidshare.com/files/148593241/TGW-TToDC3.part11.rar
http://rapidshare.com/files/148593537/TGW-TToDC3.part12.rar
http://rapidshare.com/files/148594240/TGW-TToDC3.part13.rar
http://rapidshare.com/files/148598722/TGW-TToDC3.part14.rar
http://rapidshare.com/files/148594386/TGW-TToDC3.part15.rar
http://rapidshare.com/files/148594156/TGW-TToDC3.part16.rar
http://rapidshare.com/files/148594700/TGW-TToDC3.part17.rar
http://rapidshare.com/files/148594331/TGW-TToDC3.part18.rar
http://rapidshare.com/files/148594924/TGW-TToDC3.part19.rar
http://rapidshare.com/files/148594328/TGW-TToDC3.part20.rar
http://rapidshare.com/files/148594841/TGW-TToDC3.part21.rar
http://rapidshare.com/files/148594541/TGW-TToDC3.part22.rar
http://rapidshare.com/files/148602620/TGW-TToDC3.part23.rar
http://rapidshare.com/files/148594806/TGW-TToDC3.part24.rar
http://rapidshare.com/files/148594850/TGW-TToDC3.part25.rar
http://rapidshare.com/files/148599729/TGW-TToDC3.part26.rar
http://rapidshare.com/files/148599725/TGW-TToDC3.part27.rar
http://rapidshare.com/files/148595193/TGW-TToDC3.part28.rar
http://rapidshare.com/files/148594606/TGW-TToDC3.part29.rar

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Gnomon Workshop: From Speedpainting to Matte Painting

Gnomon Workshop: From Speedpainting to Matte Painting | 1.37 GB

In this DVD, Sebastien Larroude demonstrates the techniques that he
uses to create environments for the video game and entertainment industries,
using Adobe PhotoshopÂ®, Pixologic ZBrushÂ®, Autodesk MayaÂ® and EyeOn FusionÂ®.
Beginning with black and white sketches, Sebastien leads you through the creation
of a polished concept/CG matte painting. He specifically reveals the entire
pipeline to create a full CG Sci-Fi urban environment from speedpainting to mood lighting,
architecture design, textures and shaders, brush creation, modeling, sculpting and
compositing while discussing useful professional tips. Follow his original
methodology and personal approach for using the most popular software in the industry.

http://rapidshare.com/files/112029610/spmp.part01.rar
http://rapidshare.com/files/112029701/spmp.part02.rar
http://rapidshare.com/files/112029820/spmp.part03.rar
http://rapidshare.com/files/112029872/spmp.part04.rar
http://rapidshare.com/files/112030055/spmp.part05.rar
http://rapidshare.com/files/112030138/spmp.part06.rar
http://rapidshare.com/files/112030252/spmp.part07.rar
http://rapidshare.com/files/112030286/spmp.part08.rar
http://rapidshare.com/files/112030507/spmp.part09.rar
http://rapidshare.com/files/112030574/spmp.part10.rar
http://rapidshare.com/files/112030631/spmp.part11.rar
http://rapidshare.com/files/112030714/spmp.part12.rar
http://rapidshare.com/files/112030921/spmp.part13.rar
http://rapidshare.com/files/112030993/spmp.part14.rar
http://rapidshare.com/files/112030372/spmp.part15.rar

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Gnomon Workshop - Matte Painting Production Techniques

Gnomon Workshop - The Techniques of Ryan Church vol.3: Rendering Hi-Tech Architecture

Gnomon Workshop - The Techniques of Ryan Church vol.3: Rendering Hi-Tech Architecture | 654.9 MB

Ryanâ€™s demo takes the viewer step-by-step through the creation of a digital illustration of a design for a moody futuristic cityscape, from blank-page through to final rendering. Topics illustrated range from shot layout and composition to the use of color and atmosphere to create drama and establish scale. Using industry standard programs, the techniques Ryan demonstrates in the creation of a dynamic, convincing, and colorful digital painting are essential for any concept artist to have. The DVD covers all aspects of the process, from design inception, research and cinematography, through to advanced and effective techniques for completing the finished digital painting.

The software used in this DVD is Corel Painter.

TOPICS COVERED:
The 2D Digital Workspace
Establishing Shot

Vignetting
Perspective Sketching
Cinematography
Lighting the Scene
Mood and Color
Focal Point

CHAPTERS:
01: Introduction
02: Starting Loose
03: Composition
04: Local Colors
05: Natural Lighting
06: Architectural Details
07: Artificial Lighting
08: Foreground Details
09: Final Touches
10: Credits

http://rapidshare.com/files/142834429/Gnomon-RyanChurchvol.3.by.dtnam.part1.rar
http://rapidshare.com/files/142835164/Gnomon-RyanChurchvol.3.by.dtnam.part2.rar
http://rapidshare.com/files/142835147/Gnomon-RyanChurchvol.3.by.dtnam.part3.rar
http://rapidshare.com/files/142835173/Gnomon-RyanChurchvol.3.by.dtnam.part4.rar
http://rapidshare.com/files/142838241/Gnomon-RyanChurchvol.3.by.dtnam.part5.rar
http://rapidshare.com/files/142838006/Gnomon-RyanChurchvol.3.by.dtnam.part6.rar
http://rapidshare.com/files/142834743/Gnomon-RyanChurchvol.3.by.dtnam.part7.rar

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Digital Tutors - mental ray Rendering Techniques - Interiors

Digital Tutors - Render Passes in Maya 2009 | 264.76 MB

Digital Tutors - Render Passes in Maya 2009 | 264.76 MB

Learn a production workflow to the completely updated Render Pass feature set in Maya 2009. Gain precise control over render outputs and learn time-saving techniques to optimizing the interoperability with Maya and compositing applications such as Toxik. Contains 2 hours of project-based training.

Popular highlights include:

* Overview of Render Layers
* Render Layer Overrides
* Material Overrides
* Overview of Frame Buffers
* Creating Render Passes
* Associating Passes with Render Layers
* Creating Pass Sets to Organize Render Passes

* Building Contribution Maps
* Object-centric Contribution Maps
* Light-centric Contribution Maps
* Rendering Multi-channel EXR Files
* Organizing Rendered Passes with Render Tokens
* Creating Custom Frame Buffers
* Altering Materials' Frame Buffer Contributions
* Using SSS Materials with Passes
* Utilizing Render Layers and Render Passes Together
* Exporting Compositing Data to Toxik

Depositfiles:
http://depositfiles.com/files/xkwx5mfkx
http://depositfiles.com/files/87s74c534
http://depositfiles.com/files/mikqbfyph

Megaupload:
http://www.megaupload.com/?d=NMVJR839
http://www.megaupload.com/?d=87UKWVPM
http://www.megaupload.com/?d=V2F577TI

Rapidshare:
http://rapidshare.com/files/161149114/DTMRP.part1.rar
http://rapidshare.com/files/161149656/DTMRP.part2.rar
http://rapidshare.com/files/161149610/DTMRP.part3.rar

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Digital Tutors - Introduction to Lighting in 3ds Max

Digital Tutors - Introduction to Lighting in 3ds Max | 315.24 MB

Software: 3ds Max 2009 and up
Run Time: 2 hrs. 15 min., 1 disc

Learn an essential workflow to lighting in 3ds Max and fundamental techniques to establishing moods and adding greater realism to your scenes through lighting. Contains over 2 hours of project-based training. Ideal for new and beginning artists.

http://rapidshare.com/files/157635041/ItLi3Mdt.part1.rar
http://rapidshare.com/files/157635014/ItLi3Mdt.part2.rar

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CG Academy - Lighting And Rendering Fundamentals 1 Light And Colour Theory

Gnomon Workshop - Global Illumination: Interiors - VRay Lighting Techniques

Gnomon Workshop - Environment Lighting for Production

Digital Lighting Magic 1,2 & 3

Digital Lighting Magic 1,2 & 3 | 2.5 GB

DVDRIP | English | 03:45:5 | 704x480 | DivX, 1275 kbps | AC3 128 kbits

This 3 DVD set is packed full of incredible digital lighting information & techniques. Even the most experienced videographer or photographer can learn something from these DVDs. You don't have to spend lots of money to get great shots. In the past, top-level lighting secrets have been available to only a select few. People pay $2000 or more in workshops to learn what you will learn fast and easy on these dvd's. Now John Cooksey reveals the insider secrets to doing breath-taking videos that look like you hired a big lighting crew! He takes you step by step through each setup and some of the shots only needing lights that you get at your local Hardware store.

Each DVD is 75 minutes long (you get 3 of them) and they take you step by step through amazing ways to get fantastic results using your digital camera and low cost light set ups. No complicated formulas or history of lighting, just the great stuff you need to go from dull to impressive. All the shortcuts revealed. Your clients will be blown away with what you can do. Get the edge over your competition and become the videographer the others look up to for your great lighting expertise. Learn the secrets of interview lighting, wedding lighting, tiny studio lighting, Hollywood style lighting, low budget movie set lighting, outdoor lighting, the one light to making your own gels, making your own soft lights, background lighting, camera control effects, event and reception lighting, three point lighting "B.A.S.S. lighting system, chromakey lighting secrets, MTV-style lighting, hair lights, portrait style lighting, five point lighting, reflector secrets, news interview style lighting, and much more...

http://www.filefactory.com/file/a0hce8a/n/LIGHTING_txt

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3drender - Lighting & Rendering in Maya : Lights and Shadows

Important Things When Posing a Character

Important Things When Posing a Character

The most important thing to look for in a pose would be a strong line of action, if it is an action pose. If the character is mid-action, such as pushing/pulling something, fighting, running, jumping, etc -- in any of those, there should be a really clear line of action, especially in your key poses. A single line that describes the force moving through the body and the momentum of the movement, ideally a line running through the entire body, and hopefully into an arm and/or leg. The stronger, longer, and more connected this line is, the more dynamic and strong the pose will feel.

If it isn't an action pose, then you should probably be more concerned with making sure the pose clearly describes an attitude or emotion. You should be able to tell, from one static frame, whether the character is sad, happy, angry, shy, embarrassed, nervous, excited, or afraid. In these cases, it is OK to sacrifice a strong line of action in order to strengthen the emotion, at least in my opinion, although it's often possible to craft a very communicative pose while still retaining a nice line of action. However, showing us the internal thought process should be the priority in these types of scenes...

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Pros and Cons of Video Reference

Pros and Cons of Video Reference

I’ve been listening a lot to various animation podcasts and watching animation videos, and it seems there are some great very experienced animators that don’t use video reference, some that don’t even thumbnail at all. Some indeed say you shouldn’t become too reliant on it, and warn that using it may suck the life out of a performance. Other’s stating as a reason that they don’t like to video themselves as they think the performance will end up being too much like them self and not like the character.

I was wondering about your thoughts on this?

I know myself that when I first started my career as an animator, I never used video reference, I never thumbnailed, I just went straight into the 3d program and animated and my work sucked. After I learned a bit more and started to plan more using reference my work massively improved – but do you think it has negative affects also?
-Steven Heft

Hi Steven! Thanks for the nice words and the great question!!!

I too know many animators who don't use much reference for human animation (I still don't know many who wouldn't at least study some reference for creature/animals work), but these are all either very experienced professional animators or are animators who's work never quite measures up.

Everyone has their own method of working that they are most comfortable with, and everyone is at a different level or a different place along that path to learning animation.

Truthfully, I don't use near as much reference anymore if I'm animating a biped. Depending on the action, I might, and certainly with acting shots I would generally film some reference in order to seek out some unique acting choices and emotional beats, but these days I'm finally able to see the action animation more in my head, and am finally experienced enough to be able to combine that vision with a deeper understanding of the body in order to be able to just dive into it and pretty much know how most of the physics will work. Of course, I still blow it sometimes and have to go back to the drawing board (whoops!), but for the first time, I'm finally understanding this stuff a little more.

But that's after over a decade as a professional working on films. I'm not claiming that's some big number in the length of a career, there are a whole lot of animators out there with piles more experience and talent than me, that's for sure. But I mention the number of years in order to point out that for at least the first seven or eight years as a professional, I needed to go through a very deep planning process for pretty much every shot if I wanted it to be a shot I was proud of.

If you include my years as a student and working in games, then you're talking about a 12-year stretch where any assignments or shots I got cocky with and skipped my planning phase inevitably turned out simply "adequate," at best. Certainly less special than they could have been. At worst, they were complete failures, and I can't think of a single shot frrom that 12 year stretch that didn't include planning that I would include on a demo reel today.

Conversely, the shots where I spent the most time planning, filmed reference, studied it, etc., are the shots that finished fastest and turned out the best, and which I am most proud of -- or at least can look back on with the least amount of cringing. :)

This is why I so strongly recommend a thorough planning process to animation students. If someone has been animating for a bunch of years and feels like their experience lets them skip that process, then I think that's great -- more power to them. However, the vast majority of us, myself included, would still benefit from some amount of planning for the majority of our shots, *especially* if they include dialogue and/or acting.

To me, recommending to a beginner or mid-level animator that they don't use reference would be just like tossing a first time swimmer into the deep end with no instruction, or handing some carpenters a bunch of wood and tools but no schematics or blueprints and telling them to build a house. Can that guy swim? Maybe he can figure it out, maybe not. Could the carpenters build a house? Sure, maybe, but unless they already have a lot of experience, my guess is that it isn't going to turn out very well, and certainly isn't going to win any architecture awards.

As for the fear you mention of reference affecting our work negatively, that's up to us as the artist. If I film reference of myself for Yoda, Optimus Prime, and ET, and they all move the same way, then I've pretty much failed in my job! ****REFERENCE IS NOT FOR COPYING.**** If someone is copying the reference verbatim, then yes, they run a really high risk of sucking the life out of the shot and animating everything to move the same way they move.

But that isn't how reference should be used. It should be a source you can study to see how the body mechanics work, or to discover great and unexpected acting choices. But THEN you have to apply your knowledge of the principles of animation TO that reference. Exaggerate the poses a bit, push the timing here, add some contrast there, etc.

As long as your are doing your job as the animator to apply life and interest to the reference you are studying, then you don't need to be afraid of it having any negative impact on your work whatsoever. That's my opinion, anyway...

Thanks so much for writing in!!

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Tips on Smooth Key Framing in Animation

Tips on Smooth Key Framing in Animation

The concept of key framing is one that has evolved with the animated medium. Historically, animation was created as frames in sequential order, (a throw back to film), but traditional animators began to explore ways in which to break down the execution of a shot into a system more agreeable to creating performance. Thus, the idea of using single frames to denote important parts of a scene quickly become the most elegant way of planning and staging.

Should a character go from happy to sad within the course of a shot, then it is possible to create just two drawings that may then describe this complex change of emotion fairly simply, absolutely spiffy for an initial stage of production. The great thing about working in modern computer animation is that this process is applicable to our digital puppets, so that we may benefit from all the the advances in animated acting and planning that have been done by our traditional peers. So for the sake of this little rambling discussion of mine, let's take key framing to be the significant poses/attitudes that define a shot, rather than the software definition of a value of a variable at at one frame in time. (It's a bit confusing, but to the computer, every knot on a curve is a key frame, but we're way more creative that that.)

Key framing has many advantages over the straight ahead, layered approach. What are they, I hear you ask? Well, I'm about to tell you!

As was mentioned above, key framing allows us to plan our work in broad strokes. We can consider the emotive or physical beats within a shot and define them, either by quickly thumbnailing/reference or at the computer/drawing table. If we can create strong, effective key poses, then they should be able to accurately communicate to an audience just what the shot will eventually feel like when it's complete.

Another advantage, and this is huge for professional animation, is that with only a couple of keys it is possible to begin a dialogue with peers or creative superiors. Working to deadlines means that it is imperative that ideas be conveyed quickly and clearly in order to get feedback, so that the shot can progress. The layered approach suffers here, as it is impossible for a director to judge the success of the animator's vision if, (for example), they've only completed some beautifully moving hips and legs, leaving the arms and face for later. Also, should we head off in the wrong direction, it is really easy to go back and rework key poses to be more in line with creative direction. Everybody wins!

The second question in the heading there is a bit of a technical consideration, I think. While it's important to the final polish of a shot, within the context of this discussion I believe the question should be more about good key framing rather than smooth.

Good keyframing comes from the ability to analyse the intent of the shot and distil it to its essence. This could be a subtle gesture or a big, broad action, the process is the same. Once we have this essence we may explore it to come up with suggestions as to how we may convey the intent of the shot in as appealing and simple a way as possible through our poses.

Getting in character, be it by acting or looking at reference or doodling on a scrap of paper is central to finding these keys. This is because empathy brings results! I find that I usually have an abundance of ideas simply by attempting to go through the same experiences to those of the character I am trying to portray.

So now we've learned a little about what key frames are, and how to find the tricksy little scamps. By empathizing with our characters and mimicking their thought process, we can stumble across cool animation choices that would otherwise be hidden to us. Questioning these choices can then help us whittle them down to the best key poses we can add into a scene to most clearly convey our intent to our audience.

It's an exciting and creative time during the creation of an animated piece of work, this 'ere keyframe selection process. Let's go and find some! Read more...