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CG Academy 3DMax Animation Fundamental 2 : Adding Character
DVD 3DMax | 4 Hours, 37 Minutes | 1,70 GB
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Sabtu, 24 September 2011
CG Academy 3DMax Animation Fundamental 1
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CG Academy 3DMax Animation Fundamental 1 : The Core Principles
DVD 3DMax | 7 Hours, 47 Minutes | 2,83 GB
Content :
CH01: What Is Animation?
Simon starts with an introduction to what animation is, the phenomena behind it, the basic structure of how we will tackle our animation and so on.
CH02: The Bouncing Ball - Timing and Spacing
We make a start on our first practical tutorial by looking at Timing and Spacing. Here we lay down the “back-bone” of our bouncing ball animation.
CH03: Trackview - The Curve editor
As we now need to use the Curve Editor to take fine control of our animation, we take an in-depth look at the Trackview/Curve Editor.
CH04: TBB - Adding Mass and Weight
Now we understand the Curve Editor better, we can start working into our bouncing ball animation, altering the Spacing to create a feeling of Mass and Weight in our ball.
CH05: TBB - Refining the Animation
We wrap up this tutorial by taking another sweep over the animation, refining the balls bouncing motion. At the close of this chapter, we have our first complete animation.
CH06: FK and IK Setup
For our next tutorial on overlapping action, we need to understand the differences between Inverse and Forward Kinematics. Simon runs us through those differences here.
CH07: Animating a Tentacle - Overlapping Action
Now, using Forward Kinematics we animate a simple bone chain, and we offset each bones rotation in time to create the effect of overlapping action.
CH08: Floppy - Character and Animation Rig
Now we have the principle of overlapping action under our belts, we will start a new pair of tutorials that will apply all we have learnt so far. Here Simon introduces us to the character we will be using to do so, “Floppy”. And the character rig we will use to control him.
CH09: Floppy’s Jump Cycle – Blocking
So, we start once again by setting up the back-bone of our animation. We lay down key poses for Floppy in our blocking stage of the animation. Here we are going to create a hop cycle.
CH10: FJC - Posing Floppy
Having worked out our basic timing, Simon works into the key poses of Floppy to give a better feeling of Mass and Weight.
CH11: FJC - Adding Secondary Animation
Now we have our core animation in place, we can introduce a new principle, Secondary Animation. We add new motion to Floppy’s ears based on his core animation.
CH12: FJC - Refining and Finishing Off
And once again we finish off our animation by running through it once more and refining elements of the motion here and there.
CH13: Floppy’s Hop - Goals and Structure
We start a new tutorial with Simon explaining what our goals are, and how we are going to structure our work to achieve them.
CH14: Floppy’s Hop - Creating the Two Hops
We take the previously completed Floppy hop cycle and we cut it down to two complete hops. Starting on the ground, Floppy hops into the air, bounces, arcs into the air and lands.
CH15: Floppy’s Hop - Adding Anticipation
But our animation is missing something… Floppy instantly leaps into the air, without gathering energy to do so. And when he lands and stops, he stops dead. So we start addressing these issues by adding a new principle here, Anticipation.
CH16: Floppy’s Hop - Adding Follow Through
Having given Floppy some build up into his hops, we add a winding down in his energy here by adding another principle, Follow-Though.
CH17: Floppy’s Hop - Refining the Animation
And once again we follow our animation structure to refine our animation at this point. Simon works out some issues here and there, and the result is our first full animation!!
Simon starts with an introduction to what animation is, the phenomena behind it, the basic structure of how we will tackle our animation and so on.
CH02: The Bouncing Ball - Timing and Spacing
We make a start on our first practical tutorial by looking at Timing and Spacing. Here we lay down the “back-bone” of our bouncing ball animation.
CH03: Trackview - The Curve editor
As we now need to use the Curve Editor to take fine control of our animation, we take an in-depth look at the Trackview/Curve Editor.
CH04: TBB - Adding Mass and Weight
Now we understand the Curve Editor better, we can start working into our bouncing ball animation, altering the Spacing to create a feeling of Mass and Weight in our ball.
CH05: TBB - Refining the Animation
We wrap up this tutorial by taking another sweep over the animation, refining the balls bouncing motion. At the close of this chapter, we have our first complete animation.
CH06: FK and IK Setup
For our next tutorial on overlapping action, we need to understand the differences between Inverse and Forward Kinematics. Simon runs us through those differences here.
CH07: Animating a Tentacle - Overlapping Action
Now, using Forward Kinematics we animate a simple bone chain, and we offset each bones rotation in time to create the effect of overlapping action.
CH08: Floppy - Character and Animation Rig
Now we have the principle of overlapping action under our belts, we will start a new pair of tutorials that will apply all we have learnt so far. Here Simon introduces us to the character we will be using to do so, “Floppy”. And the character rig we will use to control him.
CH09: Floppy’s Jump Cycle – Blocking
So, we start once again by setting up the back-bone of our animation. We lay down key poses for Floppy in our blocking stage of the animation. Here we are going to create a hop cycle.
CH10: FJC - Posing Floppy
Having worked out our basic timing, Simon works into the key poses of Floppy to give a better feeling of Mass and Weight.
CH11: FJC - Adding Secondary Animation
Now we have our core animation in place, we can introduce a new principle, Secondary Animation. We add new motion to Floppy’s ears based on his core animation.
CH12: FJC - Refining and Finishing Off
And once again we finish off our animation by running through it once more and refining elements of the motion here and there.
CH13: Floppy’s Hop - Goals and Structure
We start a new tutorial with Simon explaining what our goals are, and how we are going to structure our work to achieve them.
CH14: Floppy’s Hop - Creating the Two Hops
We take the previously completed Floppy hop cycle and we cut it down to two complete hops. Starting on the ground, Floppy hops into the air, bounces, arcs into the air and lands.
CH15: Floppy’s Hop - Adding Anticipation
But our animation is missing something… Floppy instantly leaps into the air, without gathering energy to do so. And when he lands and stops, he stops dead. So we start addressing these issues by adding a new principle here, Anticipation.
CH16: Floppy’s Hop - Adding Follow Through
Having given Floppy some build up into his hops, we add a winding down in his energy here by adding another principle, Follow-Though.
CH17: Floppy’s Hop - Refining the Animation
And once again we follow our animation structure to refine our animation at this point. Simon works out some issues here and there, and the result is our first full animation!!
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CG Academy 3DMax Lighting & Rendering Fundamentals 1
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CG Academy 3DMax Lighting & Rendering Fundamentals 1 : Light & Colour Theory
DVD 3DMax | 3 Hours, 33 Minutes | 3,21 GB
Content :
Chapter 01: Evolution of Light: Part 1
Chris starts the series with an look into the art and developments in technology that have
Chris starts the series with an look into the art and developments in technology that have
lead us to the current state of the art in rendering theory and technology. We start by looking
at the earlier periods of art, running up to the 17th Century.
Chapter 02: Evolution of Light: Part 2
Chris continues his exploration of art history. In this chapter we cover the modern period.
Chapter 02: Evolution of Light: Part 2
Chris continues his exploration of art history. In this chapter we cover the modern period.
With the invention of photography, cinematography and the modern era and its explosion in special effects.
Chapter 03: Colour Theory Introduction
Here we look at the very basics of colour theory. Looking at topics such as the fundamental
Chapter 03: Colour Theory Introduction
Here we look at the very basics of colour theory. Looking at topics such as the fundamental
nature of light, how it is made up of a variety of wavelengths, is transmitted by photons.
Also how the human eye works and the surface nature of materials.
Chapter 04: Additive Colour
Light uses the "Additive Colour Model" in this chapter Chris explores what this means and its implications.
Chapter 05: Using RGB Values In Software
When working in 2 and 3D software we have to make use of this additive colour system.
Chapter 04: Additive Colour
Light uses the "Additive Colour Model" in this chapter Chris explores what this means and its implications.
Chapter 05: Using RGB Values In Software
When working in 2 and 3D software we have to make use of this additive colour system.
In this chapter Chris looks at how we access the most basic exposure of this colour space,
using the RGB model.
Chapter 06: Using HSV / HLS Values In Software
Chris then looks at the HSV / HLS colour model. An alternative to RGB that can
Chapter 06: Using HSV / HLS Values In Software
Chris then looks at the HSV / HLS colour model. An alternative to RGB that can
be easier to use in many circumstances.
Chapter 07: Colour Depth And Storage Methods
How do we represent the colours of the spectrum and the very many intensities of each hue.
Chapter 07: Colour Depth And Storage Methods
How do we represent the colours of the spectrum and the very many intensities of each hue.
And once we have such a system, how do we store these images?
Chapter 08: Subtractive Colour
When light hits a surface, some of its colours are absorbed. Here Chris explores
Chapter 08: Subtractive Colour
When light hits a surface, some of its colours are absorbed. Here Chris explores
the implications of this phenomena and the "Subtractive" Colour Model it creates.
Chapter 09: Colour Temperature & White Point
Light can have certain energies to it. This can cause light to have a noticeable colour tinge to it.
Chapter 09: Colour Temperature & White Point
Light can have certain energies to it. This can cause light to have a noticeable colour tinge to it.
Here Chris explores these phenomena and explains how we represent them with the
Colour Temperature system and the concept of the "White Point".
Chapter 10: Dynamic Range & Image Exposure
When we see the world around us we can only perceive a small range of the energy
Chapter 10: Dynamic Range & Image Exposure
When we see the world around us we can only perceive a small range of the energy
levels around us at any one time. Here Chris explains this limitation and how new
developments have lead to the concepts of LDR and HDR images.
Chapter 11: Low Dynamic Range Images
Chris explains in depth how the low dynamic range image perception and storage systems work.
Chapter 12: High Dynamic Rang Images
And he concludes the DVD with the more inclusive High Dynamic Range system that is
Chapter 11: Low Dynamic Range Images
Chris explains in depth how the low dynamic range image perception and storage systems work.
Chapter 12: High Dynamic Rang Images
And he concludes the DVD with the more inclusive High Dynamic Range system that is
currently at the centre of a revolution in lighting & rendering theory and technology
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CG Academy 3DMax Particle Flow Scripting 2
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CG Academy 3DMax Particle Flow Scripting 2 : The Flow Script Show
DVD 3DMax | 4 Hours, 20 Minutes | 781MB
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CG Academy 3DMax Particle Flow Scripting 1
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CG Academy 3DMax Particle Flow Scripting 1
DVD 3DMax | 4 Hours, 20 Minutes | 781 MB
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CG Academy 3DMax Particle Flow Fundamentals 5
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CG Academy 3DMax Particle Flow Fundamentals 5 : Practical Examples
DVD 3DMax | 4 Hours, 3 Minutes | 3,07 GB
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CG Academy 3DMax Particle Flow Fundamentals 4
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CG Academy 3DMax Particle Flow Fundamentals 4 : Tests, Forces & Collisions
DVD 3DMax | 4 Hours, 43 Minutes | 1,54 GB
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