All posts for the day June 24th, 2011

During our adventure, dealing with pure data will enable us not to just transfer the data between different parts of our production line, but to manipulate this data, and customize it the way we need to suit our use, AND MAYBE ( as in our course ) to invent a new solution for an old problem using two cameras to capture human movement and automatically transfer the data into a custom character in 3D, without the need of expensive motion capture device or other solution.

We can also, create our own data file format and extension to package special kind of data for use in other programs or to save this data out to disk. We will create tools to save our character and camera’s animation in .CSM file or other custom file format to use that animation in other program ( Max, Maya and Endorphin in this course ) or to save it to disk, or even to send it by internet for general use, such as usual BVH and CSM motion capture files.

You don’t have to be skilled rigger, match mover, Max scripture or Mel genius to understand and to practice doing and creating these tools in this course. We started from scratch just like you will. (We do not hide anything from you) The learning structure used in these videos, gears all users up to be able to follow its contents from start to beginning. This is one of the few videos made that allow a novice or experienced TD’s and mid level 3D artist the ability to learn on the same level.

Capturing ( character tracking ) a woman movements with two cameras :

In this chapter, we will talk about character tracking using two different cameras with angle differences. ( the conditions and the best solution ) Then we will go through the process of tracking the movement of a woman from two additional HDV cameras, using Autodesk MatchMover step by step (solid tracking method ), then we will create a coordinate system, and export the tracks of the woman and the cameras into 3DMax. Following that, we then setup the 3D scene to receive match-mover data correctly.

Building a CSM ( character studio motion capture data file ) from scratch:

In this section of the video we will explain Motion capture file structure ( CSM mainly ), and how to extract information from this kind of files, then we will go through the process of applying those files into characters in 3d ( Character Studio in this case ). (NOTE: The process that we show can be used in other file formats in almost the same manor. Your not locked to 3DMax)

Baking and Application

In this portion of the video we will build a custom CSM exporter to save the MatchMover tracks as .CSM file, then we will use this file to Automatically control our character in character studio transforming track data into typical motion capture file ready to use on any character. During this process, we will build a custom baking keys utility for our tracks.

All the material ( live footage ( Red, 35 mm, and HD ), and motion control flair data ) used in this course, are used in real commercials, to transfer all real production conditions through this long course.
We are not assuming ideal conditions which can work for specific lab work, but we preferred to bring real stuff, real problems, such as daily VFX work so that you too can fix those problems during the course, and to mimic real production line circumstances, step by step.


Thanks to the Supplier

FXphd – VFX101 – Intro to Compositing with Ron Brinkmann

MOV | h264 825kbps | English | 960×540 | 23.97fps | 5h 48 mins | aac mono 48kbps | 3 GB
Each week, Ron Brinkmann and Mike Seymour explore the fundamentals of visual effects compositing. Brinkmann is well known throughout the industry; a visual effects supervisor who co-founded Nothing Real and helped create Shake. More recently he has served as an advisor on The Foundry’s Nuke compositing software. He is author of the recently released second edition of The Art and Science of Digital Compositing (Morgan Kaufmann). This book forms the foundation of the course, and the weekly discussions expand upon the principles found in the text.

Class 1: Accuracy vs Art. And how our minds can be tricked. It is art and science.
Class 2: Compositing hierarchy: who has what roles?
Class 3: Camera issues and greenscreen
Class 4: Resolution, colour space and formats
Class 5: Roto and keying
Class 6: 3D tracking and on set
Class 7: Matte painting. morphing, and telegraphing effects
Class 8: 3D multipass rendering and lens curvature
Class 9: Bit-depth, compression, codec and aspect ratio.
Class 10: Selling the shot

Download Links:-



FXPhd – MTH101 – Mathematics For Visual Effects & Design

10xDVDRip | AVI / XviD, 793 kb/s | 960×540 | ~10×30 min | English: AAC, 48 kb/s (2 ch) | 2.63 GB

This course aims to provide a basis for Maths for the Artist that says “If I’d known Maths would have been central to effects and animation I would have paid attention in school!” Mike Seymour works through the major areas of maths that are useful to understand for visual effects and animation. This really is a maths course, teaching you both actual maths and the principles of areas of maths in more advanced areas. The aim is to equip you with the tools you need and to demystify the jargon – so you can understand the principles and approaches we use maths for everyday in production and post.

Course Lecture Titles:
Class 1: Introduction to Maths – some useful concepts and an outline of the major areas of maths
Class 2: Co-ordinate systems, simple matrix, vectors and dot product. Plus, a tutorial on some of the basic concepts covered in the class
Class 3: Vector addition and Subtraction – normals
Class 4: Fibonacci sequence, Pi, the Golden ratio, noise and turbulence.
Class 5: Algebra and factoring equations
Class 6: Equation solving using Matrix multiplication and the Unity Matrix
Class 7: Velocity, Acceleration and Gravity
Class 8: Calculus part 2: Integral and Differential equations
Class 9: Fourier Transforms
Class 10: Putting it all together: how everything you have learnt this term can unlock a Siggraph paper

Download Links:-