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Beginner | 1h 44m | 551 MB | Project Files 6 MB | Required Software: 3ds Max 2012

In this series of lessons we will take an introductory look at particle flow to create custom particle systems.

Throughout this lesson, we’ll learn how to create a Particle Flow Source and how to navigate the Particle View interface. We’ll also learn how to use many of the most commonly used operators to create a particle system that fits our specific needs in our project. We’ll also learn how to utilize space warps like gravity and wind with particle flow to modify the behaviors of our particle systems. Finally, we’ll learn how to apply collisions to our particles and even cause our particles to spawn new particles when they collide with a deflector.

Home:
http://www.digitaltutors.com/11/training.php?pid=525

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http://ul.to/z0jphaq2/DtItPFi3dsM.part1.rar
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http://ul.to/31il5hto/DtItPFi3dsM.part3.rar
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Digital-Tutors – Creative Development: Guerrilla Compositing Tactics in Maya and NUKE with Ed Whetstone
Advanced | 2h 20m | Released on 10/3/2011 | 1.04 GB | Project Files 386 MB | Required Software: Maya 2011, NukeX 6.1

In this series of lessons, we’ll work through a guerrilla-style compositing workflow in NUKE, focusing on a holistic approach to color and depth effects

These video lessons will introduce a compositing workflow that emphasizes efficiency. We’ll look at a variety of color correction methods, depth and height-based haze, and faked camera effects such as depth of field and motion blur. Throughout, we’ll develop a visual style for our comp that will be easy to replicate and re-use for later shots.

Home: http://www.digitaltutors.com/11/training.php?pid=536

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Advanced | 0h 41m | 230 MB | Project Files 22 MB | Required Software: Autodesk Maya 2012

This high-level course was designed to provide you with techniques and tips for animating eyes convincingly in Maya.

In this series of lessons, our objectives include understanding a character’s emotions and thoughts through their eye patterns. We’ll cover techniques and workflows for animating believable eye jitters and eye darts. We’ll dissect various eye animations and discuss WHY they move a certain way. Overall, we’ll learn how to animate the eyes and brows to feel organic and life-like.

Home:
http://www.digitaltutors.com/11/training.php?pid=533

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http://ul.to/b9qkgqe6/DtPSAREiM.part1.rar
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http://ul.to/n9hx0wj5/DtPSAREiM.part3.rar

Digital-Tutors – Creative Development: Modeling a Sci-Fi City in 3ds Max with Steve Connor
Advanced | 1h 15m | 1.47 GB | Project Files 30 MB | Required Software: 3ds Max

Learn how to create your own futuristic city to scale with animated cameras and vehicles.

Planning, reference materials, and imagination will be addressed, so that students are led to optionally create their own version of the tutorial, equipped with the methods they learn in the video. Included is creating a 3D set to scale, how to make models appear large and dramatic, and maximizing the use of 3 simple tools — extrude, inset and bevel in polygonal modeling. We will create textures for variation in tones of buildings. Cloning of buildings and attention to staging will be discussed and demonstrated, to maximize the use of a limited number of models to achieve a sense of scale, without sacrificing variety. The fly-through will include creating and animating a camera as it travels with a vehicle flying through the model city. Textures will be from the 3ds Max libraries. A procedural map will be used to create a futuristic sky around the scene. We also cover mental ray rendering and the daylight system for sophisticated shadows, ambient lighting and reflections for glass.

Home: http://www.digitaltutors.com/11/training.php?pid=534

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Digital-Tutors – Rigging Sea Creatures in Maya
Intermediate | 5h 50m | 2.30 GB | Prj Files 36 MB | Required Software: Autodesk Maya 2012

In this series of lessons you will learn how to rig a sea creature in Maya.

In this course, you will learn tips and techniques for rigging sea creatures in Maya. Throughout the course we?ll focus on setting our creature up with creative and intuitive controls. We’ll learn how to set up Mel scripts to cut down time on repetitive tasks. We’ll learn how to create a proficient vertebrae rig. We’ll create an automated overlapping tail system that can be blended into an FK control rig. We?ll also explore skinning techniques to reduce the time it takes to edit weights. By the end of this course, you?ll have the knowledge you need to create your own aquatic creature rigs, with techniques that can be used on a wide variety of creatures and characters.

Home: http://www.digitaltutors.com/11/training.php?pid=529

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