FXPHD – NUK210 – Nuke in Production I
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RealFlow has become a commonly-used fx tool for film and commercial production, dominantly for creating fluids like water,
blood and molten chocolate, but increasingly for complex rigid and soft body dynamics.
Out-of-the-box, it can create beautiful, organic animations driven by physics, and with some practice and knowledge,
artists can achieve astounding, high-end, art-directed visuals at the cutting edge of visual effects.
Class 1: Oveview.
Like all mature CG packages, RealFlow is a maze of details, features and parameters.
This class functions as a quick overview to highlight those aspects that are crucially
important to most project work, to help you sort thru what’s important,
and what you can not worry about (for the most part).
In the class we’ll go over the elements of the UI that you need to know;
menu items that are important but often overlooked by even experienced fx artists;
the core functionalities so you know what’s RealFlow can do;
and the basic workflow that you’ll use over and over again in your work.
Class 2: Particle Fluids, Part 1
Art-directed pour into a glass – If you start using RF for production,
you will be surprised how often you find yourself doing a pour of fluid into a glass.
Weirdly, each time you do it, the project needs will be sufficiently different that you’ll
find it challenging, making it worth a class.
Also, it makes a great intro to dealing with particle emitters, daemons, object interaction
and the standard workflow.
Here we’ll pour fluid from a bottle into a glass according to specific shot needs,
and make the fluid behave in a naturalistic, yet art-directed way.
The art-direction is always the source of the challenge.
Class 3: Particle Fluids, Part 1
Forming a word out of rain hitting a windshield – In this class we’ll continue to explore
particle-based fluids and their interaction with objects, this time creating a rain storm
hitting a car, and using the fluid to form a logo on the windshield.
Class 4: Meshing and options for visualizing your sim results
After you’ve created your simulations, you have to render them.
There’s now quite a wide variety of ways to do that, but typically this involves generating
meshes around your particles first.
We’ll cover the ways of meshing in RealFlow. Also, we’ll discuss alternative methods of meshing
and also particle rendering, to give you a broader feeling for how to turn your results into images.
Class 5: Getting to know grid fluids
Flood-forming a logo – RealFlow 5 includes a brand new fluid solver called a grid fluid, and in this class
we’ll start working with it.
It’s designed for doing larger-scale simulations, so we’ll start by forming a logo with a giant flood.
Class 6: Grid fluids 2
Beach scene – In this class, we’ll extend our knowledge of the grid fluid solver by creating an oceanside
simulation of waves washing up on a beach.
Class 7: Realwaves Intro
Making a basic ocean surface – Construct a choppy, open ocean surface using the new rwc workflow,
including some floating debris, and make it tile to create a larger ocean patch.
Class 8: Rigid and soft bodies,and basic Python, Part 1
Shooting a basketball – Set up a rigid body sim for a basketball shot. Make the basketball a soft body.
Use a python script to set a target direction for the initial velocity.
Class 9: Rigid bodies and basic use of Python, Part 2
Firehosing a moving target near a swimming pool – Set up a rigid body sim of a swimming pool scene
and a moving target. Use the previous targeting script to shoot a fluid jet at a pinata swinging on the
end of a chain over a pool. When hit, have it break apart.
Have the rigid bodies and the fluid interact with the pool.
Class 10: Extending Python
Building a custom force field to make a lava lamp
Create a scripted force field that makes fluid oscillate up and down in a container,
making a lava lamp.
http://www.url-dead/file/1541351534/RFL202 - RealFlow_ 5_Project_Workshop_CGP.part01.rar
http://www.url-dead/file/1541352694/RFL202 - RealFlow_ 5_Project_Workshop_CGP.part02.rar
http://www.url-dead/file/1541352724/RFL202 - RealFlow_ 5_Project_Workshop_CGP.part03.rar
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Torrent will arrive when I have access to my new seedbox which is not yet available.
fxphd’s popular camera tracking specialist Victor Wolansky teaches this third PFTrack in production course continuing his tendency to tackle only the most difficult shots. You’re sure to pick up a ton of new, high-end techniques for both object and camera tracking.
Class 1:
Using the auto tracker node, cleaning the auto trackers by solving parts, the importance of initial frames and prep for geometry construction.
Class 2:
Image modeling, one of the key features of PFTrack.
Class 3:
Calibrating multiple cameras, with and without motion, and important step for object tracking and mocap tracking.
Class 4:
Object tracking from multiple cameras, perfect combination for more accuracy and automatic sizing of the tracked object.
Class 5:
Geometry tracking. Using geometry, OBJ and FBX to track an object, or camera. A non-conventional tracking that can save a lot of time in some cases.
Class 6:
Geometry tracking, a new kind, tracking non rigid objects and deformations.
Class 7:
Texture extraction, new tools with proper UV mapping.
Class 8:
Stereo tracking techniques.
Class 9:
Tracking water.
Class 10:
An experiment on facial tracking and replacement.
http://anonym.to/?http://www.fxphd.com/fxphd/courseInfo.php#PFT203
http://www.url-dead/file/1500044971/FXPHD_PFT203_CGPERSIA.part01.rar
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http://cgpeers.com/torrents.php?id=4465
Special Thanks:
To PKD for this!
fxphd – C4D205 – Cinema 4D and Design III
Fileserve ? Filesonic ? Bitshare ? Hotfile ? Uploadstation ? WUpload | 1.77 GB Continue Reading
As promised here is the vue 301 coarse from FXPHD
This course follows up on the Vue201 course, and offers intermediate and advanced Vue artists an opportunity to deepen their knowledge of the program and to acquire new practical techniques for production work. In the first half of the course we will concentrate on specific areas and tools in Vue, while the second half will essentially be a detailed work-through of a VFX shot involving Vue ? from initial planning stages to final Nuke compositing. Throughout this course we will also get a chance to explore and use the great new features of Vue 9.
Eran Dinur is compositing supervisor at Brainstorm Digital. Previously he was a senior digital artist at ILM Singapore and Framestore NY. He has created visual effects for films such as “Clash of the Titans”, “Salt”, “Transformers: Revenge of the Fallen”, “Surrogates”, “Terminator Salvation”, “Star Trek”, “Iron Man” and “Indiana Jones and the Kingdom of the Crystal Skull”. Dinur is a true Vue veteran, and has been using the app extensively since version 2 in numerous projects. He has written Vue tutorials for various publications, including 3D World Magazine (for which he is a regular contributor), and has created many sample scenes for Vue xStream, Infinite and Esprit.
Class 1: Modeling with displacement – Displacement can be used as a powerful modeling tool in Vue. We will create a custom ?rock generator? material, examine the potential of the world coordinates system, mix fractals, model high-detail cliffs with MetaBlobs and use the great new parameter publishing feature of Vue 9.
Class 2: HyperBlobs and sub-surface scattering – Building on the previous class, we will take a look at the new HyperBlob feature which combines displacement, volumetric shading and MetaBlobs. We will then move on to sub-surface scattering. By looking at how the different parameters affect the look of the material, we will create more natural-looking shaders for ice and marble.
Class 3: Relighting and advanced lighting techniques – The new relighting feature in Vue 9 is a fantastic tool, but requires a switch from the standard Vue lighting paradigm in order to fully exploit its potential. We will create a lighting rig with selective lighting and explore various lighting techniques.
Class 4: Terrain modeling with the Rocky Mountain fractal – Another great new feature in Vue, the rocky mountain fractal packs a lot of power, and we’ll spend the entire class not only uncovering its secrets but also looking deeper into the function editor and tgerrain modeling in general.
Class 5: Vue in production ? part 1 We will discuss different aspects of using Vue in production ? its strengths and weaknesses, its role as a matte painting tool, the use of Vue for 2D, 2.5D and 3D. We will then examine the shot and come up with an initial strategy, before heading off to 3D camera tracking.
Class 6: Vue in production ? part2 We will use Maya to create a master layout scene that will enable us to streamline the workflow in both Vue and Nuke. Next we will look at the correct process of importing the scene and camera into Vue and setting up a basic scene.
Class 7: Vue in production ? part3 In this class we will start creating elements in Vue and bringing them into Nuke. We will concentrate on the 2.5D elements, rendering out single frames and passes from Vue and setting up projections in 3D space in Nuke, while I finessing and retouching the Vue elements in comp.
Class 8: Vue in production ? part4 We will move on to creating fully 3D elements and renders. We’ll look at the different solutions, from importing Vue tree models directly into Nuke to rendering out animations in Vue. We will discuss subjects such as flicker reduction, correct lighting, motion blur and texturing.
Class 9: Vue in production ? part5 In this class we will continue working on the shot, adding more elements while finessing the comp. We will also take a look at creating volumetric and atmospheric effects, in Vue as well as in Nuke.
Class 10: Various subjects – In the last class we will take a closer look at Vue trees and see how we can re-generate and edit their textures to improve the way they look. We will also explore shadow-mate materials, as well as the new reflection-matte and ambient relighting control features of Vue 9.5.
http://anonym.to/?http://www.fxphd.com/fxphd/courseInfo.php#VUE301
http://www.fileserve.com/file/Ke3PZW8/Vue 301 – Advanced Vue Technques_CGPERSIA.part1.rarhttp://www.fileserve.com/file/JSsSMcE/Vue 301 – Advanced Vue Technques_CGPERSIA.part2.rar
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Special Thanks:
To ‘THE MAN’ PDK for this awesome supply!
fxphd – AFX205 – After Effects Motion Graphics II
English | AVC1 1152×720 | AAC 64 Kbps | project file | 2.49 GB
Genre: eLearning
Download:
http://www.url-dead/file/1312624071/CGR_fxphd-AFX205_AE.Motion.Graphics.2.part1.rar
http://www.url-dead/file/1312755271/CGR_fxphd-AFX205_AE.Motion.Graphics.2.part2.rar
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fxphd – MYA206 – Maya Animation and Compositing : Red Dwarf
Long time fxphd professor Matt Leonard dives into production with his new course covering work he did for Red Dwarf: Back to Earth. Leonard is our leadMaya professor, but he is also an adept compositor who uses tools such as Nuke and Fusion. For this course, he’ll be walking through the entire productionprocess of his work on the show — from pre-production to on-set to the final composite. He’ll cover all the angles of delivering great animation and a realisticcomposite in this hard core hands-on course.More details to come about the course once the mini-series airs in the UK the weekend of April 11th.
Professor: Matt Leonard (mattdleonard)
Class 1: Pre-Production and Working On-Set
Class 2: Live Action Tracking using PFTrack 5
Class 3: Modelling Characters in Maya 2009
Class 4: Rigging Realistic Acting in Maya 2009
Class 5: Painting with Light, Texturing and Lighting in Maya 2009
Class 6: Timing for Animation, the Art of Performance
Class 7: Animation, Bringing Life to Animation using Maya 2009
Class 8: Multipass Rendering using mental ray
Class 9: Integrating the 3D into the Live Action Plate using Nuke 5.1
Class 10: Adding Realism to the Final Shot, Advanced Compositing in Nuke 5.
Download Link
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:-
http://www.url-dead/file/1298230031/Mathematics.for.Visual.Effects.and.Design.part01.rar
http://www.url-dead/file/1298229991/Mathematics.for.Visual.Effects.and.Design.part02.rar
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This course, taught by Matt Leonard, is going to be slightly different from our other Maya offerings because we?re going to be working alongside a new and very exciting project called ?Moving Day?. This short film is being directed by award wining director Jason Wingrove. ?Moving Day? tells the story of a young girl and her fight against the fairies who inhabit the garden of her new home. Our short film is literally being produced throughout the term and we?ll have first hand experience of working in post during a live project.
Class 1:
In our first class we look at the Moving Day storyboards, Script and Animatic. We then go on to look at our Maya multipass render setup and how we’ll be compositing that inside of Nuke. We also cover render time predictions and other pre-production issues.
Class 2:
In our second class we begin by looking at reference material gathered over the week. We then go on to look at some basic fairy wings built in Maya with the aim of producing some reference animation. The second half of the class is centered on building a UV pass in Maya and using it in conjunction with the STMap tool in Nuke.
Class 3:
In our third class we look at some shots from on-set and begin modeling the wings.
Class 4:
Class 4 begins a two week test for Moving Day. This week we will be modeling, rigging and animation our fairy wings using the green screen plate as a reference guide along with PFTrack data.
Class 5:
Class 5 continues on in our Moving Day test. This week we add textures to our wings, light the scene based on the background plate, setup the render passes and finally the other render settings. We then move into Nuke for the second half of the class to composite the CG into the background plate, pull a key on the green screen fairy element and add reflections.
Class 6:
In this class we look at creating a dynamically driven ragdoll which can be animated via dynamics instead of keyframing.
Class 7:
Guest prof Yannick Meillier covers matchmoving the farie shots.
Class 8:
In this class we look at Maya custom project settings, new wing setup, animation, shaders and render layers, Nuke compositing, particle Instancing and particle Sprites.
Class 10:
This class is Part 2 of a 2 part series looking at compositing for Moving Day. In this class we look at multipass compositing and making a custom edge blur tool.
http://anonym.to/?http://www.fxphd.com/fxphd/courseInfo.php#MYA301
http://www.url-dead/file/1285416154/MYA301 – Maya in Production Moving Day.part01.rar
http://www.url-dead/file/1285395964/MYA301 – Maya in Production Moving Day.part02.rar
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Taught by Matt Leonard, this Maya course is aimed at those who have little or no experience in 3D, or post-grads who know another system, such 3DS Max or Softimage but want to expand their software skills. The course is designed to cover all the main areas of Maya’s vast toolset including Modeling, Animation, Rigging, Muscles, nParticles, Dynamics, nCloth, Hair, Fur, Fluids, Shaders, UV?s, Lighting, Cameras and Rendering.
This course is entirely project focused and throughout the term we?ll be working on a single shot featuring two animated characters chasing each other around in humorous way. The shot will be created with a final Stereoscopic output in mind and will utilize all areas of Maya mentioned above. An extra bonus class has also been added on to complete the project in Nuke. All models, animations, etc will be made available to complete each class so if you fall behind you?ll still be able to jump in at any class and follow along.
Leonard has been in the 3D and visual effects industry for 19 years and has produced work for feature films, commercials and large corporate projects. He has spoken at various events and shows on behalf of Autodesk, The Foundry and eyeon Software. He has had articles published in magazines and journals and has beta tested Maya, Nuke, Fusion Particular and Mocha. He currently runs his own on-site training company in the UK and has trained artists from companies such as Framestore, MPC, Digital Domain and Mr. X.
Class 1:
If this first class we will begin by looking at Polygon and Sub-Division modeling techniques. We will also talk about the new 2011 UI and various hotkeys. We’ll finish up the lesson by looking at creating various models using Curves and Surfaces.
Class 2:
Our second class is dealing mainly with animation. We cover animating objects down a Path, via Keyframes and the use of Deformers. We also look at the Connection Editor, Set Driven Key, and various editors including the Graph Sheet, the Dope Sheet and Trax, Maya’s non-linear editing system. I have also included an extra video covering some modeling techniques used to build the rest of the models we are using
this week for animation.
Class 3:
Characters, Rigging and Muscles: Our third week moves into more character-based work, we?ll look at building Skeletons and Rigging them for both FK (Forward Kinematics) and IK (Inverse Kinematics). From here we?ll Bind the Skeletons with the geometry from class 1 and set Constraints. Finally we?ll look at Skin Deformation and the use of Maya?s Muscle Collation system .
Class 4:
In our 4th class we move away from model animation and into particle animation. Adding Maya’s nParticle systems to our scene we’ll be learning how to create various types of Emitters and then control our Particles. Alongside this we’ll explore Nucleus, the heart of Maya’s nDynamics system, and look at adding Fields and a very brief look at Goals that control and order the Particles.
Class 5:
In class 5 we stay with Dynamics and look at the animation of Rigid and Soft Body objects. This is done through the use of natural forces such as Gravity, Wind, and Turbulence. We’ll explore how objects can Collide with each other (and Particles) along with how to Constrain Dynamic objects together and keep Soft Bodies from totally ripping apart through the use of Goals weights.
Class 6:
In class 6 we progress on from nParticles and Dynamics to look at nCloth, Maya?s high-end cloth simulation system. We’ll cover how to convert geometry into nCloth and how to edit its parameters, changing its Material type, Weight, Tearability and resistance to Dynamic forces, etc. We’ll also cover nCloth?s ability to Collide with geometry and nParticles, along with nConstraints used to constrain cloth to other objects.
Class 7:
In class 7 we look at both Fur and Hair. For Fur we cover Light Models, Scale and Density, Length, Baldness, Inclination, Polar and Roll, Width, Curl, Scraggle and Clump. Then in Hair we look at Paint Effects Style and Curves, Follicles, Start and End Positions, Constraints, Collisions, Texture, and more.
Class 8:
In class 8 we dive into the world of Fluid Dynamics. We look at Oceans, Ponds, Wakes and 2D and 3D Fluid Dynamics. We cover the use of Locators for floating objects Boats and Motorboats, Foam creation, shaders and more.
Class 9:
In class 9 we look at camera and lights. For camera we specifically look at Types, Environments, Depth of Field, Stereoscopic, Film Backs, and mental ray shaders. And for lights we look at Types, Colour/Intensity, Shadows, Decay Rates, Light Linking, and mental ray shaders.
Class 10:
In class 10 we cover shaders and textures, along with rendering. Specifically we look at creating Shaders, Texturing, UV Mapping, mental ray shaders, setting up the Rendering, Render Layers, Render Passes and looking at openEXR files in Nuke. In the special bonus class we continue to look at Maya’s Rendering using mental ray. We specifically look at Final Gathering, Global Illumination, Caustics, HDRI and Physical sun and sky.
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