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The main focus of the course will be using Cinema4D to create motion graphics. Through all the classes, general workflow and project management will be discussed, including organising the object manager, use of layers, XRefs, and managing layouts. We will look at practical uses for many of the available modules, including MoGraph, Thinking Particles, Hair, Cloth and Sketch and Toon. This will also involve use of Xpresso, materials, some post effects and lighting and rendering techniques. Throughout the term we will work on both tips and techniques, as well as project based motion graphics classes. Specifically taking a concept and developing the project, outputting various render passes and compositing these in After Effects.
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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
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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
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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
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Special Thanks:
To ‘THE MAN’ PDK for this awesome supply!
