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DIGITAL TUTORS - SHADING NETWORKS IN MAYA

2009-10-06T22:20:00.000-07:00

DIGITAL TUTORS - SHADING NETWORKS IN MAYA

| 200 Mb | RS |

Software: Maya 6 or higher
Run Time: 2 hrs. 48 min., 1 disc

Master the task of building advanced shading networks with over 2.5 hours of interactive training. Perfect for intermediate and advanced users.

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http://rapidshare.com/files/226956702/kiwg8Fg.rar.html

DIGITAL TUTORS - MAYA UNLIMITED: FLUID EFFECTS

2009-10-06T22:18:00.000-07:00

DIGITAL TUTORS - MAYA UNLIMITED: FLUID EFFECTS

| 280 Mb | RS |

Software: Maya 5 Unlimited or higher
Run Time: 3 hrs. 8 min., 1 disc

Learn how to accurately create and render fluid effects in Maya with over 3 hours of interactive training. Ideal for new and beginning users.

Download from Rapidshare
http://rapidshare.com/files/227395030/t8Gflw7ffffffffff.part1.rar.html
http://rapidshare.com/files/227395147/t8Gflw7ffffffffff.part2.rar.html

DIGITAL TUTORS - FACIAL ANIMATION AND LIP SYNC IN MAYA

2009-10-06T22:17:00.000-07:00

DIGITAL TUTORS - FACIAL ANIMATION AND LIP SYNC IN MAYA

| 750 Mb | RS |

Software: Maya 7
Run Time: 6 hrs. 14 min., 2 discs

Learn innovative and time-saving facial animation and lip sync techniques in Maya with over 6.5 hours of project-driven training. Perfect for intermediate artists.

Download from Rapidshare
http://rapidshare.com/files/227387365/gManGo.part1.rar.html
http://rapidshare.com/files/227387410/gManGo.part2.rar.html
http://rapidshare.com/files/227391108/gManGo.part3.rar.html
http://rapidshare.com/files/227380353/gManGo.part4.rar.html

DIGITAL TUTORS - INTRODUCTION TO MAYA ANIMATION: WALK CYCLE

2009-10-06T22:14:00.000-07:00

DIGITAL TUTORS - INTRODUCTION TO MAYA ANIMATION: WALK CYCLE

| 400 Mb | RS |

Software: Maya 4.0 and higher (project files require Maya 7)*
Run Time: 2 hrs. 36 min., 1 disc

Create convincing walk cycles and easily learn time-saving animation techniques in Maya. Contains over 2.5 hours of project-based training. Perfect for beginner to intermediate users.

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http://rapidshare.com/files/226587260/ghsdtrw.part1.rar.html
http://rapidshare.com/files/226588777/ghsdtrw.part2.rar.html
http://rapidshare.com/files/226587230/ghsdtrw.part3.rar.html

DIGITAL TUTORS - INTRODUCTION TO RENDERMAN FOR MAYA 1.0

2009-10-06T22:11:00.000-07:00

DIGITAL TUTORS - INTRODUCTION TO RENDERMAN FOR MAYA 1.0

| 260 Mb | RS |

Software: Maya 7, RenderMan for Maya 1.0 or higher
Run Time: 3 hrs. 4 min., 1 disc

Learn to create cinematic-quality imagery and give your work a distinctive visual edge with 3 hours of project-driven training. Perfect for beginner to intermediate users.

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http://rapidshare.com/files/227345434/o875xsl.part1.rar.html
http://rapidshare.com/files/227346009/o875xsl.part2.rar.html

DIGITAL TUTORS - INTRODUCTION TO RENDERMAN FOR MAYA 2.0

2009-10-06T22:10:00.000-07:00

dIGITAL TUTORS - INTRODUCTION TO RENDERMAN FOR MAYA 2.0

| 570 Mb | RS |

Software: RenderMan for Maya 2.0
Run Time: 5 hrs. 50 min., 2 discs

Give your work a visual edge. Learn production tested techniques and begin creating cinematic-quality imagery using Pixar's award-winning technology. Contains nearly 6 hours of project-based training. Perfect for new and intermediate artists.

Download from Rapidshare
http://rapidshare.com/files/227365011/OKf098.part1.rar.html
http://rapidshare.com/files/227365012/OKf098.part2.rar.html
http://rapidshare.com/files/227367004/OKf098.part3.rar.html

DIGITAL TUTORS - BODY MECHANICS AND ANIMATION IN MAYA: PULLING OBJECTS

2009-10-06T22:09:00.000-07:00

DIGITAL TUTORS - BODY MECHANICS AND ANIMATION IN MAYA: PULLING OBJECTS

| 1 G | RS |

Software: Maya 7 (required for project files)
Run Time: 5 hrs. 33 min., 2 discs

Easily learn proper body mechanics for creating believable animations with over 5 hours of project-based training developed specifically for character animation and body mechanics. Perfect for intermediate artists.

Download from Rapidshare
http://rapidshare.com/files/227303195/kjointocon.part1.rar.html
http://rapidshare.com/files/227303662/kjointocon.part2.rar.html
http://rapidshare.com/files/227306067/kjointocon.part3.rar.html
http://rapidshare.com/files/227306966/kjointocon.part4.rar.html
http://rapidshare.com/files/227295578/kjointocon.part5.rar.html
http://rapidshare.com/files/227300321/kjointocon.part6.rar.html

DIGITAL TUTORS - BODY MECHANICS AND ANIMATION IN MAYA: PUSHING OBJECTS

2009-10-06T22:08:00.000-07:00

DIGITAL TUTORS - BODY MECHANICS AND ANIMATION IN MAYA: PUSHING OBJECTS

| 1,3 G | RS |

Software: Maya 7 (required for project files)
Run Time: 7 hrs. 10 min., 3 discs

Easily learn proper body mechanics for creating believable animations with 7 hours of project-based training developed specifically for character animation and body mechanics. Perfect for intermediate artists.

Download from Rapidshare
http://rapidshare.com/files/227262349/boombastic.part1.rar.html
http://rapidshare.com/files/227262747/boombastic.part2.rar.html
http://rapidshare.com/files/227268213/boombastic.part3.rar.html
http://rapidshare.com/files/227269893/boombastic.part4.rar.html
http://rapidshare.com/files/227274892/boombastic.part5.rar.html
http://rapidshare.com/files/227275394/boombastic.part6.rar.html
http://rapidshare.com/files/227281417/boombastic.part7.rar.html

DIGITAL TUTORS - BODY MECHANICS AND ANIMATION IN MAYA: LIFTING HEAVY OBJECTS

2009-10-06T22:07:00.000-07:00

DIGITAL TUTORS - BODY MECHANICS AND ANIMATION IN MAYA: LIFTING HEAVY OBJECTS

| 1,3 G | RS |

Software: Maya 6.5 and higher (Maya 7 required for project files)
Run Time: 6 hrs. 49 min., 3 discs

Easily learn character animation and the body mechanics involved for lifting heavy objects and add style, personality, and life to you next animation. Contains nearly 7 hours of project-based training. Perfect for beginning and experienced...

Download from Rapidshare
http://rapidshare.com/files/227215620/Wfwuv7VF.part1.rar.html
http://rapidshare.com/files/227216704/Wfwuv7VF.part2.rar.html
http://rapidshare.com/files/227221525/Wfwuv7VF.part3.rar.html
http://rapidshare.com/files/227226634/Wfwuv7VF.part4.rar.html
http://rapidshare.com/files/227230466/Wfwuv7VF.part5.rar.html
http://rapidshare.com/files/227231383/Wfwuv7VF.part6.rar.html
http://rapidshare.com/files/227235755/Wfwuv7VF.part7.rar.html
http://rapidshare.com/files/227239627/Wfwuv7VF.part8.rar.html

DIGITAL TUTORS - MAYA UNLIMITED: CLOTH

2009-10-06T22:06:00.002-07:00

DIGITAL TUTORS - MAYA UNLIMITED: CLOTH

| 360 Mb | RS |

Software: Maya 5 Unlimited or higher
Run Time: 3 hrs. 16 min, 1 disc

Easily learn the powerful features of Maya Cloth at your own pace with over 3 hours of interactive training. Perfect for new and beginning users.

Download from Rapidshare
http://rapidshare.com/files/226565308/mvmhg.part1.rar.html
http://rapidshare.com/files/226566601/mvmhg.part2.rar.html

DIGITAL TUTORS - MENTAL RAY IN MAYA: RENDERING WORKFLOW

2009-10-06T22:06:00.001-07:00

dIGITAL TUTORS - MENTAL RAY IN MAYA: RENDERING WORKFLOW

| 460 Mb | RS |

Software: Maya 7 to Maya 2008 (Maya 8 required for project files)
Run Time: 3 hrs. 23 min.

Add stunning detail and visual depth to your work and easily learn the fundamentals of rendering with mental ray in Maya. Contains over 3 hours of project-based training. Perfect for beginner and intermediate users.

Download from Rapidshare
http://rapidshare.com/files/227187751/Lbvwiue8Gv.part1.rar.html
http://rapidshare.com/files/227189226/Lbvwiue8Gv.part2.rar.html
http://rapidshare.com/files/227193688/Lbvwiue8Gv.part3.rar.html

DIGITAL TUTORS - NON-LINEAR ANIMATION WITH MAYA TRA

2009-10-06T22:05:00.000-07:00

DIGITAL TUTORS - NON-LINEAR ANIMATION WITH MAYA TRAX

| 320 Mb | RS |

Software: Maya 6.0 or higher (Maya 7.0 recommended for project files)
Run Time: 2 hrs. 42 min., 1 disc

Learn how to implement the Trax Animation Editor in Maya for fast and efficient non-linear animation. Contains over 2.5 hours of project-driven training. Perfect for beginner to intermediate artists.

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http://rapidshare.com/files/226579767/pouycb.part1.rar.html
http://rapidshare.com/files/226576604/pouycb.part2.rar.html

DIGITAL TUTORS - RIGGING QUADRUPEDS IN MAYA

2009-10-06T22:04:00.000-07:00

DIGITAL TUTORS - RIGGING QUADRUPEDS IN MAYA

| 2,2 G | RS |

Software: Maya 8.5 or higher
Run Time: 6 hrs. 46 min., 4 discs

Learn time-saving rigging techniques and the principles of building solution-based rigs and controls for more efficient animating. Contains nearly 7 hours of project-based training. Perfect for intermediate artists.

Download from Rapidshare
CD1,2
http://rapidshare.com/files/227078898/t87dsfg12.part1.rar.html
http://rapidshare.com/files/227079613/t87dsfg12.part2.rar.html
http://rapidshare.com/files/227082193/t87dsfg12.part3.rar.html
http://rapidshare.com/files/227082279/t87dsfg12.part4.rar.html
http://rapidshare.com/files/227091240/t87dsfg12.part5.rar.html
http://rapidshare.com/files/227091248/t87dsfg12.part6.rar.html
CD3,4
http://rapidshare.com/files/227093701/t87dsfg34.part1.rar.html
http://rapidshare.com/files/227093698/t87dsfg34.part2.rar.html
http://rapidshare.com/files/227098852/t87dsfg34.part3.rar.html
http://rapidshare.com/files/227103132/t87dsfg34.part4.rar.html
http://rapidshare.com/files/227070938/t87dsfg34.part5.rar.html
http://rapidshare.com/files/227074335/t87dsfg34.part6.rar.htm

DIGITAL TUTORS - RIGGING CARTOON VEHICLES IN MAYA

2009-10-06T22:03:00.000-07:00

dIGITAL TUTORS - RIGGING CARTOON VEHICLES IN MAYA

| 1,8 G | RS |

Software: Maya 8 and up (2008 required for project files)
Run Time: 8 hrs. 6 min., 4 discs

Learn a production workflow to creating vehicle rigs with emphasis on cartoon performance, squash and stretch rigging techniques, and the principles of building solution-based rigs for easy animation. Contains over 8 hours of project-based training for setup artists and animators learning the processes of creating intuitive cartoon rigs with animator-friendly controls. Perfect for experienced artists.

Download from Rapidshare
CD1,2
http://rapidshare.com/files/227052137/l76vfbfb12.part1.rar.html
http://rapidshare.com/files/227052854/l76vfbfb12.part2.rar.html
http://rapidshare.com/files/227056474/l76vfbfb12.part3.rar.html
http://rapidshare.com/files/227057284/l76vfbfb12.part4.rar.html
http://rapidshare.com/files/227063347/l76vfbfb12.part5.rar.html
http://rapidshare.com/files/227064234/l76vfbfb12.part6.rar.html
CD3,4
http://rapidshare.com/files/227067887/l76vfbfb34.part1.rar.html
http://rapidshare.com/files/227068390/l76vfbfb34.part2.rar.html
http://rapidshare.com/files/227046810/l76vfbfb34.part3.rar.html
http://rapidshare.com/files/227049631/l76vfbfb34.part4.rar.html

DIGITAL TUTORS - CARTOON CHARACTER RIGGING IN MAYA

2009-10-06T22:02:00.002-07:00

DIGITAL TUTORS - CARTOON CHARACTER RIGGING IN MAYA

| 2,3 G | RS |

Software: Maya 8 and up (Maya 2008 required for project files)
Run Time: 7 hrs. 50 min., 4 discs

Learn a production workflow to creating advanced character rigs with an emphasis on toon, squash and stretch rigging techniques, and the principles of building solution-based rigs. Contains over 7 hours of project-based training for animators and setup artists learning the processes of creating stylized toon rigs with animator-friendly controls. Perfect for experienced artists.

Download from Rapidshare
http://rapidshare.com/files/226830338/mcl5sg8tzbio.part01.rar.html
http://rapidshare.com/files/226834689/mcl5sg8tzbio.part02.rar.html
http://rapidshare.com/files/226839176/mcl5sg8tzbio.part03.rar.html
http://rapidshare.com/files/226839653/mcl5sg8tzbio.part04.rar.html
http://rapidshare.com/files/226842945/mcl5sg8tzbio.part05.rar.html
http://rapidshare.com/files/226847188/mcl5sg8tzbio.part06.rar.html
http://rapidshare.com/files/226853690/mcl5sg8tzbio.part07.rar.html
http://rapidshare.com/files/226859553/mcl5sg8tzbio.part08.rar.html
http://rapidshare.com/files/226862107/mcl5sg8tzbio.part09.rar.html
http://rapidshare.com/files/226866680/mcl5sg8tzbio.part10.rar.html
http://rapidshare.com/files/226867881/mcl5sg8tzbio.part11.rar.html
http://rapidshare.com/files/226828652/mcl5sg8tzbio.part12.rar.html

DIGITAL TUTORS - SOFT AND RIGID BODIES IN MAYA

2009-10-06T22:02:00.001-07:00

DIGITAL TUTORS - SOFT AND RIGID BODIES IN MAYA

| 370 Mb | RS |

Software: Maya 6 or higher
Run Time: 2 hrs. 21 min.

Learn the fundamentals of Soft & Rigid Body Dynamics with 3 hours of interactive training. Perfect for intermediate and advanced users.

Download from Rapidshare
http://rapidshare.com/files/227780239/BodyRock.part2.rar.html
http://rapidshare.com/files/227780080/BodyRock.part1.rar.html

DIGITAL TUTORS - THE ARTISTS GUIDE TO MEL

2009-10-06T22:00:00.000-07:00

DIGITAL TUTORS - THE ARTISTS GUIDE TO MEL

| 320 Mb | RS |

Software: Maya 8.5 or higher
Run Time: 4 hrs., 1 disc

Discover creative alternative uses for MEL. Learn Maya Embedded Language (MEL) with an artist-driven approach and add greater flexibility in your workflow. Contains over 4 hours of intuitive project-based training. Ideal for artists new to MEL.

Download from Rapidshare
http://rapidshare.com/files/227789999/ArtistsGoingToLas-Vegas.part2.rar.html
http://rapidshare.com/files/227786762/ArtistsGoingToLas-Vegas.part1.rar.html

AHRENHEIT DIGITAL - RIGGING, SKINNING AND FACIAL RIGGING FOR FEATURE ANIMATION

2009-10-06T21:59:00.002-07:00

AHRENHEIT DIGITAL - RIGGING, SKINNING AND FACIAL RIGGING FOR FEATURE ANIMATION

| 8,2 G | RS | DF |

RIGGING FOR FEATURE ANIMATION

Drawing on years of production experience in various studios, Aaron guides you through the tools & techniques to rig a character typical of major Feature Animation studios completely, from head to toe.

Every chapter is complete and thorough, making sure that no step or information is skipped or glossed over. You will gain a complete and thorough understanding of the underlying concepts & tools of Rigging for Feature Animation.

Rigging for Feature Animation provides complete and thorough training for anyone interested in learning these tools & techniques for the first time and is equally valuable to those looking to add to their arsenal of techniques.

Download from Rapidshare - 1,9 G
http://rapidshare.com/files/230061388/FRIGGING.part01.rar.html
http://rapidshare.com/files/230063902/FRIGGING.part02.rar.html
http://rapidshare.com/files/230065047/FRIGGING.part03.rar.html
http://rapidshare.com/files/230069631/FRIGGING.part04.rar.html
http://rapidshare.com/files/230071630/FRIGGING.part05.rar.html
http://rapidshare.com/files/230072275/FRIGGING.part06.rar.html
http://rapidshare.com/files/230072278/FRIGGING.part07.rar.html
http://rapidshare.com/files/230053143/FRIGGING.part08.rar.html
http://rapidshare.com/files/230055397/FRIGGING.part09.rar.html
http://rapidshare.com/files/230057758/FRIGGING.part10.rar.html

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http://depositfiles.com/files/ybx6afqat
http://depositfiles.com/files/vrhj4iw1f

SKINNING FOR FEATURE ANIMATION

Starting with 2D Animation as a reference plus a solid understanding and application of Deformations, Aaron uses out-of-the-box Maya tools and production tested techniques to cover all aspects of Skinning & Deforming a character without sacrificing the speed and interactivity that is essential for Feature Animation production.

Every chapter is complete and thorough, making sure that no step is skipped and no information glossed over. This lesson provides a complete and thorough explanation of the underlying concepts & tools of Skinning for Feature Animation.

Skinning for Feature Animation provides complete and thorough training for anyone interested in learning these production caliber tools and techniques for the first time as well as those looking to add to their existing knowledge.

Download from Rapidshare - 3,5 G
http://rapidshare.com/files/230426905/FSkinning.part01.rar.html
http://rapidshare.com/files/230428207/FSkinning.part02.rar.html
http://rapidshare.com/files/230428203/FSkinning.part03.rar.html
http://rapidshare.com/files/230433516/FSkinning.part04.rar.html
http://rapidshare.com/files/230435076/FSkinning.part05.rar.html
http://rapidshare.com/files/230435077/FSkinning.part06.rar.html
http://rapidshare.com/files/230439276/FSkinning.part07.rar.html
http://rapidshare.com/files/230440953/FSkinning.part08.rar.html
http://rapidshare.com/files/230440955/FSkinning.part09.rar.html
http://rapidshare.com/files/230445023/FSkinning.part10.rar.html
http://rapidshare.com/files/230446998/FSkinning.part11.rar.html
http://rapidshare.com/files/230446976/FSkinning.part12.rar.html
http://rapidshare.com/files/230446983/FSkinning.part13.rar.html
http://rapidshare.com/files/230454657/FSkinning.part14.rar.html
http://rapidshare.com/files/230454655/FSkinning.part15.rar.html
http://rapidshare.com/files/230421765/FSkinning.part16.rar.html
http://rapidshare.com/files/230421759/FSkinning.part17.rar.html
http://rapidshare.com/files/230421763/FSkinning.part18.rar.html

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http://depositfiles.com/files/t4qhginz1
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FACIAL RIGGING FOR FEATURE ANIMATION

Completing the Feature Animation Series, this DVD teaches various tools and techniques for creating the controls & flexibility necessary for animators to create the broad range of expressiveness essential to Feature Animation.

Starting with a set of 2D pose test drawings as our target reference, this tutorial covers two basic approaches for tackling the controls & deformations on a characters face: Direct or Joint-Based and Blendshape-Based Deformations. In the end both methods are essentially combined to create a face with direct deformers riding on top of blendshapes, allowing the maximum animator flexibility & control without sacrificing speed.

Download from Rapidshare - 2,8 G
http://rapidshare.com/files/230466987/FFacialR.part01.rar.html
http://rapidshare.com/files/230466989/FFacialR.part02.rar.html
http://rapidshare.com/files/230469774/FFacialR.part03.rar.html
http://rapidshare.com/files/230473188/FFacialR.part04.rar.html
http://rapidshare.com/files/230473190/FFacialR.part05.rar.html
http://rapidshare.com/files/230476096/FFacialR.part06.rar.html
http://rapidshare.com/files/230479999/FFacialR.part07.rar.html
http://rapidshare.com/files/230479982/FFacialR.part08.rar.html
http://rapidshare.com/files/230483118/FFacialR.part09.rar.html
http://rapidshare.com/files/230486717/FFacialR.part10.rar.html
http://rapidshare.com/files/230454654/FFacialR.part11.rar.html
http://rapidshare.com/files/230460456/FFacialR.part12.rar.html
http://rapidshare.com/files/230460473/FFacialR.part13.rar.html
http://rapidshare.com/files/230460534/FFacialR.part14.rar.html
http://rapidshare.com/files/230466986/FFacialR.part15.rar.html

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GNOMONOLOGY - SKIN SHADING WITH MENTAL RAY

2009-10-06T21:59:00.001-07:00

GNOMONOLOGY - SKIN SHADING WITH MENTAL RAY

| 310 Mb | RS |

Rendering skin with the natural appearance of translucency, specularity and reflection is achievable thanks to the Mental Ray Fast-Skin material. This tutorial demonstrates how to build the necessary shading network and manage the many attributes available. While the Fast-Skin material does have integrated control for specularity and reflections, we also look at how to implement a layered shader that allows for higher level control over these phenomenon. Using a female head as our example, we start from scratch and observe every step of the process, while explaining the logic behind our creative decisions.

Download from s Rapidshare.com/files
http://rapidshare.com/files/231082088/setSSwMR.part1.rar.html
http://rapidshare.com/files/231081303/setSSwMR.part2.rar.html

GNOMONOLOGY - BULLETS, DUST HITS AND DEBRIS

2009-10-06T21:58:00.000-07:00

GNOMONOLOGY - BULLETS, DUST HITS AND DEBRIS

| 950 Mb | RS |

When objects impact the ground, such as bullets or footsteps, one often expects to see an effect such as a puff of dust (dust hit) or a burst of debris. This four part tutorial demonstrates how to create dust hits and debris from bullets hitting the ground, fired by an animated jet fighter composited into a live action background.

Download from s Rapidshare.com/files
http://rapidshare.com/files/231039053/getBDHaD.part1.rar.html
http://rapidshare.com/files/231043301/getBDHaD.part2.rar.html
http://rapidshare.com/files/231045367/getBDHaD.part3.rar.html
http://rapidshare.com/files/231034577/getBDHaD.part4.rar.html
http://rapidshare.com/files/231034727/getBDHaD.part5.rar.html

GNOMONOLOGY - MAYA LIGHTING A HALLWAY

2009-10-06T21:57:00.002-07:00

gNOMONOLOGY - MAYA LIGHTING A HALLWAY

| 200 Mb | RS |

Emphasizing production concerns, Jeremy lights an interior scene with only 13 lights. He demonstrates in real-time step-by-step how to use a minimal number of spot and point lights to recreate all direct, indirect and "sweetening" light sources for a hallway. This technique uses no Global Illumination or Final Gather, producing a fast, stable, predictable and directable result. Jeremy shows how to work with lighting in IPR and Mental Ray.

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http://rapidshare.com/files/230196355/GMLaH.part1.rar.html
http://rapidshare.com/files/230196353/GMLaH.part2.rar.html

GNOMONOLOGY - SKETCH AND CELL RENDERING IN MAYA 2009S MENTAL RAY

2009-10-06T21:57:00.001-07:00

GNOMONOLOGY - SKETCH AND CELL RENDERING IN MAYA 2009S MENTAL RAY

| 250 Mb | RS |

In this video Christophe Desse show us his workflow for the creation of his sketch and cell rendering in Maya 2009. This tutorial includes setting up the shaders and all the steps necessary to render them in Maya. He also details the compositing and finaling stages in Photoshop CSDownload the video tutorial here.

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http://rapidshare.com/files/231078289/getSaCRiM9MR.part2.rar.html
http://rapidshare.com/files/231075162/getSaCRiM9MR.part1.rar.html

GNOMONOLOGY - PIXIE DUST USING SPRITES

2009-10-06T21:55:00.001-07:00

GNOMONOLOGY - PIXIE DUST USING SPRITES

| 480 Mb | RS |

Pixie dust... magical powder that emanates from the land of faery and those that inhabit it. Associated with Disney films, Pixie Dust also manages to find itself in movie theatre promos, bumpers, commercials and many video games. This tutorial demonstrates how to create a dynamic Pixie Dust effect using sprites.

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http://rapidshare.com/files/231094899/PD8dfgdg.part1.rar.html
http://rapidshare.com/files/231091939/PD8dfgdg.part3.rar.html
http://rapidshare.com/files/231086772/PD8dfgdg.part2.rar.html

DIGITAL INNOVATOR - 3D PAINTING AND TEXTURING

2009-10-06T21:53:00.000-07:00

DIGITAL INNOVATOR - 3D PAINTING AND TEXTURING

| 2,7 G | RS |

CG producer Dan Casey shares his 3D workflow secrets and talks about the tools and methods that he feels have been a critical part of his successful commercial work.

Casey is known as a leading edge texture artist with a gift for creating photo-realistic characters and environments. He has been involved in many cutting-edge projects in his career including Final Fantasy the movie, as well as award-winning commercials for M&Ms and Arby's restaurants.

In this 72 minute DVD titled "3D Texturing and Painting" Casey candidly discusses why he chooses specific products from such manufacturers as Alias, Wacom, Adobe, Right Hemisphere, and Maxon. He talks about using Alias Maya as his primary 3D modeling environment and he details the workflow that he feels is vital for a professional 3D artist to be highly efficient.

This DVD provides a detailed look at texturing and painting a 3D character for use in a computer graphics short film. Segments in the 3D texture project include: mapping textures, painting the lips & eyes, painting the forehead, painting the cheeks & chin, painting the eyebrows, refining details, 3D painting, painting the bump map, and applying maps.

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http://rapidshare.com/files/232356945/auwevtrb82.part01.rar
http://rapidshare.com/files/232356942/auwevtrb82.part02.rar
http://rapidshare.com/files/232363664/auwevtrb82.part03.rar
http://rapidshare.com/files/232363727/auwevtrb82.part04.rar
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http://rapidshare.com/files/232356943/auwevtrb82.part07.rar
http://rapidshare.com/files/232310230/auwevtrb82.part08.rar
http://rapidshare.com/files/232310226/auwevtrb82.part09.rar
http://rapidshare.com/files/232310234/auwevtrb82.part10.rar
http://rapidshare.com/files/232316376/auwevtrb82.part11.rar
http://rapidshare.com/files/232316416/auwevtrb82.part12.rar
http://rapidshare.com/files/232316586/auwevtrb82.part13.rar
http://rapidshare.com/files/232369974/auwevtrb82.part14.rar

GNOMONOLOGY - INTRO TO KEYFRAME ANIMATION IN MAYA

2009-10-06T21:52:00.000-07:00

GNOMONOLOGY - INTRO TO KEYFRAME ANIMATION IN MAYA

| 550 Mb | RS |

This two part tutorial explores, in detail, how to keyframe animate in Maya using all of the core techniques available. We will focus on a classic bouncing ball animation and learn how to use the primary animation interface, the Graph Editor, as well as the timing interface of the Dope Sheet. In chapter two, we create a small story animation for our reel and render it to completion. For those new to Maya, this tutorial gives you the fundamental skills necessary to begin animating your own projects and scenes.

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Part1
http://rapidshare.com/files/234366740/s7t8astfuywe1.rar.html

Part2
http://rapidshare.com/files/234366752/s7t8astfuywe2.part1.rar.html
http://rapidshare.com/files/234366749/s7t8astfuywe2.part2.rar.html
http://rapidshare.com/files/234366748/s7t8astfuywe2.part3.rar.html

MICHAEL INGRASSIA - MAYA FOR GAMES: MODELING AND TEXTURING TECHNIQUES WITH MAYA AND MUDBOX

2009-10-06T21:51:00.002-07:00

MICHAEL INGRASSIA - MAYA FOR GAMES: MODELING AND TEXTURING TECHNIQUES WITH MAYA AND MUDBOX

| 30 Mb | RS |

"This is a great '3D Artist Bible' and an awesome reference for learning and retaining the intricacies of Maya's robust tools!" --Tim Toulouse, QA Lead, Microsoft Game Studios

"Well-known Maya professional, Michael Ingrassia, takes readers through his unique style of modeling: 'Image Based Modeling' where efficient, realistic models can be created very quickly. Ingrassia's techniques allow modelers to create exact replicas of their concept characters or objects. The techniques presented are very efficient and allow game modelers to quickly build out stand alone props to populate environments and game levels." -gfxworld.com

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http://rapidshare.com/files/234752357/879r87v87tvd.rar

GNOMONOLOGY - LIGHT LINKING IN HEAVY SCENES

2009-10-06T21:51:00.001-07:00

GNOMONOLOGY - LIGHT LINKING IN HEAVY SCENES

| 80 Mb | RS |

Successfull lighting requires the simulation of reflected light. While Global Illumination is a possible approach to automate the process, this can be expensive in terms of render time. The direct lighting technique is conceptually simple, as one adds additional lights which represent light bounce. One of the key Maya tools for this process is the ability to exclusively link lights to specific surfaces. While the Light Linking window is simple enough, its functionality breaks down in geometry heavy scenes. In this tutorial we look an alternate technique for light linking which is far more effective.

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http://rapidshare.com/files/235072958/df2387yg.rar

FXPHD: MAYA LIGHTING AND RENDERING

2009-10-06T21:49:00.000-07:00

FXPHD: MAYA LIGHTING AND RENDERING

| 1,4 G | RS |

This class covers everything from lighting theory and practice, mental ray shaders in maya, and Gi, to render passes and compositing techniques.
Курс посвящён рендеру в программе maya 2008. Mental ray, Renderman, шейдеры освещение настройка рендеров.

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http://rapidshare.com/files/235419718/LuckyArchive.part1.rar.html
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http://rapidshare.com/files/235427980/LuckyArchive.part3.rar.html
http://rapidshare.com/files/235431813/LuckyArchive.part4.rar.html
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http://rapidshare.com/files/235414601/LuckyArchive.part7.rar.html
http://rapidshare.com/files/235418767/LuckyArchive.part8.rar.html

DARIUSH DERAKHSHANI - INTRODUCING MAYA 2009

2009-10-06T21:48:00.000-07:00

DARIUSH DERAKHSHANI - INTRODUCING MAYA 2009

| 23 Mb | RS |

If you’re new to Maya, the industry-leading 3D animation and effects software, Introducing Maya includes step-by-step tutorials and easy-to-follow explanations to teach you the basics and nuances of this complex software. Whether you’re a student or a hobbyist, you can learn all about the Maya interface and the fundamentals of modeling, texturing, animating and visual effects with realistic examples. If you’re new to 3D animation or transitioning from another 3D application, this book will provide you with the tools you need to become proficient at Maya.

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http://rapidshare.com/files/235631345/sd6fa7sd6f5.rar

TODD PALAMAR - MAYA FEATURE CREATURE CREATIONS 2ND EDITION

2009-10-06T21:47:00.000-07:00

TODD PALAMAR - MAYA FEATURE CREATURE CREATIONS 2ND EDITION

| 8 Mb | RS |

Discover how to build commercial-quality, anatomy-based CG characters using Maya with "Maya Feature Creature Creations, Second Edition." In today's competitive entertainment market, animated movies and video games require superior graphics and realistic characters, making it imperative that 3D artists and designers master state-of-the-art software like Maya. With this book, you will learn all of the steps required to create a character, from concept to completion. Using step-by-step instructions and explanations, the book lays out a method for building anatomy-based, photo-realistic computer-generated characters with physicsdriven skin. The most up-to-date techniques and technology are presented, including how to create skin and muscle deformations, and how to rig your character without binding tools. You will also gain an understanding of how to work within a high-resolution pipeline. Insight and advice from a professional animator will help you troubleshoot along the way. "Maya Feature Creature Creations, Second Edition" provides you with all the skills and techniques needed to create your own fantastic, Hollywood-style creatures and characters.

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http://rapidshare.com/files/235982880/ukdtkyts.rar.html

THE GNOMON WORKSHOP - MATCHMOVING 101: FUNDAMENTALS

2009-10-06T21:46:00.001-07:00

THE GNOMON WORKSHOP - MATCHMOVING 101: FUNDAMENTALS

| 2,2 G | RS |

Whether in film, episodic television, commercials or music videos, the integration of 3D elements and effects is now a mainstay of modern post production. In the first DVD of this series Stephen McClure introduces you to the fundamentals of matchmoving. For both beginners and professionals, this lecture discusses the details of the matchmoving process including hand tracking techniques, survey information, distortion grid usage, and film terminology. Stephen shows how to recreate real world camera elements in the Maya environment, create custom camera controls, use Maya's integrated camera controls and set up the most popular professional and consumer formats.

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http://rapidshare.com/files/236621335/udyfaydf.part01.rar.html
http://rapidshare.com/files/236621334/udyfaydf.part02.rar.html
http://rapidshare.com/files/236624419/udyfaydf.part03.rar.html
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http://rapidshare.com/files/236613608/udyfaydf.part09.rar.html
http://rapidshare.com/files/236613640/udyfaydf.part10.rar.html
http://rapidshare.com/files/236613705/udyfaydf.part11.rar.html
http://rapidshare.com/files/236621080/udyfaydf.part12.rar.html

THE GNOMON WORKSHOP - CHARACTER ANIMATION FOR GAMES

2009-10-06T21:45:00.000-07:00

THE GNOMON WORKSHOP - CHARACTER ANIMATION FOR GAMES

Animation Techniques with Robert Coddington
| 3 G | RS |

This lecture is an introduction to character animation as it relates to video games and interactive media. Robert takes you step-by-step through the basics of Maya, its animation tools, the graph editor and dynamic character posing. He guides you through the animation of simple, yet expressive game-style assets, demonstrating simple loops and transitions and creating a run cycle. As an added bonus, this DVD also includes a professional quality character rig so you can follow along and get started animating in Maya right away.

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http://rapidshare.com/files/237673616/GCAfG.part01.rar.html
http://rapidshare.com/files/237677552/GCAfG.part02.rar.html
http://rapidshare.com/files/237677597/GCAfG.part03.rar.html
http://rapidshare.com/files/237679185/GCAfG.part04.rar.html
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http://rapidshare.com/files/237690672/GCAfG.part08.rar.html
http://rapidshare.com/files/237690760/GCAfG.part09.rar.html
http://rapidshare.com/files/237692500/GCAfG.part10.rar.html
http://rapidshare.com/files/237696878/GCAfG.part11.rar.html
http://rapidshare.com/files/237697172/GCAfG.part12.rar.html
http://rapidshare.com/files/237698776/GCAfG.part13.rar.html
http://rapidshare.com/files/237672053/GCAfG.part14.rar.html
http://rapidshare.com/files/237672060/GCAfG.part15.rar.html
http://rapidshare.com/files/237672050/GCAfG.part16.rar.html

THE GNOMON WORKSHOP - CAMERA PROJECTION TECHNIQUES IN MAYA

2009-10-06T21:44:00.000-07:00

THE GNOMON WORKSHOP - CAMERA PROJECTION TECHNIQUES IN MAYA

3D Matte Painting with Darin Hilton
| 2,1 П | RS |

In this DVD, Darin takes you through the production and completion of a camera projected 3D Matte painting using Autodesk Maya and Adobe Photoshop. Darin covers the essential techniques and solutions for 3D matte painting as he progresses from rough concept to modeling, rendering and creating the painting in Photoshop®. After bringing the finished matte painted layers back into Maya, he describes how to apply them in the scene. Darin also shows methods for solving common texture distortions with additional projections. Finally, he demonstrates simple techniques for bringing life to your scenes.

Over 3 1/2 hours of lecture.

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http://rapidshare.com/files/237488729/GCPTiM.part01.rar.html
http://rapidshare.com/files/237492034/GCPTiM.part02.rar.html
http://rapidshare.com/files/237492030/GCPTiM.part03.rar.html
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http://rapidshare.com/files/237480147/GCPTiM.part09.rar.html
http://rapidshare.com/files/237480142/GCPTiM.part10.rar.html
http://rapidshare.com/files/237480152/GCPTiM.part11.rar.html

THE GNOMON WORKSHOP - INTRODUCTION TO MAYA

2009-10-06T21:43:00.002-07:00

THE GNOMON WORKSHOP - INTRODUCTION TO MAYA

Interface and Workflow with Alex Alvarez
| 2,9 G | RS |

Over the past many years, Maya has become the leading 3D application used in the film, broadcast and game industries. Hailed for its diverse toolset, Maya excels due to its integration, flexibility and performance in regards to modeling, texturing, lighting, rendering, animation, rigging and effects. Designed for the individual new to Maya, this DVD contains over five hours of lecture. The essential UI (user interface) is discussed, focusing on the work- flow of an experienced user. Learn how to efficiently create, manipulate and organize hierarchies, objects, components and cameras. Many concepts are introduced including the use of Polygons versus NURBS, tesselation, antialiasing, UV Layout, projects, preferences and MEL scripts. Customization of the UI is also addressed in order to dramatically improve efficiency and workflow.

HOMEPAGE

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http://rapidshare.com/files/237764560/Gitm.part01.rar.html
http://rapidshare.com/files/237764667/Gitm.part02.rar.html
http://rapidshare.com/files/237764978/Gitm.part03.rar.html
http://rapidshare.com/files/237772811/Gitm.part04.rar.html
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http://rapidshare.com/files/237756700/Gitm.part13.rar.html
http://rapidshare.com/files/237757064/Gitm.part14.rar.html
http://rapidshare.com/files/237758880/Gitm.part15.rar.html

THE GNOMON WORKSHOP - PIPELINES FOR VIDEO GAME ANIMATION

2009-10-06T21:43:00.001-07:00

THE GNOMON WORKSHOP - PIPELINES FOR VIDEO GAME ANIMATION

Character Animation Techniques with Scott Easley
| 1,8 G | RS |

Scott Easley takes you through the process of constructing a character animation pipeline in Maya that will allow you to constantly improve and update your characters without adversely affecting any of the existing animations. Scott also shows you how to use the Trax animation editor from the ground up and how to build a library of animation actions which you can then use to block-out more complex character animations. Included on this DVD are tutorials, a sample rig, blend shapes for facial set-ups, character texture maps, custom tools, shelves, poses and a Maya project to get you on your way.

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http://rapidshare.com/files/237524521/GPfVGA.part01.rar.html
http://rapidshare.com/files/237530038/GPfVGA.part02.rar.html
http://rapidshare.com/files/237531504/GPfVGA.part03.rar.html
http://rapidshare.com/files/237537172/GPfVGA.part04.rar.html
http://rapidshare.com/files/237542928/GPfVGA.part05.rar.html
http://rapidshare.com/files/237544135/GPfVGA.part06.rar.html
http://rapidshare.com/files/237549185/GPfVGA.part07.rar.html
http://rapidshare.com/files/237554084/GPfVGA.part08.rar.html
http://rapidshare.com/files/237518642/GPfVGA.part09.rar.html
http://rapidshare.com/files/237521661/GPfVGA.part10.rar.html

EAT3D - NEXT-GEN FACIAL RIGGING

2009-10-06T21:42:00.001-07:00

EAT3D - NEXT-GEN FACIAL RIGGING

| 610 Mb | RS |

In this training video the instructor takes you through the entire process of creating a fully bone based facial rig which is transferable to next-gen game engines like Unreal Editor 3.

This video focuses on facial bone rigging and animation. Most game engines do not support blend shapes so it is imperative to know how to create a solid facial rig with just using bones. With the right rig and setup, it is possible to create stunning facial animations in very short amounts of time. If you are a student this video is great to become exposed to professional techniques in the game industry.

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http://rapidshare.com/files/241960414/E3NGFR.part1.rar.html
http://rapidshare.com/files/241960406/E3NGFR.part2.rar.html
http://rapidshare.com/files/241960749/E3NGFR.part3.rar.html
http://rapidshare.com/files/241960408/E3NGFR.part4.rar.html

THE GNOMON WORKSHOP - MODELING THE HUMAN HEAD

2009-10-06T21:40:00.002-07:00

THE GNOMON WORKSHOP - MODELING THE HUMAN HEAD

Polygon Modeling with Kevin Hudson

| 1,3 G | рип 2-х DVD | RS | DF |

This DVD takes you through the artistic and technical process of sculpting a human head from a polygonal cube. In this DVD, Kevin Hudson shows why character modelers are moving away from Nurbs modeling and toward Polygon/Subdivision surface modeling, which allows more freedom to localize detail and work with texture. Follow along as Kevin considers and sculpts the various features of the face - nose, mouth, eyelids and ears - as he transforms this simple structure into something as complex as the human head.

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http://rapidshare.com/files/242091995/MtHHtgw.part1.rar.html
http://rapidshare.com/files/242091997/MtHHtgw.part2.rar.html
http://rapidshare.com/files/242092005/MtHHtgw.part3.rar.html
http://rapidshare.com/files/242097236/MtHHtgw.part4.rar.html
http://rapidshare.com/files/242097235/MtHHtgw.part5.rar.html
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THE GNOMON WORKSHOP - HUMANOID MODELING

2009-10-06T21:40:00.001-07:00

THE GNOMON WORKSHOP - HUMANOID MODELING

автор: harakiry | 9 июня 2009 | Пакеты 3D моделирования » Autodesk Maya » Уроки | Просмотров: 804

Polygon Modeling Techniques with Sean Mills

| 3,2 G | RS | DF |

In this polygonal modeling DVD, Sean Mills shows you how to create a bipedal humanoid model. Sean begins with a set of primitives for different body parts - arms, legs, torso and face - and refines them into muscle masses, primary contours and silouhettes. He then shows you how to refine those masses, establishing preliminary edge loops around musculature and areas of major deformation. Sean concludes by integrating these primary forms onto a contiguous character mesh.

HOMEPAGE

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http://rapidshare.com/files/242462707/HMtgw.part01.rar.html
http://rapidshare.com/files/242462709/HMtgw.part02.rar.html
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THE GNOMON WORKSHOP - CREATURE HEAD MODELING

2009-10-06T21:39:00.001-07:00

THE GNOMON WORKSHOP - CREATURE HEAD MODELING

Polygon Modeling Techniques with Sean Mills

| 7,5 G | RS | DF |

In this polygon modeling DVD, Sean Mills moves from relatively simple hard-surface forms to the creation of more complex and detail-oriented shapes. Sean introduces you to the principles of creating hi-res poly models by modeling the head of an intricately detailed 4-eyed creature, based on a maquette (sculpted by Neville Page). Utlilizing Subdivision surfaces, he shows how to sculpt your model with real-time feedback on the hi-res surface. Learn to create an intelligent edgeflow around your model's primary forms, one of the more complicated tasks associated with poly modeling. Finishing the process, Sean shows you how to return those changes to a low-res cage, for further modification.

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DVD1 - 4,2 G
http://rapidshare.com/files/242618193/CHM1tgw.part01.rar
http://rapidshare.com/files/242621979/CHM1tgw.part02.rar
http://rapidshare.com/files/242626059/CHM1tgw.part03.rar
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http://rapidshare.com/files/242669078/CHM1tgw.part13.rar
http://rapidshare.com/files/242673521/CHM1tgw.part14.rar
http://rapidshare.com/files/242678111/CHM1tgw.part15.rar
http://rapidshare.com/files/242682654/CHM1tgw.part16.rar
http://rapidshare.com/files/242686819/CHM1tgw.part17.rar
http://rapidshare.com/files/242691179/CHM1tgw.part18.rar
http://rapidshare.com/files/242695844/CHM1tgw.part19.rar
http://rapidshare.com/files/242699963/CHM1tgw.part20.rar
http://rapidshare.com/files/242704034/CHM1tgw.part21.rar
http://rapidshare.com/files/242614411/CHM1tgw.part22.rar

DVD2 - 3,25 G
http://rapidshare.com/files/242825564/CHM2tgw.part01.rar
http://rapidshare.com/files/242749670/CHM2tgw.part02.rar
http://rapidshare.com/files/242754211/CHM2tgw.part03.rar
http://rapidshare.com/files/242758220/CHM2tgw.part04.rar
http://rapidshare.com/files/242766129/CHM2tgw.part05.rar
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http://rapidshare.com/files/242777416/CHM2tgw.part08.rar
http://rapidshare.com/files/242780778/CHM2tgw.part09.rar
http://rapidshare.com/files/242784444/CHM2tgw.part10.rar
http://rapidshare.com/files/242787379/CHM2tgw.part11.rar
http://rapidshare.com/files/242803855/CHM2tgw.part12.rar
http://rapidshare.com/files/242809695/CHM2tgw.part13.rar
http://rapidshare.com/files/242815347/CHM2tgw.part14.rar
http://rapidshare.com/files/242818736/CHM2tgw.part15.rar
http://rapidshare.com/files/242821402/CHM2tgw.part16.rar
http://rapidshare.com/files/242823089/CHM2tgw.part17.rar

Download from Depositfiles
DVD1 - 4,2 G
http://depositfiles.com/files/cctrj4of3
http://depositfiles.com/files/c4r1i5a8r
http://depositfiles.com/files/bgsqi2hit
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http://depositfiles.com/files/tm305zq8o
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http://depositfiles.com/files/shym9a5jv
http://depositfiles.com/files/0ed3kyw1c
http://depositfiles.com/files/ryoclxwhu

DVD2 - 3,25 G
http://depositfiles.com/files/1au6dycqy
http://depositfiles.com/files/7qp1q72gh
http://depositfiles.com/files/yun309r1q
http://depositfiles.com/files/z0imgu0kh
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http://depositfiles.com/files/i1v5sisyo
http://depositfiles.com/files/tant0rf0x
http://depositfiles.com/files/u5dne948w

THE GNOMON WORKSHOP. MAYA DYNAMICS: UNDERWATER ENVIRONMENTS

2009-10-06T21:38:00.000-07:00

THE GNOMON WORKSHOP. MAYA DYNAMICS: UNDERWATER ENVIRONMENTS - СОЗДАНИЕ ПОДВОДНОЙ СРЕДЫ

В этом обучающем DVD от производителя The Gnomon Workshop инструктор John Clark представляет процесс создания подводной среды и динамического подводного окружения в Autodesk Maya. Он подробно разбирает процессы создания морского дна, волнистую поверхность воды, плавающие элементы композиции и другие особенности создания водной среды.

Описание с официального сайта:
In this DVD, John presents the process of creating an underwater effects shot, thoroughly explaining each step of the process from inception to completion. Starting with an ocean bottom and a camera move, John shows how to create underwater atmospheric conditions such as floating particulate matter, photo-real bubbles, water fog and caustic light rippling down through a wavy sea surface. John then uses Maya's Dynamics system to build additional elements into the shot, demonstrating their use within the shot environment. He shows how to use springs and goals to create an anchor and dynamic rope dropping to the sea floor, as well as how to use particle instancing with goals to create dynamic schools of fish. John then walks you through the final steps to create flowing sea grass and billowing sand when the sea bottom is disturbed. By the end of this DVD you will not only have a completed shot ready for fine-tuning and compositing, you will also have the ability to create your own fantastic underwater shots.

Содержание:
1. Introduction
2. Fake Caustics
3. Water Fog
4. Water Surface
5. Bottom Geometry
6. Grass and Particulates
7. Anchor and Rope
8. Bubbles
9. Sand and Fish

DVD-ROM Requirements:
* 1GHz or faster processor
* 512 MB RAM
* 64 MB Video RAM
* DVD-ROM Drive
* 5 GB of hard disk space
* 1280 x 1024 display

Minimum Operating System:
* Microsoft Windows Vist
* Microsoft Windows XP Professional
* Microsoft Windows 2000 Professional
* Apple Mac OS X 10.2

Software:
* QuickTime Movie Player (Version 7.0 or higher)
* Acrobat Reader (Version 5.0 or higher)

Скачать The Gnomon Workshop. Maya Dynamics: Underwater Environments - Создание подводной среды - 4.96 Gb:
http://sms4file.com/downloadvip/a32a60410046/Gnomon-Maya-Dynamix.rar.html
Зеркало:
http://vip-file.com/download/a32a60410046/...ynamix.rar.html
Зеркало:
http://rapidshare.com/files/242873601/Gnomon_Maya_Dynamix.part01.rar
http://rapidshare.com/files/242873627/Gnomon_Maya_Dynamix.part02.rar
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http://rapidshare.com/files/242879987/Gnomon_Maya_Dynamix.part54.rar

SIMPLYMAYA - LOW POLY UV LAYOUT AND TEXTURING

2009-10-06T21:37:00.000-07:00

sIMPLYMAYA - LOW POLY UV LAYOUT AND TEXTURING

| 470 Mb | RS |

In this step you will learn how to make a clean UV Map of your completed model using several different methods of laying out UV's. After taking a UV snapshot, you will be shown how to import it into PhotoShop and learn the techniques needed to hand paint textures using layers, brushes and filters. In addition, you'll see how to create bump and specular maps for your model.

Download from s Rapidshare.com/files
http://rapidshare.com/files/243571777/smLPULaT.part1.rar.html
http://rapidshare.com/files/243573502/smLPULaT.part2.rar.html
http://rapidshare.com/files/243573526/smLPULaT.part3.rar.html

LYNDA.COM - MAYA PARTICLE EFFECTS

2009-10-06T21:36:00.000-07:00

LYNDA.COM - MAYA PARTICLE EFFECTS

| 680 Mb | RS |

Particle effects can be used to create everything from realistic smoke and light to abstract design elements. In Maya Particle Effects, Audri Phillips demonstrates the particles she has found helpful in her work creating dynamic visuals for video games,film and fine art. This course goes deeper than the basics, tackling topics like saving time by reusing MEL expressions, implementing physics to create realistic effects, and manipulating paint effects to give particles the look and feel of an envisioned design. Exercise files accompany the course.

Download from Rapidshare.com/files
http://rapidshare.com/files/244269957/LMPE.part2.rar.html
http://rapidshare.com/files/244269952/LMPE.part3.rar.html
http://rapidshare.com/files/244269955/LMPE.part4.rar.html
http://rapidshare.com/files/244258140/LMPE.part1.rar.html

VTC-GAME DESIGN CHARACTER DEVELOPMENT

2009-10-06T21:35:00.000-07:00

VTC-GAME DESIGN CHARACTER DEVELOPMENT

VTC-Game_Design_Character_Development

This course was specifically designed to help demonstrate the many tools and techniques used within the 3D game and film industry in regards to character creation. The course begins with the very basics of setting ideal preference settings and creating a customized tool shelf for fast and efficient workflow. Author and 3D expert Michael Ingrassia then takes users through the very basic techniques of box modeling, UV layout and traditional texture map creation using Maya and Photoshop software.
Download:
http://rapidshare.com/files/244338255/VTC_-_Game_Design_Character_Development_Part_1.part01.rar
http://rapidshare.com/files/244338256/VTC_-_Game_Design_Character_Development_Part_1.part02.rar
http://rapidshare.com/files/244345881/VTC_-_Game_Design_Character_Development_Part_1.part03.rar
http://rapidshare.com/files/244345996/VTC_-_Game_Design_Character_Development_Part_1.part04.rar
http://rapidshare.com/files/244354843/VTC_-_Game_Design_Character_Development_Part_1.part05.rar
http://rapidshare.com/files/244354950/VTC_-_Game_Design_Character_Development_Part_1.part06.rar
http://rapidshare.com/files/244363441/VTC_-_Game_Design_Character_Development_Part_1.part07.rar
http://rapidshare.com/files/244363687/VTC_-_Game_Design_Character_Development_Part_1.part08.rar
http://rapidshare.com/files/244370860/VTC_-_Game_Design_Character_Development_Part_1.part09.rar

3D BUZZ - MASTERING MAYA: THE FUNDAMENTALS

2009-10-06T21:34:00.000-07:00

3D BUZZ - MASTERING MAYA: THE FUNDAMENTALS

| 3,1 G | RS |

This bundle allows you access to the entire library of video curriculum originally designed for the Mastering Maya: The Fundamentals Online Class. This bundle allows you to get your hands on these incredible videos without having to deal with the time constraints and scheduling of the actual online class. Learn at your own pace as we guide you step-by-step through the process of growing from a Maya beginner into a true Maya master!

Within these discs you will find over eighty two hours of the finest introductory Maya training ever compiled. Whether you are a complete stranger to the world of Maya, are self-taught, or have already received formal education, prepare to receive a training experience unlike anything you've ever seen, and a level of self-confidence you would have never thought possible! Immerse yourself in nearly 400 videos, covering topics ranging from introductions to 3D space, to modeling, animation, lighting, rendering, scripting, and so much more! As you progress through three highly varied and intensive projects, each focusing on different areas of the program, and carefully designed to bring your skills to a professional level in a smooth, flowing manner. Virtually every aspect of the program is explained and made clear, keeping the beginner skill set in mind.

So sit down, strap in, and get ready to experience a true synergy of fundamental education seamlessly blended with intermediate to advanced techniques. Do you have what it takes to truly master Maya?

Download from s Rapidshare.com/files
DVD1 - 2,2 G
http://rapidshare.com/files/244640205/su86dfa7s6dfrtzx1.part01.rar
http://rapidshare.com/files/244648806/su86dfa7s6dfrtzx1.part02.rar
http://rapidshare.com/files/244651275/su86dfa7s6dfrtzx1.part03.rar
http://rapidshare.com/files/244653687/su86dfa7s6dfrtzx1.part04.rar
http://rapidshare.com/files/244656135/su86dfa7s6dfrtzx1.part05.rar
http://rapidshare.com/files/244658306/su86dfa7s6dfrtzx1.part06.rar
http://rapidshare.com/files/244660602/su86dfa7s6dfrtzx1.part07.rar
http://rapidshare.com/files/244663143/su86dfa7s6dfrtzx1.part08.rar
http://rapidshare.com/files/244666250/su86dfa7s6dfrtzx1.part09.rar
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http://rapidshare.com/files/244670900/su86dfa7s6dfrtzx1.part11.rar
http://rapidshare.com/files/244637722/su86dfa7s6dfrtzx1.part12.rar

DVD2 - 1,9 G
http://rapidshare.com/files/244677913/su86dfa7s6dfrtzx2.part01.rar
http://rapidshare.com/files/244680346/su86dfa7s6dfrtzx2.part02.rar
http://rapidshare.com/files/244682914/su86dfa7s6dfrtzx2.part03.rar
http://rapidshare.com/files/244684946/su86dfa7s6dfrtzx2.part04.rar
http://rapidshare.com/files/244687483/su86dfa7s6dfrtzx2.part05.rar
http://rapidshare.com/files/244690077/su86dfa7s6dfrtzx2.part06.rar
http://rapidshare.com/files/244693171/su86dfa7s6dfrtzx2.part07.rar
http://rapidshare.com/files/244696174/su86dfa7s6dfrtzx2.part08.rar
http://rapidshare.com/files/244674058/su86dfa7s6dfrtzx2.part09.rar
http://rapidshare.com/files/244675750/su86dfa7s6dfrtzx2.part10.rar

IMPLYMAYA - GI MODELING

2009-10-06T21:33:00.000-07:00

IMPLYMAYA - GI MODELING

| 1,4 G | RS |

Character/Caricature modeling tutorial. The model is created from Poly's and then later converted to Subdivion Surfaces for fine tuning of the mesh. The tutorial also covers the use of the infamous mjpoly tools script for the creation of edge loops for the facial structure in minimal time and Mayas own Split Poly tool.

Download from s Rapidshare.com/files
http://rapidshare.com/files/245085619/MODELgiS.part1.rar
http://rapidshare.com/files/245088726/MODELgiS.part2.rar
http://rapidshare.com/files/245103657/MODELgiS.part3.rar
http://rapidshare.com/files/245095761/MODELgiS.part4.rar
http://rapidshare.com/files/245099522/MODELgiS.part5.rar
http://rapidshare.com/files/245078068/MODELgiS.part6.rar
http://rapidshare.com/files/245081723/MODELgiS.part7.rar
http://rapidshare.com/files/245082356/MODELgiS.part8.rar

THE GNOMON WORKSHOP - IMAGE BASED MODELING: ADVANCED

2009-10-06T21:31:00.000-07:00

tHE GNOMON WORKSHOP - IMAGE BASED MODELING: ADVANCED

3D Modeling from Panoramas with Greg Downing

| 1,5 G | RS |

In the second DVD of this image modeling series, Greg Downing delves into more advanced photogrammetry techniques. This lesson teaches you how to perform image-based modeling and texturing within Maya using cameras calibrated for Realviz ImageModeler. Greg shows you how using panoramas for photogrammetry allows you to construct a location with a minimal number of images. He then illustrates how to calibrate those panoramas in Realviz ImageModeler for image-based modeling and texturing within Maya. This DVD assumes a basic familiarity with polygonal modeling, and though the examples are demonstrated within Maya, the workflow is applicable to any 3D package.

HOMEPAGE

Download from Rapidshare.com/files
http://rapidshare.com/files/246045201/bfs8o7v.part1.rar.html
http://rapidshare.com/files/246045209/bfs8o7v.part2.rar.html
http://rapidshare.com/files/246051986/bfs8o7v.part3.rar.html
http://rapidshare.com/files/246055193/bfs8o7v.part4.rar.html
http://rapidshare.com/files/246034499/bfs8o7v.part5.rar.html
http://rapidshare.com/files/246034508/bfs8o7v.part6.rar.html
http://rapidshare.com/files/246034509/bfs8o7v.part7.rar.html
http://rapidshare.com/files/246043734/bfs8o7v.part8.rar.html

GNOMONOLOGY - THE MAKING OF 'SMILE'

2009-10-06T21:30:00.000-07:00

gNOMONOLOGY - THE MAKING OF 'SMILE'

This 'making of' demonstration and lecture began with the decision to create a new still image and record the entire process. Using Maya, UVlayout, Zbrush and Photoshop, 'Smile' was created in eight hours over the course of a couple evenings. Observe and listen as Alex shares his workflow, thought process and techniques.

Chapter One: Base Mesh and UV Layout
In Chapter one, a personal sketch is chosen to develop into a 3D image. It is then imported into Maya and a methodology for aligning the 3D camera to the image is discussed. A simple base mesh is tweaked and edited to work with the design, then exported to Headus UVlayout. With the base mesh complete, it is ready to be sent to Zbrush for sculpting. Duration: 80min. Size: 365.25mb Cost: $15.00

Chapter Two: Sculpting in Zbrush
In Chapter two, the simple base mesh is transformed into a design sculpt. With a combination of real-time and timelapse footage, the sculpting session is thoroughly discussed. Starting with an initial lay-in of the musculature, forms are developed and detailed using the Claytube and Rake macro brushes. Tweaking and Masking also play an important role. Duration: 50min. Size: 171.69mb Cost: $12.00

Chapter Three: Lighting and Shaders
In Chapter three, the Zsculpt is exported to Maya with cavity and displacement maps for lighting, shading and rendering. The first half of the demo is in real-time, consisting of the light-rig set-up and design using IPR. We then transition to 2x timelapse, explaining the set-up of our layered Mental Ray skin shader, while exploring possible styles for our final rendering. note: I would recommend watching the 'Skin Shading in Mental Ray' tutorial if you are new to subsurface scattering in Mental Ray. Duration: 90min. Size: 183.14mb Cost: $15.00

Chapter Four: 2D Paintover, 8k Maps, Final Comp
In Chapter four, Photoshop is used to explore possible looks for the final image. Once the desired result is achieved, the size of the texture maps, 3D render and Photoshop comp are increased to a printable resolution (3000 x 4000 pixels). 8k cavity and 32-bit 8k displacement maps are generated in Zbrush3 using poly-painting and the Multi-Displacement Exporter. The chalk rail (with particle instanced fragments) is added in Maya, rendered, and the final Photoshop comp is put together. Duration: 80min Size: 215.31mb Cost: $15.00

http://depositfiles.com/en/folders/60C13MGMQ

MAYA VIDEO TUTORIALS:NORMAL MAPS

2009-10-06T21:29:00.002-07:00

MAYA VIDEO TUTORIALS:NORMAL MAPS

Maya Video Tutorials:Normal Maps

Learn to include details on models of low-resolution maps using the Normal.
In this video tutorial you will learn to include details on models of low-resolution maps using the Normal.
Projetc files are incluided.
DOWNLOAD:
http://rapidshare.com/files/261677226/Maya_Normal_Maps_Tutorial.part1.rar
http://rapidshare.com/files/261677225/Maya_Normal_Maps_Tutorial.part2.rar
http://rapidshare.com/files/261678953/Maya_Normal_Maps_Tutorial.part3.rar
http://rapidshare.com/files/261678954/Maya_Normal_Maps_Tutorial.part4.ra

EARNING MAYA 2009 THE MODELING & ANIMATION HANDBOOK

2009-10-06T21:29:00.001-07:00

LEARNING MAYA 2009 THE MODELING & ANIMATION HANDBOOK

Learning Maya 2009 The Modeling & Animation Handbook

Maya® is a 3D animation and visual effects software package that allows you to extend your creativity through the integration of modeling, animation, texturing, dynamics, lighting and rendering techniques. Maya offers incredible power and flexibility for generating digital images of animated characters and scenes. The Learning Autodesk Maya 2009 | The Modeling & Animation Handbook is an excellent resource to begin learning Maya!

About the Author:Marc-Andre Guindon has been in the industry since the inception of Autodesk Maya in 1997. Marc-Andre is the founder of NeoReel and his talent sees him involved in a variety of projects, including games, film, and the creation of tools and solutions to speed the workflow pipeline. He is also a very good teacher and has authored a number of books in Alias's Learning Maya series. Over the years, Marc-Andre has also led a number of master classes for Alias and Autodesk and has also been featured on a number of Pipeline Techniques DVDs. He has done so much to help the community get a good foundation of knowledge with Maya software.
DOWNLOAD:
http://rapidshare.com/files/264429274/L.MAYA09.MA.HB.part01.rar
http://rapidshare.com/files/264429273/L.MAYA09.MA.HB.part02.rar
http://rapidshare.com/files/264433904/L.MAYA09.MA.HB.part03.rar
http://rapidshare.com/files/264433924/L.MAYA09.MA.HB.part04.rar
http://rapidshare.com/files/264438390/L.MAYA09.MA.HB.part05.rar
http://rapidshare.com/files/264438489/L.MAYA09.MA.HB.part06.rar
http://rapidshare.com/files/264442700/L.MAYA09.MA.HB.part07.rar
http://rapidshare.com/files/264442820/L.MAYA09.MA.HB.part08.rar
http://rapidshare.com/files/264446660/L.MAYA09.MA.HB.part09.rar
http://rapidshare.com/files/264446766/L.MAYA09.MA.HB.part10.rar

DIGITAL TUTORS - ARTISTS GUIDE TO RENDERMAN FOR MAYA 3

2009-10-06T21:28:00.001-07:00

DIGITAL TUTORS - ARTISTS GUIDE TO RENDERMAN FOR MAYA 3

Digital Tutors- Artists Guide to RenderMan for Maya 3

Created exclusively for Pixar, this Artist's Guide to RenderMan for Maya 3.0 is a great course for new users of this powerful rendering system. This course will cover the steps needed to load the plug-in, render your images and take control of the final quality of the render. Best of all it is a free course sponsored by Digital-Tutors and Pixar.

Video File are Quicktime .Mov
DOWNLOAD:
http://rapidshare.com/files/265389229/DT_RfM3.part1.rar
http://rapidshare.com/files/265389226/DT_RfM3.part2.rar
http://rapidshare.com/files/265391108/DT_RfM3.part3.rar
http://rapidshare.com/files/265391121/DT_RfM3.part4.rar

Autodesk Maya 2010

2009-10-06T21:27:00.000-07:00

AUTODESK MAYA 2010 32&64+DOCS

Autodesk Maya 2010 32&64+Docs

Autodesk® Maya® 3D modeling, animation, rendering, and visual effects software offers artists an end-to-end creative workflow. Autodesk Maya 2010 software is the first release to unify the Autodesk® Maya® Complete 2009 and Autodesk® Maya® Unlimited 2009 feature sets, advanced matchmoving capabilities, and high dynamic range compositing into a single affordable package*. Also included for a complete CG workflow are 5 additional mental ray® for Maya batch** rendering nodes and the Autodesk® Backburner™† network render queue manager.

RapidShare:
http://rapidshare.com/files/267004433/Autodesk_Maya_2010_32_64_Docs.part01.rar
http://rapidshare.com/files/267004429/Autodesk_Maya_2010_32_64_Docs.part02.rar
http://rapidshare.com/files/267008848/Autodesk_Maya_2010_32_64_Docs.part03.rar
http://rapidshare.com/files/267008860/Autodesk_Maya_2010_32_64_Docs.part04.rar
http://rapidshare.com/files/267013053/Autodesk_Maya_2010_32_64_Docs.part05.rar
http://rapidshare.com/files/267013069/Autodesk_Maya_2010_32_64_Docs.part06.rar
http://rapidshare.com/files/267017304/Autodesk_Maya_2010_32_64_Docs.part07.rar
http://rapidshare.com/files/267017367/Autodesk_Maya_2010_32_64_Docs.part08.rar
http://rapidshare.com/files/267021604/Autodesk_Maya_2010_32_64_Docs.part09.rar
http://rapidshare.com/files/267021722/Autodesk_Maya_2010_32_64_Docs.part10.rar

Maya Training Organic Modelling

2009-10-06T21:24:00.000-07:00

frEEDOM OF TEACH - MAYA TRAINING ORGANIC MODELLING - 1

This Superior Instructional DVD, teaches you a step by step system for building all the major muscle groups of the body, from basic blocking to the finished model with all the muscles. An excellent 3D modeling tutorial for Intermediate to Advanced 3D Modelers. Ideal for:
- VFX Professionals
- Video Game Professionals
- Students
- Aspiring 3D modelers
- Reference for artists

Organic Modeling I: Human Anatomy Male, is the first Computer 3D modeling instructional DVD that will take you from start to finish of the complete superficial layer of human anatomy in a single mesh, muscle by muscle, from basic blocking to the finished muscle definition with an efficient use of resolution. No step is skipped or incomplete

Download:

http://rapidshare.com/files/275003659/TrainingOrganicModelling_-_1_Human_Anatomy.part01.rar
http://rapidshare.com/files/275008506/TrainingOrganicModelling_-_1_Human_Anatomy.part02.rar
http://rapidshare.com/files/275013645/TrainingOrganicModelling_-_1_Human_Anatomy.part03.rar
http://rapidshare.com/files/275018512/TrainingOrganicModelling_-_1_Human_Anatomy.part04.rar
http://rapidshare.com/files/275023527/TrainingOrganicModelling_-_1_Human_Anatomy.part05.rar
http://rapidshare.com/files/275028421/TrainingOrganicModelling_-_1_Human_Anatomy.part06.rar
http://rapidshare.com/files/275033405/TrainingOrganicModelling_-_1_Human_Anatomy.part07.rar
http://rapidshare.com/files/275038458/TrainingOrganicModelling_-_1_Human_Anatomy.part08.rar
http://rapidshare.com/files/275039649/TrainingOrganicModelling_-_1_Human_Anatomy.part09.rar
http://rapidshare.com/files/275096323/TrainingOrganicModelling_-_1_Human_Anatomy.sfv

PASS: extrox.com

matchmover 2010

2009-10-06T21:23:00.000-07:00

mATCHMOVER 2010 FOR MAYA 2010 | X86 X64

автор: Olya555 | 6 сентября 2009 | Пакеты 3D моделирования » 3D Studio Max » Плагины| Просмотров: 367

♦ Push-Button Matchmoving: provides the most advanced automatic 3D tracking on the market; this easy-to-use feature can be used with supervised tracking to handle complex shots.
♦ Using this toolset, you can extract accurate 3D camera and motion data from video and film sequences.
♦ Advanced Matchmoving: delivers precision manual controls that enable you to create a unique 3D reference system for your camera and 3D content.
♦ Advanced workflows can be based on filtering and fine tuning of tracking parameters, tracking from multiple footage and stills, tracking of moving objects, 3D-constrained tracking, and 3D tracking constrained by motion control data.
♦ 3D set layout supports combined MatchMover/ Autodesk® ImageModeler™ workflows: for image-based design visualizations.

Download:

x86 http://rapidshare.com/files/276146754/MATCH_V2010_32.rar
x64 http://rapidshare.com/files/276154294/MATCH_V2010_64.rar

PASS: extrox.com

Hyper Real Hand Modeling

2009-10-06T21:22:00.000-07:00

LEARNING AUTODESK MAYA AND MUDBOX - HYPER-REAL HAND MODELING

автор: harakiry | 2 октября 2009 | Пакеты 3D моделирования » Autodesk Maya » Уроки | Просмотров: 428

| 940 Mb | RS | DF |

These videos reveal the artistic and technical approach that CG artist Jeff Unay takes to model a hyper-realistic hand with Autodesk Maya and Autodesk Mudbox. In part one you will see how to sculpt the primary forms of the hand. In part two you will follow a 2 hour time-lapse of sculpting which include Jeff's comments. In parts 3 and 4 you will continue detailing the hand and preparing for deformations. In part 5 you will see how to incorporate blend shapes for use in conjunction with the joint rig. Part 6 concludes the series through sculpting the finger and thumb deformations with a look at the final result of all shapes working with the joint rig.

Download from s Rapidshare.com/files
http://rapidshare.com/files/287500863/s97evb9qw.part1.rar
http://rapidshare.com/files/287503660/s97evb9qw.part2.rar
http://rapidshare.com/files/287506609/s97evb9qw.part3.rar
http://rapidshare.com/files/287509611/s97evb9qw.part4.rar
http://rapidshare.com/files/287492501/s97evb9qw.part5.rar
http://rapidshare.com/files/287496031/s97evb9qw.part6.rar
http://rapidshare.com/files/287497888/s97evb9qw.part7.rar

Mastering Maya- advanced modeling

2009-10-06T21:21:00.000-07:00

3D BUZZ - MASTERING MAYA: ADVANCED MODELING VOL.1 - 4

автор: harakiry | 22 апреля 2009 | Пакеты 3D моделирования » Autodesk Maya » Уроки | Просмотров: 1566

| 16,7 G | RS |

These videos will teach you many techniques and every single tool for all three of Maya's modeling surface types: Polygons, NURBS, and Subdivision Surfaces. Throughout the 116 hour class, you will progress through seven separate modeling projects, each covering a fully demonstrated model. Push your skills to the next level as you are guided through the construction of a handgun with silencer, night vision goggles, two separate characters (one male and one female) each using two entirely different modeling and artistic styles, as well as an F-18 fighter jet and a Lamborghini Murcielago!
Nowhere else on the planet can you find so much modeling education in one place, all for a price that will save you thousands of dollars!

Maya Advanced Modeling: Session I, Intro to Polygons

This first session of the Maya Advanced Modeling curriculum will introduce you to Mayaa€™s robust polygonal modeling toolset, and is the only video out there showing you every single tool available within Maya (version 7.0), and giving you solid examples on how you can use them. After this solid introduction, youa€™ll complete your first model, the SOCOM pistol complete with silencer and under-barrel Laser Aiming Module (LAM)! Throughout the videos, youa€™ll learn smooth and lower-poly workflows, as well as how to employ a wide variety of tools and techniques!

Note: This video is part of the Mastering Maya: Advanced Modeling curriculum. Throughout the videos, you may hear references to other projects in the series. Please note that unless you have those videos on hand as well, you may miss out on certain references.

Maya Advanced Modeling: Session II, Polygons Intensive:

Automobiles
Once you understand and have mastered the available polygon tools in Maya, ita€™s time to expand out and get into good polygonal workflow issues and how to properly lay out your polys to create the best looking models you can. In this video, we show you how you can create the Lamborghini Murcielago through a very powerful and easy-to-master workflow, by which you create a 3-dimensional line drawing of the model, and build each and every polygon upon it.

The videos cover the creation of each and every panel of the exterior, the rims, brake discs and calipers, as well as the interior, seats, steering wheel, dashboard, a basic engine block, and more!

Note: This video is part of the Mastering Maya: Advanced Modeling curriculum. Throughout the videos, you may hear references to other projects in the series. Please note that unless you have those videos on hand as well, you may miss out on certain references.

Maya Advanced Modeling: Session III, Intro to NURBS Surfaces

Maya boasts one of the most complete NURBS modeling solutions in the effects industry and with these videos you can finally take the intimidation out of using them! Starting from the very beginning with NURBS surface theory, these videos lay down the ground rules of what you must keep in mind when creating NURBS surfaces, as well as demonstrating every tool available, along with every single setting for those tools! Learn about the creation of curves and surfaces, and how to create your very first seamless model of a pair of cartoony night-vision goggles!

Afraid of NURBS? Fear them no longer! This video has everything you need to get up to speed quickly!

Maya Advanced Modeling: Session IV, NURBS Intensive: Cartoony Characters

Once you have general mastery over the NURBS toolset, it's time to really sink your teeth in and start using NURBS to create some impressive models. This video will walk you through the creation of your very own cartoony NURBS character, Dash Cunning! You'll see how to attach and detach NURBS surfaces to create a seamless surface, as well as how what workflow considerations you must remember to create a patched model! You'll also learn how you can apply MEL scripting to speed up your NURBS workflow by creating a customized HUD to handle many of the common modeling functions!

To top it all off, you'll learn how you can convert your NURBS surfaces into other surface types, allowing for easier rigging and texturing later on!

Note: This video is part of the Mastering Maya: Advanced Modeling curriculum. Throughout the videos, you may hear references to other projects in the series. Please note that unless you have those videos on hand as well, you may miss out on certain references.

Also note that the MEL script is not completed as a part of the videos, but is provided with the disc.

HOMEPAGE

Download from Rapidshare
DVD1 - 4,2 G
http://rapidshare.com/files/224385231/5ex65x51.part01.rar.html
http://rapidshare.com/files/224387785/5ex65x51.part02.rar.html
http://rapidshare.com/files/224392568/5ex65x51.part03.rar.html
http://rapidshare.com/files/224395250/5ex65x51.part04.rar.html
http://rapidshare.com/files/224410162/5ex65x51.part05.rar.html
http://rapidshare.com/files/224413992/5ex65x51.part06.rar.html
http://rapidshare.com/files/224418696/5ex65x51.part07.rar.html
http://rapidshare.com/files/224422716/5ex65x51.part08.rar.html
http://rapidshare.com/files/224454720/5ex65x51.part09.rar.html
http://rapidshare.com/files/224458701/5ex65x51.part10.rar.html
http://rapidshare.com/files/224460819/5ex65x51.part11.rar.html
http://rapidshare.com/files/224463585/5ex65x51.part12.rar.html
http://rapidshare.com/files/224477565/5ex65x51.part13.rar.html
http://rapidshare.com/files/224479958/5ex65x51.part14.rar.html
http://rapidshare.com/files/224481518/5ex65x51.part15.rar.html
http://rapidshare.com/files/224503530/5ex65x51.part16.rar.html
http://rapidshare.com/files/224504283/5ex65x51.part17.rar.html
http://rapidshare.com/files/224510423/5ex65x51.part18.rar.html
http://rapidshare.com/files/224520849/5ex65x51.part19.rar.html
http://rapidshare.com/files/224530279/5ex65x51.part20.rar.html
http://rapidshare.com/files/224376144/5ex65x51.part21.rar.html
http://rapidshare.com/files/224384756/5ex65x51.part22.rar.html

DVD2 - 4,3 G
http://rapidshare.com/files/224631202/7xrk85rxs2.part01.rar.html
http://rapidshare.com/files/224631263/7xrk85rxs2.part02.rar.html
http://rapidshare.com/files/224631433/7xrk85rxs2.part03.rar.html
http://rapidshare.com/files/224638334/7xrk85rxs2.part04.rar.html
http://rapidshare.com/files/224638560/7xrk85rxs2.part05.rar.html
http://rapidshare.com/files/224638766/7xrk85rxs2.part06.rar.html
http://rapidshare.com/files/224645348/7xrk85rxs2.part07.rar.html
http://rapidshare.com/files/224645631/7xrk85rxs2.part08.rar.html
http://rapidshare.com/files/224645774/7xrk85rxs2.part09.rar.html
http://rapidshare.com/files/224652174/7xrk85rxs2.part10.rar.html
http://rapidshare.com/files/224652331/7xrk85rxs2.part11.rar.html
http://rapidshare.com/files/224652569/7xrk85rxs2.part12.rar.html
http://rapidshare.com/files/224658272/7xrk85rxs2.part13.rar.html
http://rapidshare.com/files/224658350/7xrk85rxs2.part14.rar.html
http://rapidshare.com/files/224658541/7xrk85rxs2.part15.rar.html
http://rapidshare.com/files/224663495/7xrk85rxs2.part16.rar.html
http://rapidshare.com/files/224663661/7xrk85rxs2.part17.rar.html
http://rapidshare.com/files/224663796/7xrk85rxs2.part18.rar.html
http://rapidshare.com/files/224669890/7xrk85rxs2.part19.rar.html
http://rapidshare.com/files/224670206/7xrk85rxs2.part20.rar.html
http://rapidshare.com/files/224670355/7xrk85rxs2.part21.rar.html
http://rapidshare.com/files/224625247/7xrk85rxs2.part22.rar.html
http://rapidshare.com/files/224631137/7xrk85rxs2.part23.rar.html

DVD3 - 4.1 G
http://rapidshare.com/files/224703845/65zk764z7sx3.part01.rar.html
http://rapidshare.com/files/224703847/65zk764z7sx3.part02.rar.html
http://rapidshare.com/files/224709834/65zk764z7sx3.part03.rar.html
http://rapidshare.com/files/224711448/65zk764z7sx3.part04.rar.html
http://rapidshare.com/files/224711575/65zk764z7sx3.part05.rar.html
http://rapidshare.com/files/224717962/65zk764z7sx3.part06.rar.html
http://rapidshare.com/files/224719468/65zk764z7sx3.part07.rar.html
http://rapidshare.com/files/224719672/65zk764z7sx3.part08.rar.html
http://rapidshare.com/files/224726393/65zk764z7sx3.part09.rar.html
http://rapidshare.com/files/224728108/65zk764z7sx3.part10.rar.html
http://rapidshare.com/files/224728170/65zk764z7sx3.part11.rar.html
http://rapidshare.com/files/224735037/65zk764z7sx3.part12.rar.html
http://rapidshare.com/files/224736632/65zk764z7sx3.part13.rar.html
http://rapidshare.com/files/224736816/65zk764z7sx3.part14.rar.html
http://rapidshare.com/files/224743711/65zk764z7sx3.part15.rar.html
http://rapidshare.com/files/224745139/65zk764z7sx3.part16.rar.html
http://rapidshare.com/files/224745528/65zk764z7sx3.part17.rar.html
http://rapidshare.com/files/224751987/65zk764z7sx3.part18.rar.html
http://rapidshare.com/files/224753435/65zk764z7sx3.part19.rar.html
http://rapidshare.com/files/224754063/65zk764z7sx3.part20.rar.html
http://rapidshare.com/files/224703844/65zk764z7sx3.part21.rar.html

DVD4 - 4,1 G
http://rapidshare.com/files/224968929/9p7v587p4.part01.rar.html
http://rapidshare.com/files/224976409/9p7v587p4.part02.rar.html
http://rapidshare.com/files/224976573/9p7v587p4.part03.rar.html
http://rapidshare.com/files/224978516/9p7v587p4.part04.rar.html
http://rapidshare.com/files/224985236/9p7v587p4.part05.rar.html
http://rapidshare.com/files/224985390/9p7v587p4.part06.rar.html
http://rapidshare.com/files/224986849/9p7v587p4.part07.rar.html
http://rapidshare.com/files/224992834/9p7v587p4.part08.rar.html
http://rapidshare.com/files/224992941/9p7v587p4.part09.rar.html
http://rapidshare.com/files/224994197/9p7v587p4.part10.rar.html
http://rapidshare.com/files/224999768/9p7v587p4.part11.rar.html
http://rapidshare.com/files/224999769/9p7v587p4.part12.rar.html
http://rapidshare.com/files/225000910/9p7v587p4.part13.rar.html
http://rapidshare.com/files/225006694/9p7v587p4.part14.rar.html
http://rapidshare.com/files/225006695/9p7v587p4.part15.rar.html
http://rapidshare.com/files/225007502/9p7v587p4.part16.rar.html
http://rapidshare.com/files/225013558/9p7v587p4.part17.rar.html
http://rapidshare.com/files/225013559/9p7v587p4.part18.rar.html
http://rapidshare.com/files/225013547/9p7v587p4.part19.rar.html
http://rapidshare.com/files/225021303/9p7v587p4.part20.rar.html
http://rapidshare.com/files/224968718/9p7v587p4.part21.rar.html

UV mapping

2009-10-06T21:19:00.001-07:00

THE GNOMON WORKSHOP - UV MAPPING 101

автор: harakiry | 7 июня 2009 | Пакеты 3D моделирования » Autodesk Maya » Уроки | Просмотров: 1070

| 3,8 G | RS |

In this DVD, Sean Mills covers the fundamentals of creating the UV space to prepare your model for texturing. Using several modified primitives as examples, Sean takes you through the necessary steps to map UVs and prepare your newly completed polygonal model for texturing. By creating a 2D version of the mesh, you give your 2D textures the instructions they need to land accurately on your model. By the end of this lecture, you'll be familiar with the basics of UV layout and its relationship to modified primitives.

HOMEPAGE

Download from Rapidshare
http://rapidshare.com/files/241723987/UM101.part01.rar.html
http://rapidshare.com/files/241724074/UM101.part02.rar.html
http://rapidshare.com/files/241726627/UM101.part03.rar.html
http://rapidshare.com/files/241729108/UM101.part04.rar.html
http://rapidshare.com/files/241729193/UM101.part05.rar.html
http://rapidshare.com/files/241732209/UM101.part06.rar.html
http://rapidshare.com/files/241734991/UM101.part07.rar.html
http://rapidshare.com/files/241735147/UM101.part08.rar.html
http://rapidshare.com/files/241738534/UM101.part09.rar.html
http://rapidshare.com/files/241741993/UM101.part10.rar.html
http://rapidshare.com/files/241742183/UM101.part11.rar.html
http://rapidshare.com/files/241747408/UM101.part12.rar.html
http://rapidshare.com/files/241750842/UM101.part13.rar.html
http://rapidshare.com/files/241713563/UM101.part14.rar.html
http://rapidshare.com/files/241713559/UM101.part15.rar.html
http://rapidshare.com/files/241713562/UM101.part16.rar.html
http://rapidshare.com/files/241718695/UM101.part17.rar.html
http://rapidshare.com/files/241718731/UM101.part18.rar.html
http://rapidshare.com/files/241718809/UM101.part19.rar.html
http://rapidshare.com/files/241723959/UM101.part20.rar.html

The Mysterious Explorations of Jasper Morello

2009-07-17T18:51:00.000-07:00

Nominated for an Oscar and for a BAFTA award, Jasper Morello is a short feature made in a unique style of silhouette animation developed by director Anthony Lucas and inspired by the work of authors Edgar Alan Poe and Jules Verne.

Synesthesia

2009-06-30T02:18:00.000-07:00

D.U.M.P.S.: Directing Unsuccessful Motion Picture Shorts

2009-06-30T01:24:00.000-07:00

"I've made it a point never to watch anyone's student film. I usually tell people, 'I'll hire you--as long as I don't have to watch your student film!' Most student films feature two things--a not particularly attractive girl running towards the camera, and a suicide. If it's a comedy, it features a not particularly attractive girl and a dog. I should know. I made one, and so did my son. But these kids are stealing jobs from me, so they must be doing something right."
Chuck Workman
Chairman of the Director's Guild of America's Academic liaison subcomittee
(As quoted in Billy Frolick's What I Really Want To Do Is Direct)

How dare we?

On the whole, student short films SUCK!.
D.U.M.P.S. contains not the usual advice you get in film school about the elements of good screenwriting. No, no. Rather, it is a very specific list of common mistakes and trends which we've seen in crappy student films again and again at screening after screening.
Before you even think of making a student film, read this list.
If you're a genius, then go ahead--- break these rules.
But let's face it, if you think you're a genius, you're not. So play it safe and spare your audiences the uneasy task of having to lie when you ask, "So- what did you think?"

Let the list of sucking begin!

Dolly/Zoom

No question. This is the most egregious, blatantly non-creative, non-cool, total student film red flag. Sure, Hitchcock used it in Vertigo, Spielberg used it Jaws, but enough is enough. It's cliched, overused, goofy, and overall a bad idea. By the way, what we're talking about here is a simultaneous Dolly-in/Zoom-out or vice-versa which compresses the background while keeping the subject at a fixed size during the shot.
A student-film no-no. (The dolly/zoom is such a mark of a student film, it's a joke in the opening of THE BIG PICTURE.)

The Tortured Artist Film

The story goes like this. A struggling artist (writer/painter/sculptor/musician -- 90% of the time, it's a writer) grapples with some sort of inner conflict, (a dead relative, writers deadline, religious confusion, etc). Our tormented soul encounters a muse (beautiful woman, endearing older character, magical artifact, etc) who helps the protagonist come to a sort of realization which ultimately opens the creative floodgates and allows the character to succeed (finish the novel, paint the painting, sculpt the likeness of the muse, or perform at the big recital).
The Tortured Artist Film usually involves a so-called "man vs. himself" struggle which is guaranteed to put you to sleep in the first two minutes. Related to this is the "introspective shot" which usually features the main character staring into space for a good minute (usually smoking a cigarette). File this under "Pretentious as Shit."

Dream Sequences

If you don't want your student film to look like a friggin' episode of Kung Fu, stay away from dream sequences, Grasshopper. A dream sequence generally says "I couldn't think of a better way to reveal information about the character than this." So-called "funny" dream sequences are usually not.

Time-Elapse Montage

You've got say, 15 minutes to get your point across in a short film. Every second of screen time should be treated like gold. A time-elapse montage not only demonstrates an inability to structure your film pacing-wise, it makes the audience wait unnecessarily. Try to find a simple and efficient way to indicate the passage of time without resorting to this too easy narrative device.

Bad Audio

You can have a real nice looking short film, but if the sound is bad, the film itself comes across as bad. Nothing gives away a student film like the soundtrack. Budgets are tight, sure, but many student directors simply don't place any importance and give any thought to what their film sounds like. The result is often a beautiful picture with a badly mixed, distracting audio experience. In the same vein, if you're making a 16mm film, be aware of how crappy the 16mm optical track is going to sound (which is REALLY bad) and try to prepare for it.
And now, free of charge, a canonical list of BAD musical soundtrack instruments:

Synthesizer (the "porn" soundtrack)

Your friend's band (trust me, they suck)

"the lone, slow piano"

"the lone guitar" (flamenco esp.)

The "impish" clarinet

The cello dirge.

The "spirited" piccolo.

Any kind of wood blocks.

"Look at me, I'm a director!" shots

Examples include-- the gratuitous "fishbowl in the foreground" shot, the "overhead for no reason 'cept we're shooting in a soundstage" shot, the "we think it's cool canted dutch angle shot" and perhaps most insidiously the "fridge POV shot", otherwise known as the "put the camera inside the trashcan/toilet/mailbox shot". Ok, maybe you need to get this stuff out of your system, but just be warned, it's total cheese.

Ultraslow Dialogue

A film professor once told me that on a film set, one second of "real" time equals three seconds of film time. Something to remember. Watch a student film and notice how often there are long pauses between lines of dialogue.
Why is this? I don't know, but if you watch the average "real" film, you'll see that the dialogue often occurs ultra fast. Maybe it's because we can hear faster than people normally speak. Who knows. A side note-- these pauses also extenuate bad lines of dialogue. A poorly written line is going to hang in the air like a fart if not closely followed by a fresh line to cleanse the air like a gentle breeze...

Blatant Miscasting

The audience can tell when you cast your significant other as the romantic object of desire.

Don't try to pass off someone who is shall we say, "fugly", as a supermodel.

In the same vein, why do so many student films cast SAG boy wonders as the "computer nerd" who can't get a date?

Mismatched couples. Be honest: "Do you believe that SHE would go out with HIM?" Make sure the answer is "yes." The audience can only suspend their disbelief so much.

Don't have your friends play "older characters." The baby powder grey hair trick doesn't work. Neither do the fake beards.

"Eyebrow acting"

It may work at the Golden Tugboat Dinner Theatre, but it don't come off on film. What's eyebrow acting? It's an overly expressive use of facial muscles more suited to miming than screen acting. This acting technique is only acceptable in films where the characters have sex within the first four minutes.

The "Nothing Happens"
short film

A very common bad student film. Usually consists of a main character who spends his or her time talking to people about nothing of consequence. Nothing happens for up to forty-five minutes. At the end, some contrived "climax" comes out of nowhere and tries to wrap everything up, but because there has been no conflict of any sort for so long, the audience is asleep and misses it. Common threads of these films include the "personal discovery/epiphanies that go inside the main character's head" film, the "warm remembrances of my childhood that no one cares about" film, and the "Slice of Life that is more uninteresting than real life" and "funny people I know come to life on the big screen." Nearly 50% of these films include an alcoholic single parent.

The Feature Film Masquerading
as a Short Film

If you've ever sat through a screening of student films, you'll notice that often the ones that are best received are the shorter films. Now it could be argued that this is due to the simple fact that they suck and less sucking is better than more sucking. It could also be because the audience is sitting through many many student films in one evening and appreciates the shorter ones because it means the whole thing will end sooner. In the short narrative film genre, every moment is precious. It's to your advantage to make your film short but sweet-- for one thing, shorter films cost less, take less time to edit, and allow you more time to focus on making your film as tight and well designed as possible. Ask yourself when writing (and editing) the film-- is this scene necessary? Is this moment necessary?
What does it do for the audience? We call this The "Get In And Get Out" Principal. Don't cram a full length feature into the short film style. Do what your film needs to do and then get the hell out. Remember, longer isn't necessarily better. Less is more.

The One Joke Film

A good short film has got to be a collection of good ideas, not one good idea stretched out for fifteen minutes. In any event, at least make an attempt to fill your time with stuff that's actually interesting to someone other than yourself. I don't know how many bad student films I've seen that are actually about the filmmaker's uninteresting life or contain vignettes that go on and on and on. Before you shoot, make a list of all the "good ideas" in the script.
You should have lots of them. How's that for a generic tip?

The "Walk into the Camera"
Transition

This one is zany. A character walks INTO THE CAMERA LENS! And then we fade to black, or more commonly, cut to the reverse-- someone walking AWAY FROM THE CAMERA LENS! OOOooo!
What a good idea...

The zany "Slacker with a Gun" film

You're not Quentin Tarantino.
Stop trying.

Overused video effects

Keep dissolves to a minimum. They are not synonymous with cuts. Same goes for wipes, keys, etc. The 80's are over. Video effects suck.

The "Dramatic Cigarette"

A character is having a dramatic crisis: So what does he/she do? Whips out a smoke and puffs dramatically as if to say, "Look, this is so serious I'm smoking." YES, people do smoke when they are nervous or excited, or under pressure. But there's no excuse for using the long, boring "drag 'n puff" scene as a lazy alternative to finding a more original way to express the same thing.

Ramblers: The "Quest for Truth"

There are several permutations of this theme. #1. The Puzzled Scientist. The "story" deals with a puzzled reclusive scientist who learns to forgo cold, hard science for something warm, gushy and intangible, like love, god, morality, religion or free will. Films in this genre are usually condescending to the audience and set up bogus sounding explanations of scientific principals (look for glossed over references to Chaos Theory, Grand Unification Theory, Relativity, etc.) and far-fetched reconciliations of the two. Filmmakers, please: if you must write one of these and want to be taken seriously, at least do a little research so you don't insult real scientists in the audience. #2. The Venting film. Broke up with your boy/girlfriend? Please, don't make a movie about it! It's dangerous-- These self-examinatory "why my ex dumped me" films that turn into long diatribes about the nature of love, the nature of mankind, etc. are rarely insightful and usually about as interesting as listening to a friend complaining about a relationship gone bad. In short, philosophical examinations of human existence and relationships, when discussed on an abstract level, will almost guarantee that the audience will become bored and/or confused.

Shooting into Mirrors

Now don't get me wrong, shooting into a mirror can be used to great effect when used at the right time and for the right reasons. But like so many narrative devices abused by student filmmakers, the "reflective" shot has become a staple of the bad short film. "Cool! So she puts her hand mirror right there and then we can see her boyfriend yelling at her behind her and it's all in one shot. Man, I'm a genius!" -- .niaga knihT

New! Interminable Credit Sequences

We know you're excited about your film and you have a lot of people to thank, but please consider the poor audience member who has to sit through ten films. We've seen credit sequences that last longer than the film itself! Here're some things to think about: (1) Scroll fast. Real fast. (2) Small fonts are great. (3) Title cards are fast but not every crew member needs one. (4) Must you really thank your entire family tree by name?

New! Scene One: The protagonist wakes up.

There's nothing INHERENTLY wrong with starting a film with the buzz of an alarm clock, a hand slapping the snooze button, eyes fluttering open, followed by a yawn or an "oh my god, I'm late!" - But why so much of this? We see it all the time. It's as if the writer/director woke up one morning, looked around and said "Wow. This is cool!" Uh yeah. Better go back to sleep.

Why aren't zooms in general on this list?

Often in film school, the only aesthetic advice you will get is "Don't use zooms." Screw that.
Zooms are NOT on this list. That's because zooms, while potential cheese, can be used even at the student level effectively and are much cooler than most film schools even understand.

Sound Design of Star Wars

2009-06-30T00:45:00.000-07:00

Sounddesigner Ben Burtt's responsibility on Star Wars was to create specifically unusual sounds - weapons, vehicles, character and key backgrounds.

Ben Burtt was a film sound buff as a child (he recorded and replayed the sound tracks of his favorite movies) Burtt enrolled at the university of Southern California's film school with the intention of becoming a director. He received a student job cataloguing the Columbia sound library, which had been donated to the University. A call by Star Wars producer Gary Kurtz to U.S.C. led to a successful interview for Burtt. He was given carte blanche to work out of his apartment near the U.S.C. campus in order to collect at a leisure pace those sounds that might be useful.

He spent a year recording anything that could be turned upside down and backwards to make Lucas world come alive.

"In my first discussion with George Lucas about the film, he - and I concurred with him - that he wanted an 'organic', as opposed to the electronic and artificial soundtrack. Since we were going to design a visual world that had rust and dents and dirt, we wanted a sound which had Squeaks and motors that may not be the smooth-sounding or quite. Therefor we wanted to draw upon raw material from the real world: real motors, real squeaky door, real insects; this sort of thing. The basic thing in all films is to create something that sounds believable to everyone, because it's composed of familiar things that you can not quite recognize immediately"

Imperial Walkers

The sound of the Imperial Walkers were created by modifying the sound of a machinist's punch press. Added to this for complexity, were the sounds of bicycle chains being dropped on concrete.

TIE fighter

The screech of a TIE Fighter is a drastically altered elephant bellow.

R2-D2

50 % of the droid´s voice is generated electronically; the rest is a combination and blending of water pipes, whistles, and vocalizations by Burtt.

"R2-D2´s motors covers every single move it does. They got buried most of the time, but when they do surface it helps keep a consistent texture that tells you that it really is a robot."

Chewbacca

Wookie sounds are constructed out of pieces of walruses and other animal sounds.

"You have bits and fragments of animal sounds which you have collected and put into lists: here is an affectionate sound and, here is a angry sound and, just like with R2-D2, they are clipped together and blended. With a Wookie, you might end up with five or six tracks, sometimes, to get the flow of the sentence"

Laser blasts

The sound of a hammer on an antenna tower guy wire

Lightsaber

Burtt blended the sounds of his TV set and an old 35 mm projector to create the hum of a light saber.

Speeder Bike

Sound of an Speeder Bike was achieved by mixing together the recorded sounds of a P-5 Mustang ariplane, a P-38 Lockheed Interceptor, and then record them

Luke Skywalker's landspeeder

The whoosh of Luke Skywalker's landspeeder was achieved by recording the roar the Los Angeles Harbor Freeway through a vacuum-cleaner pipe.

Ewokese language

A language created by altering and layering Tibetan, Mongolian, and Nepali languages

. "I broke the sounds down phonetically, and red-edited them together to make composite words and sentences. I would always use a fair amount of the actual languages, combined with purely made-up words. With a new language, the most important goal is to create emotional clarity. People spend all of their lives learning to identify voices. You became an expert at that, and somewhat impossible to electronically process the human characteristic, and retain the necessary emotion. To fool the audience into believing this is a real character as the basis of the sound, although you may sprinkle other things in there. It varies from character to character."

source: www.filmsound.org/starwars//topic:Filmmaking

How to turn your boring movie into a Hitchcock thriller...

2009-06-30T00:35:00.000-07:00

STEP 1: It's the Mind of the Audience

Change everything in your screenplay so that it is done for the audience. Nothing is more important than how each scene is going to affect the viewer. Make sure the content engages them and reels them in. Use the characters to tease the viewer and pull them along desperately wanting more.

Hitchcock knew why people are drawn to a darkened theater to absorb themselves for hours with images on a screen. They do it to have fun. In the same way people go to a roller coaster to get thrown around at high speeds, theater audiences know they are safe. As a film director you can throw things at them, hurl them off a cliff, or pull them into a dangerous love story, and they know that nothing will happen to them. They're confident that they'll be able to walk out the exit when its done and resume their normal lives. And, the more fun they have, the quicker they will come back begging for more. (Gottlieb)

STEP 2: Frame for Emotion

Emotion (in the form of fear, laughter, surprise, sadness, anger, boredom, etc.) is the ultimate goal of each scene. The first consideration of where to place the camera should involve knowing what emotion you want the audience to experience at that particular time. Emotion comes directly from the actor's eyes. You can control the intensity of that emotion by placing the camera close or far away from those eyes. A close-up will fill the screen with emotion, and pulling away to a wide angle shot will dissipate that emotion. A sudden cut from wide to close-up will give the audience a sudden surprise. Sometimes a strange angle above an actor will heighten the dramatic meaning. (Truffaut)

Hitchcock used this theory of proximity to plan out each scene. These varations are a way of controlling when the audience feels intensity, or relaxation. Hitchcock compared this to a composer writing a music score - except instead of playing instruments, he's playing the audience!

STEP 3: Camera is Not a Camera

The camera should take on human qualities and roam around playfully looking for something suspicious in a room. This allows the audience to feel like they are involved in uncovering the story. Scenes can often begin by panning a room showing close-ups of objects that explain plot elements.

This goes back to Hitchcock's beginnings in silent film. Without sound, filmmakers had to create ways to tell the story visually in a succession of images and ideas. Hitchcock said this trend changed drastically when sound finally came to film in the 1930's. Suddenly everything went toward dialogue oriented material based on scripts from the stage. Movies began to rely on actors talking, and visual storytelling was almost forgotten. (Truffaut) Always use the camera as more than just a camera.

STEP 4: Dialogue Means Nothing

One of your characters must be pre-occupied with something during a dialogue scene. Their eyes can then be distracted while the other person doesn't notice. This is a good way to pull the audience into a character's secretive world.

“People don’t always express their inner thoughts to one another," said Hitchcock, "a conversation may be quite trivial, but often the eyes will reveal what a person thinks or needs.” The focus of the scene should never be on what the characters are actually saying. Have something else going on. Resort to dialogue only when it’s impossible to do otherwise.

"In other words we don’t have pages to fill, or pages from a typewriter to fill, we have a rectangular screen in a movie house,” said Hitchcock. (Schickel)

STEP 5: Point of View Editing

Jimmy Stewart looks at dog and then we see him smiling. Jimmy Stewart looks at a woman undressing and then we see him smiling. Those two smiles have completely different meanings, even if they are the exact same smile.

Putting an idea into the mind of the character without explaining it in dialogue is done by using a point-of-view shot sequence. This is subjective cinema. You take the eyes of the characters and add something for them to look at.

- Start with a close-up of the actor
- Cut to a shot of what they're seeing
- Cut back to the actor to see his reaction
- Repeat as desired

You can edit back and forth between the character and the subject as many times as you want to build tension. The audience won't get bored. This is the most powerful form of cinema, even more important than acting. To take it even further have the actor walk toward the subject. Switch to a tracking shot to show his changing perspective as he walks. The audience will believe they are sharing something personal with the character. This is what Hitchcock calls "pure cinema." (Truffaut)

Note: If another person looks at the character in point-of-view they must look directly at the camera.

STEP 6: Montage Gives You Control

Divide action into a series of close-ups shown in succession. Don't avoid this basic technique. This is not the same as throwing together random shots into a fight sequence to create confusion. Instead, carfully chose a close-up of a hand, an arm, a face, a gun falling to the floor - tie them all together to tell a story. In this way you can portray an event by showing various pieces of it and having control over the timing. You can also hide parts of the event so that the mind of the audience is engaged. (Truffaut)

Hitchcock said this was "transferring the menace from the screen into the mind of the audience." (Schickel) The famous shower scene in Psycho uses montage to hide the violence. You never see the knife hitting Janet Leigh. The impression of violence is done with quick editing, and the killing takes place inside the viewer's head rather than the screen. Also important is knowing when not to cut. (Truffaut)

Basic rule: anytime something important happens, show it in a close-up. Make sure the audience can see it.

STEP 7: Keep the Story Simple!

If your story is confusing or requires a lot of memorization, you're never going to get suspense out of it. The key to creating that raw Hitchcock energy is by using simplistic, linear stories that the audience can easily follow. Everything in your screenplay must be streamlined to offer maximum dramatic impact. Remove all extraneous material and keep it crisp. Each scene should include only those essential ingredients that make things gripping for the audience. As Hitchcock says, “what is drama, after all, but life with the dull bits cut out…” (Truffaut)

An abstract story will bore the audience. This is why Hitchcock tended to use crime stories with spies, assassinations, and people running from the police. These sort of plots make it easy to play on fear, but are not mandatory for all movies.

STEP 8: Characters Must Break Cliché

Make all of your characters the exact opposite of what the audience expects in a movie. Turn dumb blondes into smart blondes, give the Cuban guy a French accent, and the criminals must be rich and successful. They should have unexpected personalities, making decisions on a whim rather than what previous buildup would suggest. These sort of ironic characters make them more realistic to the audience, and much more ripe for something to happen to them.

Hitchcock criminals tend to be wealthy upper class citizens whom you’d never suspect, the policeman and politicians are usually the bumbling fools, the innocent are accused, and the villains get away with everything because nobody suspects them. They surprise you at every step of the plot.

STEP 9: Use Humor to Add Tension

Humor is essential to Hitchcock storytelling. Pretend you are playing a practical joke on the main character of your movie. Give him the most ironic situations to deal with. It's the unexpected gag, the coincidence, the worst possible thing that can go wrong - all can be used to build tension.

In Marnie, Tippi Hedren is stealing money from an office safe and is just about to leave when she notices the maid happens to be cleaning in the next room. The maid is completely innocent and unaware. Hedren will get caught if the maid sees her, but the audience is already hoping that she gets away with it. The more happily the maid mops the floor and the closer she gets to seeing Hedren, the higher the tension.

You'll also find that Hitchcock tended to use comical old women to add a flavor of innocent humor in his films. They will usually be opinionated, chatty, and have a highly optimistic view about crime. If someone were committing a crime they might even help with it!

STEP 10: Two Things Happening at Once

Build tension into a scene by using contrasting situations. Use two unrelated things happening at once. The audience should be focused on the momentum of one, and be interrupted by the other. Usually the second item should be a humorous distraction that means nothing (this can often be dialogue.) It was put there by you only to get in the way.

When unexpected guests arrive at the hotel room in the Man Who Knew Too Much (1956), Jimmy Stewart and Doris Day are in the midst of a tense phone-call. The arrival of the guests laughing and joking serve a dramatic counterpoint to the real momentum of the scene. In Spellbound (1945)Ingrid Bergman sees a note which has been slipped under her door. Just when she grabs for it, her colleagues walk in and speak with her about the dissapearance of Gregory Peck, completely unaware they are standing on top of the note from him! The end result is - the audience pays more attention to what's happening.

STEP 11: Suspense is Information

"Information" is essential to Hitchcock suspense; showing the audience what the characters don’t see. If something is about to harm the characters, show it at beginning of the scene and let the scene play out as normal. Constant reminders of this looming danger will build suspense. But remember - the suspense is not in the mind of the character. They must be completely unaware of it. (Schickel, Truffaut)

In Family Plot (1976) Hitchcock shows the audience that brake fluid is leaking out of a car well before the characters find out about it. In Psycho (1960) we know about the crazy mother before the detective (Martin Balsam) does, making the scene in which Balsam enters the house one of the most suspenseful scenes in Hitchcock's career.

“The essential fact is to get real suspense you must let the audience have information." --Alfred Hitchcock

STEP 12: Surprise and Twist

Once you've built your audience into gripping suspense it must never end the way they expect. The bomb must never go off! Lead them in one direction and then pull the rug out from under them in a surprise twist.

In the climax scene of Saboteur (1942) Norman Lloyd is cornered on the top of the Statue of Liberty as Robert Cummings holds him at gunpoint. Just when you think it's over, Cummings begins to speak, startling Lloyd to fall backwards over the edge!

STEP 13: Warning: May Cause MacGuffin

The MacGuffin is the side effect of creating pure suspense. When scenes are built around dramatic tension, it doesn’t really matter what the story is about. If you've done your job and followed all the previous steps, the audience is still glued no matter what. You can use random plot devices known as the MacGuffin.

The MacGuffin is nothing. The only reason for the MacGuffin is to serve a pivotal reason for the suspense to occur. (Schickel) It could be something as vague as the "government secrets perhaps" in North by Northwest, or the long detailed weapons plans of Mr. Memory in the 39 Steps. Or, it could be something simple like the dog blocking the stairway in Strangers on a Train. Nobody cares about the dog. It's only there for one reason - suspense. It could have just as easily been a person, an alarm, a talking parrot, or a macguffin!

Source: http://www.stumbleupon.com/s/#22nyZY/www.borgus.com/think/hitch.htm/topic:Filmmaking

Simon's Cat

2009-06-16T21:15:00.000-07:00

Britains Got Talent Michael Jackson Surprise

2008-05-26T02:37:00.000-07:00

Britains Got Talent Michael Jackson Surprise - Watch more free videos

Daft hands

2008-04-06T05:48:00.000-07:00

Even if I practice for a decade.. I won't be able to do it.