The GPU Technology Conference (GTC) took place in San Jose California from May 14th to May 17th. The conference is the brainchild of GPU giant NVidia and looks to celebrate global awareness of GPU computing and visualisation as well as the importance of the future of science and innovation.
Want to introduce yourself to some of the fundamental techniques of compositing? Well now you can. The lovely Simon Richardson, compositing escapee and one of our esteemed Studio Assistants here at Escape, has put together a free NUKE tutorial that will demonstrate exactly that. This short video will walk you through a basic CG rebuild inside NUKE, using Maya’s Mental Ray passes. For anyone starting out using this software, it’s a great insight into the processes behind building a shot ready for edit.
IKinema has been the go to plug-in for Autodesk Maya when it comes to creature and model animation especially after their performance on smash hit films like Wrath of the Titans and X-Men: First Class. With the release of IKinema Action 2 in April there was a bit of a buzz around the newest features included in the latest version (check out my previous blog for more details!)
Welcome back everyone!! I hope you all had a cracking weekend. Right now we are going to pick up where we left off on Friday with FG Maps.
Ladies and gents, welcome to another Studios Assistant blog. Today's topic: Final Gather Maps.
So it’s almost bank holiday weekend and your old pal Ash is gonna give you another one of his awesome tips before you spend the next three days drinking your body weight in alcohol and watching The Avengers… seriously, how awesome is that film?!
As of last month Autodesk released the 2013 update of their 3D software, and with that you’ll find a variety of enhancements and new features that make these versions pretty special. In our competitive industry, having the latest and greatest tools to complete the job is always a bonus, and the 2013 versions may well set you on your way to creating work that stands out from the crowd. Of course for many of you, the cost can make upgrading a tricky business and that’s why we want to make sure you’re all aware of a promotion that could help stretch the pennies a little further.
Happy Tuesday, loyal readers. Here's a quick one relating to a problem that popped up a few times for the students last week. This is for anyone taking who has tracked footage into Maya and finds their tracking markers don't line up, because they've forgotten one simple step.
So we have a new class of students for the Visual Effects Production course and I thought I’d quickly run through what this class has been up to recently and where they’re at now in their studies. We are currently on week four and they have just started their first major project after covering the ins and outs of Maya (the industry go-to package in VFX). So far, we have covered modelling, UV’ing, texturing, some lighting and rendering and a bit of Photoshop just to mix it up a bit. To put all they have learnt into practice, they have been asked to create a CG object, integrate it into a backplate and to make it look photo-realistic.
Welcome to the Studio Assistant workshop, with Ashley Miles and Brad Collier-Brown, and here's our debut issue. As studio assistants, our main job is to make sure both students and escapees are getting the most out of the Escape Studios experience, which involves answering a lot of weird and wonderful questions. We thought it'd be a good idea if we blogged a few of the most common queries and solutions every week, so you guys at home could learn a little something from us too.
If you want to be taken seriously as a 3D artist you’ll need to approach your workflow professionally. This means being super organised when managing your assets and in this month’s free tutorial we are going to show you how this is done.
We have been hard at work planning our next set of video tutorials for you all to enjoy but right now, we are very keen to hear directly from you what sort of tutorials would help you most. Since we understand that you are all busy, we have put together a super quick, super simple 5 question survey, and all those who fill it in will get a chance to win a free Maya Essentials online course or a ZBrush for 3D Artist online course.
The fifth week of the Maya Core evening course is equivalent to day five of the intensive day time class, so we have now covered one week of the comparable daytime course. The advantage of the evening course is you have more time to soak in the deluge of information showered onto you, but the daytime class are constantly thinking in Maya so perhaps absorb it more thoroughly.
After last week’s fruity frolics and forays into furniture, we began week four of our Maya Course finishing the seat cover of our poly modelled chair. The back row gang was complete again as our comrade James returned as he was unable to attend last week’s lessons. He was gutted to miss the chair making exercise, because he’s a budding furniture designer now hoping to get an internship at a London studio, and believes learning Maya will boost his creative potential.
I was sitting in the front row, next to Rodrigo from Brazil, on Monday night, as our class made an effort to complete the exercise of modelling fruit in NURBS, before we moved on to making a chair in Polygons. I felt a little more confident, after practicing my Primitive Man Online tutorial last weekend, and I looked forward to shading and texturing my wonky apple. But before I got to that moment there was a NURB banana skin, waiting for me to slip on.
The guys at IKinema have an awesome idea in development that is making their award winning animation technology more available to the masses. For those of you who don’t know IKinema, it is a plug-in for Maya that lets you create full-body animations quickly and easily with brilliant realistic results. It is a time saving tool that eliminates the need for characterisation or special rigs as it does the hard work for you, letting you work directly onto a rig. You can combine multiple models into a single animation, retarget from any source to any target, customise or tweak motion capture and animation as well as retarget data inside Maya in real-time.