Gnomon 3DMax Collection

01 – Global Illumination: Exteriors (T-0001)

In this lecture on the subject of Global Illumination lighting techniques, Christopher Nichols discusses the subject of exterior lighting. This DVD covers a general introduction to the principles of Global Illumination, which are essential to the understanding of this specialized form of lighting. While the series primarily uses V-Ray as the render engine in a 3ds Max environment, those using other GI renderers will also benefit from the conceptual techniques described. From the general concepts of reflected specular and diffuse light, to sky lights and image based lighting with HDRIs, Christopher shows how to light scenes using real world lighting in a fully reflective environment. He also demonstrates how to tackle the issues of animation by finding the most optimal way to bake lighting for exterior sets. This series is geared toward the CG artist that already has an intermediate understanding of direct lighting and is making the transition to GI lighting.Over 3 hours of lecture.

02 – Global Illumination: Interiors (T-0002)

Continuing from his first DVD, Global Illumination: Exteriors, Christopher Nichols explains how interior global illumination differs from exterior GI. Christopher focuses on the concept of digital sets and explores issues of interior lighting for GI, including the variety of light sources that can be used, as well as how space plays an important role in lighting. Christopher demonstrates the differences between regular light sources, environment light, IES lighting, area lights, and even how geometry and shaders can affect the lighting of a scene. Additionally, since bouncing light plays an important role in interior GI, this lecture looks at some special techniques such as using V-Ray’s photon mapping and light cache. Christopher also explores the idea of baking lighting into textures, which is a useful technique for some situations. With Global Illumination: Interiors, you will see the rendering of an interior space in a whole new light. Over 3 hours of lecture.

03 – Environment Creation for Production (T-0003)

In this DVD, Tim takes you through the entire process of creating an environment with 3ds Max starting with the analysis of reference photographs and determining real world object dimensions, all the way through the 3D modeling and texturing pipeline. Tim will teach you how to spot the visual cues that will allow you to quickly and accurately determine dimensions from set photographs. You will also learn how to build quick layout files for modeling and animation and how to model and texture an entire environment from photographic reference. Many artistic and technical challenges are addressed such as understanding perspective, modeling architecture, tile roofs, stone pathways as well as decay and general destruction. Over 2 1/2 hours of lecture.

04 – Environment Lighting for Production (T-0004)

In this DVD, after setting up various production lighting rigs, Tim discusses the pros and cons of each solution. You will learn when to use one type of rig over another based on the goals of the project, as well as how to deal with the challenges that different scene elements create for your lighting setups. Tim will also show you how to render passes out of 3ds Max, composite them using Digital Fusion and set up your lighting in real-time using floating point image formats. Finally, you will learn how to set up a scene for multiple lighting scenarios including day, sunset and night shots. Over 2 1/2 hours of lecture.

05 – Character Modeling for Production (T-0005)

In this DVD, Ian shows you the tools and techniques he uses to quickly create a full character model in 3ds Max, leading you through the basic character production pipeline used at Blur Studio. He takes you through the process of building clean geometry using Max’s built-in toolset as well as using the PolyBoost plugin. Ian shows how to easily enhance objects with ZBrush, and how to quickly find the form and detail of your character. From there he demonstrates how to bring the geometry back into Max to make it animation friendly by retopologizing. After the model is finished, Ian covers how to set up hair using Hair FX as well as how to set up lights, cameras and a simple rig using Biped to pose and render the character. Finally, using Adobe Photoshop®, Ian discusses how to present the character in a professional manner. This DVD is intended for artists with a basic under- standing of polygon modeling in Max, but is useful to anyone regardless of skill level or software. In this DVD Ian uses: Max, PolyBoost, ZBrush, BodyPaint and Photoshop®. Over 7 1/2 hours of Lecture

06 – Character Texturing for Production (T-0006)

In this DVD, Ian textures and completes the game cinematic character he modeled in Character Modeling for Production. In this lecture, he shows different techniques to UV map objects of various complexities quickly and efficiently using 3ds Max’s UV tools and DeepUV. Ian covers both hand-painted and image-based methods to create textures for the character. From there he uses various ZBrush plugins to both block-in and finalize textures and he uses BodyPaint to fix seams and to begin new textures. Ian demonstrates a variety of other techniques incorporated in the Max>ZBrush>BodyPaint pipeline and shows you how to enhance the hair created in his first DVD, and take it to a more finalized level. Finally, Ian shows how you can reuse your rigs from character to character using Biped, and how to use Adobe Photoshop® to add an extra level of professionalism to your final models before submitting them to a client. In this DVD Ian uses: Max, DeepUV, PolyBoost, ZBrush, ZappLink, Zmapper, BodyPaint and Photoshop® Over 4 1/2 hours of Lecture.

07 – Creature Modeling for Production (T-0007)

In this DVD, Laurent reveals his process for creating a high resolution creature, designed by Carlos Huante, for the video-game cinematic production pipeline. The pipeline presents many challenges such as working with short deadlines, achieving a clean topology and being able to interpret a 3\4 view concept into a complex and detailed 3D model. This DVD will cover the creature modeling from low-poly modeling to high-poly detailing using 3ds Max and ZBrush. Topics include Max’s basic polygon tools, creating the base volumes and proportions, cleaning up topology, reshaping in ZBrush, and lighting and rendering a sample still with Brazil for presentation to clients and supervisors.3 hours of lecture.

08 – Creature Detailing for Production (T-0008)

In this DVD, Laurent shares his techniques for detailing and refining the model he started in Creature Modeling for Production. Using 3ds Max, Deep UV and ZBrush, Laurent demonstrates the pipeline he uses every day at Blur Studio to add final details to a high-poly model based on a Carlos Huante design. He discusses how to achieve clean UVs with Deep UV, and how he adjusts volume proportions in ZBrush. He also shows how to create alpha maps in Photoshop® and use them in ZBrush to easily add surface details such as veins, bumps and other skin textures. Finally, Laurent shows how to export normal maps from ZBrush using the ZMapper plug-in and how to use the normal maps and cavity maps in Max for a sample render with Brazil. 2 1/2 hours of lecture.

09 – Character Texturing and Rendering for Production(T-0009)

In this DVD, Laurent reveals his techniques for creating the textures and shaders for the final stage of the creature modeling and texturing pipeline. Laurent shows how to create texture maps from scratch using a small library of different concrete and plaster textures. Using BodyPaint, he takes the cavity map from ZBrush and uses it as a guide to create the other maps for the creature. Laurent demonstrates how he experiments with one area of the body and then brings it to a near final stage before duplicating the maps and shaders for the rest of the creature using Photoshop® and Max. He then shows how to use BodyPaint to paint over the seams and finalize the textures. Finally, Laurent renders out separate passes and composites them together in Digital Fusion, discussing how this process allows better control of the final image and enables him to test the shaders for scene assembly and lighting.About 2 1/2 hours of lecture.

10 – Matte Painting Production Techniques (T-0010)

In this DVD, Chris Stoski demonstrates his techniques for creating a complex matte painting. He illustrates how a matte artist utilizes 3D modeling, texturing, lighting, photographic reference materials and digital painting to complete a beautiful and efficient matte painting. Throughout the lecture he describes his techniques and relates his experiences designing shots for feature films and executing them as final matte paintings. From painting and image manipulation in Adobe Photoshop® to 3D particle-system waterfalls and animated vegetation blowing in the wind, this DVD offers a complete spectrum of knowledge for the beginner to intermediate matte painter. Over 4 1/2 hours of lecture.

11 – 3D Matte Painting and Camera Mapping (T-0011)

In this second DVD in a series, Chris Stoski illustrates the creation of several 3D matte paintings. In the visual effects industry, directors are always asking for moving cameras in matte paintings and Chris shows how this is achieved. He creates two different environments and discusses how a matte painter creates camera movement in these key scenarios. In addition to Adobe Photoshop®, Chris uses Autodesk 3ds Max, but the techniques can be implemented with other popular 3D software as well. From forward-moving dolly shots to lateral helicopter aerials, Chris covers the essentials of 3D and 2.5D matte painting for matte artists of all skill levels. Over 2 1/2 hours of Lecture.

12 – Set Extension and Lighting Effects (T-0012)

In today’s feature film industry, productions are in constant need of digital set extensions. On this third DVD in a series, Chris Stoski shows how digital set extensions are achieved. The lecture uses two examples to demonstrate matching simple and complex lighting in the plate photography, dealing with difficult lighting changes, matching the camera angle of the plate with 3D software, and adding camera movement in a compositing environment. The lecture results in the creation of two beautiful moving shots. In addition to Adobe Photoshop®, Chris uses Autodesk 3ds Max and Apple Shake to create these examples, but the techniques can be implemented with other popular 3D and compositing software as well. This DVD is designed for all skill levels. 3 hours of lecture.

13 – Fluid Simulation with Glu3D (T-0013)

In this DVD, Cetin Tuker demonstrates the basic parameters of Glu3D in 3ds Max including the Glu3D main node, particle source, object manager and per object parameters. Cetin also walks you through a production quality fluid simulation animation project, starting from the storyboards. Modeling the objects in Max, scene setup and animation alternatives using the PWrapper function of Glu3D with the particle flow of Max, filling closed volumes with Glu3D particles and designing a fluid explosion are all thoroughly discussed. By watching this DVD you will see the entire production process for a fluid based commercial project.2 hours of lecture.

14 – Multi-Pass Compositing 3ds Max (Video files only) (T-0014)

In this lecture, Tim breaks down the process of rendering passes out of 3ds Max and demonstrates how to composite them together in Digital Fusion. Learn how to generate many different types of passes and how they are used in production. Identify and correct commonly occurring issues, from incorrect matte edges to bit depth and color correction. Acquire an understanding of what happens under the hood inside your 3D software and how to mimic that behavior while compositing to produce the highest quality renders. Tim demonstrates his techniques using Scanline, V-Ray and Brazil. 260 Minutes of Lecture

Giovanni Sforza 3D MODELS : Lamps , Sofa , Furnitures , Accessories

Giovanni Sforza 3D MODELS : Lamps , Sofa , Furnitures , Accessories

3D Collection – Furniture and Sanitary Engineering

A large personal library of models of interiors comprising:

* Hangers – 12
* Billiard tables – 10
* Aquarium – 1
* Children’s furniture – 4
* Doors – 212
* Mirrors and frames – 16
* Sofas – 366
* Fireplaces – 28
* Beds – 108
* Chairs – 117
* Kitchen – 325
* Racks – 10
* Tables – 368
* Pedestal – 68
* Chairs – 600
* Cabinets – 188

And San those devices.

* Baths – 176
* Shower – 33
* Taps – 41
* Furniture – 42
* Basins – 306
* Toilets – 307
* Accessories – 136

T0827 – KURV Studios – LightWave 3D 9 Adaptive Pixel Subdivision

KURV Studios - LightWave 3D 9 Adaptive Pixel Subdivision

: DESCRIPTION

This video not only covers how to use this new tool in LightWave 3D 9
but it also goes into real world examples.

The videos starts off showing you how APS works and how to properly
implement it into your next model. Next Larry moved on to showing you
different ways to change the subdivision level in LightWave 3D.

Lastly Larry goes into a real world application showing all the various
ways APS can improve your render, modeling and workflow.

T0826 – Fxphd – Compositor’s Guide to Nuke

Renowned providers of online training for VFX professionals – Fxphd � have teamed up with The Foundry to bring you �The Compositor�s Guide To Nuke�. fxphd.com professor, Sean Devereaux, takes you through the core elements of this powerful compositing application.

Section 1 – Interface and Nodes
Section 2 – Images and Channels
Section 3 – Mattes and Rotoscoping
Section 4 – Colour and Grading
Section 5 – Image Transformations
Section 6 – 3D Compositing
Section 7 – Stereoscopic Compositing
Section 8 – Expressions and Gizmos

I have been a post grad at FXPHD since early 2007 and the level at which they do everything is at a higher caliber then anything out there for training in the visual effects,post production,3d and motion graphics field. The new summer term is coming up in about a week so check out the 0 or zero week sneak peek that will be up on the site(link below). FXPHD partners with so many great professionals in so many mediums from Stu Machwitz(Prolost),Mark Christensen(Flowseeker) and way to many heavy hitters in the post ,vfx and 3d industry.The training on Nuke has been especially good being that Shake has been left to wallow (even though still heavily used by me and alot of others). The Foundry has stepped it up nicely with Nuke 5 and a nice revamp to the UI and so many other features I will just let you be the judge . If you are into learning about editing,compositing,RED,Maya,Motion tracking ,3d, Color ,Cinema 4d(the list goes on) it would be in your best interest to check out FXPHD.COM

T0825 – fxphd Background Fundamentals 204

We wanted to lay out the game ahead in more detail than we ever have before – since people have asked for a tad more of an idea of the direction and focus of the future Background Fundaments. Based upon feedback from students, this new term and the following term’s Background Fundamentals will concentrate on the visual effects knowledge and tasks that artists run into on a daily basis – focused on method and theory not individual applications. Over the next two terms we will be covering all the cool and no so cool but important things that come up. From label replacement, matching 3D and live action, keying and lighting, and even some 3D stereoscopic effects. In each case we will try and make the class self contained to that week, while addressing real world shots, with an eye to both budget and timescale. Yes we will even try and budget and cost shots as we go. Plus we get to fly in helicopters and stick needles our (digital eyes). – We hope this will be the most hands on and fun BKD yet.

If you like the challenges in Term 3 – you’ll really enjoy this new term. Classes will either be HOW to approach a shot, or be part of our new one off ON SET specials showing how to work on set and on loaction. We figured we’d pepper the course with these ON SET specials as it they been popular in the past – and it is important to get our of the dark suite and always keep in mind practical options of things you can do on set. You will once again get material to download and work with – and we will have more of our rapid real world challenges. We recommend The Encyclopedia of Visual Effects by Damien Allen as an accompanying textbook for this course, and the next. It is not mandatory, but it will serve as a great reference and provide additional source material to practice with, including material from ILM.

Class 1: Poking your eye out – worked example
Class 2: Wire Removal – how to approach it
Class 3: Working in Space
Class 4: Working with 3D passes and practical tricks
Class 5: Making it work in stereo. Stereoscopic comps
Class 6 – On-Set 1: Helicopter shooting
Class 7 – On-Set 2: Digital camera workflow
Class 8: Comping into stock footage – worked example:
Class 9: Selling a Shot: Stunts and comping
Class 10:Keying tricks and theory of how to approach a difficult shot.

T0824 – Turbo Training Advanced Visual Effects 2

urbo Training: Advanced Visual Effects 2

Visual Effects guru and particle effects master Allan McKay is back with another round of stellar particle effects as part of his latest training kit: Turbo Training: Advanced Visual Effects 2.

This time out, Allan has created seven new project-based tutorials that push the built-in Particle Flow particle system to the limit and beyond. With a running length of over 6 hours, this training DVD is aimed at intermediate and advanced users. Allan starts off with easier effects like creating a DNA strand out of particles, then ramps up to more complex natural effects including procedural lava and particle fire, as well as building a crumbling iceberg, splashing barrels and exploding tanks.

To achieve several of these effects, Allan spends time showcasing two Autodesk Certified Animation Plug-ins: AfterBurn 3 and Particle Flow Tools: Box 1 and discusses how they can extend what the core PFlow particle system can do.

Finally, Allan illustrates how to set up your render passes and through the use of Eyeon’s Digital Fusion compositing application, blends the various layers together to achieve the final effects.

T0823 – Turbo Training Advanced Visual Effects

If you’re looking for training beyond the basics, then the Advanced Visual Effects DVD is for you. This DVD volume (part of the new Turbo Training collection) contains over 14 hours of material from special effects creator and Particle Flow master Allan McKay.

Aimed at intermediate and advanced users, the Advanced Visual Effects DVD showcases much of Allan’s talent and techniques for producing incredible animation using 3ds Max and the Particle Flow particle system. Starting with simple examples, Allan works up to more complex effects including generating procedural tornados and volcanoes, as well as a drip system that must be seen to be believed. He also covers topics including the use of procedural materials, reactor 2 physics basics.

Additionally, an entire section is devoted to his use of Autodesk Certified Animation Plug-in AfterBurn 3, showing how he makes believable explosions, ground fog, clouds and more.

T0822 – Turbo Squid – Turbo Training FumeFX Essentials

Turbo Squid FumeFX Essentials
Running Time: 3 hours, 35 minutes

Effects specialist and Autodesk Master Allan McKay has created a brand new training DVD for users interested in coming up to speed with the powerful Autodesk Certified Animation plug-in FumeFX. This DVD demystifies the various controls for making believable FumeFX simulations. You’ll be amazed at what the FumeFX engine is capable of, creating everything from animated burning paper and huge fiery explosions to bubbling caudrons and dirt/dust effects.

This 3.5 hour training course is perfect for new users who want to get up speed quickly with the sophisticated FumeFX plug-in, as well as for intermediate users who want to tweak their effects for astonishing results. Sample files are included so you can dissect or modify them later to achieve an even deeper understanding of this plug-in technology.

Course outline:

Project 1: Getting Started
Total Running Time: 34:58

Project 2: Campfire
Total Running Time: 57:17

Project 3: Magic Cauldron Part 1
Total Running Time: 17:33

Project 4: Magic Cauldron Part 2
Total Running Time: 14:43

Project 5: Breaking Ground
Total Running Time: 11:33

Project 6: Burning Paper
Total Running Time: 30:01

Project 7: Explosion
Total Running Time: 19:55

Project 8: Adding Fuel
Total Running Time: 29.25

T0821 – Turbo Squid – Turbo Training – 3DS MAX – Cloth Techniques

With the recent inclusion of the cloth tools (known as clothfx to many users) into the Autodesk Subscription Program for 3ds Max, more animators than ever have begun to look for training to help them get more out of the product than the basic tutorials provide.
This DVD training goes above and beyond normal flags and curtains cloth examples, and shows you how to create far more complex garments using the GarmentMaker modifier, as well as giving you an arsenal of information that will help you be more productive in less time.

Topics covered in this 3 hour module include: understanding how cloth reads the modifier stack, GarmentMaker techniques, multi-layered clothing, bias-cut cloth, pleats and creases, animated constraints and plenty of helpful tips and tricks to enhance your workflow. Below is the tutorial listing:

1. Introduction
2. Set up for Cloth
3. GarmentMaker Tips
4. Tailoring Cloth
5. Money Bag Example
6. Modelled Cloth Tips
7. Biased Cloth Basics
8. Biased Cloth Example
9. Pleats/Seams Basics
10. Pleats Example
11. Group Contraints
12. Layered Cloth Basics
13. Layered Cloth Example
14. Intersect/WrapIt

As a special bonus, Size8 Software has provided two freeware plug-ins with this DVD: Intersect and WrapIt that can be used to diagnose your cloth sims and help you even more.

T0818 – Turbo Squid – Turbo Training – 3DS MAX – Advanced Cloth Workshop

Turbo Squid – Turbo Training – 3DS MAX – Advanced Cloth Workshop

Learn the secrets of the pros!
Veteran animator Paul Hormis (who has been a part of both Blizzard Entertainment and Blur Studios during his 15 years of professional work) has assembled over 4 hours of incredible cloth effects and techniques for animators looking to push cloth to its limits and in the process, you’ll learn how to use cloth in ways you never imagined.

This DVD is designed to assist animators who do not want to have to build clothing from panels, and shows you completely unique ways to get the most out of your modelled clothing using Editable Poly and the Cloth Extension.

Just look at the course outline:

1. Setting Up Collisions
2. Creating Cattails
3. Dragon Wing Setup
4. Using Cloth to drive linked chains
5. Building Chainmail armor using cloth
6. Peeling Flesh
7. Building a Backpack
8. Bicycle Flag
9. Ammo Belt
10. Multi-layer Character clothing Part 1
11. Multi-layer Character clothing Part 2

And Paul’s training doesn’t end with the DVD. For those who are interested, Paul has set up a permanent web forum dedicated to helping users get the most out of the Cloth and clothfx tools HERE.

Finally, users also get over 400 MAXScript files that Paul created himself for the production pipelines he has set up and worked within. These tools will help you do things with cloth more efficiently and easily than ever before. Grab your copy of the Advanced Cloth Workshop today!

T0820 – Digital-tutors Painting Multiple Channels in Mudbox

n this course we will use Mudbox to paint multiple textures and channels as we create a retro ray gun.

Although Mudbox is a powerful sculpting tool, one of the features that make it stand apart is the ability to paint multiple texture channels. When creating textures for your models, painting interactively in the 3d view is a really fast and effective way to work. In Mudbox, we can paint color as well as create channels like bump, specular, and reflection and see all of that detail as we paint. In this course we’ll learn to create and modify multiple texture channels like those mentioned above. We’ll blend together multiple paint layers to achieve specific effects, cover the use of stamps, and learn to use the projection brush with a stencil to add decals. For our example we’ll use a retro ray gun toy, but the techniques you’ll learn will apply to anything you’d like to paint in Mudbox.

T0819 – KURV studios – Orc Series Advanced Sculpting with ZSpheres II

We have all been waiting for Pixologic to release ZBrush 3.5 and ZSpheres II. Now that it is out and you have had some time to play. Well, now it is time to get serious about your work.
L. J. Bamforth is a very accomplished artist and has been a ZBrush professional for years. His work has been seen in Exotique 3 by Ballistic Media, ZBrush Central, and many other major 2D/3D forums. Now you can watch his work and learn from his style and speed techniques.
This video is first of a three part series on ZBrush 3.5 and the new ZSketching tools. This sculpting video contains more than 2 hours of professional training, and is hands-down the best training series for beginning ZBrush modelers we have ever seen.

Leigh brings his hallmark style to this expansive series, providing details on using ZBrush 3.5’s new ZSketch toolset of which you will not find in any other training video on the market currently. Covering all the new ZSphere tools associated with ZBrush 3.5 this videos will not only teach you how to sculpt with these new tools, but how to model creatures and characters in a way you may not have seen before.

Leigh starts off by creating a ZSphere skeleton to support the “muscle” structure ZSpheres from ZSketching. Leigh has a very good working knowledge of the human muscle anatomy and in this video he shows you how this knowledge can help your sculpting work.

Thomas Roussel of Pixologic and PolySculpt.com said – “Leigh also show an interesting way to build the foot of the Orc. I never thought of that way to do so as I always thought of a classical hierarchy, but now, it’s no more a restriction because of ZSketch. Good to remember for my own work…. In the same direction, Leigh refine it’s ZSphere skeleton to fit it to the added skull/head, and then, added the support for the ears. This is something that a lot of users have to know! Thanks Leigh!

To conclude, this presentation was interesting for all the new comers to ZBrush 3.5 as it shown at this stage (1st webinar), a good way to build from scratch a model and generating an accurate shape before moving the the detail stage. Leigh did a good sculpt in less than 1h50, which is a good timing for a full body and show some nice tricks. Everybody had something to learn and I was happy to watch it and I’m waiting for the two others webinar.”

Created with previous ZBrush users in mind, this three-part advanced series assumes some prior knowledge of ZBrush software. It carefully walks you through the core tools and techniques needed to master sculpting with ZSpheres, ZSketch and Unified Skinning. and Illustrating how Professionals get what they want, where they want to, quickly and build up there character works from nothing to a full blown High Resolution character work in next to no time.