MOD302: 3D Digital Environments
English | January 2012 | mp4 | H264 1152x864 | AAC 1 ch 64 kbps | 6.9 GB
eLearning | Software Version: Vue10, 3DSMax 2
This advanced course will cover the creation of not one, but a number of full 3D production quality mattes, all highly detailed and photoreal. We will be covering a lot of ground across multiple shots taken to final in our 10 classes. With the continuing rise on stereoscopic 3D in films and television, there are an increasing number of occasions when a 2D or 2.5D matte just wont cut it anymore.
Not only will we be using Vue 10 but also other applications such as Autodesk Mudbox and Autodesk Maya to get each shot to final using the features each applications brings to the table. As well as covering the creation of detailed photoreal mattes in full 3D, well be covering some of the most common types of environments that may be asked to do.
The benefit of being in full 3D and not camera projected, is that far more complex camera shots can be achieved far more easily giving our director far more creative freedom. Well be finishing the course off with a complex match moved shot featuring the exterior of the cathedral interior that we created in MOD301 along with Vue elements to create the external establishing shot to the interior shots created in MOD301.
We will be covering a lot of ground and feature final, practical examples both as standalone 3d mattes and for use in the short referenced in the lesson description. Some knowledge of Vue, Maya and Mudbox will be required, although as much as can be will be explained in the time available. However this is not a beginners course. Also where applicable well be covering composting in Nuke to truly take each shot to a final level.
Wayne Robson was the first digital sculptor to receive the Autodesk Master award for Mudbox. He has worked as a freelance digital artist and taught 3D & digital sculpture around the world and has lectured at the Vienna science academy. He is the programmer behind MudWalker and the Waynes Vector Displacement Shader and as a freelance artist his work can be seen in TV, Games and Film. Robson is also the author of many DVD tutorials, books and articles on 3D and has give the Autodesk Masterclass on Mudbox in 2009 & 2010. He is also an Autodesk Authorised Developer and Publisher and a beta tester for more 3D applications than it is possible to list.
Class 1: Creating the Promo image. To warm for the course, were going to tackle the easiest shot , creating the atmospheric promo image with our female hero standing on a cliff high above the clouds. This will cover the creation of the cliffs in Vue before exporting to Mudbox for some higher res detailing and the creation of the dense cloud layer. The shot will be tweaked if we need to so that it fits with the final locked down script.
Class 2: The Photoreal Tree Lined Road Part 1. This lesson will cover the creation of a full 3d tree lined photo real road plate, starting out by creating the custom tree in Vue and how we can use other applications such as Autodesk Mudbox to vastly improve our final result above and beyond usual Vue quality.
Class 3: The Photoreal Tree Lined Road Part 2. Continuing on from the last lesson, after finishing off our scene well be moving onto lighting the whole scene and showing my own way to quickly get our lighting right. Then its time to sort out all the passes we need to export ready for use.
Class 4: Joan of Arc: Shot list Matte #1. This lesson will be creating the first of the photoreal scenes from the final locked down script. This could be a scene containing anything from set extension to a full 3D shot or match move.
Class 5: Joan of Arc: Shot list Matte #2. This will be the creation of our 2nd photoreal scene needed from the final shot lists. Again at this stage we dont know what these are going to be, this all depends on the final script and shot list. Should the shot be something simple well also be creating filler shots completely in 3D for the story.
Class 6: Detailed Water Scene / Joan of Arc: Shot Light Matte #3. To cover as much ground as possible well also be covering the creation this week of a detailed scene that includes water in the shot and show how we can sculpt things that will make our live easier in external applications such as Mudbox. Should there be a 3rd (or more) matte shot on our shot list to do, we will do these instead of the Water Scene this week.
Class 7: The Epic Lighting Week. This week concentrates on lighting and well take the same scene of a castle in a dense valley and show different ways we can light both night and day and different seasons. As an extra well show ways we can get the one pass missing from Vue...the cloud pass. Well create its own depth and alpha pass to enable fine tweaking at compositing level later.
Class 8: Joan of Arc: Cathedral External Match Moved Shot Part 1. Continuing on from the interior shots created in MOD301, for this lesson well start tackling our main scene with the big cathedral external reveal which needs us to match all lighting and materials to a shot with no HDRI available. So well start by importing our tracking data into 3DSMax and blocking out the positions for everything before sending it for approval by our art director in time for week 9.
Class 9: Joan of Arc: Cathedral External Match Moved Shot Part 2. Making any changes that have been requested well import everything into Vue and add final materials and lighting, add any extra set dressing and test our final composite.
Class 10: Joan of Arc: Last Minute Shots / Tips and tricks. As well as catching up on any last minute shots that have been handed to us at the last minute well cover a healthy dose of tips and tricks to help get out of sticky situations on a full 3D Matte as well as go back over what weve done in previous weeks and answer any outstanding questions.
NO MIRRORS PLEASE
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