In Introduction to Lighting for Animation, Lighting and Compositing TD Alex Corll shares his process of lighting a shot from start to finish using Maya, Arnold and Nuke. This includes researching reference images and assessing your scene, initial scene optimization, and additional tips to help speed up your workflow

MP4 1920x1080 | Total time: 5h 01m | ENG | 2.7 GB

In this title, Principal Artist Nate Stephens demonstrates the creation of a complex decorative medallion asset using Substance Designer, ZBrush, Maya, and Marmoset Toolbag. Starting in Substance Designer, complex shapes are formed and explored, leveraging the flexibility and experimental power of the software.

In this workshop, Tracker / Matchmove Artist Kevin Bolivar takes you through SynthEyes tracking from beginning to end, explaining the theory and concepts applied to solve camera motion, distortion, and object tracks

The Gnomon Workshop – Building a Stylized Environment with Martin Teichmann – Included Volume 1 - 3

MP4 1920x1080 | Total time: 3h 40m | ENG | Project Files Included | 5.7 GB

In this title, Senior Visual Effects Artist Robby Branham provides a broad overview of randomization and scattering in Side FX’s Houdini 17. Houdini has several ways to generate randomization and Robby discusses the basics of HScript and VEX script through the Point SOP node and parameter expressions

In this workshop, Grooming Artist Jordan Soler shares his entire process for creating a realistic dog groom from scratch using Maya, XGen and a bit of Mari. He begins by explaining how to properly setup your files and analyze your references.

In this title, Art Director Rafael Grassetti demonstrates his entire process of designing and creating a character in ZBrush. He explores the different tools and techniques used to sketch concepts while keeping the mindset of later creating a character for production.

In this title, Senior Visual Effects Artist Robby Branham provides a thorough introduction to Side FX’s Houdini 17. It’s an exciting time when you first start working inside of a procedural 3D environment. Projects that can be difficult with traditional 3D applications often end up with road blocks that are not easily worked around.