CGI

This is the first of a two-part course, which teaches how to use Autodesk Maya and Unreal Engine 5 to create a photorealistic cinematic short of a Ford Mustang in an urban city environment. The course covers material authoring, look development, lighting, virtual cinematography, and high-quality render settings in Unreal Engine.

This course covers how to create a highly detailed photoreal real-time environment using World Creator, Quixel Bridge, and Unreal Engine 5.

Professor Michela Ledwidge has designed this course to teach you how to build on your traditional film/TV skills and apply them in the creation of a realtime short film. Using the Unreal Engine, Michela provides a detailed overview of concepts every artist should know about designing, building and re-purposing assets for realtime use, as well as setting up a pipeline for publishing desktop, mobile, and VR experience.

In this course, Hugo Léveillé shows various tips and tricks to build a VFX pipeline. You will see how to build various pipeline tools using a variety of software. In this first part, you will learn how to manage Python modules with the virtual environment and PIP. Next, you'll learn how build a database system from scratch so that you can save our project information inside it, which will be the foundation of what will be built in future courses.

In this advanced course, Victor Wolansky will share advanced techniques on how to use survey information for a variety of purposes. This includes how to match cameras to real world coordinates, cross link tracking points from multiple cameras for better precision, and using survey data from Survey Stations. This is information which is very precise, so much so that you can force SynthEyes to constrain to those points to even solve shots without any motion.

This course will be no exception to Victor Wolansky's other offerings, with wicked shots as long and as complicated as they can get. But it's not tricks without a reason, as he will examine many of the new improvements of Syntheyes 1212 (yes, 1212 is the version). The release creates significant changes in the workflow compared to previous versions, especially a good introduction to the new

This course, taught by Katie Morris, consists of seven classes with four diverse and complex shots that explore various manual and procedural painting techniques and workflows.

In our new course, taught by Katie Morris, you will learn the fundamentals of Silhouette Paint. The course begins with an introduction of the paint interface and an overview of the Paint Tools and Auto Paint. The subsequent five classes focus on two shots, one a facial dot marker removal shot and the other a wire removal and plate reconstruction shot.

In this course, you will learn everything from spline types to manual roto to fully automated workflows, showcasing Silhouette and its comprehensive roto module. In addition, the Mocha Pro plug-in will be incorporated into a class to demonstrate its beneficial tools available to artists.

Shotgun is the industry standard for production management, but unlocking its full potential requires a firm grasp of organization principles and best practices to keep things running smoothly. Taught by multiple producers, artists and TD's from Austin-based studio Mighty Coconut, this course covers how to make the most of Shotgun on everything from large animated series to smaller VFX productions.

This in-depth course, taught by Liam Whitehouse, covers how to create closeup photoreal 3D environments from start to finish. A key aim is to ensure that the end result holds up at resolutions up to 8K for next generation HDR VFX projects. The classes include training on how to photograph

This project-based RealFlow course is geared towards the technically inclined independent or resident studio artist. The course utilizes RealFlow's Hybrido simulation tools, as well as its secondary particle systems (white particles), to create a highly detailed stormy ocean plus an impact of a large whale into the stormy water surface.

This course is ideal for people new to color correction,  photographers, editors, DITs, DPs, VFX artists and directors. I always strive to show you why you do something not just how to do them. One of the fantastic benefits of this course is that it comes with almost 7GB of…

The second part of this two-part course, taught by Victor Perez, focuses on putting the theory discussed in the first part (NUK312) into practice. To that end, this courses uses our case studies with a practical approach, compositing the scenes from scratch to recreate the qualities of light, from internal to external setups, in different times of the day.

The goal of the visual effects compositor is photorealism, using the art of compositing layers of images to look coherent using the physics of light at the service of storytelling. The art of compositing consists of merging two or more images making them look like they have been shot at the same time with the same camera and lenses, under the same lighting conditions.

For this advanced course, profs Ludovic Iochem and Nick Marshall will be working through one of the main reveal shots in the short film The Last Chick, where our female lead finds herself in a deserted Mexico City. In our hero shot, she walks out onto her balcony overlooking the city and as the camera moves past her we see a city void of people. Professors Ludovic Iochem and Nick Marshall will share principles and techniques they use in their jobs as Digital Matte Painter and Environment Artists at Double Negative in London.

Photogrammetry without a 3D software? Yes! This course is designed for compositors that want to integrate objects generated in Metashape without the help of a 3D software. In this course, you will learn how to solve 3D objects in Metashape from scratch and then see various tricks on how to import them inside Nuke so that you can push your composites to the next level.

This course is all about exploring production-level shot lighting techniques to create beautiful, realistic and faithful lighting. There are some some fundamentals techniques that can help and instructor Philip Maddock demonstrates how to apply these techniques creatively, elevating your lighting and the quality of your rendered images.

While tracking and roto are not considered the most glamorous part of a compositor's life, they both are still vital to making your shot work. Mocha Pro has been the industry standard for planar tracking for quite a while now. This course aims to teach the foundations of planar tracking while at the same time providing members with production-level shots to learn and improve these skills.

Este curso es una clase creativa dedicada al arte de la corrección de color y no a aprender el programa. Aclarado eso, este curso incluye una clase extra de actualización a V16 para coincidir con su lanzamiento en 2019. Es perfecto para quienes ya son coloristas pero quieren mejorar aún…

This online training course looks at how to approach a color session, where to start the grade, and what an experienced client expects from you. You'll also learn how to fix bad camera problems causing shots in the sequence to not match as well as use twelve Resolve OFX plugins…

Digital Assets are at the center of everyday use of Houdini. You have probably created HDAs and also downloaded some created by others. The goal of this course is to analyze what makes a good HDA and how you can apply these concepts to create more robust Digital Assets. As a follow up to HOU140 - Houdini FX Tool Building Foundation, this intermediate course assumes some basic knowledge.

This course is a follow-up to HOU221: USD and LOPs for Houdini Artists which was released using Houdini 18.5. One year later, Houdini 19.5 was released and with it, a lot of changes have been introduced in Solaris and Karma. This course will cover some of the new workflows that were introduced as well as changes in previous workflows that were modified since the last course was released.

More and more applications are starting to support USD and most studios are in some way using it in their pipelines. USD is here to stay and it is slowly becoming the industry standard. This course is meant for artists who want to get familiar with how USD works to better understand the pipelines that they are working in. It will cover all the basics you need to know about USD in general, and then it will focus more on Houdini and its new LOP context introduced in version 18.0 which allows artists to procedurally edit and create USD files.

Particle motion, simulation, behaviour, and theory are at the core of the FX artist skillset. This course will challenge you with various particle and motion exercises and the construction of a non-human crowd.

This course covers the basics of VEX, Houdini's expression language, as well as how to use Houdini's Python API. We will look at the strengths and weaknesses and when you should favour one or the other. VEX is an essential tool for any technical director, so we will cover all the basics starting from its syntax, the difference between VEX and VEXpressions and how it can be used in SOPs and DOPs to optimize your systems.

Getting volumetric clouds of dust and particulates moving and rendering correctly can often prove a challenging task for juniors and seniors alike. This course focuses on generating great looking volumetric dust based on impacts and preparing you to be able to adapt these types of simulations to art direction.

This course covers how to sculpt and perfect an extremely common aspect of most FX shot work: the creation of secondary particles and the technical and creative processes behind it. Appropriate size distributions, shaping, motion, orientations, and more will be covered during the course.

Solid geometry foundations are the key to being an efficient junior artist, a solid mid-level artist, and diving into advanced setups as a senior. A good knowledge and understanding of proceduralism, vector math, rotation, and population, and look development will benefit any Houdini FX TD at any level. This course will guide you through two procedural generation exercises of wasp nest formations. Starting from a thorough analysis of reference and a set of creative objectives, you will use Houdini's proceduralism to produce a completely procedural as well as realistic end result.

Part two of the course focuses on shading, lighting, rendering, and other technical aspects of Mantra aspect to enable us to render this shot. It includes an exploration of NVIDIA OptiX technology in Mantra for denoising renders, as well as the use of LPEs,and utility AOVs to help in creating the composite in Nuke.