CGI

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.

This course is the first of a two part course covering terrain generation in Houdini using height fields. If you are a concept artist, a digital matte painter, or environment artist this course is for you.

This course, taught by Andrew Lowell, introduces rigid body dynamics in Houdini. Houdini's entry into realistic physics started with rigid body dynamics, and it has remained one of the most aggressive growth areas both in the software as well as VFX as a whole. This quick start will introduce foundations in those concepts to get up and running quickly, whether embarking on learning or transferring knowledge from other packages.

This series of short lessons is designed to get a new Houdini user up and running with a set of core fundamentals. Although the examples are basic enough for new users to follow along, they touch on concepts which will carry all the way through to advanced setups by learning how to direct the flow of geometry data, and important concepts in noise, vectors and rotations, population, and simulation.

Learning Houdini can seem like a daunting task, especially if it's the first time you are using procedural workflows. The many different ways in which one effect can be achieved combined with the vast amount of nodes and low-level manipulation of 3D geometry that Houdini offers is very hard to understand in the beginning. If you want to build a strong foundation not only in learning the software but also in understanding how to work procedurally, this is the course for you.

Golaem Crowd is an artist friendly crowd simulation tool for Maya used in production by a long and growing list of visual effect studios. This introductory course assumes no previous knowledge of Golaem Crowd, but covers all aspects of the software and is based on direct production experience, so even existing users should find something new to learn.

This course uses multiplane creative techniques to help teach artists how to create effects in Fusion. Since the early 1930’s multiplane has been a fundamental tool for creating the illusion of depth in 2D animation. With the advent of digital technology, the physical constraints of being restricted to a rostrum with a complex rig supporting heavy sheets of glass have been removed, opening up the possibility of combining other 3D elements, such as particle effects and 3D shapes.

Rony Soussan is back with the second in our series of introductory Fusion courses. [...]Read More... from New course: Fusion Fundamentals, Part 2

This course provides artists with an in-depth overview of the different workflows available in Flame and shows their advantages and disadvantages along the way. Furthermore, it equips artists with a range of tricks and strategies to avoid the many pitfalls that escalating projects can create.

This, the second part of a course taught by 2017 Flame Award winner Mihran Stepanyan, is devoted to a very important theme: high-end chroma keying in features and commercials. This course covers keying Alexa and RED footage, utilizing the Modular Keyer and Action's 3D compositing environment.

This, the first part of a course taught by 2017 Flame Award winner Mihran Stepanyan, is devoted to a very important theme: high-end chroma keying in features and commercials. In these courses you'll learn about light, color, and channel separation -- the basics of traditional film keying -- and then you will be shown how to practically apply this information and more via techniques in the digital world.

Beauty Work has always been a hallmark of Flame compositing and is required on more and more projects and increasing resolutions lead to ever tougher challenges. If you think that there is more to beauty retouching than “Blur-It, Glow-It, Ship-It”, then this course is just for you.

This course will be shot-based (footage will be provided and available to use) and will explore how to really marry together live action and cg footage. We will also look at problematic shots and explore ways to get them across the line. Besides being focused on comping and keying techniques this course is more about how to take a shot from just okay to the next level.

This course covers advanced compositing techniques in Flame and Flare, taking examples from shots done for Cosmos, A Space/Time Odessy. All of the work will take place in Batch. Material to be covered includes color science, advanced keying (hard shots), camera tacking, particle system, sapphire sparks, and applying advanced compositing science to flame.