CGI

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.

To celebrate the 20th anniversary of Flame, we're bringing in a variety of Flame (and Smoke) artists to share projects and knowledge which they find particularly interesting. So much has changed in the software over the last several years, sometimes the best way to see what you've missed is by watching others work. The course will feature five different artists over the duration of the term. Profs include Randy McEntee (The Mill, NYC), Brian Mulligan (WTHR-TV, Indianapolis), Victor Wolansky, and others.

Picking up from the first part of this two-part series, this course delves even deeper into the visual effects capabilities of Flame. From working on original footage to creating something entirely from scratch, many aspects of the software will be covered to provide you with a solid foundation of knowledge and tips.

This course aims to demystify Flame and provide a solid foundation in all the different areas in which Flame can be used. Starting with media management and editing, you'll quickly dive into the rabbit hole of node-based compositing, utilizing many tools unique to Flame.

This course, from CG supervisor Charles Chorein, is the second in our series of Substance Designer and Painter courses utilizing our cyber soldier model. By the end of the course you will be able to master the principle of texturing and lookdev with Substance Designer and Painter and be able to set up a lookDev scene in Maya for production.

This course, from CG supervisor Charles Chorein, dives into RealityCapture and the photogrammetry process with photos taken with a camera, helicopter and drone shots. At the end of the course you will be able to create a mesh, UV’s, UDIMs, and texture and render in Maya/Arnold.

This course, from CG supervisor Charles Chorein from Dneg London who dives into Clarisse and the power of scattering. We will cover the different aspect of scattering in Clarisse, NVIDIA Optix and denoiser, Cryptomatte and LightPath Expression for our multi lights.

This course, from CG supervisor Charles Chorein of Dneg London, dives into an introduction of Substance Designer and Painter with our cyber soldier head model. By the end of the course you will be able to prepare an asset in Maya, export to Substance Designer, pass everything to Substance Painter, and then reconnect everything in Maya.

This course, taught by Charles Chorein, will get you up to speed in Clarisse. By the end of the course you will be able to export a mesh from Maya, set up the Clarisse scene, assign shaders, texture an object, and Combiners to prepare your Clarisse scene.

This introductory course, taught by Ludovic Iochem, covers Adobe Photoshop and the most important tools and techniques used for digital matte painting in a production environment. An overview of the software and interface is followed by moving on to covering the main tools used such as Brushes, Clone tools, and the Free Transform command. Next comes the most important techniques, such as grading, extraction, and integration of new elements.

In this first Matte Painting Workshop course , we'll focus on the main techniques which we always use in matte painting production. Matte painting artists really need to be comfortable with these tasks and that's why we're going to dedicate a workshop on each them. The course covers creating tileable textures, sky extractions, plate cleaning techniques, day to night, merging images, and adding dirt and weather effects to a new building.

We are all involved with some part of the colour science pipeline as it spans filming to final display, and all the complex steps in between. This course offers a way of understanding and setting up a colour pipeline so what you see and film on set is what you see and enjoy on the final display. It will touch on filming, recording, editing and monitors. The focus is primarily on higher end digital HD including digital intermediates, grading and preparing for digital cinema. It covers more than just gear, it extends to how you see and perceive colour.

This course is aimed at giving you a thorough introduction of Clarisse, from the basics of how to use the software to render an image, through to creating bespoke AVO’s using the recently implemented light path expressions, as well as touching on many other features new in 3.5.

Interdisciplinary Building Blocks in Cinema 4D combines different aspects of the popular 3D design application within one course. The goal of the course s to create a well-designed and conceptualized project, akin to a rig or a template that allows you to build 3D objects out of toy blocks. The individual pieces are simple on their own, but when combined together they can form a complex shape or object with a completely modular setup.

This course, taught by Ludovic Iochem, is designed for anyone who wants to improve their skills of creating beautiful imagery and explore what makes that image beautiful. Using paintings, photography, and other imagery this course explores key concepts such as composition, lighting, perspective, colour harmony, and more.

This course focuses on the 12 principles of animation, helping you attain a solid understanding of these principles and gain the ability to apply them to animations. Having this foundation is not only vitally important in improving the quality and believability of animations, but also in creating a language for an animator to communicate ideas to other animators and to aid in receiving feedback from supervisors.

This course, the second of a two part offering taught by Kirill Pleshakov, is focused on compositing the close-up shot of the Truck Explosion, a live action miniature explosion filmed at a scale of 1:13 which is blended with a full scale shot.

This course, taught by Kirill Pleshakov, is focused on compositing a live action miniature explosion filmed at a scale of 1:13. The real explosions are filmed with multiple cameras from different angles, as each explosion object is destructed with one take.

This course, taught by Kirill Pleshakov, focuses on the compositing of a shot using assets delivered from the 3D department. The challenge is complicated by the cleanup of the environment with rapidly changing lighting as well as the need to make the environment hotter before the FX energy field can be merged with the plate.

This After Effects course, taught by Kirill Pleshakov, focuses on the compositing of a bird filmed on green screen into an aerial shot.

This compositing-based course, taught by Kirill Pleshakov, combines clean-up and multi-pass 3D compositing. It's a follow up to the City Environment Compositing in After Effects, sharing work from the Russian short film Something for Nothing.