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Gnomonschool - Master Classes 2011 - December 5th - 19th

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Gnomonschool - Master Classes 2011 - December 5th - 19th
Gnomonschool - Master Classes 2011 - December 5th - 19th
English | h264 1280x720 15 fps | AAC 128 Kbps 44.1 KHz | 15.43 GB
Genre: eLearning

14 Exclusive online classes covering Visual Effect and Games, Taught by Leading industry Professionals.

This is a great opportunity to learn from the industry's masters and gain insight into their technique, thought process and workflow. Get a massive dose of inspiration, motivation and education while sharing the experience with peers from around the world.

Each class is offered online in a private forum, allowing you to participate in discussion with the instructor and other students. All instructional videos are HD and can be accessed any time during the event, as often as you'd like.

Concept Design: From Abstraction to Production with Aaron Limonick
Focusing on the earliest stage of pre-production, inspiration becomes the artist's most important weapon in pitching an idea to a director. In this class Aaron Limonick demonstrates bringing an abstract ink experiment to a realized conceptual sketch. The focus of the sketch will range from industrial design to creating a traditionally painted look and a textural surface within the digital medium.
While the demonstration will cover a multitude of digital painting techniques used to create concept art, it will also stress the importance of inspiration and the link between influences and the final product itself. Aaron will give his account of working as a concept artist in the entertainment industry, while searching for unique sources of imagery and creative stimulation.
Realistic Creature Animation for Visual Effects with David Breaux
This course on creature animation for visual effects projects will focus on creating believable creature motion and performance through knowledge of real animals and using that knowledge to inform the movement of a fantasy creature. David Breaux will discuss some of his techniques for blocking, moving into rough animation, and finalization of a shot. He will also cover some approaches to thinking about the shots and tackling the multitude of issues that an animator is confronted with on a daily basis during production.

GMUNKICKDOWN2011 - The Full Cycle of the Design & Directorial Process with GMUNK
This class will thoroughly break apart the design and directorial processes of a few selected projects from GMUNK's repertoire, first focusing on the importance of inspirational reference, mood boards, and proper pre-production through previz and storyboards. The session will then examine the technical aspects of the design, editorial, compositing and finishing aspects of each production, giving specific tips and insight into how to optimize your workflow.
The class will finish with a variety of industry musings from a seasoned veteran, and the best ways to stay inspired and engaged through constant research, reference and self-motivated initiative. The session will be fast-paced and content-heavy with a variety of invaluable insight from somebody who's done this a few times.

Making Archetype: The Short Film with Aaron Sims
In this class Aaron Sims will be discussing the creative process and challenges of creating an effects-heavy short film from ideation, to planning, to creation. The class will discuss the challenges, both creative and technical, involved in producing a film like Archetype. Aaron will demonstrate some of the techniques he used in the various pre-production, production, and post-production phases of the Archetype project.

3D Character Texturing and Enhancement in NUKE with Alex Cancado
Producing photo-real composites of CG characters is always a challenge. Waiting for mattes or passes from a CG department can mean long waits and lots of iterations. Using the 3D capabilities of NUKE along with animated models can make your job easier and allow a much faster turnaround than relying on the CG department.
Learn to utilize the 3D capabilities of NUKE to speed up character compositing. This class will cover exporting OBJ sequences for animated geometry from Autodesk Maya and importing them into NUKE. Using UV-based tools you will learn to build static and animated mattes. These mattes can be used directly or proofed out in NUKE and handed back to CG, avoiding the time consuming back-and-forth during development. You will see hands-on how this works inside NUKE and discuss real-world examples of how and why this was used in movies such as Percy Jackson and the Olympians: The Lightning Thief, Fright Night and Green Hornet.

High Dynamic Range Imaging for Live Action Visual Effects with Phil Holland
In this class Phil Holland will go over shooting and accurately processing high dynamic range (HDR) images for live action visual effects and creative print use. He'll be covering photographing the images, constructing the final HDR image with off-the-shelf software and preparing 360 degree spherical HDR images for visual effects and image-based lighting use. Phil will also be sharing and discussing the techniques and camera rigs he has created for use on movie sets and in post-production houses over the last several years.

Environment Sculpting with David Lesperance
This class will provide an in-depth look at the workflow David Lesperance uses to design environments. Starting off he will cover basic concepts of asset building including kit bashing, grid space modeling, basic UVs and asset cleanliness. Normal and displacement mapping will also be covered. Dave will then move into his lighting setups using V-Ray. He will discuss lighting and rendering in V-Ray, covering HDRI and physical camera setups, along with efficient render settings. Throughout the class David will be sharing many time-saving tips and tricks that he uses in his day to day workflow for 3ds Max, ZBrush and Photoshop.

Stylized Visual Effects Animation with Slim Ghariani
This class will demonstrate how to use principals of animation to create a more compelling and stylized visual effects sequence. Using a plethora of 3D applications, including 3ds Max, Maya, Houdini, Vue and FumeFX, Slim will emphasize and build upon many animation tricks and techniques, focusing on shapes, color and motion semantics. The main project will be a large scale "Magical Effect" shot. Through execution of the main project, supplemental examples will illustrate the principals used including stylized fluid simulations and ultra-stylized structure destruction.

Efficient Cinematic Lighting with Jeremy Vickery
This class will cover the principles of good composition with a focus on lighting. Topics covered include 2D concepts of color keys and then proceed to techniques for lighting 3D illustrations as well as lighting character animation and film sequences. Jeremy will be using Autodesk Maya as his primary 3D tool, but this class is less about technical training so the principles should apply to any software you might use.

Combat Animation for Games with Bruno Velazquez
Combat animation is a key component of popular action and fighting games. This class serves as an introduction to creating the most dynamic and powerful combat animations while balancing the importance of gameplay. Bruno will discuss the differences between animation for games and other types of media and the difference between cinematic animation and combat animation. The key to success also lies in the workflow between an animator and the designers of the game. The class will focus on timing and posing and how to get the most out of your characters when creating dynamic movement. A series of animation samples will be covered and analyzed using Autodesk Maya.

Illustration for Entertainment: Pitching with Pictures with Cameron Davis
In this class Cameron Davis shows his process of design and illustration to create an image to help pitch in feature animation. Discussing composition, color, lighting and design theory this step-by-step demo will cover how to achieve a desired mood to accompany a story or script. Cameron will also discuss his ideas on how to get noticed by major studios and how to get your art in front of the right eyeballs.

Creating Highly Realistic Composites with Rob Nederhorst
In this class Rob Nederhorst will take you through the necessary steps to dial in a composite to give it its realism. The focus of the class will be on adding small details to the composite, which most do not notice, but can make all the difference when making the shot "feel" real versus just "looking" real.

Advanced Visual Effects Techniques for Production with Wayne Hollingsworth
In this class Wayne will be presenting three advanced fluid simulation and dynamic effects production techniques. The first technique will demonstrate how to set up a truly believable explosion. He will then move on to simulating a burning vehicle, introducing props and assets into the simulation. Lastly Wayne will show you how to correctly create composites for your fluid simulation by breaking them down into RGB passes.

Character Modeling and Texturing with Mark DeDecker
This course will cover the process of modeling and texturing a posed character using Autodesk Maya, Pixologic ZBrush and Adobe Photoshop. The sum of the character can be seen in the details. This character piece featuring "Cabbage" will focus on creating details such as tan lines, sun burns, skin imperfections and other small modeling details to accentuate the charm of the character. The class will also touch upon some of the new features in ZBrush R2 that were used to create this character.


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