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FXPHD - AFX212 After Effects Project - The Open Part 2

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Rls 2010 Project Files Included MP4

Building upon the popularity of AFX211, we'll continue work on "The Next FX Master" show open. Leading the course will be Danny Princz, a New York City based artist who has taught several courses in the past, NYC-based designer and founder of aescripts.com Lloyd Alvarez, as well as fxphd dean John Montgomery.

The first course covered the design and shoot, so this course will be fully focused on continuing to work on the project from a creative standpoint. We will work through the remaining vignettes as well as the various host scenes. In addition, a key aspect of the work will be tying the various vignettes together in a meaningful way in order to add impact, as well as creating the final logo design for the show. We'll call in a sound designer to further help us bring the open to life before completing the project by the end of the term.

1920x1080 footage will be distributed for the course so members can share work in progress and design ideas in the forums, getting feedback from the profs as well as as other members. In addition, we offer an option to buy the entire R3D footage from the shoot.
course syllabus
Class 1: Old School. For the practical effects guy, we'll be adding explosions and lighting effects to sell the idea that the explosions are interacting with the talent.
Class 2: Old School, continued.
Class 3: In this class we look at the new plugin from the Foundry, Camera Tracker, and use it to generate a camera track for our Generalist scene. We the use the camera data in one of out environments to set up a base scene....
Class 4: We continue the Generalist comp, a scene that the we intentionally made a bit underwhelming in order to work through a scene that really relies on the artist to make it interesting. We look at Borisfx for generating the 3D type and an interesting animation.
Class 5: Logo Design. We take a look at the process of coming up with a logo design, issues to consider when creating a logo, and then actually creating the logo in Cinema 4D and animating it. Taught by Lloyd Alvarez.
Class 6: Logo Design, part 2. Taught by Lloyd Alvarez.
Class 7: The Closer scene, using FreeformAE to create terrain that animates to music. Also using a few Trapcode plugs such as Form, Soundkeys and Lux and various animation and shape layer techniques, and expressions. Guest prof Mark Christiansen.
Class 8: Guest prof Mark Christiansen continues working on The Closer shot
Class 9: Bringing it all together. Putting the finishing touches on the project.
Class 10: Sound Design. Sound is an incredibly important aspect of any project, but for the show open it can play an especially big role.

FXPHD - Motion Graphics Design Workshop

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Over the years at fxphd, we've done a lot of great courses covering working in After Effects and other apps, doing both motion graphics and visual effects. This has even included developing our own in-house fxphd projects. For AFX216, we're switching it up a bit and are going to cover several different interesting projects during the term. We'll dive into details regarding these "real world" projects, taking a several of them from concept to completion.

A good example of this is one of our flagship projects that is part of the course, "Found", a beautiful experimental piece created by Nice Shoes see project here. We'll be sitting down with creative director Brian Bowman for an on camera discussion regarding the project, where we'll talk about the development of the story, the benefits (and pitfalls) of working in-house, the tech side of things, as well the added complexity of stereoscopic in the project. Next, we'll dive into After Affects for several classes and cover some of the specific creative techniques used to create the gorgeous imagery.

Frederick Ross of boutique shilo in California is breaking down work he did for a Heineken spot. They wanted to show the beer’s journey from the bottle to the glass in one epic pour. The audience is immersed in the beer at a subatomic level revealing a hidden world of supernovas and nebulas. A wormhole like phenomenon transitions the world of the bottle to the world of the glass where hot air balloons float through billowy clouds. We pull out to reveal someone pouring a glass of beer. This project involved a lot of different media, software and, techniques combined to make one cohesive spot.

Tim Clapham will be giving an overview of project for HBO Asia which won a Promax Bronze this year in NYC (see here). He'll be covering the whole process from client brief through concept, animatic and then 3D and finishing.

We'll also be visiting with the folks at Leviathan about developing graphics for live events...and the creative considerations and tech used for presenting events.

Class 1: Nice Shoes creative director Brian Bowman joins the course for an on camera discussion regarding their in-house project "Found" (<a href="http://bit.ly/r4Nevr">see project here</a>). We'll talk about the development of the story, the benefits (and pitfalls) of working in-house, the tech side of things, as well the added complexity of stereoscopic in the project.
Class 2: Continuing a look at "Found", Brian Bowman provides a breakdown of the scenes in the project.
Class 3: Closing out our look at "Found", Danny Princz dives into After Effects to look at specific techniques he used as part of the project.
Class 4: Tim Clapham walks you through an overview of one of Luxx's projects completed for the HBO Asia Summer Blockbuster campaign. Starting with a look at the initial concept sketches, through to the final high resolution print artwork and the processes involved in developing the animated campaign ID. The project won a Promax Bronze for HBO Asia this year in NYC. (<a href="http://luxx.com.au/motion_hbo.shtml">see here</a>)
Class 5: Tim Clapham walks you through an overview of one of Luxx's projects completed for the HBO Asia Summer Blockbuster campaign. This week Tim shows you through a selection of 3D models created for the project along with the material and shader setup. We take a look at lighting and rendering using multi pass output, finally ending up in After Effects to comp the renders together.
Class 6: Frederick Ross breaks down the Heineken project he worked on at shilo. Part 1 of 2.
Class 7: Frederick Ross breaks down the Heineken project he worked on at shilo. Part 2 of 2.
Class 8: Tim Clapham talks through two break downs of projects he completed when working as TD with Umeric from Sydney, Australia and Tentril from Toronto, Canada. Looking at the processes involved in rigging the scenes for animation and maintaining smooth workflow with a team of artists. Working with Cloth simulations for alternative effects and managing large numbers of objects within your projects. Tim examines the tools and processes he employed within Cinema4D, but the subject is fairly loose without specific technical details and much of the information is applicable to general workflow and other applications.
Class 9: In this class Frederick Ross takes a look at integrating elements into a set. Including using mocha's planer tracker in your after effects workflow.
Class 10: Frederick Ross works on integrating blood and electricity onto people; and a bonus class where we'll deconstruct two scenes into separate layers via roto and track mattes. Then we'll use the mesh warp effect to simulate a dimensional background shift and a post simulated dolly zoom.

FXPHD - C4D217 Cinema4D Project Workshop

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Tim Clapham returns to FXPHD with a new Cinema 4D course aimed at intermediate users. This course consists of several short projects which will take you through many features of Cinema 4D using a practical approach. Tim covers key features such as MoGraph, Dynamics and Xpresso as well as workflow tricks to facilitate efficient production. You will explore modelling techniques, material and shader creation, lighting and rendering. 3D Rendering and compositing go hand in hand and Tim includes After Effects as part of the classes. Taking your multipass renders and camera information from Cinema 4D into After Effects to add supers, graphic elements and to grade shots. This is a fast paced course so some Cinema 4D experience is required.

Based in Sydney Australia, Tim Clapham is a multi-disciplinary animator and compositor. Evolving from a solid foundation in traditional animation using both Film and Video, Tim soon transitioned into the digital domain and has forged a solid career in the world of Motion Graphics. With over 13 years of industry experience, Tim is accomplished with many 3D animation and Digital Compositing applications.

As the owner of Motion Graphics and Animation company Luxx, Tim is hands on with every project that the company produces. With a history of working with many global Advertising and Broadcast companies, the work Tim produces is both technically challenging whilst maintaining innovation and high quality.
course syllabus
Class 1: In the first class we create a logo ID using a rig built with MoGraph and Xpresso. We create several animated shots, add materials and lighting. Finally we render the result using Cinema 4D's physical renderer. Part 1 of 2
Class 2: This week we add materials using multi-layered reflectance to the scene. Adding reflections using both HDRI and luminant objects. We animate the effectors and a camera rig. Using multiple render settings for efficiency we preview our shots and setup the final rendering.
Class 3: Building an animated map with Cinema 4D & After Effects. This week we look at the Landscape Object, DEM Earth and the Relief Object. Build texture maps in AE, then use them in combination with various shaders to create our materials. Finally we add some basic Volumetric Clouds.
Class 4: Part 2 of 2 of building an animated map
Class 5: Part 1 of 4 week class. Creating a pack shot animation. This week we model the can and ice cubes. Using knife, extrude, edge extrude, symmetry and sub-division surfaces. Using Cloner and Correction deformer to create variations and model procedurally.
Class 6: Part 2 of 4 week class. (This is an extended class at 1hr 15mins) This week we create materials for the can and the ice cube. Working with shaders such as Fresnel, Noise and the Reflectance Channels. Using Mograph to model additional elements such as condensation, bubbles and cracks.
Class 7: Part 3 of 4 week class. This week we optimize our scenes for efficiency and use proxies to speed up playback. Working with Rigid Body Dynamics as well as various MoGraph effectors to simulate the cans dropping into a pile of ice.
Class 8: Part 4 of 4 week class. We adjust the scene to make the dynamics more stable then prepare the project for multipass rendering. In After Effects we comp the passes together exploring a few options for isolating elements for colour correction.
Class 9: Part 1 of 2 week class. Introducing the Motion Tracker in Cinema 4D. We track and solve a shot then calibrate the resulted camera and features using constraints.
Class 10: Part 2 of 2 week class. Using the features we created from tracking we create some simple geometry which will allow us to reflect the scene onto our objects, catch shadows and can be used for dynamic collisions. Using multipass rendering we output the scene and create a basic comp in After Effects.

Creativelive - Olympus OM-D E-M5 Mark II Fast Start with JOHN GREENGO

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John will teach you how to navigate and set up your camera’s menus and guide you through its buttons, dials, and features. You’ll learn how to take full advantage of your camera’s super-fast live view focusing. You’ll also learn how to optimize your camera for sports and other high-motion photography. John will teach you about your camera’s high-resolution sensors and settings and help you get them attuned to your shooting style so you get the picture you want, every time.

Udemy - How To Use Photoshop For Beginners The Free and Easy Way

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Learn how to use Adobe Photoshop CC! You will get an Adobe Photoshop Free Download and learn the basics to Photoshop.
* Lectures 13
WHO WANTS TO CHANGE THEIR CAREER AND BECOME A GRAPHIC DESIGNER?
*The initial low price will increase shortly - the course is currently $9, but will next increase to $29
*You have unlimited lifetime access at no extra costs, ever.
*All future additional lectures, bonuses, etc in this course are always free.
*There's an unconditional, never any questions asked full 30 day money-back-in-full guarantee.
*My help is always available to you if you get stuck or have a question along the way.
*No graphics experience of any kind is required.
*There's nothing to buy or pay for - I show you how to get a FREE copy of Photoshop.
*Notebook and Pen
*Over 10 lectures and over 2 hours of content!
*Learn and Understand Adobe Photoshop
*Learn the Possibilities to a New Career or a Raise!
*Unlimited lifetime access and discount opportunities for future courses!
*Anyone wanting to learn Adobe Photoshop or Looking to Start in the Graphic Design Industry.
*New or Just starting out - This course will have something to offer you!

FXPHD - ANI 102 Writing, Directing and Animating a Short Film

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If you have ever wanted to create a short film or expand your animation and directing skills, this is the course for you. Instructor Lucas Martell takes you through the creation of a short film, with special emphasis on animation and character creation. The course will be software agnostic, allowing us to focus deeply on the creative aspects of animation and directing. We also cover the genesis of the idea, and follow the story as it evolves throughout the production process.

The course features an original short film created especially for fxphd. The 45-second short tells the tale of Larch, a cranky old tree whose branches seem to be a magnet for kites, balloons, and anything else that escapes the grasp of kids in the nearby park. But when one of those kids tries to reclaim his lost balloon, Larch does not want to give it up.

Lucas Martell is an animation director best known for his short film "Pigeon: Impossible" which has been shown in over 250 festivals in 43 countries, and won more than 20 awards including Best Short at the Oscar-qualifying Montreal World Film Festival. "Pigeon: Impossible" was also a viral hit, having passed 8 million views on YouTube. Lucas is currently working on his next animated film "The OceanMaker."
course syllabus
Class 1: Story - This class discusses how to come up with ideas, choosing the best one, and the writing process. We also thumbnail some story ideas to start bringing the project into the visual space.
Class 2: Previs - In this class we create some rough temp models, figure out the camera angles, and get the story working in 3D. We also start to model Larch, our cranky old tree character.
Class 3: Asset creation - This session focuses primarily on rigging Larch and our boy character. We also build a basic environment to round out the frame.
Class 4: Blocking 1 - With our assets built and characters rigged, we now start blocking in the animation. We also decide on the final layout, lock down the camera, and add some temp SFX.
Class 5: Blocking 2 - The second half of the film focuses on what happens when the boy enters frame, and paying off the dilemma we have set up. This really expands our exploration of poses, as we now have two characters interacting with each other.
Class 6: Animation Act 1 - Here we refine the animation for the first act of the film. We also talk about animating a character who is basically just a head, as well as de-mystifying the black art of facial art.
Class 7: Animation Act 2a - Act 2 is more physical, allowing us to address animation principles like timing, overlap, squash and stretch... This class also gives some personality to the balloon.
Class 8: Animation Act 2b - The boy enters the scene, allowing us to apply our animation principles to a full-on biped character.
Class 9: Animation Act 3 -The action comes to a head as Larch finally rids himself of the pesky human. But just when you thought it was over... TWIST! Here we talk about timing, and some nuances that can really help land the big joke.
Class 10: Wrap-up - This final class allows time to tie up any loose ends, address outstanding questions, and put some final polish on our animation. There is also a fun end tag that will really take the story to the next level.

Skillshare - How To Create Photoshop Actions and Sell Them For Profit

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About This Class

In this course i'll show you how to create photoshop actions By Creating 5 Projects !

Project 1 - Create a HD Qulity Image Retouch action

Into our 1st project we'll create a Image retouch action which make any image look like a HD Image.

Project 2 - Create a 3D Image Action

Into our 2nd project we'll create a 3d image action which make any image look like a 3d image.

Project 3 - Create a Hand Sketch Image Action

Into our 3d project we'll create a Hand Sketch Image Action which make any image look like a Pencil Sketch potrate.

Project 4 - Create a Oilpaint Image Effect Action

Into our 4th project we'll create a Oilpaint image Effect Action which make any image look like a oil painted.

Project 5 - Create a Glowing Text Action

Into our 5th project we'll create a Glowing Text Action which give us a nice glowing text effect.

...and after these projects end i'll show you how to sell these actions for profit.

There is nothing to lose in these course but you Learn Some Solid Skill.


https://www.skillshare.com/classes/design/How-To-Create-Photoshop-Actions-and-Sell-Them-For-Profit/2005628387

3D World (October 2015/TruePDF)

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The latest issue of 3D World magazine, 199, is on sale today – and what an issue it is.

In a very special 12-page feature, we gather some of the top talent working in television VFX, from The Flash to Game of Thrones, and discover why small-screen CG is on the rise.
Subscribe to 3D World

The TV VFX theme flows into this issue’s tutorials too, with training for matte painting, the creation of a man made of fire, and advice on how to simulate a famous VFX shot from Game of Thrones.

Also on the television theme, we profile AxisFX, which specialises in effects for British TV, while Artifex Studios' Adam Stern reveals how he created this issue’s cover: the Time Marine from hit Canadian sci-fi show Continuum.

And that's not all. This issue also steps into the world of VR and discover what this new technology has in store for CG artists, and maybe the future of VFX. Plus there's a massive 5GB of resources, including models and setup files, textures and meshes, and video walkthroughs.

Also in the issue 199, you'll find reviews of Renda PW-E7F, Unfold3D 9 and Photoscan 1.1.6, beginners tips for getting started in Houdini, all the latest 3D printing news... and plenty more besides.

In short, you'd be mad to miss issue 199 of 3D World. It's on sale right now in UK stores. Get your copy here.

http://www.creativebloq.com/3d/discover-secrets-tv-visual-effects-81516186

Golaem Crowd 4.1.2.1 for Maya 2013-16

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Golaem Crowd 4.0, Take Full Control Of Your Crowds. In addition to an improved animation system, Golaem Crowd 4.0 enables to create more sophisticated shots and to populate scenes even faster by providing artists full control over the simulation.

Golaem Crowd is being used by more than hundred vfx studios worldwide. The newest releases include Dracula Untold (Framestore), Hercules (Milk VFX, Cinesite), 22 Jump Street (Pixel Magic)... Golaem Crowd helped them ramp up on crowds and deliver great projects quickly.

Golaem Crowd 4 provides more advanced features with the same ease of use and facilitates the interaction of the crowd simulation with other elements in the shot: open access to simulation data, curve driven simulation, simulation cache scrubbing and editing. Artists can now take dailies requests into account immediately, without going back to the simulation, and get their shots validated in no time.

Creating visually compelling and believable crowds when budgets are shrinking and timescales are getting shorter can be a challenge. It is not only important to represent the crowd behavior as a whole but the appearance and motions of each individual must be believable.
- Autodesk Maya 2013, 2014, 2015, 2016

http://golaem.com/content/products/golaem-crowd/overview

FXPHD - MOG212 Production Tested Mograph: How to Work Fast and Flexible

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Working at Imaginary Forces, prof Ryan Summers has completed an array of motion graphics jobs over the last 12 months. From main-on-end sequences for films like Pacific Rim to the opening titles of shows like Person of Interest, he found two constants: tight timelines that require you to work fast and clients that need you to stay flexible to the end.

Using After Effects and Cinema 4D, as well as leveraging the power of plugins like Trapcode Form and Particular, Summers will show you how he achieved both in real-world projects for a variety of clients. To be clear, this course isn’t a lightweight “making of” breakdown for these projects — but will be sharing hard core production-proven techniques for getting the job done.

Ryan Summers is a 3D artist that has recently completed projects such as Strife: Rook, Pacific Rim, and Person of Interest. He escaped a life of science after rewatching Jurassic Park and Toy Story back to back, quitting a promising career as a chemical engineer to go off and learn to animate. He's worked on kids cartoons, slot machines, and short-form documentaries before finding a home at Imaginary Forces as a director.

Prof Frederick Ross concludes the final 3 classes of this course.
course syllabus
Class 1: Trapcode Particular, Fast and Furious. One of the things that you get asked to do as a motion graphics artist is end tags. There will always be another end tag to complete and there is rarely enough time to do something cool. For the introductory class, we discuss how I used Trapcode Particular to generate a transition that is both fast to create and flexible for multiple uses. And then I show you how to link it to data from Cinema 4D so you can integrate it with your CG renders. Examples will include a National Geographic spot as well as a teaser for Elder Scrolls Online.
Class 2: Lightning in a Bottle. Building on the techniques learned in Class 01, we learn how to iterate our Particular effects quickly and cumulatively. Initially designed for a long-form pharmaceutical commercial, we work through how to use standard AE effects like Turbulent Displace, Beam, CC Vector Blur, and Echo to rapidly look dev for clients.
Class 3: Stage Five Project Breakdown, Part 01. After a few weeks in After Effects, we start to spend some more time in Cinema 4D. For this we break down the Stage Five ID project. We learn how to deconstruct text, build it back together, and elaborate on the earlier example on how to send and manipulate 3D data in After Effects.
Class 4: Stage Five Project Breakdown, Part 02. Once we've got our basic structure for the Stage Five ID project down in Cinema 4D, it's now time to make it sing. We'll look at using our old friend Trapcode Particular along with Trapcode Form to enhance the environment we built in the previous class.
Class 5: Person of Interest Project Breakdown, Part 01. For a project that was initially only supposed to be type over image, Person of Interest sure did get pretty complicated. This week will be about creating systems that can do lots of work for you, freeing you up to spend more time designing the bigger challenges. We will go through how to create a self-animating UI grid, as well as some tracking techniques.
Class 6: Person of Interest Project Breakdown, Part 02. We never were going to move the camera in Person Of Interest, nor were we going to have many 3D elements. If you've seen the opening, you'll note that we did plenty of the opposite. See how we were able to leverage client assets along with Trapcode Form and some simple camera moves to add enough production value to a project to actually here the client say the word "bitching" for the first time ever.
Class 7: Failure. The Big F. We'll take a look at a pitch project and look at where we went wrong and the lessons learned along the way
Class 8: Prof Frederick Ross: Amazon Whispersync: In the superhero world of Steelheart we go from reading the ebook to listening to the audiobook on a mobile device seamlessly. Were going to take a look at using custom particles to add complexity while staying within our short deadline. I’ll also show you how we use the animatic to break out all our actual AE projects to keep the team working smoothly and in the same structure, which is really critical to turning around projects quickly.
Class 9: Prof Frederick Ross: Tesla OpenSource: Imagining a world where anyone can make and drive an electric car without barriers. Were going to look at setting up, using, and syncing scripts to accelerate our mograph animation, and with everyone able to reuse the animation pieces across the entire spot, we essentially cut our amount of animation in half.
Class 10: Prof Frederick Ross: Covered California: The most common thing we end up doing day to day is roto and keying. Were going to take a look at some advanced luma keying we came up with for working with a wide variety of off white backgrounds while maintaining high standards with a short turn around.

Here a links for retards that can't use a web browser

https://www.fxphd.com/fxphd/courseDetails.php?idCourse=405

Digital Tutors - Developing Python Tools in NUKE

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In this NUKE tutorial, we’ll learn how to write tools using Python. This tutorial assumes you have a good understanding of how to work and navigate inside NUKE, and while programming skills will be helpful, they’re not required.

We’ll start with an introduction to Python including how to work with variables, functions and modules. Then we’ll learn how to use NUKE-specific Python commands to create a utilities package, which includes five modules that will be helpful in every day's compositing work.

By the end of this NUKE training, you’ll be comfortable with starting to write your own Python-based tools.

Gumroad – How To Get Faster in Modo by Tor Frick

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In this tutorial I go through some of my processes and thoughts on how to get faster at modelling in Modo. I go through in detail how to set up hotkeys, how to set up hotkeys within specific tools, how to create Macros and piemenus aswell as editing config files and creating your own self-contained configsetups. I also talk a bit about what I do to find new ways of getting faster, and ironing out slow parts of my modelling process.

https://gumroad.com/snefer#

Udemy – How to make games with GameSalad

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In this course you will learn the ins and outs of the game development pipeline!

This course will cover how to make games in the GameSalad creator. The information you learn will enable you to make any kind of game you want to in the future. I will include all art and sound I use in the tutorials so you can follow along and make the games yourself. This course will go at a pace that beginners can follow but also advanced users will not get bored with. The lessons go in order of difficulty so nothing big will be thrown at you if your not ready for it.

This Course is worth your time to take because,

The skills you learn will last you for your whole life.
You will be able to fluently make games you want, not just the ones we make together.
There is no coding knowledge required!

What are the requirements?

Download GameSalad for Windows or Mac
No knowledge of the software required

What am I going to get from this course?

Over 12 lectures and 2 hours of content!
Easily make professional games using the GameSalad software
Make nice looking graphics/pixel art for game making

What is the target audience?

This course is meant for completely new , beginners or intermediate level GameSalad users

https://www.udemy.com/gamesalad-game-from-scratch-by-gshelper/

Udemy - Typography From A to Z

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Course Description

Learn typography for digital and print applications. In this typography course, you'll learn how typography is used in everyday user experiences in places like the web, in apps, advertisements, logos, print media and digital publishing.

Evaluations

After we cover each section you will find recaps that re-enforce learned content that was discussed as well as a quiz and several exercise challenges strewn all over this course that will make our learning fun and memorable.

Who Should Take This Course

This course is designed for anyone who enjoys type design from print designers, graphic and web designers, animators, sign writers and more. Whether your are a beginner in typography or even an intermediate typography user, we are sure you will gain a vast set of skills after taking this course.

Prerequisites

There are no prerequisites for this course, but you are expected to have access to programs like Adobe Photoshop, Illustrator or InDesign as well as basic working knowledge of any one of these programs and basic computer/web literacy.

http://www.udemy.com/typography-from-a-to-z/

X-Particles 2.59 for C4d r14 r15 r16

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Found it somewhere, hence uploading. Happy Torrenting!

X-Particles 2.5
===============

Service release, January 29th 2015
==================================

Version 2.59, build 51
----------------------

This is a service update for version 2.5, released June 19th 2014.

http://www.x-particle.com/

3DMotive - Learn Texture Creation In Pixplant

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In this course, Philipp Schmidt is going to give us an introduction PixPlant while showing us how to make some basic tileable textures. To start this off, we will search perfect reference images which will give us a good base for this, and after a little intro to PixPlant and the process of making the texture tileable, we will use Bitmap2Material which is another powerful program used to create textures on the fly. After we have finished the Basic Texture in Bitmap2Material, we will switch over to Knald to create a new ambient occlusion map. From there we jump over to photoshop to create our albedo map in the first part, and in the second we will create our specular, glossiness and some nice variation masks to push our texture a little bit more. With our texture complete, we will create our dDO Custom Preset to use the texture with the Quixel Suite and then test out map in various software and game engines such as Marmoset, Unity, Unreal Engine 4 and CryEngine 3.

Skillshare - Programming Graphics I: Introduction to Generative Art

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Generative art is all about using programming to generate artwork that is algorithmically defined and created. In this project-based class, you'll learn how to create your own series of patterns using generative art techniques and computer programming!

What You'll Learn
- How to setup your programming environment for making generative artwork.
- An introduction to Processing and the HYPE Framework. With the HYPE Framework you'll be able to create work quicker and more effectively.
- We'll start by drawing your shapes and preparing a bank of assets for you to use in your piece. These can be any sort of image that you have created.
- Painting with HYPE using different variables to create and infinite range of possibilities.
- Adding and controlling color throughout.
- Using HGridLayout and HShapeLayout to create your final piece. These will give you ability to create grids and shapes with your assets.
- How to output your files to Photoshop of Illustrator. You'll be able to manipulate and edit them to arrive at the final piece.

Environment Setup
Introduction: Environment Setup
Downloading Processing
Working with Sublime Text 2
Final Environment Setup Tips

Intro to Processing and HYPE
Introduction: Processing and HYPE
Download HYPE
Project Steps 2,3,4
Java versus JavaScript
HYPE AS3 / Project Step 5
HYPE processing / Project Step 6

Drawing Visual Assets
Introduction: Drawing Visual Assets
Drawing Visual Assets
Drawing Abstraction
Drawing Time-lapse
Final Asset Prep

Painting to the Screen
Introduction: Painting to Screen
Basics / Line and Rect
Basics / Rotation
Basics / Matrix / push and pop
Basics / Rotation and Color
HYPE / Basics
HYPE / Drawables

Working with Color
Introduction: Working with Color
The Color Thief's
Expanding Kuler
HColorPool
HPixelColorist
HColorField

HGridLayout
Introduction: HGridLayout
HDrawablePool + HRect
HDrawablePool + HShape 1
HDrawablePool + HShape 2
HGridLayout

HShapeLayout
Introduction: HShapeLayout
HShapeLayout

Output Files
Introduction: Output Files
letsRender / bad
letsRender / better
letsRender / BEST
letsRender / final edits
Some Parting Words...

Project Inspirations
hexGrid / Randy Steward
hypnoWheel / Luke L





https://www.skillshare.com/classes/design/Programming-Graphics-I-Introduction-to-Generative-Art/782118657/projects

gumroad - Transport Vehicle tutorial for modo by Tor Frick

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Transport vehicle tutorial
In this tutorial I will go through my entire process from blockout to rendered highpoly of this scifi vehicle in Modo. I go through the blockout stages, assembling a kitbashing set, modelling the entire vehicle aswell as creating decals, materials and rendering in Modo. This tutorial is for intermediate users of modo, it does assume that you have some knowledge of how to find your way around modo and its tools.


Included:

More than 8.5 hours of video footage.

Finished model + textures used in the renders

Blockout Model.

CGCookie - Fundamentals of Particle Systems

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In this course you’ll learn the fundamentals of using the Shuriken particle system in Unity 5. The particle system in Unity can be quite robust and has a ton of settings and functions to create anything from smoke and fire to magic spell effects. The particle system component can seem a bit daunting at first which a total of 16 modules (17 if you include the main settings) available and each with their own sub-menus and settings. This course will cover all modules to include sub-settings to make creating effects a far simpler task. Things covered in this course include:

Controlling the emission and shape of particles
Using curves for fine tuning of various module settings
Utilizing wind zones to mimic virtual wind blowing particles around
Applying collisions to game objects which can then be used with scripted functions
Using sub-emitters for things like impact particles or tiered particle effects
Applying sprite sheets in place of traditional materials for realistic effects

This course will be fairly in depth covering all modules, how you would use them and tips and tricks for things like fading colors. At the end I’ll also show you a fun and easy way to create a firefly effect using a texture from Photoshop and a few modules to show you the power and easy of the Shuriken particle system.

Corel Painter 2016 OSX

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