In this series of tutorials, we will talk about some of the steps that we went through in order to build the subway level for our Unity mobile game project. In this course we will examine the process of creating the game level for our Unity mobile project. We will start by referencing our game document, which will give us a great deal of information, not only on the look of our models, but also on more technical aspects like geometry and texture resolutions. We'll talk about basic modeling techniques for creating the different parts of our game level and we'll concentrate on creating portions of the level that can be seamlessly tiled. We'll go over how we can break down our reference art and where we can add unique details to break up the repeating geometry. We'll finish by talking about methods for making sure all of the pieces match up properly and are saved out for uv and texture work. This course goes over the process for creating our game level and the thoughts behind the decisions but it is not a step-by-step modeling tutorial. If you'd like to get up to speed on modeling in Maya, I'd recommend the Introduction to Modeling in Maya which goes over the tools we use here in greater detail. If you want a more step-by-step look at game-type environments in general, try Creating Low Resolution Environments in Maya and Photoshop.

 

In this collection of lessons we will learn about creating concept art for a game as well as how the role of the concept artist fits into the production pipeline. We will begin this course by learning about the role of a concept artist and how that role fits into the production pipeline. Next, we will learn about the game design document and then use it to determine which assets concept art is needed. From there, we’ll move on and learn about designing a level for our game from the ground up by planning out its overhead layout. Next, we will learn how to visualize this layout by creating concept sketches. Lastly, we will shift our attention to painting the concept art, focusing on rendering out our composition, planning for and painting the light sources, and then rendering out organic material to line the walls of our level. After going through this course, you will gain a better understanding as to why decisions are made during the process of creating concept art. You will also learn the basic steps involved in visualizing an idea for a level in a piece of artwork.

 

In this Unity tutorial, we’ll learn various ways our scripts can access and talk to each other. We'll begin the tutorial by learning about all the built-in methods Unity gives us to talk between scripts and between objects. We'll learn the how to find and access scripts on any game object using either direct connections, finding the object or the physics system. Finally we'll examine how a script can call methods on many other scripts using the messaging system in Unity. Each of these methods has limitations, so next we'll introduce the 3rd party script 'Notification Center' which acts as a central hub for easily communicating between multiple scripts. We'll learn how to post a new notification, how to observe a notification and how to pass data through the Notification Center. We'll wrap everything up by examining each of these methods and discuss which we should use in various situations. Understanding how our scripts will talk to each other lets us break our game into many script components, while still creating the functionality we need with the least amount of effort.

 

In this series of tutorials, we will talk about the steps that we went through in order to build the character and weapon models for our Unity mobile game project. We will start by referencing our game document, which will be our guide through the process of creating our Unity game. We can find information on the look of our models but also on the desired resolutions of the models and textures. We will concentrate on creating game topology for our two characters and two weapon models. We will also cover map generation and texture painting as part of the process. In the end we will have models ready to be rigged and animated or plugged directly into the game engine. We will use a variety of software packages from Maya, to TopoGun, to ZBrush and Mudbox in order to prepare our assets so there will be a lot of back and forth. This course references some pre-made assets and covers methods for modifying and prepping those assets for this particular game. In most of these cases, if you'd like to learn to build these assets from start to finish, there is a tutorial that will fill your need. For instance, in this course we look at the steps we went through to modify the biker character from Creating High Resolution Characters in ZBrush 4 and Creating Game Characters with Maya 2011 and ZBrush 4. So if you'd like to build the character from scratch, those two courses will take you through the process. The same goes for the enemy tick creature, which is from the Introduction the Mudbox 2011, and the assault rifle from Creating Next-Gen Game Assets in Maya.

CmiDirect - VRay Cinnection To Blender | .mp4 | project files | 367Mb

Building upon the popularity of our first After Effects project-based course, AFX208, we'll begin work on a new project from concept through compositing and design. For this project, we'll be creating a new animated show open in the style of programs such as "Top Chef", "Project Runway", and "Make Me a Supermodel". Leading the course will be Danny Princz, a New York City based artist who has taught several courses in the past. Also helping out will be Mark Christiansen, author of "Adobe After Effects CS4 Visual Effects and Compositing Studio Techniques", and fxphd dean John Montgomery.

The project will focus on using the new After Effects CS5 once it's released. But like most real world projects we will also be covering other applications for tasks such as 3D camera tracking, creating and rendering cgi for the virtual set, and more. Members of fxphd can share work in progress and design ideas in the forums, getting feedback from the profs as well as as other members.

The opening project will be completed in courses over the next two terms at fxphd, but rest assured that each members of each term will receive plenty of 720P material to build shots for their reel. Our previous course distributed over six gigabytes of footage.

Elephorm - Apprendre ZBrush 4 R2 | French | 2.65 GB

ZBrush 4R2 est aujourd'hui un acteur majeur dans les productions 3D de jeux vidéos et de films à effets spéciaux. Avec une technologie innovante, ce logiciel 3D a révolutionné la technique de création de personnages 3D. Du coup, ZBrush est aujourd'hui un outil puissant pour la modélisation industrielle, le design ou encore pour la modélisation architecturale.

 

Dans ce tutoriel vidéo de plus de 7 heures, vous pourrez suivre Cyril Cosentino autour d'un atelier créatif avec ZBrush 4 R2 en faisant un tour d’horizon de toutes ses fonctionnalités.

Cyril Cosentino, spécialiste dans le monde de la 3D et des effets spéciaux et formateur certifié Pixologic Expert, vous guidera dans cette formation en vous montrant les fonctions et techniques indispensables de ce logiciel.

 

 

This tutorial covers tips and techniques that allow for quickly blocking in forms. Throughout the tutorial we will learn methods that allow us to focus on the expression and emotion of the character and the personality it conveys, instead of having to worry about the topology while modeling using ZBrush and 3D Coat. We will look at how we can take advantage of 3D Coat's excellent retopology tools, including automatic retopology. Other modeling techniques we'll learn are Shadowbox, DynaMesh, insert brushes, extractions, alpha to 3D and ZSketch.

Hélder Pinto starts by walking you through many of the common features of CryENGINE 3 SDK like Customizing the User Interface, Folder Structure, Viewports, Entities, Panels, Objects and much more. Once a firm foundation has been placed, Hélder immediately begins going through the creation of an entire level from scratch. He begins by creating a custom terrain and from there goes into creating the lush vegetation. Other topics in the creation include using brushes, basic lighting, environment tab, fog volumes and finally water volumes.

This DVD, along with the other volumes in the series, will provide you with an invaluable amount of information needed to start creating your own levels in CryENGINE 3 SDK today.

XSI - Production Solutions and Tips Series 2, Vol 4, Shot Lighting & Rendering. For the BEGINNING to INTERMEDIATE level XSI lightingbenthusiast or anyone interested in just learning more about CREATING SHOT LIGHTING & RENDERING using SOFTIMAGE|XSI.