Write a killer cover letter, cut a perfect reel, and make yourself more attractive to employers in the visual effects industry
List the disciplines in high demand and describe the best route to take to reach your goal
List ways to prepare to seek employment and explain how to position and present yourself to possible employers
Build a name for yourself by promoting your work, name, and recognition
This class will help digital artists become more employable in their industry, fast-track their career, and build a strong name for themselves in the competitive visual effects field. We will talk about how to develop unstoppable demo reels and attention-getting cover letters, along with tactics for managing and presenting yourself in the best light. We will cover how to develop contacts, stand out from other applicants, play the "game" when it comes to freelancing, and treat yourself like a business. You will learn to promote yourself and your work, create viral videos to gain recognition, and practice dozens of techniques to make your career unstoppable. The goal is to put yourself in more of an "industry celebrity" role where you are offered work based on word of mouth rather than having to apply for work and play the numbers game.
People who want to advance their career and position themselves as a well-known name in the industry; anyone from beginning to advanced practitioners in any freelance industry within visual effects, including compositors, 3D specialists, and others
Allan McKay is an award winning Visual Effects Supervisor and Director, originating from the Gold Coast of Australia, now living in Los Angeles in the United States, working for over 16 years - for Hollywood studios including Warner Bro’s, Prime Focus Company – Frantic Films, Emmy award winning Digital Dimension and Oscar nominated Blur Studio, as well as George Lucas’ Emmy award winning company Industrial Light and Magic.
Working primarily on Hollywood films, some of his more recent effects sequences have been for Transformers 3, Looper, Flight, Priest, The Last Airbender, Superman Returns, Dracula 3D, Daybreakers, Blade Trinity, Exorcist: The Beginning, Paycheck, Scooby Doo 2, and dozens of other feature films. In addition to being tied to various Oscar and Emmy award winning projects, Allan has been awarded as an Autodesk Max Master.
New reality capture and reverse engineering techniques enable us to create precise and parametric 3D digital models of physical objects. In this class, you will learn the benefits of combining reality capture and reverse engineering technologies for the purpose of successfully digitizing existing parts and objects. This killer combination can be used in many stages of design and refactoring of parts, molds, and other artifacts. We will demonstrate the intriguing steps of transforming the data from a point cloud to a smart 3D parametric model that can be then further analyzed, used for simulation, or repurposed. You will learn about the types of data that are generally used and why and how the transforms impact the product.
In this class, we will demonstrate the differences and similarities between rigging for games and rigging for film. We will cover the challenges associated with each area and what can be done to overcome such challenges.
In this class, we will examine a creature modeling and detailing workflow using Autodesk Maya and Autodesk Mudbox software. We will begin with exploring creature concept techniques in Autodesk® SketchBook® Pro software and then review clean and optimized polygonal modeling tips and tricks in Maya. Next, we will send our base mesh into Mudbox and take an in-depth look at the processes of sculpting, detailing, and painting to bring our creature look and style to life.
Games and applications, especially those on continually evolving mobile devices, now occupy an increasing percentage of a student's day. At the same time, performance in math and engineering for that same demographic is dwindling at an alarming rate. To compete in the future and secure promising opportunities, the latter (but not necessarily the former) must change. This class will offer ways to increase class engagement while using—and building—the types of games and applications almost certainly found in nearly every student's pocket.
With its outstanding modeling tool set and its ability to process NURBS geometry, Autodesk Maya software is well suited for the use in concept modeling in the automotive industry. This class demonstrates the typical use of Maya in automotive concept modeling and shows how Maya is positioned in various design pipelines. We will demonstrate the advantages and limitations of the smooth-polygon workflow.
Creating photorealistic digital assets is key to increasing the realism of today's games and movies today. Could it also be important for decors, natural scenes, samples, faces, bodies, or props? There is a fast-growing demand to bring the as-built or as-existing reality into the production pipeline. Some advanced production houses have embraced reality capture technologies, and they already use photos, videos, or lasers to capture reality. The Autodesk Reality Capture Group has developed tools that make these technologies easier to use. Come and discuss your needs for reality capture, and see how you can benefit by using these new tools to create your own digital assets for use in your own production environment.
The educational partnership between Senac SP and Autodesk has improved the learning process and technological training for inserting highly skilled Autodesk 3ds Max software professionals into the market. Senac's way of educating exemplifies flexible and comprehensive work with Autodesk 3ds Max and ensures greater efficiency and effectiveness in teaching and learning Autodesk 3ds Max for use on projects of any complexity.
The script language MEL (Maya Embedded Language) is not only a feature of Autodesk Maya software, it is the foundation. Every function in Maya is a MEL command that can be accessed using menus, icons, buttons, marking menus, and other controls. In this class, we will cover MEL concepts, the possibilities and limitations of this scripting language, and the differences in the Maya API. We will work through some examples, and discuss the differences between MEL and Python and explain the advantages of using Python for Maya.
In visual effects (VFX), there are many challenges that commonly come up. There is also a necessary set of skills required to accomplish 99% of the projects we take on. In this class, we will take a look at many of the key effects techniques that are used in Autodesk® 3ds Max® software. We will cover initial shot setup, look at tips, tricks, and processes, and discuss scripting and other areas of effects. We will also talk about many commonly used effects such as fracturing, simulating rigid bodies, and creating explosions, fire, smoke, and magic effects. All of these are techniques from recent feature films and approached in a way to provide strong basic knowledge that you can apply to a majority of the challenges that come up day to day in visual effects. The class will cover earthquakes, building destruction, fire, smoke, explosions. We will also provide some advanced rendering and compositing techniques as well as theory and workflow information.
Anthony Jones is one of the most sought-after artists, having done visuals for Hasbro, Inc., <em>Magic: The Gathering</em>, and <em>God of War</em>®. In college, he pursued his two greatest passions, film and video games. He became a programmer before discovering his love for concept art. He currently also teaches at the Otis College of Art and Design and at Red Engine Studios in Los Angeles, CA. In this class, Anthony Jones will break down his methods and thoughts when approaches a new design. He will discuss how important it is to have a solid foundation for your concept. He will also talk about how he has had success with past projects and what influences him to make the decisions.
During this class, you will learn the best practices and typical approaches involved when developing custom tools for Autodesk® 3ds Max®, Autodesk® Maya®, Autodesk® Softimage®, and Autodesk® MotionBuilder® software. We will cover scripting and programming languages and discuss the numerous APIs and SDKs available from Autodesk. This class will help you grasp what you can do beyond what is available out of the box in Autodesk entertainment creation suites.
This class covers using Autodesk media and entertainment suites to quickly create commercials and independent feature film visual effects. The class will use real-world examples from our recent projects, including the Moshi Monsters™ worldwide Easter weekend TV spot, 2 (RED EPIC®) indie feature films on which we used Autodesk® 3ds Max and Autodesk® Maya® Fluids software, Kinect® Sports Season 2 VFX, Microsoft® Fable®: The Journey motion graphics, and our work for the acclaimed 3D visualization of the London Blackfriars station. In this class, I will demonstrate the entire production suite, showing techniques we have used to streamline our pipeline between applications and to use the best features of each application. I will also present some tips you can use.