Certification in Autodesk 3ds Max software demonstrates your capabilities in one of the most demanding creative jobs in the market today. Digital artists and educators alike will benefit from the Autodesk Certification process, as credentials will help you gain confidence with studios and schools. This class will help you prepare for your Certification examinations by exposing you to the topics and materials on which you may be tested. The class will cover subjects such as modeling, cameras, scene management, materials, rigging, interoperability, and animation, with an emphasis on workflow.
Design visualization professionals,
Adam Crespi is a renowned educator and trainer in 3D applications for computer-generated imagery. He has been teaching at the university level since 2000, and has been working in design visualization and animation since 1993. He has taught at The Art Institute of California Orange County and DigiPen Institute of Technology, and he is currently teaching at The Art Institute of Seattle. Adam has lectured at numerous conferences and schools, including Autodesk University, Montana State University, The University of Oklahoma, and SIGGRAPH. Adam is also an Autodesk Certification Evaluator in 3ds Max and Maya. Adam holds a Bachelor of Architecture from the University of Southern California and a Master of Education from Argosy University. He wrote Achieving Invisibility: Architectural Visualization in 3ds Max (Fairchild Publishing) and the Autodesk Workbook for Design Visualization for the Solar Decathlon Competition. He has also helped design exams and training materials for Autodesk.
In this intermediary class I will build upon the theory presented in my class, Shading And Texturing Workflow, with a practical example that involves shading and texturing a high-resolution photoreal robot. The techniques presented can be used to texture any high-resolution hard-surface object, whether for visual effects, animated films, video game cinematics, or even architectural work. We will focus on how to efficiently shade thousands of individual objects without having to spend a lot of time UV shading everything. Blended box maps, projection paint, curvature maps, occlusion maps, and the building of a library of materials are just some of the topic that we will cover. I will use 3ds Max software, Chaos Group's V-Ray rendering engine, and Adobe Photoshop for this example, but you can apply the principals discussed to the 3D app, paint application, and renderer of your choice.
Shawn Hendriks returns with this popular tips and tricks class and a whole new set of techniques to expand your thinking on how you can use 3ds Max software. Shawn started out using 3D Studio Dos 2.0 software, and he worked as the Canadian technical specialist for 3ds Max software for many years, exploring the dark corners of the software. No matter how long you've been using 3ds Max software, chances are you'll learn something new in this class and be surprised by a tool that you'd forgotten all about.
In this intermediary class I will show practical examples of my workflow for producing concept art. My workflow combines both 2D painting and 3D rendering to produce the most detailed images possible in the shortest amount of time. I have split up my image-making process into 20 stages, starting with rough 2D sketches and photobashing. I then move on to rough 3D and then a more detailed 3D stage, followed by a final 2D stage of painting tiny details and compositing the final image. Whether or not you're a concept artist for visual effects, animated films, or video games, you'll gain insight into techniques that can help your own process. We will primarily use Adobe Photoshop, 3ds Max software, Chaos Group's V-Ray rendering engine, and Red Giant Software's Magic Bullet—but you can apply the principals discussed to the software of your choice.
In this intermediary class I will discuss the theory behind my workflow for shading and texturing environments, props, and characters. These techniques can be used to texture any high-resolution object, whether for visual effects, animated films, video game cinematics, or even architectural work. We will discuss shaders, as well as available methods for applying textures to your models. We will also cover pattern creation methods, from procedurals to hand-painted textures to photo manipulation. We will focus on how to efficiently shade thousands of individual objects without having to spend a lot of time UV shading everything (although we will touch on UV shading). Many of the examples will use 3ds Max software, Mudbox software, Chaos Group's V-Ray rendering engine, and Adobe Photoshop—but you can apply the principals discussed to the 3D app, paint application, and renderer of your choice.
The mParticles toolset (formerly Particle Flow toolbox#2) has been fully integrated into 3ds Max software since the 2013 subscription expansion pack. This class will look at particle structure and particle destruction. You will learn how to avoid unwanted explosive behavior caused by the NVIDIA PhysX and MassFX engines. You'll also discover how to build structure suitable for bindings inside of Particle Flow, how to trigger breaking behavior, and how to skin geometry to particles that can rip and tear. Please see video: https://vimeo.com/30497054
In this class you will gain an understanding of a commercial production that uses only computer graphics. This is a 2-part series that will cover the entire process of creating a commercial spec spot for the HBO show Boardwalk Empire. In part 1 you'll see the project kick off from the storyboards phase and proceed through rough animation and visual effects. We will cover some topics that include modeling, texturing, and dynamics. These classes will utilize an array of tools, including 3ds Max software and Chaos Group's V-Ray rendering engine, to bring this piece to life.
3D visualization has become a very important part of the practice in today's design industry; it is no longer limited to just the film and game studios who have long-established pipelines that deal with rendering and compositing. These critical techniques are little known by other design industries, or they are typically practiced to a very limited degree, utilizing available software such as Adobe Photoshop. There exists a common misconception that the Hollywood-like compositing workflow is too expensive or beyond reach. Design companies that have 3ds Max software or Maya software can get help from the Composite program from Autodesk, Inc. From 3ds Max software, you will learn how to render by element, separating important layers that can be used in a compositing workflow. From Composite software, you will learn how to assemble your rendered layers and make post-production changes that impact the look and feel of your final rendered image or animation.
In this session IKEA Communications AB in Sweden will present the challenge of a retailer taking on photographic renderings of indoor homes for catalog and web. We will share the progress, starting from the first stumbling steps of product image creation to the large volumes of full room sets that are used alongside traditionally created studio photos for the catalog and on the web. During the session we will show the model/material and texture standard, and we'll discuss how it's used. We will also cover internal tools we have built with help from Autodesk Consulting. Finally, we will go over lessons learned and things we would like to solve in better ways.
Not everyone can afford either the cost or infrastructure of a permanently installed server farm used for completing projects. This course will teach users the most effective methodologies for quickly creating a server farm (based on the Backburner application) using Amazon.com, Inc.'s, Elastic Compute Cloud (EC2) servers, which are paid on an on-demand basis. We will cover basic use of Amazon's system, and we will focus on how to configure specific parameters within the Backburner app so that rendering can run successfully on a virtualized on-demand network.