In this course, we cover the new Avid Media Composer 3 software, available on both Mac and Windows platforms, with a focus on Independent filmmaking and new media projects. In the first few courses, we take you from Final Cut – the standard tool for most Independent Filmmakers – into Avid – the standard in Hollywood. We will focus on the similarities and differences, with many, many examples.

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fxphds popular camera tracking specialist Victor Wolansky teaches this third PFTrack in production course continuing his tendency to tackle only the most difficult shots.
Youre sure to pick up a ton of new, high end techniques for both object and camera tracking.
Class 1: Using the auto tracker node, cleaning the auto trackers by solving parts, the importance of initial frames and prep for geometry construction.
Class 2: Image modeling, one of the key features of PFTrack.
Class 3: Calibrating multiple cameras, with and without motion, and important step for object tracking and mocap tracking.
Class 4: Object tracking from multiple cameras, perfect combination for more accuracy and automatic sizing of the tracked object.
Class 5: Geometry tracking. Using geometry, OBJ and FBX to track an object, or camera. A non-conventional tracking that can save a lot of time in some cases.
Class 6: Geometry tracking, a new kind, tracking non rigid objects and deformations.
Class 7: Texture extraction, new tools with proper UV mapping.
Class 8: Stereo tracking techniques.
Class 9: Tracking water.
Class 10: An experiment on facial tracking and replacement.
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fxphd is an online vfx, production, post-production training program led by professionals.

We offer both application and craft-based courses, online forums for feedback, and vpn software. Curriculum includes courses in applications such as Nuke, Flame, Maya, Houdini, After Effects, Final Cut, Color, and more. As owners of RED #22, we have been involved with the ground breaking camera since the very first shipments — and built a solid foundation of on-set and post courses dealing with shooting RED.
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Time fxphd instructor Matt Leonard dives into production with its new course covering work he did for Red Dwarf: Back to Earth. Leonard leadMaya is our teacher, but he is also a composer adept who uses tools such as Fusion and Nuke. For this course, he’ll be walking nearby productionprocess whole of his work in the series – from pre-production for on-set for the final composite. It intention cover every angle of delivery of great animation and a hard core realisticcomposite this hands-on course.More details to make for a acquire on the course since the mini-series will air in the UK over the weekend of April 11 .
Teacher: Matt Leonard (mattdleonard)
Class 1: Pre-Production and On-Set Work
Class 2: Live Action Tracking using PFTrack 5
Class 3: Character Modeling in Maya 2009
Class 4: Working common-sense Rigging in Maya 2009
Class 5: Light Painting, Texturing and Lighting in Maya 2009
Class 6: Time Animation, The Art of Performance
Class 7: Animation, bringing living to animation using Maya 2009
Class 8: Multipass rendering using bananas ray
Class 9: Integrate the 3D live-action dish using Nuke 5.1
Class 10: Adding Realism to the indisputable scene, Advanced compositing in Nuke 5.
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Every day more and more productions are exploring the use of high end DLSR for HD video.
Stu Maschwitz rejoins the team and the guys in Tokyo to give the most comprehensive guide to the new phenomenon of DSLR cinematography. In this course we will cover: What it takes to shoot cinematically with camera such as the Canon 5D MkII How to shoot for post Tricks and techniques for camera control and camera movement, including the Red Rock Micro and the MiniSteadicam Compression and camera settings recommendations, covering 24P, Manual settings, Tricks of compression etc. Rules of thumb for evaluating what camera and lenses you need Color grading DLSR video footage for Hollywood professional looks Sensor and optical ‘behind the scenes’ including rolling shutter reviews of 720 P with the Nikon D90, Full HD with the Olympus PEN, Panasonic GH1 and the Canon 5D MkII Mostly shot in Tokyo and Kyoto, but as a special event later in the term, we will go on base with the US Army 55th Combat Camera Unit to look at the Canon 5D Mk II in war zone correspondent use, an unparalleled and unprecedented chance to see how these cameras are used in the most dangerous and unforgiving environments imaginable. Literally, we hope to have Stu and John putting the camera through its paces with Blackhawk helicopters and some of the bravest cameraman and women in the world with the US Armys Canon 5D Mk II specialists. A rare honor, and one we are most appreciative to have the chance to bring you. Professor: Mike Seymour (mikes) Class 1: Establishing the pros and cons of DSLR cinematography and getting outside to shoot on the streets of the Ginza district in Tokyo with the 5D mk2. Class 2: Part of the Ginza shoot post workflow and looking at the difference between the main camera’s in the DSLR cinematography market. Class 3: Shooting on the sly in the Tsukiji fish market and how to shoot with grading in mind. Stu walks us through grading in AE with Magic Bullet. Class 4: Shooting on the busy streets in Harajuku, Stu discusses lenses and lens choices and how they effect composition and storytelling. Class 5: Dealing with camera mobility and adding virtual weight to your shots. Class 6: Using optical filters vs digital filters in post and the problem of rolling shutter. Class 8: Using the 5D Mark II in rugged and combat situations. With 1st Lieutenant Tyler Ginter of the US Army 55th Signal Company Class 9: A technical look at the files produced by DSLRs including image quality, processing, and keyability. Class 10: A continuation of a keying example from last week, a discussion of the Canon 5d vs. 7d, a look at the new Magic Bullet Mojo plugin, and a wrap up conversation with Stu. Plus, a bonus class looking at ND filters and Canon 7D settings, both default and custom. FXPHD DOP210 DSLR Cinematography
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Got no info on this one as they have not continued the coarse this term maybe someone who has the info can post it here.

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Taught by Matt Leonard, this Maya course is aimed at those who have little or no experience in 3D, or post-grads who know another system, such 3DS Max or Softimage but want to expand their software skills.
The course is designed to cover all the main areas of Maya’s vast toolset including Modeling, Animation, Rigging, Muscles, nParticles, Dynamics, nCloth, Hair, Fur, Fluids, Shaders, UV’s, Lighting, Cameras and Rendering.

This course is entirely project focused and throughout the term we’ll be working on a single shot featuring two animated characters chasing each other around in humorous way. The shot will be created with a final Stereoscopic output in mind and will utilize all areas of Maya mentioned above. An extra bonus class has also been added on to complete the project in Nuke. All models, animations, etc will be made available to complete each class so if you fall behind you’ll still be able to jump in at any class and follow along.
Leonard has been in the 3D and visual effects industry for 19 years and has produced work for feature films, commercials and large corporate projects. He has spoken at various events and shows on behalf of Autodesk, The Foundry and eyeon Software. He has had articles published in magazines and journals and has beta tested Maya, Nuke, Fusion Particular and Mocha. He currently runs his own on-site training company in the UK and has trained artists from companies such as Framestore, MPC, Digital Domain and Mr. X.
Class 1:
If this first class we will begin by looking at Polygon and Sub-Division modeling techniques. We will also talk about the new 2011 UI and various hotkeys. We’ll finish up the lesson by looking at creating various models using Curves and Surfaces.
Class 2:
Our second class is dealing mainly with animation. We cover animating objects down a Path, via Keyframes and the use of Deformers. We also look at the Connection Editor, Set Driven Key, and various editors including the Graph Sheet, the Dope Sheet and Trax, Maya’s non-linear editing system. I have also included an extra video covering some modeling techniques used to build the rest of the models we are using
this week for animation.
Class 3:
Characters, Rigging and Muscles: Our third week moves into more character-based work, we’ll look at building Skeletons and Rigging them for both FK (Forward Kinematics) and IK (Inverse Kinematics). From here we’ll Bind the Skeletons with the geometry from class 1 and set Constraints. Finally we’ll look at Skin Deformation and the use of Maya’s Muscle Collation system .
Class 4:
In our 4th class we move away from model animation and into particle animation. Adding Maya’s nParticle systems to our scene we’ll be learning how to create various types of Emitters and then control our Particles. Alongside this we’ll explore Nucleus, the heart of Maya’s nDynamics system, and look at adding Fields and a very brief look at Goals that control and order the Particles.
Class 5:
In class 5 we stay with Dynamics and look at the animation of Rigid and Soft Body objects. This is done through the use of natural forces such as Gravity, Wind, and Turbulence. We’ll explore how objects can Collide with each other (and Particles) along with how to Constrain Dynamic objects together and keep Soft Bodies from totally ripping apart through the use of Goals weights.
Class 6:
In class 6 we progress on from nParticles and Dynamics to look at nCloth, Maya?s high-end cloth simulation system. We’ll cover how to convert geometry into nCloth and how to edit its parameters, changing its Material type, Weight, Tearability and resistance to Dynamic forces, etc. We’ll also cover nCloth?s ability to Collide with geometry and nParticles, along with nConstraints used to constrain cloth to other objects.
Class 7:
In class 7 we look at both Fur and Hair. For Fur we cover Light Models, Scale and Density, Length, Baldness, Inclination, Polar and Roll, Width, Curl, Scraggle and Clump. Then in Hair we look at Paint Effects Style and Curves, Follicles, Start and End Positions, Constraints, Collisions, Texture, and more.
Class 8:
In class 8 we dive into the world of Fluid Dynamics. We look at Oceans, Ponds, Wakes and 2D and 3D Fluid Dynamics. We cover the use of Locators for floating objects Boats and Motorboats, Foam creation, shaders and more.
Class 9:
In class 9 we look at camera and lights. For camera we specifically look at Types, Environments, Depth of Field, Stereoscopic, Film Backs, and mental ray shaders. And for lights we look at Types, Colour/Intensity, Shadows, Decay Rates, Light Linking, and mental ray shaders.
Class 10:
In class 10 we cover shaders and textures, along with rendering. Specifically we look at creating Shaders, Texturing, UV Mapping, mental ray shaders, setting up the Rendering, Render Layers, Render Passes and looking at openEXR files in Nuke. In the special bonus class we continue to look at Maya’s Rendering using mental ray. We specifically look at Final Gathering, Global Illumination, Caustics, HDRI and Physical sun and sky.
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Classes:

1: How to break down a script and pick approaches, Part 1
2: How to break down a script and pick approaches, Part 2
3: A look at pre-viz and storyboarding
4: On set issues with choices to be made
5: Working with both the Director and other crew
6: Selling the shot and managing the team, Part 1
7: Exploring the team; a look at the world of TVC and managing multiple houses.
8: Studio pressures, working well with other houses
9: Pipeline, infrastructure, R&D and the negatives of being a VFX supervisor.
10: What it takes to become a serious member of the VFX community.

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The main focus of the course will be using Cinema4D to create motion graphics. Through all the classes, general workflow and project management will be discussed, including organising the object manager, use of layers, XRefs, and managing layouts. We will look at practical uses for many of the available modules, including MoGraph, Thinking Particles, Hair, Cloth and Sketch and Toon. This will also involve use of Xpresso, materials, some post effects and lighting and rendering techniques. Throughout the term we will work on both tips and techniques, as well as project based motion graphics classes. Specifically taking a concept and developing the project, outputting various render passes and compositing these in After Effects.

01 This class will create and animate a carousel. This will be achieved by using the core version of Cinema4D without use of any extra modules. All the animation will be controlled by two keyframes and the use of Xpresso and Tags.

02 The first part of a two part class. In this class we will model some letters as part of a inflatable object. Then using Xpresso we will connect and orient each object to the next by attaching the axis to specific polygons. Finally we will create a glossy reflective material.

03 The second part of a two part class. In this class we will continue from last week. We will use morphs to animate the POP letters and then we will set up a rubber hose that uses Xpresso and constraints so that it stays connected to the letters but also moves around in a rubbery way.

04 This class will look at the new Global Illumination system that was released with version 11. Tips to help speed up renders and also ways to increase quality.

05 The first of two classes. This class will create a disco type mirrorball using MoGraph. We will texture the ball and add some effects using effectors. This class will also feature an introduction to motion clips, part of the new animation system for r11.

06 The second of two classes. In this class we finish the 70s Discoball animation. Using Cloner and Effectors to wipe on text. Exporting multipass to After Effects. Adding in disco type rays using AE effects and simulated discoball reflection using Trapcode Form.

07 In this class we look at several methods of animating cameras. We will also look at a technique to create automatic banking on your camera animations.

08 In this class we look at another method of animating the camera using a rig I will supply. We will use animation layers and also make use of the matte object parameter of the compositing tag.

09 This class will look at using Thinking Particles. We will generate a particle, add geometry. Then use an event collision to trigger fragmentation. Finally adding in some particle dynamics.

10 Bonus 1 hour class! This class looks into the Sketch and Toon Module. First analyzing the Render Settings and then creating a custom Sketch material.

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English | AVC1 1152×720 | AAC 64 Kbps |Work files incl
1.72 GB
Genre: eLearning

We’re excited to have a new After Effects course lead by a familiar name in the motion graphics industry, designer Harry Frank. This practical, software-based course will focus on creating a professional broadcast graphics package from scratch. Harry has done numerous high-profile national broadcast packages over the year for networks such as NBC, ABC, Fox, and G4TV. One of the strengths of After Effects is its plug in architecture and offerings such as Trapcode Particular, Form, and Lux are workhorses of mograph artists. Over the ten weeks, After Effects will be at the center of the course in conjunction with these and other plug ins from Red Giant Software.

Classes:

Class 01
Quantifying the deliverables list and creating a production timeline. Indentifying format and specs. Creating style-frames in Photoshop. How to use Photoshop versions of Red Giant plug-ins and save the settings for use in After Effects.
Class 02
Creating dynamic, looping backgrounds with Trapcode Form and Particular, with additional color effects with Trapcode Starglow and Shine.
Class 03
Creating glitz and glam elements in Particular like falling confetti, atmosphere, dust, smoke and more. Also, using Lux to create volumetric light elements.
Class 04
Part 2 on Trapcode Particular as well as adding additional elements with Knoll Light Factory and Geomancy.
Class 05
Focusing on creative typography and using the After Effects Type Tools and Animators. Integrating the elements we made so far to create a full screen graphic page.
Class 06
Creating the show open and logo animation. Using PlaneSpace to align and distribute images in 3D space.
Class 07
Finishing the show open, and then using the existing design to design and build out lower thirds, as well as using expressions to speed along lower third creation.
Class 08
Creating full-screen transitional elements in with the Trapcode Suite.
Class 09
Finishing & color grading with Magic Bullet Mojo, Looks and Colorista and determining which are the best for you. Also, adding color with Shine and Starglow.
Class 10
A project overview/recap and member requests. Exploring some alternative methods of styleframing this project in After Effects instead of Photoshop.

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