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3D Buzz is proud to announce the Mastering Maya: Advanced Digital Production online class. This intensive course takes you on to your next step of Maya training as you experience the creation of a complete animated short using Maya 2008 and the Adobe Creative Suite.
The video lecture will cover the entire production process, from initial conceptualization and pre-production all the way through to compositing and editing the final render. Along the way, you'll experience a wide range of topics including concept art and storyboards, modeling, texturing, rigging, effects, lighting, rendering, and much more! This class is designed to show you the complete process of animated short creation from start to finish. Nowhere else will you find such a complete look at the production process, captured entirely on video, combined with 3D Buzz's quality approach to video training and unrivaled attention to detail. Combine this with a unique, high-energy, and inspirational learning environment and you have a once-in-a-lifetime learning opportunity that can help land you the career of your dreams!
This series has a current topic list of 19 separate volumes, with the possibility of more being added to the list during production. These lessons are designed to introduce you to specific portions of the production process. These lessons are covered below in the Lesson Overview section.
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Follow along in the creation of an animated short or create your own variation
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Below is a list of the proposed volumes for the series, along with early descriptions of what will be covered in each volume. This is NOT a week-by-week curriculum overview. It is rather a list of the topics being covered and the order in which they will be presented. It is possible that new topics will be added throughout production and that these descriptions may change slightly. However, for the purposes of purchasing this class, you can consider this to be the finalized list, as any additions would be made simply to enhance what you see here.
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This Volume will show you everything that goes into a production before you ever touch your 3D application. An often overlooked area - especially for individual work - this volume will show you how you can realize your idea, refine it, develop your concept art, and create your storyboards. Also shown will be the generation of image planes for the purposes of modeling.
Through this process, we'll also take a look at the various applications we'll need in order to complete this project, along with why we'll need to use each one.
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Since our project is very character-intensive, we've got a lot of work to do to get our models fully realized. This volume will cover the creation of the knight character and the tree that eventually brings him to his demise. This will involve two separate styles of modeling, both involving Maya and ZBrush.
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This second helping of character modeling will involve the creation of our other two models, the Goblin and Demon characters, who will introduce a new style of modeling using Maya and ZBrush, as we explore a workflow that travels back and forth between the applications numerous times to achieve the final result.
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With our characters modeled, it's time to put together the environment within which they will interact. This volume will cover the creation of digital sets and discuss the various elements you'll need to keep in mind to get the look and the feel you're going for. The first environment will be the outdoor field where the Goblin and Knight first meet. The second will be the indoor medieval pub within which our Goblin and Demon characters will share a good laugh over the Knight's fate. This will also include the props that will be necessary for the shots, such as the ale steins, the bar tops, and some tables and chairs for the background. Once all of these elements have been modeled, the video will cover the process of texturing each one in preparation for lighting setup later.
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With all of our characters modeled, it's time to begin the process of getting our scene fully textured and shaded. This will involve the unwrapping of UV coordinates, the creation of textures using Adobe Photoshop and ZBrush, and the generation of shader networks using the texture maps created. In this volume, the Knight character and the Tree character will be shaded.
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With the first two characters shaded, it's time to create textures for our final characters, the Goblin and the Demon character. Once the UVs for the two characters are laid out, this will also make use of Photoshop and ZBrush.
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With an animation of this nature, you'll have a lot of dialog to work through. This Volume will cover the process of capturing that dialog, as well as how to work with it in Adobe Soundbooth to clean it up and get it ready to incorporate in our animation. We will also look at various sound effects that we will need throughout the production, and how we can allocate those sounds either through exterior sources or by capturing and recording our own.
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When all of the assets in place, we need to go back over our conceptual designs for each shot, and start getting the cinematographic portion of our animation realized. This will include setting up animatics for our vision, allowing us to tweak our camera angles and finalize the look of our shots. We will have the benefit of being able to use both our storyboards and our spoken dialog to create concise animatics that show everything that takes place in our scene.
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Once we've finalized our animatics it's time to start the process of animation. We'll begin this by setting up intuitive rigs for our characters. Throughout this process, we'll be making use of our animatics and storyboards to make sure that our rigs are capable of producing the results we need. This will require frequent tests and analyses of each component of the rig, and may even require that certain portions of the rig be edited if they're not meeting our specifications.
Once rigging is completed, we will need to attach the geometry of our characters to their appropriate rigs through skinning. This involves the use of Smooth and/or Rigid Bind skinning scenarios, including discussion of why one would be selected over the other.
This volume will cover the rigging and skinning of the Knight character and the Demon.
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With two of our characters rigged and ready to animate, it's time to set up the other two. This volume will cover the setup of our Goblin character, and the Tree character who will end up eating the Knight, using a completely customized rig for stylized control. Once rigged, both of these characters will also be skinned.
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Because so much of the animation is dependent upon believable dialog delivery and because of the highly emotional nature of several of the scenes, facial animation will play a critical role in bringing the scene to the audience. This will involve the creation and setup of a variety of different facial rigs using skeletal systems, Blend Shapes, and Clusters in order to manipulate various aspects of each character's face. Animation will later be done by analyzing video footage of the dialog being spoken by an actor.
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Now that your characters are rigged and ready to animate, it's finally time to start putting your animation chops to the test! There is a lot of animation to do in this scene, and we will be referencing a great deal of video footage for purposes of rotoscoping. This volume will cover the animation of roughly the first half of the animation, including blocking, tweening, cleanup, and facial animation.
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This volume will continue the process of animation in our scene, getting the final motion in place for the back half of the animation, and looking at a final tweaking of the animation for the entire project. Once this is complete, we will be ready to move on to the final phases of our project.
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Once all of our animation is done, it's time to start getting ready for the final render. To this point, we have not yet implemented our lighting scenario. This Volume will cover the use of lighting in our scenes, including the exterior set where the Knight and Goblin first meet and then the interior scene of the pub. Since all of our animation is in place at this point, we'll have a clearer idea of where to place our lights for optimal light and shadow arrangement.
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The last thing we need to set up before we render the scene is our special effects. This includes the fluttering leaves from the tree, the roaring fireplace in the pub, and the grass that covers the field where the first scene takes place. This also includes the devouring of the knight by the tree. We'll cover the setup of these effects systems, as well as how to prepare up for rendering later on.
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With the animation, lighting, and effects work all finalized, it is time for our project to be rendered out. However, we must render with post production in mind, as it is possible that we may need to tweak several elements for color correction or adjustment. This is not to mention that there may be several aspects of our scene that need to be separated and put back together later, such as various particle effects. By breaking our render into a variety of different layers, we give ourselves the ability to change several aspects of our final output.
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After all of the rendering is completed, it's time to start putting it all together into a final video. This volume will cover the process of compositing the various rendered layers of the animation back together, while tweaking and adjusting them for continuity. This process will make use of Adobe AfterEffects.
Once compositing is completed, it's time to finalize the video output and insert the sound effects that were created earlier. This will all be done using Adobe Premier, after which we will have our final video output for our animated short.
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This Volume takes a valuable divergence from the rest of the series, focusing on the creation of visualization and final video output using a game engine. This is becoming a widely used process in a variety of animation studios, as visualization can be created and adjusted very quickly.
The process will also be useful for those interested in getting into the gaming industry, as Machinima (the process of creating movies with game engines) becomes the standard for creating game cutscenes.
This Volume will introduce the viewer to the Machinima system inside of Unreal Engine 3, as well as showing how to set up the various assets in our animation so that they can be imported into UE3.
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Once the scene is set up inside of Unreal Engine 3, you will need to set up the various materials, the lighting scenario, and the cameras that will be used to recreate the look of our animation from within a game engine. By following these videos, you will also see how pre-visualization can be completed within UE3 so that you can get a fast result that is easily editable. The video will cover material generation, lighting, camera setups, and particle effects setup. Once completed, we'll take a look at how you can get frame image renders out of the game engine which you can then reassemble in Adobe Premier.
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Story Concept for Animated Short
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The camera opens on a heroic looking knight in gallant (if slightly overdone) armor, standing in a field and looking around frantically for things to hack to bits with his mighty sword. The first thing he sees is a butterfly-like creature, which he vanquishes with one mighty stroke. As the creature fades away, the words EXP +15 float up into the air. The knight almost immediately kills something else buried in the grass, and EXP +20 floats up. Still looking for more experience, our hero takes a few steps and makes one more mighty swing at some other small creature, and EXP +20 rises up. On this third time, the warrior actually physically acknowledges the existence of the numbers, looking frustrated at them. He needs more experience.
As he scans the field, he sees a small goblin walking through the grass near a large oak tree. I'm thinking a relatively cute Froud-inspired goblin. The goblin fades away for a moment, revealing a golden EXP +150 in his place, with angelic chorus piping up. We get a close-up of the warrior's face as his eyes narrow. We then flash zoom to the goblin's face as the two characters make eye contact. The goblin's eyes go wide with fear as our warrior begins to sprint toward his new enemy, sword brandished high in the air. The camera flashes back and forth a couple of times as the warrior gets closer and his face gets more frantic, and the goblin becomes more frightened and cowering.
At the very last moment before his demise, the goblin cries, "Wait!"
We get one solid shot of the warrior drawn back with his sword as if he's about to cleave the goblin neatly in two, while the little goblin cowers in fear beneath him. Gradually, the warrior relaxes and asks, "What is it?"
The script for this scene is just about finalized, but there's no point in spilling the beans right now. Long story short, the goblin, who is very frightened, questions why the warrior is hacking everything to bits. The warrior explains that he needs to defeat as many creatures as he can in physical combat so that he can build up enough experience to be strong enough to defeat the evil 3-horned demon Ragnaroth, so that he can claim the mystical Sword of Illusions for his own.
Still visibly terrified but trying to be understanding (if not placating) the goblin explains that he's does not know of this demon, and then proceeds to debate with the warrior the moral justice behind killing innocent creatures that would otherwise mean him no harm just so that he can get stronger and kill an enemy that the warrior's victims have never even heard of. The warrior, not the brightest crayon in the box by any means, asks what the goblin would suggest as an alternative. The goblin points toward the tree, explaining that is the mythical Tree of Experience; whoever can fell the tree will be granted infinite experience! A little unsure, the warrior swaggers over to the tree. The goblin nods encouragingly to the warrior as he rears back his mighty sword.
In one impossibly swift motion, the tree turns and devours the warrior, leaving only his boots behind as it noisily chews and then belches. The tree begins to visibly relax as one of the boots falls over and the camera fades to black.
Fade back up on the interior of a medieval/fantasy pub, where our little goblin friend is enjoying a fairly large pint while sitting next to a very scary looking creature who happens to have three horns and a very impressive sword on his back. The goblin blurts, "You'll never guess what happened next!"
The demon, who speaks no language we can understand and is therefore subtitled, responds, "You didn't pull the old Tree of Experience thing again, did you? Isn't that like the third one this week?"
"The fourth!" the goblin replies. The camera fades to black as the two characters laugh hysterically over their drinks.
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Sounds Great! - but I still have questions...
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Simply put, it is a training video series which documents the entire production of an animated short by a single person. Everything is covered, from initial concept work through the final render, and everything in between. For more details, please see the Detailed Course Description below.
No, it is currently in production no finalized completion date.
Originally, we had slated it to run for six months. That plan fizzled quickly due to the size and scope of the project and the detail applied in covering it. The short answer is that it will be done when it is done, though this is a tremendous undertaking of something that has never been successfully handled before. Rest assured that we are working as hard as we can to get this course to you as quickly as possible, while maintaining a high standard of quality on the video.
That is not the intention of this special offer, as the class has actually filled and is already too far along for most people to be able to catch up. Rather, this is a way for interested parties to get their hands on these videos as they release at an extremely reduced price, rather than having to wait for the release of each volume.
At the same time, purchase does allow you access to the Advanced Digital Production classroom, where you can post questions to the instructor and to your fellow classmates, as well as take part in weekly live class radio meetings. The level of interaction is really up to you.
No. This purchase gives you FTP download access to videos as they are released. But this is actually a GOOD thing. It allows us to give you an extreme discount on this material to save you possibly over a thousand dollars. You also get these videos as they release, long before anyone waiting for the individual releases will lay hands on them.
Now, if physical packaging is your thing, we will be offering purchasers the ability to either download the printable artwork to make their own cases and discs, or to purchase the retail volumes for a minimal cost that just covers the production and shipping of the discs. More information on this will be available upon release.
Yes it is. But when you stop and think that we've already got nearly 20 separate volumes planned (with quite possibly more being worked in), and each of which will likely sell for anywhere from $60 to $100, you could find yourself saving over a THOUSAND dollars by acting now. Plus, you get these videos long before the official retail releases.
You're literally getting in DURING the production of this product. This has its own benefits, because it is the interaction and discussion of people in the classroom the helps shape how things are covered in the videos. Plus, when all is said and done, you will have a vast library of training covering the entire gamut of production topics, and you will have saved a ton of money.
You get:
- FTP download access to every single video that will be included with the many volumes (at least 19 volumes) of the Advanced Digital Production series as they are completed. These will have a combined estimated retail price of over $1300, and that is if no more volumes are added, which they very likely will be!
- Access to the Advanced Digital Production Classroom forum.
- Access to weekly radio meetings with your instructor (every Friday at 5:00pm CDT unless otherwise noted)
Videos will be made available via FTP download.
You'll generally get anywhere from 2 to as much as 8 hours of video each week during production. Aside from this guideline, there is no set schedule. Basically, you should consider this product if you know you are interested in a series of training videos that cover the course of creating a short, and you are interested in saving a great deal of money while getting your hands on the entire library.
The order in which you receive the videos will be a little unique in that primary videos will be released that cover the essentials and key techniques of a given topic, and then later on, the remaining videos covering application of these tasks on other aspects of the production will be provided as time permits.
For example, when in the texturing portion of the production, you will see thorough and in-depth videos covering the entire texturing process of a single character. This will be more than enough for you to see how the process of texturing works in the pipeline. We will then be moving on to the next portion of the production. Later, as time permits, we will release other videos over texturing other parts of our scene, which will end up being included as part of the retail volumes of the series.
We do NOT plan on creating repetitive videos that cover the entire creation of secondary and decorative objects such as props. However, there WILL be videos that show the completed versions of as many of these types of objects as we can, including an overview of how they were created. For instance, there's really no need to show how to model a picture frame hanging on a wall after you've already modeled four separate characters. Rather, we'll show you the end result, and quickly discuss what was done to create it.
Currently, the primary software packages we are planning on using throughout production include Maya 2008, Photoshop CS3, AfterEffects CS3, Premiere Pro, Headus UVLayout, and ZBrush.
Not really. You are free to use any 3D application you like, as most of the techniques for art creation transfer freely between applications. For instance, polygon modeling is essentially the same no matter which program you use. We already have students who are following along in a variety of applications. However, it would of course be much easier for you if you were using the same software we were.
The exception is 3ds Max. We will be releasing overview videos that cover how various technical situations within the production could be handled with Max, making it easy to follow along. We will NOT be recreating the entire process with Max, though. Nor will we show how to handle basic artistic tasks such as modeling. The Max videos will be intended to overview the process of creating some of the more technical aspects of production, as this is the key area in which Max and Maya differ.
It would be best if you had already completed Mastering Maya: The Fundamentals before beginning Advanced Digital Production. This is NOT a course that we're expecting a complete rookie to be able to follow. That said, we have had several people with very little 3D experience already be able to follow along thus far.
When you purchase, you will be mailed a PHYSICALverification letter containing a passcode. You’ll need this passcode and the included instructions to access your FTP box. We do this to help prevent fraudulent orders.
Also note that there is a security watermark of your name and address that is included on every video. We do this as a piracy deterrent.
You also need to know that all sales are final, so please make sure you’ve thought about this purchase before you order.
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