2012
FXPHD
Pat Crandley
17:00:00
English
This course will focus on providing you with the basic understanding of how to model, texture, rig, animate and render with modo 601 through a series of real-world production projects. In addition to exploring the basic user interface, modeling tools and the animation system, you'll get some hand's on experience with the interactive painting system, multi-resolution mesh sculpting and the character rigging tools.
Also, we'll explore the intricacies of working in the Shader Tree, UV mapping and texture placement. This course will conclude with an in-depth look at the rendering pipeline in modo, so we'll be taking a look at the global illumination system, sub-surface scattering, refraction and to setting up render passes using Modo's powerful Render Outputs framework. After completing this course, you will have an in-depth understanding of the workflow and techniques required to work with modo in a production environment.
Pat Crandley has been a 3D modeler, animator and editor in the computer animation and visual effects industry for over 10 years. Crandley served as the Post-Production Supervisor for the 3D Animation department at MTV and oversaw the production of a computer animated series called Video Mods. He also worked as the lead modeler and animator for a series of commercials for Coke, Mike’s Hard Lemonade and Debers Diamonds. He recently finished working at Peppers.TV as the Senior 3D Artist and Technology Geek. Currently, Pat is teaching the next generation of 3D modelers and animators at Sacramento City College and The Art Institute of California: Sacramento.
In this course, we are going to pick up where we left off and continue to explore a few of the more advanced features in Modo. We'll focus on learning how to work with Pixar Sub-Division Surfaces, the retopology tools, Recoil and Replicators by working on finishing the 3D model of an old steam locomotive. You want your train to move, right?
We take advantage of the Modo constraint system to rig our train and make it animatable. To wrap things up, we also look at how to incorporate the particle painting system, volumetric effects and fur for the final shot and render of our steam locomotive. Sit down, strap in and get ready for an exciting conclusion to the Introduction to Modo!
Pat Crandley has been a 3D modeler, animator and editor in the computer animation and visual effects industry for over 10 years. Crandley served as the Post-Production Supervisor for the 3D Animation department at MTV and oversaw the production of a computer animated series called Video Mods. He also worked as the lead modeler and animator for a series of commercials for Coke, Mike’s Hard Lemonade and Debers Diamonds. He recently finished working at Peppers.TV as the Senior 3D Artist and Technology Geek. Currently, Pat is teaching the next generation of 3D modelers and animators at Sacramento City College and The Art Institute of California: Sacramento.
MDO101
Class 1: The term starts off with our first real-world project: a product shot of a "new" water bottle. First, we'll examine the modo interface; paying close attention to interface customization, file i/o and an exciting Modo feature called the "Workplane".
Class 2: Now that we have explored the basic user interface, we'll focus on the modeling tools we'll need to complete this project. In addition to exploring many of the basic modeling tools, like Bevel, Extrude and the Slicing tools, we are also going to learn about working with multiple items and duplication.
Class 3: This week, we are going to learn how to apply textures to our first project by taking a close look at Modo's Shader Tree. Taking cues from Photoshop's layer palette, the Shader Tree allows us to quickly apply, create and edit the materials and textures in our scene. We'll explore the basic order of operation within the shader tree and learn how to create advanced surface attributes, like glass.
Class 4: We'll wrap up our first project with an in-depth look at the lighting and rendering system in Modo. At the end of this week, we should have a firm understanding of the different lights and cameras available for us in Modo as well as basic rendering pipeline.
Class 5: The next project in this course will focus in the interactive painting system in Modo. Before we can paint on our model, we need to create a series of distortion free UV Maps for a production-ready model of cannon. This week, we'll dive into the process of making fast, easy and clean UV maps for our cannon.
Class 6: With the UV Maps complete, we can focus on the pipeline for painting custom texture maps on the model of our 3D cannon. We'll explore Image Inks, brushes and texture masking as well. We'll wrap up this project by creating our first animation in Modo: a simple turntable of our finished cannon.
Class 7: Now that we have a solid understanding of the interactive brush system in Modo, lets apply what we have learned to the multi-resolution sculpting system. This week, we'll dig into mesh sculpting in Modo. We're going to learn how to set up varying resolutions to sculpt within, image-based brushes and look at some of the awesome MatCaps.
Class 8: Its time to get our models moving! This week we are going to explore the rigging tools in Modo. We'll start off by learning about creating hierarchies and constraints. Once we have mastered those, we'll move on to look at apply joints to our model, binding the mesh and the Pose Tool.
Class 9: With our model rigged and ready to move, we can now look at the animation system in Modo. By the end of this class, you'll be ninjas at setting keyframes, working within the Dope Sheet and masters at the graph editor. Did I also mention we are going to learn how to use Modo's pose system?
Class 10: We'll wrap up the term by focusing on the render system in Modo. We'll take an in-depth look at the global illumination system, how to render our passes, bake images, the various render outputs and some production tips and techniques that will make your renders shine.
MDO102
Class 1: Over the course of this term we work on the modeling, texturing, rigging and rendering of an antique steam locomotive. We start off the term by focusing on a few of the advanced modeling features in Modo. Specifically, we explore how to use Pixar Sub-Division Surfaces and their role in the larger, production pipeline.
Class 2: In today's modern production environment, creating a high resolution 3D sculpture is made possible with the advent of ZBrush and Mudbox. These applications allow sculptors to create 3D models with millions and millions of polygons; something we cannot necessarily work with in traditional 3D packages. We need to lower the resolution of these meshes so that they can efficiently be applied into the Modo pipeline. The Retopology tools in Modo will help us wrangle high-resolution geometry and get our models to a useable state for rendering. This week, we explore the "Topo" tab in Modo and learn how to apply the Retopology tools to our scene.
Class 3: One of the most powerful features in Modo are Replicators. Let's jump into the world of Replicators and dig deep into how to work with replicators, how to efficiently apply them to our scene and the many possible applications of this exciting technology.
Class 4: This week, we focus on detailing the back end of the coal car by learning how to leverage the power of Recoil in Modo. We combine Modo's replicator system with Recoil to quickly add the illusion of small pieces of coal in the back of our train.
Class 5: It is time to get our train moving! Over the course of this week's lecture we explore the mechanical rigging system inside of Modo. Specifically, we take a look at how to create relationships between the Mesh Items by generating a series of position, direction and rotation constraints for the wheels of the train.
Class 6: Assemblies, in Modo, allow us to create complex relationships between different items, objects and channels. In addition, we can package Assemblies together and create a system that can be easily duplicated in the scene. We look at how we can use the nodal workflow of the Assembly Area to make the rigging pipeline more efficient, powerful and accurate for our train wheels.
Class 7: Once you master the art of creating Replicators, you won't want to stop using them! This week, we extend our working knowledge of Replicators by using them to create the trees and train tracks in our environment. In addition, we also explore how we can add random variations to our trees, rocks and bushes with Replicators.
Class 8: At the core of Modo resides an extremely powerful Hair and Fur system. Lets jump in and take a look at how we can apply the Modo Hair and Fur system to create the illusion of grass for our train's environment.
Class 9: We wrap up the production of our environment by looking at how we can apply the Texture Bombing system to quickly add subtle variations to the textures in our environment.
Class 10: No train is complete without a plum of smoke rising from its smoke stack! We finish the term by exploring Modo's particle painting system and volumetric effects (clouds and smoke)!
http://www.fxphd.com/fxphd/courseDetails.php?idCourse=340
http://www.fxphd.com/fxphd/courseDetails.php?idCourse=359
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