Nukeygara has updated the free public beta of Akeytsu, its unusual upcoming rigging and animation system, adding support for ‘onion ghosts’ and new options to customise distance units and grid settings.
MOUNTAIN VIEW, Calif. – Today, Pixar in a Box – a new online resource that explores the academic concepts behind Pixar Animation Studios’ creative process – goes live on KhanAcademy.org. Through a series of video lessons, interactive exercises, and hands-on activities, students will discover how the academic concepts they learn in school enable Pixar filmmakers to create new worlds, animate unique characters and tell stories through animation. Although designed especially for students in middle and high school, these resources are available to learners of all ages, completely free of charge.
“Our mission at Khan Academy is a free, world-class education for anyone, anywhere,” said Sal Khan, Founder and CEO of the not-for-profit Khan Academy. “Sparking student interest in math and other academic fields is a key part of that, and we’re delighted to collaborate with Pixar to achieve this goal. Pixar in a Box gives students a new way to engage with key academic concepts and see how creative these concepts can be.”
“Learning makes us beginners again,” said Ed Catmull, President of Pixar and Walt Disney Animation Studios. “In my experience, creativity involves missteps and imperfections, which is one more reason it is important for every one of us to keep learning – in order to remain flexible and keep our brains nimble. By working with Khan Academy on Pixar in a Box, we hope to encourage the excitement of learning and creative thinking for middle and high school students and to provide the tools to do it.”
“For years, we’ve heard from teachers at every grade level interested in creating animation-based curricula,” said Elyse Klaidman, Director, Pixar University and Archives. “We’ve wanted to provide free online resources for them, and Pixar in a Box makes that dream a reality. We hope that it not only gives students a behind-the-scenes look at how our movies are made but also gets them excited about STEAM (science, technology, engineering, arts, and mathematics) concepts.”
Khan and Catmull officially unveiled Pixar in a Box at a special event yesterday evening on the Pixar campus in Emeryville, CA. After an introduction from Klaidman, local educators learned the story behind the project and then received a live demonstration of Pixar in a Box from two of its creators – Brit Cruise, Content Producer at Khan Academy, and Tony DeRose, Senior Scientist and Research Group Lead at Pixar. The evening concluded with a question-and-answer session moderated by Klaidman.
“Many students start to lose interest in academics in middle and high school, partly because they don’t see how academic concepts relate to things they care about,” said DeRose. “Pixar in a Box aims to address this disconnect by showing how Pixar filmmakers use these concepts for creative benefit in their everyday work.”
Starting today, students can access Pixar in a Box and learn:
● How combinatorics are used to create crowds, like the swarm of robots in WALLŸE.
● How parabolas are used to model environments, like the forest in Brave.
● How weighted averages are used to create characters, like Buzz Lightyear and Woody.
● How linear and cubic interpolation are used to animate characters.
● How trigonometry is used to create the worlds in which Pixar stories take place.
● How simultaneous equations are used to paint all of Pixar’s images.
“These lessons are the first phase of the project,” said Cruise. “While the first year focuses on math, future Pixar in a Box lessons will explore science, computer science, arts, and humanities.”
All Pixar in a Box resources are available free of charge at PixarInABox.org. The site will be updated as additional lessons become available.
Skin Microstructure Deformation with Displacement Map Convolution
This video from ICTGraphicsLab reminds me of Stephen Hawking talking about black holes… it’s a bit over my head! For example, “We present a technique for synthesizing the effects of skin microstructure deformation by anisotropically convolving a high-resolution displacement map to match normal distribution changes in measured skin samples.” This has some great visuals to help explain it though.
Skin Stretch: Simulating Dynamic Skin Microgeometry SIGGRAPH 2015
The Siggraph presentation is a bit easier to understand.
If this sort of thing interests you, you may want to check out
Di-O-Matic Facial Studio, a plug-in for 3ds Max. Need to create a realistic, caricature or cartoon head in 3ds max? Whatever the ethnicity or gender you are seeking to create, Facial Studio (3ds max edition) will greatly facilitate the once complex task of creating 3D heads.
CG Tutorial: How To Create The Best Human Skin Texture For 3D Characters
This is a Photoshop tutorial for creating the skin texture for your 3D models, showing a non-destructive image flattening and reflection removal.
CG Tutorial – Creating skin textures from scratch
Derek Sesson creates semi-realistic skin textures from scratch. It’s not software specific, but theory.
SIGGRAPH 2015 Dailies Trailer
Maxon SIGGRAPH Presenters Announced
Character TD at Walt Disney Animation
Creative Director at Ghost Town Media
Founder/Creative at helloluxx
Visual FX Designer/Animator
Founder/Creative at Greyscalegorilla
The Foundry Live at SIGGRAPH 2015
The Foundry LIVE @ SIGGRAPH 2015: Wednesday 12 August 10 AM – 4 PM (PDT)
For those not able to attend Siggraph, we’re bringing the show to you, with six hours of LIVE customer demos on Wednesday 12 August.
We’ll kick off the broadcast with an exclusive announcement from The Foundry, followed by a special panel discussion: ‘Future-proofing your business’, moderated by fxguide’s Mike Seymour and a panel of industry specialists.
Whether your interest lies in the latest and greatest games, blockbuster films or awesome animation, we’ve got something for you.
You can join the conversation and interact with the team and guests using #TFSiggraph
- The CV-ArtSmart plug-in can be downloaded from Cineversity (login required). Subscribe to Cineversity.
- In the tutorial, Greyscalegorilla’s Chris Schmidt has a video about making grass that is referenced. It’s below (Source)
See previous episodes of Michele Learns Cinema 4D
Exclusive Summer Sale:
3 Days of Savings on VFX tools from Boris FX & Imagineer Systems
Wednesday, June 24 – Midnight, Friday, June 26th.
Take 40% off select Boris Continuum Complete and mocha Pro purchases.
Limit 1 license purchase per customer.
All sales of BCC or mocha Pro will include a free upgrade to the next major release which is shipping this fall.
Unless noted, 40% sale is on new purchases only.
Products on sale:
The Boris Box Set delivers the best of Boris FX and Imagineer Systems in one discounted bundle. Includes: Boris Continuum Complete, Final Effects, Complete, RED, and mocha Pro.
List Price: $1995, Sale Price: $1,197
Continuum Complete (BCC) is the world’s largest collection of plug-in filters, transitions, and effects tools for editors, VFX artists, and motion designers. BCC is your tool for title design, animation, and effects. (now supports Creative Cloud 2015)
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mocha Pro 4 (New user)
mocha Pro is the Academy Award-winning stand alone software utility optimized for visual effects and post-production challenges. Features include: Planar Motion Tracking, Advanced Roto & Mask Creation, Object Removal & Clean Plate, Lens Distortion Calibration, 3D Camera Solver, Screen Inserts & Mesh Warper, Image Stabilization & more
List Price: $1495, Sale Price: $897
mocha Pro 4 (upgraded from Adobe bundled mocha AE)
List Price: $795, Sale Price: $477
Sale Dates: Wednesday, June 24 – Friday, June 26, 2015
“This week we’re heading to FMX in Stuttgart to present the latest progress with Fabric Engine 2.0. We’re giving a workshop every day at 10am – we’ll be focusing on how Canvas visual programming makes Fabric accessible to everyone and how it can be used to build powerful content creation tools that can run everywhere.” – Paul Doyle | Fabric Engine
Check out these helpful videos from Next Limit Technologies. Each one will teach you a fundamental aspect of Maxwell Render. Then, BOOM, before you know it you will be a Maxwell Render Guru! Or at least on your way to becoming one!
Interested in purchasing Maxwell Render? Check it out over at Toolfarm and save some cash on your purchase.
In this episode, Michele from Toolfarm talks about getting back into CINEMA 4D and extruding a logo from Illustrator.
Transcript from video:
Hi, this is Michele from Toolfarm. You may remember a series that I worked on a year or so ago called Michele Learns CINEMA 4D and it was abruptly stopped. Well, the reason is that I was so busy with day to day stuff that I didn’t have time to focus, and the number one thing with any software, especially with a complex program such as CINEMA 4D is that you really need time to learn it. Things have been shuffled around and now I have a lot more time to learn the program so I decided that’s what I’m going to do. I’m going to dive in and focus.
So, I needed to really get myself back up to speed and I decided to take a little different approach. I went to the Greyscalegorilla website because I had seen some of their stuff and it looked really interesting. Chris Schmidt has a series that is a beginners guide, or getting you up to speed with CINEMA 4D and I have been through about half of it now, and I built some fun little things. I’m just going to show you a few things that I learned. I’ll be showing you how to bring in an illustrator file, a logo or whatever, into CINEMA 4D and extrude it, and I’m not sure what else I’ll get to. The project that I worked on involved putting the Toolfarm Logo into a sand dune with sky around it and I rotated the camera a bit. I will kind of walk you through basically what I did. We’ll just go from scratch and see where it goes.
So, one of the things I did was brought in an Illustrator file of the Toolfarm logo. This took a bit of trial and error to get it right. Chris Schmidt didn’t go over this in his video, at least not to the point that I had watched it yet, maybe he does later on. But, I watched another video on YouTube that explained the process.
There are a couple of things you need to do. In Illustrator, you need to make sure that all of your text is outlines and when you save it as an Illustrator file, but instead of saving it as an Illustrator CC or CS3 or whatever, save it as Illustrator 8, and then click okay. If you see an error message, just click through it. Click okay.
Then, when you get into CINEMA 4D, go to File, Open and find your Illustrator 8 file. Click open, and then you’ll see an Illustrator Import box. It’ll ask you to scale it. You can leave it at 1 if you like. You can change that later on. But Connect Splines and Group Splines – leave those checked. If you have the letter O, for example, the hole will stay connected with the letter O. When you’re ready with that, click okay. And you’ll see your logo imported, and it will just be the splines, the outlines of it. You won’t have any sort of extrusion yet. With this Toolfarm logo that I imported, I already had an extrusion look to it and I decided to go in and edit that, so I edited the file quite a bit and I also edited the curve around the F and the T and I just smoothed everything out, removed points and just made it a lot neater. There was quite a bit of trial and error, so I know this process really, really well now.
When your logo comes into CINEMA 4D it’s just the splines and it’s not extruded, but you’ll notice that it is inside a null – each of your characters – so it’ll just say, Path 1, Path 2, Path 3 and so on. If you apply an Extrude and drag that whole null into it, you’ll notice that nothing happens. Why is that? I’m not sure exactly why it is, but if you select all of your paths and drag them into extrude, you’ll see an extrusion. Only one of the characters will extrude and that will be the top item on the list. There is a checkbox that says Hierarchal. You need to check that. As soon as you check Hierarchal box, everything else will extrude as well. I’m going to go through and name all my layers in case I want to animate them separately and I need to know what’s going on with them. I’ll call the last one TF.
A little problem that I have with this is that the anchor point is WAY off. It’s way north of the logo. What I need to do is choose Extrude, and then select the Enable Axis tool, and then I can move the point around. It’s nice to have it in the quad view/the four view so that I can find the exact middle or the bottom or wherever I want to move this.
After I have that moved, then I can go under coordinates and zero everything out and that will move my logo up into the right place.
That wraps up episode 4 of Michele Learns CINEMA 4D, and in the next episode, I plan to go over how I made the sand dunes, the grass and maybe even the sky. Until then, have a great week. Thanks!
Modeling Tips: Speeding up workflow
How to speed up your animation workflow
Digital artist Antony Ward shares 15 great tips on how to speed up your workflow, saving you time and your client money (or you keep the money, that’s your call). He talks about blocking out the key poses, planning and more.
Read: How to speed up your animation workflow at CreativeBloq.com
4 Ways to Speed Up Your Animation Working Time
Mark Diaz has more tips including having a high APM (actions per minute) and reusing keyframes. Hmm, some of the same advice as Anthony Ward, meaning that it must be great advice!
Read: 4 Ways to Speed Up Your Animation Working Time at skwigly.co.uk
How To Speed Up Your Workflow In Pixologic™ ZBrush®
More info: Pixologic™ ZBrush®
How to Speed Up Your Workflow in 3D Studio Max Using Hotkeys
Chandran Kumar explains hotkeys in 3ds Max. There’s a downloadable PDF summary available too. This article is from 2012 but I have a feeling most of the hotkeys will still be relevant.
Read: How to Speed Up Your Workflow in 3D Studio Max Using Hotkeys at cgi.tutsplus.com
More info: Autodesk
5 Sculpting Tips to Speed Up Your Workflow
Mark Masters talks about establishing your silhouette, focusing on one area and working in symmetry mode.
Read: 5 Sculpting Tips to Speed Up Your Workflow at Digital Tutors