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.
We start 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".
Now tha 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.
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.
We'll wrap up our first project with an in-depth look at the lighting and rendering system in Modo. We should have a firm understanding of the different lights and cameras available for us in Modo as well as basic rendering pipeline.
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.
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.
Now that we have a solid understanding of the interactive brush system in Modo, let's apply what we have learned to the multi-resolution sculpting system. 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.
It's 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.
With our model rigged and ready to move, we can now look at the animation system in Modo. By the end of this lesson, you'll be ninjas at setting keyframes, working within the Dope Sheet and masters at the graph editor. We are going to learn how to use Modo's pose system.
We'll wrap up 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.