production blog

Our new vfx course, part of our new digital matte painting and environments curriculum, will get you up to speed in Clarisse. By the end of the course you will be able to export a mesh from Maya, set up the Clarisse scene, assign shaders, texture an object, and Combiners to prepare your Clarisse scene.

This course, taught by Kirill Pleshakov, is focused on compositing a live action miniature explosion filmed at a scale of 1:13. The real explosions are filmed with multiple cameras from different angles, as each explosion object is destructed with one take.

Andrew Lowell is back, teaching a new course introducing artists to rigid body dynamics in Houdini.

One of the key components of epic movie magic happens in the thousands upon thousands of particles emitting in destruction scenes. It might be a collapsing building, a car impact, broken trees and leaves, or an impact on the ground. … Continued

Our new course provides artists with an in-depth overview of the different workflows available in Flame and shows their advantages and disadvantages along the way. Furthermore, it equips artists with a range of tricks and strategies to avoid the many pitfalls that escalating projects can create.

Our new course, taught by Ludovic Iochem (Head of Digital-Matte-Painting,DNEG London), covers Adobe Photoshop and the most important tools and techniques used for Digital Matte Painting in a production environment.

This course, taught by Toby Winder, is the first part of an extensive two-part offering. It focuses on improving your grasp of body mechanics and furthering their grasp of animation principles that were covered in ANI104.

Our new project-based RealFlow course, with over 7 1/2 hours of class instruction, is geared towards the technically inclined independent or resident studio artist. The course utilizes RealFlow's Hybrido simulation tools, as well as its secondary particle systems, to create a highly detailed stormy ocean plus an impact of a large whale into a stormy water surface.

This course, taught by Bruno Ebé, focuses on generating great looking volumetric dust based on impacts and preparing you to be able to adapt these types of simulations to art direction.

Over the sale weekend, we released a new course covering two projects utilizing photogrammetry in Nuke without the assistance of a dedicated 3D application.