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What Would You Suggest Are the Top 3 Types of Scenes to Include at the Start of a Demo Reel?

2010-05-18T00:21:00.004+05:30

What would you suggest are the top 3 types of scenes to include at the start of a demo reel to catch the eye of the viewer? ( e.g. dialogue, walks, acting, etc.)
Your first shot on your demo reel should really grab your audience. It should be the shot that best represents your talents -- the one you are most proud of. If the viewer does not like your first shot, chances are, they are going to turn it off and put in the next demo reel.

I would suggest starting with a strong acting piece -- a line that shows a character's emotion change over the shot: sad to happy, worried to relief, anger to acceptance. This will enable you to showcase your range.

The second shot should show physical animation. "Physical" does not mean a walk cycle, but rather, getting the character from point A to point B in an interesting way. For example, instead of showing a character walk over to pick up a newspaper on the floor, perhaps the character is sipping coffee as he uses his behind to push open the front door and picks up the paper and puts it under his arm while still sipping his morning brew. By giving the audience something completely unexpected but still very much grounded in a realistic performance, you are showing your creativity and your ability to bring something new to the table.

Your last shot is just as important as your first. It's the last thing they are going to see - the last impression you are going leave with the viewer. I wouldn't base your decision on what the shot demonstrates as much as how memorable it is. This could be a catchy line that the viewers will be saying over and over again after they have watched your reel. Or maybe it's a moment that will leave your audience laughing. Whatever it is, the goal is to leave them wanting more.

The most important thing to remember when putting your reel together is that it's about quality, not quantity. One minute of really strong animation goes much farther then five minutes of so-so animation.

How Important Is It To Get An Internship As A Beginning Animator?

2010-05-18T00:17:00.000+05:30

Of course it will depend on the type of internship. Sometimes animation students get internships doing PA type of stuff in companies that are not so great... I mean, if what you really want is to animate you probably won't be happy making xerox copies or going pick up dinner for the boss. This type of internship will probably not turn you into a better animator. It's true though that getting an internship in any of the big studios, even if it's not exactly in production, can be a nice way to get a feeling for how it all works, and also to get good connections and some professional experience. So it all depends on what is the internship like, and in what company.

The best situation is to get an internship where you can develop your skills as an animator and artist, and in a good studio. This type of internship is a wonderful way to start a professional career. Well, at least it worked for me! I was an intern first at Briquet Studios in Sao Paulo (2D), and then at Rhythm & Hues Studios in LA and these two experiences were crucial to my background. At Briquet Studios I was lucky to be an intern under the supervision of Renato dos Anjos – he later ended up moving to the US and worked as supervising animator on Bolt, Surf's Up and Open Season. I knew nothing about animation at that time, so it was really my very first experience, a way to get a feeling for how it all worked on a professional environment. The studio was really small but their work was great, Renato was really good and I learned so much from him. It was not enough time to get good at it, but I felt the experience planted the seed of animation on a fertile soil.

A couple of years after that, I went to School of Visual Arts in New York for my master's degree. During my first summer vacation I got an internship position at Rhythm & Hues. It was amazing. I felt I learned more in this time than in all my time at school! Rhythm & Hues had classes set up for new employers and interns, it was very organized and that's when I really started to understand what 3D was all about. I learned so much. I came back to school after the summer full of energy and started working on my short film. I also met a lot of really nice people, made important professional connections and went to a couple of cool camping trips. Fun times!

So, based on my personal experience, I think a good internship can help turn a student into a good professional. I was lucky in that my internships were really about the animation work. They were also at good companies with a solid reputation. It was a real learning experience on many levels.

Some of my students get internships and I see how positively the experience affects them. In many cases, a company offering an internship program has hopes that that student will be a possible hire in the near future. In a way, you are being “tested” by them, while at the same time you will be learning tons of useful things. Some companies have a very structured internship program – they put a lot of thought into it, and these are the internships you should definitely apply for! Here in California I know that Dreamworks, Pixar, Disney and Rhythm & Hues all offer this type of opportunity. And I bet there are other companies with great internship programs that I just don't know about.

Of course it is not exactly easy to get an internship at one of the best companies in the world - they are very competitive programs, but these would be the first ones I would try if I was a student now. I know it sounds hyperbolic, but it can be life changing to spend a summer working at a studio like any of these. You will meet amazing artists and professionals. You will get to know how the pipeline works, how is the day to day of a CG artist, how the films are done, what the work ethics are like. You will learn about work flow, techniques and art, and you will learn it from real artists. It can make a real difference in your career.

What Keeps You Motivated When working on a Long, Tedious Animation Project?

2010-05-18T00:15:00.000+05:30

There are a lot of things that help me to stay motivated, but first and foremost - it's the people around you. I don't think I ever went through a day at ILM and didn't laugh. It doesn't matter how tedious a shot or project can be, the atmosphere is always fun and everybody around you is there for support. You know that you're not alone.

I also listen to a lot of music and movies while I work. Usually I pick movies that I'm very familiar with so it's not distracting me from the actual work, but it provides a comfortable and pleasant background noise. Usually they are movies from my childhood, like the classic Star Wars trilogy, or Back to the Future, The Goonies, Big Trouble in Little China, etc.

Since our projects usually only last a few months and not years, a long project is never really that long. It might feel like it, but there's always a next project lined up that you can look forward to.
And if all of that fails, you just have to remind yourself that no matter what, it is your job to do the best you can, so suck it up and be professional. :)

Do You Have Any Special Techniques Using Inverse Kinematics (IK) in "Freehand Animation" When the Hands are Free From Other Objects?

2010-05-17T22:59:00.000+05:30

First, it is important to understand some of the differences between IK and FK. When you are animating an arm in FK, you first move the shoulder, then the elbow, and then the wrists. That's more or less what we do when we move our own arms. So, all and all, FK seems a bit more similar to the way we move, with the movement starting on the shoulder. The process of animating an IK arm is very different; instead of starting the movement from the shoulder, you will work in the inverse direction. You position the wrist wherever you want it to go, and the rest of the arm kind of goes with it. Both ways of animating are perfectly fine, and, for example, when animating a character dancing, walking, or running, you can certainly achieve good results with both IK and FK.

The important thing here is to keep in mind that a realistic movement of the arms will mostly start on the shoulder. This is somewhat easier to achieve with FK, because you will will work from the shoulder down. However, it can be a little tricky with IK – the very method of animating with IK, positioning the wrist first and having the rest of the arm following it, will make it look like the hands are always leading the movement. Your job as an animator is to make it feel like the shoulder is leading, even though you are positioning the wrist first.

Another important point is that when you are animating a human body, all the body parts need to feel interconnected. When you move the spine, the arms will also move. When you raise a hand up in the air, the spine will move as well. Again, this is somewhat easier to achieve with FK. If you have the arms in FK and you move the body node the whole arm – including the wrist - will go with it, so we perceive the arms as being connected to the rest of the body. With IK arms, the movement of the spine will not automatically affect the position of the wrist. You will move the body node and the wrist will be stuck in place. Because of that, sometimes we can have the feeling that the arms (wrists) are independent from the body.

So, if you are animating with the arms in IK, you have to try your best to convey the feeling that the movement is rooted on the shoulder, and it is not the hand that is leading the movement. Basically, you have to fight the IK, and animate the wrist and the elbow just like a real arm moves. You will need to position the hands making sure you move the elbow in a way that will sell the idea that the root of the movement is in the shoulders. It is really, really important to pay special attention to the elbow and also the clavicle and chest when you are working in IK. My advice is that you study the movement in question, in your own body and also looking at reference, making sure you understand what is the relationship of shoulder/elbow/wrist for the particular scene you are animating. Then try to get the same relationship going on your shot, even though you are positioning the hands first.

The other important point is to not leave the hands stuck in space while the rest of the body is in movement – a very common error for beginners. That's what we call an “IK-ish look” – for example, let's imagine that a character steps to his right side and reaches out for a glass of water. You will have the shift of weight, the spine/torso moving towards the right, the step, and then the right wrist moves towards the glass of water... but if you forget about the left wrist... the left wrist will be stuck in space as if it is glued to the air. If this happens even for a couple of frames, it will look unnatural; people never have an experience where their whole body moves but their hand gets stuck in mid-air! So, if you have the arms in IK, you have to fight the “IK-ish look” by selling the idea that the movement of the hands is rooted on the shoulders; by making sure the the wrist feels connected to the rest of the body; and by not having the wrists stuck in place while the rest of the body moves around.

How many types of blocking are there? How many frames should I leave for blocking of a normal character?

2010-05-17T22:39:00.000+05:30

The term "blocking," simply means the process of "roughing in" the animation. Of course, because every shot is different, there is no "set number of frames" for the blocking of a shot. The frame count of a shot is usually predetermined by the Director and Editor of the project, or else the length of a piece of dialogue you might be working with.

However, the goal of your blocking should be two-fold:

1) Completeness (which, by the way, IS a word. I checked two dictionaries to be sure!)

Your blocking should be "complete," for lack of a better word. By this, I don't mean that the blocking should be complex or finished animation - not at all. Rather, I mean it should contain everything about your animation that you want to pitch to the director. Ideally, you should be showing all of your main poses, all of your main ideas, the full body language of your character, and all of the major timing decisions with as few poses as possible.

This likely includes all of your key poses and most, if not all, of your breakdowns, so that you are properly describing the weight and movements of the character, all of the acting decisions, and all of the ideas of the shot.

2) Usability

The other goal of blocking is to have something usable that you can continue to improve on. While it's important to show all of your ideas and actions in the blocking, it's equally as important to work "cleanly" and in a way that will let you easily edit your blocking once it's approved. You want to end up with a foundation that is strong and ready to be built upon.

As such, my recommendation is to avoid over-complicating your blocking whenever possible. Hopefully you have a supervisor or client who can understand what blocking is (and what it isn't) and you can show your rough blocking to them for buy-off before really fleshing out all the bells and whistles.

If you are working freelance with a client who just doesn't understand blocking, then my advice is to put together a little presentation for them to show the various stages of animation. It's good to have something around (from a previous gig or an animation test you've done) that you can use to show what previz (pre-visualization) is, what blocking is, what it looks like while it's being refined, and then what it looks like once it's polished. If you can get them used to this process early in the project, life will be a lot easier for you!

Best of luck! I hope this was helpful for someone...

How did you get your first job at a Animatio studio? Do you have any tips on what to do?

2010-05-17T21:45:00.002+05:30

The process of landing my first job had a profound effect on my life. I call it the “Build Your Own Crowbar Approach.”

A bit of back-story: I entered animation school at the ripe old age of 33. At that time I had a wife, a one-year-old child and another on the way. People were telling me how difficult the industry was to break into and that I'd probably never be able to feed my family.

I graduated in February 2003, and immediately hit the streets. I began by mailing out 50 demo reels and waited. Nothing. Not a single response. My first thought was, I needed a better cover letter and a flashier DVD jacket. Oh, and color labels! I opened Photoshop and worked through the night, and in the morning I mailed out 25 more reels with new and improved packaging. Problem was, the content was the same, and (no surprise) so were the results.

Two months passed, and I had two hungry children and no job. Around that time a friend showed me some animation from another student who had just landed an internship at Pixar. I couldn't believe what I saw. I initially felt completely dismayed by the high standard of his work, but after I calmed down, Cameron Miyasaki's animation became my personal yardstick. I closed Photoshop and got back to animating. I would bump into people who knew someone who worked in the industry, and I would hunt them down and beg for their feedback.

I called an animator at Radical Games in Vancouver who looked at my work and told me the quality was such that it would be a waste of time to show his supervisor. I fortified my ego and asked him for specifics. He gave me a list of notes and brushed me off. I hung up the phone and worked through the night. The next morning I dropped off a new reel with his revisions. He called me that afternoon and said he'd try to get me in for an interview. It never happened, but I knew I was on the right track. A few days later a friend introduced me (via email) to a character designer at Pixar named Jason Deamer. Through Jason I was put in touch with Victor Navone who graciously agreed to look at my work and provide me with feedback. I was already a big fan and completely blown away to be receiving his input. Over the next few weeks, I slaved over my computer, determined not to waste Victor's time. He was extraordinarily generous with his critiques and my skills began to rapidly improve. During that time, I would occasionally mail out a reel or two, but I was so fixated on the work, I kind of forgot about the job search. Eventually I received a phone call from Brian Moylen, head of the VFX department at Rainmaker Animation. They were gearing up for the first Garfield movie and he invited me in for an interview. It was not only my first interview, but my first response of any kind from the industry.

When I sat down in Brian’s office, he reached into his desk and produced my demo reel. I was struck by what I had submitted... a clear DVD jewel case with a blank CD on which I had scribbled my name and phone number with a sharpie. No inserts, no labels - nothing. When he played my demo reel, I was struck a second time by the absence of my school work. It had been five months since I had graduated, and in that time, I had replaced two years of student work. I landed the job, fed my family and eventually worked my way up to the position of animation supervisor. At one point, shortly after I started working at Rainmaker, a fellow artist approached me and told me the tale of his friend at Radical who talked about a guy who asked him for a critique of his reel and then resubmitted a new reel the following day. Small industry.

Autodesk Maya 2011 64bit

2010-04-21T16:38:00.000+05:30

Autodesk Maya 2011 64bit

AUTODESK MAYA VERSION 2011

WINDOWS 64BIT

THIS IN NOT THOSE LAME TRIAL VERSIONS WITH OUR STOLEN KEYGEN
date: April 06th, 2010

type: 3D

size: DVD 33x50mb

Description:

~~~~~~~~~~~~

Autodesk Maya 2011 software features powerful new tools for helping create

and repurpose character animation: enhanced skinning capabilities and non-

destructive live motion retargeting. Its new 3D Editorial timeline helps accelerate

pre-visualization and virtual movie-making workflows, while an invigorated user

interface helps improve artistsâ€™ efficiency and creativity. Maya 2011 addresses

todayâ€™s demanding production requirements with its high-performance viewport

display of large scenes, integrated color management, scene segmentation,

improved rotoscoping, and new UI toolkit. With support for 64-bit as Windows

operating systems, Maya is now more accessible than ever, offering artists

an end-to-end creative workflow at exceptional value.

http://www.autodesk.com/

Installation:

~~~~~~~~~~~~~

Unpack, burn or mount with D-Tools & install.

Check Crack/install.txt on DVD

No Lame Patching, no problems with updates, no problems exporting

to a "legal" version, no trial patched, no files modified etc ...

The one and only way to do it - KEYGEN - fully activated

Enjoy!

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spend your time on learning how to crack and how to earn some respect.!

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Autodesk Maya 2011 32bit

2010-04-21T16:29:00.000+05:30

Autodesk Maya 2011 32bit

Autodesk Maya software offers artists an end-to-end creative workflow with comprehensive tools for 3D animation, modeling, simulation, visual effects, rendering, matchmoving, and compositing on a highly extensible production platform. All these capabilities are combined into a single application offering CG artists an exceptional value. Newly available for the Mac OS X 64-bit operating system, Maya 2011 delivers a revitalized user interface, enhanced viewport interaction, new 3D editorial capabilities, integrated color management, and improved character animation.

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SimplyMaya Architecture 101 [Maya]

2009-11-23T18:03:00.000+05:30

SimplyMaya Architecture 101

This Maya 2008 tutorial will cover basic Polygon work-flow which includes the use of Split Polygon , Extrude , Insert Edge Loop and Bevel tools to get a new user comfortable with the many aspects of modelling architecture.

You will start off by learning how to set up image planes to assist you with the dimensions and characteristics of your building. Following this a quick lesson on creating a custom shelf for your modelling project.

Then we will start modelling using Polygon Primatives to rough out part of the Taj Mahal. As the Taj Mahal is symmetrical only one quarter of the main building structure is modelled to save time with the remainder of the building being a lesson in duplication and combining to complete the outer walls. Additional details such as the Domes and Manarets are also modelled seprately and added to complete your model.

SIMPLYMAYA COM INTERIOR SCENE MODELING-W3D [Maya]

2009-11-23T17:55:00.000+05:30

SIMPLYMAYA.COM.INTERIOR.SCENE.MODELING-W3D [Maya]

The Living room tutorial is intended for intermediate Maya users. You will begin by setting up your reference image on an image plane and then start modeling the set, using both polygons and nurbs to block the correct shape, and size of the objects. Some of the tools used in the modeling section cover extrude face, cut face tool and split polygon to name a few. After the modeling section is complete we will switch gears and get into UV layouts, which is taking all the modeled geometry and converting it to a flat pintable map to apply textures on them in a painting program. You will learn how to assign color to the geometry to make planar maps as well as tools like move and sew uv's.

Texturing begins after all the uv's are laid out and have a flat map for painting. In a paint program you will learn how to use layers as well as many of the painting options to achieve the correct colors and textures of the objects in your scene. After we get the correct colors on our set we will start to add lights so we can see and understand how both textures and light affect each other. In this part of the tutorial you will learn texturing techniques like bump/spec maps, as well as how to use some of the built in shaders in Maya.

We then cover lots of different lights such as making a main light and fill light. After we have achieved a nice look on both our textures and first few lights we will start adding more light sources to really add all the true highlights and shadows. These light details will be done by using more point lights with decay as well some negative lights to fake shadows in certain areas which will be light-linked to only certain geometry. In the last few sections we go a bit more into the bump map for the sofa as well as creating a Paint effects tree for the final rendering.

http://rapidshare.com/files/309241370/smismw3d.part1.rar
http://rapidshare.com/files/309241346/smismw3d.part2.rar
http://rapidshare.com/files/309243250/smismw3d.part3.rar
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Making Of : Making of Terminator 2

2009-11-23T17:47:00.000+05:30

Making of Terminator 2 [Tutorial] | 650MB

Here is the Making of Terminator-2 The Judgment Day

Enjoy...........

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Making Of : The Making of Fallout 3

2009-11-23T17:44:00.000+05:30

The Making of Fallout 3 Behind The Scenes.

Size : 2.21 GB

Making Of : The Making of Jurassic Park

2009-11-23T17:42:00.000+05:30

The Making of Jurassic Park - Behind The Scenes Tutorial.

Size : 452 MB

Making Of : The making of The Lost World

2009-11-23T17:39:00.000+05:30

The making of The Lost World - Behind The Scenes.

Size : 385 MB

Making Of : The Making of Jurassic Park III

2009-11-23T17:36:00.000+05:30

The Making of Jurassic Park III

Size : 180 MB

http://rapidshare.com/files/139704777/The_Making_of_Jurassic_Park_III.part1.rar
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http://rapidshare.com/files/169735969/The_Making_of_Jurassic_Park_III.part3.rar
http://rapidshare.com/files/169735902/The_Making_of_Jurassic_Park_III.part4.rar

Making Of : The Making of 300

2009-11-23T17:33:00.000+05:30

The Making of 300

Exclusive Bonus DVD with over 30 minutes of Behind-The-Scenes footage. A SNEAK PEAK AT 300: Exclusive look inside 300 with behind-the-scenes footage. FIRST LOOK: Director Zack Snyder provides a glimpse into the amazing world of 300 and discusses the process and challenges of bringing the graphic novel to life. PRODUCTION DESIGN: A first glance at the set designs and the inspiration behind them. TRAINING: Inside look at the intensive and rigorous excercise program the actors went through prior to filming. WARDROBE: Learn about the creative process involved in creating a wardrobe insoired by the painterly pages of the graphic novel. STUNT WORK: An in-depth look at the amazing amount of stunt work that was required while making 300. CREATURES: The story brhind the make-up, latex, and creative blood that transformed Frank Miller’s artwork to the screen. ADAPTING 300: Frank Miller and Zack Snyder give new insights into the process of translating Miller’s vision of the tale into a motion picture. SPARTAN CULTURE: Learn about Spartan Society and training rituals. INTERVIEWS WITH THE CAST: Gerard Butler, Lena Headey and Rodrigo Santaro each describe his/her role in the film. 300 MARCH TO GLORY: Asneak peak of the new videogame. 300 MOBILE GAME TRAILER

Size : 296.48 MB

http://rapidshare.com/files/170390908/The_Making_of_300.part1.rar
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http://rapidshare.com/files/170391016/The_Making_of_300.part3.rar
http://rapidshare.com/files/170391379/The_Making_of_300.part4.rar

pass: bdshare.net

Making Of : Pirates Of The Caribbean - The Making Of At Worlds End

2009-11-23T17:31:00.000+05:30

Pirates Of The Caribbean - The Making Of At Worlds End

Pirates of the Caribbean: At World’s End is a 2007 adventure film, the third film in the Pirates of the Caribbean series. The plot follows the crew of the Black Pearl rescuing Jack Sparrow (Johnny Depp), from Davy Jones’ Locker, and then preparing to fight the East India Trading Company, led by Cutler Beckett (Tom Hollander) and Davy Jones (Bill Nighy), who plan to extinguish piracy. Gore Verbinski directed the film, as he did with the previous two. It was shot in two shoots during 2005 and 2006, the former simultaneously with the preceding film, Pirates of the Caribbean: Dead Man’s Chest.

The film was released in English-speaking countries on May 24, 2007 after Disney decided to move the release date to a day earlier than originally planned. Critical reviews were mixed, but At World’s End was a box office hit, becoming the most successful film of 2007, grossing approximately $960 million worldwide, and making it the second most successful in the series, behind Dead Man’s Chest. It was nominated for the Academy Award for Makeup and the Academy Award for Visual Effects.

Size : 173.81 MB

http://rapidshare.com/files/171619695/Pirates.Of.The.Caribbean.The.Making.Of.At.Worlds.End.WS.PDTV.XviD-hV.part1.rar
http://rapidshare.com/files/171619732/Pirates.Of.The.Caribbean.The.Making.Of.At.Worlds.End.WS.PDTV.XviD-hV.part2.rar

Making Of : Making Of I Am Legend

2009-11-23T17:29:00.000+05:30

Making Of I Am Legend

I Am Legend director Francis Lawrence describes Robert Matheson’s critically acclaimed novel as “the quintessential story of one man against the world.” The latest film version of Matheson’s book finds Will Smith in the role of Robert Neville, a brilliant scientist who’s somehow immune to a virus that destroyed mankind. Desperate for contact with anyone who managed to survive, Neville spends his days sending out radio messages hoping for some kind of a response. But Neville’s not entirely alone… The ‘Infected’ are wandering the earth and Neville believes using his own blood as a vaccine might reverse the affects of the virus

Making Of : Making of ICE AGE-I

2009-11-23T17:25:00.000+05:30

Making of ICE AGE-I | 316.46 MB

Here is the Making of Greate 3D Animation Movie ICE AGE-I

Megaupload:
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Rapidshare:
http://rapidshare.com/files/163138661/Making_of_ice_age.part1.rar
http://rapidshare.com/files/163138903/Making_of_ice_age.part2.rar
http://rapidshare.com/files/163138971/Making_of_ice_age.part3.rar
http://rapidshare.com/files/163139089/Making_of_ice_age.part4.rar
http://rapidshare.com/files/163139194/Making_of_ice_age.part5.rar
http://rapidshare.com/files/163139277/Making_of_ice_age.part6.rar
http://rapidshare.com/files/163139085/Making_of_ice_age.part7.rar

Filefactory:
http://www.filefactory.com/file/7cbc20/n/Making_of_ice_age_part1_rar
http://www.filefactory.com/file/cc2729/n/Making_of_ice_age_part2_rar
http://www.filefactory.com/file/9d6cf0/n/Making_of_ice_age_part3_rar
http://www.filefactory.com/file/942c3d/n/Making_of_ice_age_part4_rar
http://www.filefactory.com/file/3bace6/n/Making_of_ice_age_part5_rar
http://www.filefactory.com/file/8eb264/n/Making_of_ice_age_part6_rar
http://www.filefactory.com/file/f24e4b/n/Making_of_ice_age_part7_rar

Making Of : The Making of Transformers

2009-11-23T17:21:00.000+05:30

The Making of Transformers

Premiere Pro CS4 Grundlagen Video-Training (2009/DVD)

2009-11-23T17:17:00.000+05:30

Premiere Pro CS4 Grundlagen Video-Training (2009/DVD) | RapidShare | RAR 5,22 Gb

Video and training manual for complete training course on the use of "Adobe Premiere Pro CS4 and Encore CS4 and Adobe OnLocation CS4". Full DVD from the studio video2brain.

Total Training - Adobe Photoshop CS4 Extended: Advanced

2009-11-23T17:11:00.000+05:30

Total Training - Adobe Photoshop CS4 Extended: Advanced

1.6GB | RS & HF | Release Date:October 28, 2009

http://www.totaltraining.com/prod/adobe/photoshopcs4e_adv.asp

Total Training - Adobe Premiere Pro Tips & Tricks

2009-11-23T17:04:00.000+05:30

Total Training - Adobe Premiere Pro Tips & Tricks | 3.4 GB

If you thought you couldn't produce video like the pros, think again. In Total Training Presents:Adobe Premiere Pro Tips & Tricks , professional filmmaker and Premiere expert Jacob Rosenberg guides you through his top 10 secrets and techniques for getting more out of Adobe Premiere Pro. From track mattes to moving facial blurs, exporting 16:9 footage as 4:3, perfecting audio levels, and even making your editing workflow more efficient, this single-DVD series will give you a variety of Premiere Pro tips that only the insiders know.

NIKON SCHOOL: Guide to Creative Lighting

2009-11-23T17:01:00.000+05:30

NIKON SCHOOL: Guide to Creative Lighting(2008/DVDRip) | RapidShare | RAR 2.4 Gb

Gnomonology: Nurbs Surface Modeling

2009-11-23T16:56:00.000+05:30

Gnomonology: Nurbs Surface Modeling

Maya has the ability to construct multiple types of surfaces using a number of modeling tools and techniques. Maya's NURBS surface offer a clean technical approach to surface modeling. Starting from Photographic reference this tutorial demonstrates the entire workflow from images plane setup to curve layout to surface construction and detailing using Maya's surfacing tools in the construction of an organic bug.

http://hotfile.com/dl/18123337/1828026/ctk_27.part01.rar.html
http://hotfile.com/dl/18123149/4be35c5/ctk_27.part02.rar.html
http://hotfile.com/dl/18084281/9c93e3e/ctk_27.part03.rar.html
http://hotfile.com/dl/18084262/faf1e6f/ctk_27.part04.rar.html
http://hotfile.com/dl/18123180/3d0851c/ctk_27.part05.rar.html
http://hotfile.com/dl/18123192/b3b9226/ctk_27.part06.rar.html