Hasta La Motion!

Dover Studios today released Maya Intermediate NURBS Modeling, their latest visual effects training video.

Maya Intermediate NURBS Modeling digs deeper into Maya’s extensive NURBS modeling toolset. In this video visual effects artists, Andrew Hazelden and Russell Hazelden, explore the NURBS modeling techniques used to create an old-fashioned pocket watch.

Essential topics include: drawing NURBS curves to define the shape of each watch component, constructing surfaces from curves using a variety of NURBS surfacing tools, reshaping surfaces using soft selection and reflection, and replicating objects along a motion path using the animation snapshot tool.

Discover how to create smooth junctions between surfaces using the circular and freeform fillet tools. Learn how to use the trim tool to remove regions from NURBS surfaces by projecting curves on surfaces and intersecting surfaces.

Advanced topics include: fine-tuning NURBS Tessellation settings to produce smooth surfaces at render time and creating an ambient occlusion test render to evaluate the final pocket watch model using the mental ray renderer.

Maya Intermediate NURBS Modeling features over 2 hours of crystal clear 1080p high definition video. No steps are left out and every detail is explained with easy to follow step-by-step instructions.

Pricing and Availability
For more information visit http://www.DoverStudios.com and watch the free preview. Maya Intermediate NURBS Modeling is available now as a download for $49.95 USD.

About Dover Studios
Dover Studios, Inc. was founded in 2000 by brothers, Andrew Hazelden and Russell Hazelden, to provide professional Maya training for visual effects artists working in the film and television industry. Visual effects artists have relied on Dover Studios Maya training videos for years to help them meet the challenges of learning new skills. Satisfied customers around the world include students, freelancers, visual effects studios, universities and businesses.

Dover Studios visual effects training videos are specifically designed to help artists advance their skills in a way that is flexible, convenient, and affordable. The VFX training videos are available as direct downloads from the Dover Studios website enabling artists to learn new techniques right away and at their own pace.

Source: www.doverstudios.com

Nestled in a fifth floor suite of a historic building in downtown Portland, OR, is Periscope Studio, a freelance collective of 24 of the world’s top comic artists. Their work spans the gamut of contemporary comic art, from underground comics and graphic novels to more mainstream Marvel and DC titles. Along the way, the artists also find time to collaborate on a steady stream of bigger projects from corporate clients.

Founded in 2002 by eight illustrators, Periscope is a compelling alternative to the usual isolation of freelance work. It gives the artists ample opportunity to exchange ideas and technical tips while enjoying the camaraderie. Their work areas are designed to express the artists’ individuality and fit their workflow, and amid superhero figurines and stuffed frogs, almost every artist has a Wacom interactive drawing tool in their space.

Steve Lieber, one of Periscope’s founders, uses a Wacom® Cintiq® 21UX display, which he says "has saved me time and time again." Best known as the artist of the graphic novel Whiteout (now a Warner movie), Lieber’s work has been published by DC Comics, Marvel, Scholastic, Dark Horse, Image, Carus Publishing, Dupuis and many others.

Like most artists, Lieber began with pen and paper. Now, drawing directly on the Cintiq’s 21-in. screen with the pressure-sensitive pen, he has the best of both traditional and modern approaches with a digital workflow that enables him to be much more productive. Like nearly all the artists at Periscope, his principal application is Adobe® Photoshop®, which interacts intuitively with the Cintiq.

"You cannot beat the Cintiq 21UX as an artistic tool," he says. "The interactive pen provides the same feel and feedback as traditional media, with the added benefit that you never have to worry about making a mistake. You can simply erase something and try again."

As far as return on investment, Lieber adds, the Cintiq is a slam-dunk. "It pays for itself in one freelance gig with astounding efficiency and productivity gains," he says.

Among these efficiencies is much faster sharing of concepts and storyboards with clients. Not only does this save valuable time and money, it greatly improves communication throughout the production pipeline.

"The Cintiq is especially handy when ‘concepting’ with clients," explains artist David Hahn, whose work includes Spider-Man Loves Mary Jane, The Fantastic Four, Bite Club and Red Herring, as well as his own comic series, Private Beach.

"Our trips to Kinko’s and FedEx to copy and ship original art have virtually disappeared," Hahn continues. "Revisions are much faster as a result, which streamlines the client approval process."

Also drawing praise from Periscope artists are the Cintiq’s built-in ergonomic features, such as the adjustable stand, non-dominant hand shortcut keys and intuitive interactive pen response.

"The Cintiq plays a huge role in reducing body fatigue as you work," notes Dylan Meconis, creator of the graphic novels Bite Me! and Family Man. "The workflow is neat and uncluttered, and I can work for hours and hours with no pain."

The Cintiq’s ergonomic flexibility is highlighted by the way different users set up their work areas. Some of the artists use the included Cintiq stand — which allows the display to be rotated 180 degrees in either direction for natural movement — while others have made their own "Cinteasel" (Cintiq + easel).

Periscope bills itself as "the grandest collection of comics creators in the Western World," and it is hard to argue with that characterization. The collective concept fosters creativity and collaboration, and the Cintiq’s artist-friendly approach fits right into this environment. As Steve Lieber says, "The Cintiq is my secret collaborator."

Note: For a look at the outstanding work by Periscope’s artists, go here and click on the individual names on the right hand side of the page: http://periscopestudio.com/about/.

Also, for a video tour of Periscope, watch this segment from Oregon Public Broadcasting’s "Art Beat" program: http://www.opb.org/programs/artbeat/segments/view/866.

hello friends, i m new to match moving. please tell me how to attach a model to boujou taking data in maya. please help me.

What is the basic amount chagring for a 60 seconds in conversion full process (roto,2dpaint,depth comp) just iwant 2k rate and PAL,and NTSC rate:):thanks:

Animazoo UK Ltd is pleased to announce the addition of two new professional inertial motion capture systems to it’s IGS range. The IGS-180 and the IGS-150 are available alongside Animazoo’s high end IGS-190-M full body motion capture system and IGS-Mini range of partial body capture systems. Fitted with redesigned, smaller and lighter gyroscopes both systems are ideal for any motion capture environment.

Retailing at $20,000 USD the IGS-150 is Animazoo’s entry level gyroscopic motion capture system, ideal for Education Institutes, Independent Developers and Animators. Featuring 15 standard inertial gyroscopes, the IGS-150 provides accurate, nuance rich motion capture at an affordable price.

Retailing at $45,000 USD the IGS-180 is Animazoo’s latest production ready inertial motion capture system ideal for Higher Education Institutes, Movement Sciences and Professional Developers. The system is fitted with 18 advanced, lightweight, daisy-chained gyroscopes providing the cleanest data from any inertial system in the market today.

“These two new additions to our product range make us the most versatile manufacturers of inertial motion capture systems in the world. With full body systems starting from $8,000 (Animazoo Gypsy 7) we really now have a product for everyone no matter how big or small the client, or how adventurous the motion capture. We are beating our main competitor Xsens (manufacturers of MVN) in both functionality and price. If you’re looking to buy a motion capture system, you would be wise to ask for a quote from Animazoo.” Ali Kord, Director of Technology, Animazoo

Both systems are shipped with Animazoo’s Version 10 Operating Software which gives the ability to capture in 15/30/60/120 frames per second. As well as the standard real-time data viewer and recorder the software suite includes a revolutionary keyframe editor which allows for greater data manipulation and post-processing. Calibration for both systems is automatic on boot up ensuring quick and easy operation. Like all inertial systems, the IGS-150 and IGS-180 do not suffer from occlusion or marker swapping.

Additional software available from Animazoo are real-time drivers for MotionBuilder 2011 as well as the new real-time drivers for UDK, Unity and Panda 3D game engines.

For further information please contact feedback@animazoo.com or telephone +44 (0)1273 417440

www.animazoo.com