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Viewport 2.0 Lighting and Basic Techvis (Shot 01 and 02). We also discuss real world lenses and focal lengths, specifically the Arri Master Primes and Angeniuex Optimo 12x 24290mm. We then hop into Maya and previs Shot 01, an ECU of the skater. In the third lesson we break down the Agency Storyboards and the Director’s Treatment. At the end of the lesson you’ll have a fully rigged and textured character to animate. We will also add a hat, skateboard, and customize the texture of the model. We then use the HIK system in Maya to automatically rig our character to accept motion capture data and/or hand animation.
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In the second lesson we learn how to use the Autodesk Character Generator, a free web app, to create a custom character. We also explain where a previs artists fit in the Commercial Production Pipeline.Ĭreating a Custom Rigged Character Quickly. It’s important to see the entire workflow as we will be doing it for every shot. We’ll export a playblasts and screenshots, that we’ll bring into InDesign to create storyboards and into Premiere to create an animatic. We will set up Maya in real world scale and animate a simple scene. In the first lesson we are going to look at the entire workflow of a solo previs artist. We conclude by learning looking at previs related jobs at The Third Floor and Halon Entertainment. Well do some basic 3D character animation and examine how a real world camera is moved using a tripod, dolly, and technocrane.īy the end of the course we will have a finished animatic that well edit in Adobe Premiere as well as a storyboard of that well create in Adobe Indesign. We will examine how a previs artist fits into a modern live action commercial production pipeline and how to accurately represent a real world camera in Maya.