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Essential Masterclass Course Information

  • Masterclass Pre-Requisite:  Intermediate to Advanced Experience (Minimum 2 Years in Architectural Visualization Development)
  • StudioAMD + Neoscape Masterclass Courses Covered:  3ds Max, V-Ray, RPManager, Photoshop & After Effects.  INSTRUCTORS: Studio AMD + Neoscape.
  • Kilograph + Factory Fifteen Masterclass Courses Covered:  3ds Max, V-Ray, Photoshop, After Effects, ZBrush, Nuke, Forest Pack Pro, thinking particles, Krakatoa, Frost, RayFire, Mass FX, Real Smart Motion Blur, SuperMesher, Magic Bullet & Frischluft – Lenscare Pack.  INSTRUCTORS:  Kilograph Factory Fifteen.
  • Masterclass Course Length:  StudioAMD + Neoscape - 29.5 hours, Kilograph + Factory Fifteen - 27.5 hours.  ALL  COURSES:  57 Hours

…..

Studio AMD + Neoscape Masterclass

Overview

The culmination of years in development with world-class studios, 1000+ hours of time invested in creation and editing, and a sold out live event (almost double the expected capacity) have created the diamond standard in architectural visualization training.  Simply put, you will not see any extensive advanced video training from anywhere else.

For more information, review the top-level caliber of the Masterclass instructors, studios, and courses below.  Click on each tab above to review each Masterclass session outline (Day 1 -4).



Masterclass Studios, Instructors and Live Class Gallery

Masterclass Studios

Neoscape Logo (Masterclass)

Neoscape started in 1995 with a simple goal: to help our clients and their audiences visualize a world that had yet to be created. Nearly 20 years later this daily interaction with the future continues, as they constantly seek new ways to communicate rich stories with creative that is never cookie-cutter. It isn’t always easy, but they think it’s worth it.

Neoscape currently employs over 60 people in their Boston, Massachusetts studio and is one of the world’s leading architectural visualization studios in North America.

Studio AMD logo (Masterclass)

Since its inception in 1992, studio amd’s partners and staff have dedicated their talents to refining the art of architectural imaging. Studio amd is committed to understanding the unique challenges of each project. We are sensitive to the architecture and real estate industry’s need for visual media that balances both artistic interpretation and realism. Over the past 20 years, this studio has been the most honored architectural illustration firm in the world, including winning the prestigious Hugh Ferriss Memorial Prize twice.

Masterclass Instructors

MATT RICHARDSON

MATT RICHARDSON

Senior Digital Artist

As senior digital artist, Matt is an active member of production and manages a team of artists working to ensure that projects maintain a high level of quality and the inspired creativity for which Neoscape is known. He joined Neoscape in 2006 after graduating with a Bachelor of Science in Computer Science and Electronic Media, Arts, and Communications from Rensselaer Polytechnic Institute. Recent experience includes the production of a series of restaurant concept animations for Hilton Worldwide, continued work for Autodesk on their expanding BIM City story, as well as a number of animations for an interactive e-learning presentation for EMC. Matt also has been actively involved in both planning and presenting for the Autodesk Animation User Group Association (AAUGA), a monthly user group meeting for industry professionals and students.

NILS NORGREN

NILS NORGREN

Founding Partner

As a founder and principal of Neoscape, Nils is not only an industry entrepreneur but also a true computer graphics pioneer, constantly pushing technological, creative and artistic limits to achieve the most beautiful and impactful imagery possible. In his over 18 years experience, his work has received numerous awards including the Gold Medal for Best Marketing Film at the World Media Festival in 2006 for the Plaza Private Residences movie. His work was also selected for New York City’s bid for the 2012 Olympics, and he was nominated for an Emmy for his role as director of photography on a film chronicling Boston’s Big Dig efforts. Nils is also a founder and past president of Boston’s Autodesk Animation User Group Association (AAUGA) and is a member of the CGSociety. He graduated with a Bachelor of Science in Environmental Design and Architecture from the University of Colorado.

CARLOS CRISTERNA

CARLOS CRISTERNA

Associate Principal | Director of Visualization

With Neoscape since 2005, Carlos leads the studio’s film and 3D animation teams. His background in architecture, balanced with an established artistic expertise, is reflected in all aspects of his work, each piece deftly choreographed for its intended audience. As 3D visualization director, Carlos oversees Neoscape’s teams of digital artists to ensure the most accurate portrayal of project design, creating a deliberate mood and atmosphere that supports project brand messaging. His decade of experience encompasses everything from architecture, design, and film, and provides him with an enviable skill set that makes him a finalist for multiple architectural illustration awards annually. He has received several awards and recognitions including the ASAI Award of Excellence in 2009 and the 2010 ASAI Formal Award in addition to having his work in publications such as Ballistic Publishing’s Expose and Elemental books. Most notably, in 2013 he oversaw a project that received ASAI’s prestigious Hugh Ferriss Memorial Prize. He graduated with a Bachelor of Architecture from the Universidad Autonoma de Sinaloa.


VASSILI SHIELDS

VASSILI SHIELDS

Senior Editor

As Neoscape’s editor and videographer for the past 5 years, Vassili uses his techniques as a filmmaker to assemble concise and direct stories that have an emotional impact on the viewer. After graduating from Boston University with a degree in film and television, he spent time honing a broad range of filmmaking skills, from casting and directing to cinematography and editing. At Neoscape, Vassili works closely with the creative director and director of visualization to assemble compelling films in a variety of genres, selecting the most effective shots in terms of drama, story relevance, and continuity. He is responsible for assembling the final product as a sequence consisting of shots from the raw camera footage, time-lapse photography, sound effects, graphics and a music bed. Vassili’s editing skills greatly enhance the final quality and delivery of Neoscape films.

SETH BORNE

SETH BORNE

Senior Digital Artist

As a senior digital artist at Neoscape, Seth focuses on architectural visualizations and animations, and dabbles in streamlining production pipelines and custom workflow scripts. Recent experience includes the production of 3D illustrations for projects including Federal Realty’s Pike & Rose and Hines’ CityCenterDC. In addition, he created the interactive interface graphics for BGI’s Seaport Square iPad application, which won a 2012 MITX Interactive Award. Seth is a regular contributor to Boston’s Autodesk Animation User Group Association (AAUGA), where he has presented topics ranging from Advanced 3ds Max Materials and MaxScipting to Photoshop/After Effects Composting. Additionally, he has published articles on 3ds Max in AUGIWorld Magazine and taught at The Boston Architectural College. He was trained as a landscape architect before transitioning to visualization and he graduated with a Bachelor of Science in Landscape Architecture from Purdue University.

DAVE PARMENTER

DAVE PARMENTER

Senior Motion Graphics Artist

With Neoscape since 2008, Dave Parmenter is uniquely skilled at creating stylized motion graphics that enhance each film’s brand messaging. Carefully integrated into the cinematic backdrops, Dave’s dynamic graphic overlays call out specific information or program elements without detracting from–and ultimately enhancing–the film’s movement and flow. His work includes a wide variety of styles, each perfectly suited to the mood of the piece. Recent work includes title and supporting visuals for Safdie Architect’s Trophy at Changi Airport, Jamestown’s Innovation and Design Building, and multiple promotional pieces for EMC Corporation. Dave received a Bachelor of Fine Arts from the University of Massachusetts Amherst.


MATT RICHARDSON

MATT RICHARDSON

Partner/Co-Founder

Jon Kletzien is an architectural illustrator, partner, and co-founder of studioamd(est.1992). He has been working closely with the images, clients and the full range of project types and scales that have come through the studios office from the Sochi 2014 Olympics, to private residences for Richard Meier. In addition to his role as creative director at the studio for the last 19 years Mr. Kletzien has taught architectural drawing at his alma mater, the Rhode Island School of Design, and is a frequent lecturer, including the keynote speaker for the 2007 Design Communication Association conference. Jon is a former Treasurer and President of the American Society of Architectural Illustrators, and has served on the ASAI annual jury.

GORDON TARPLEY

GORDON TARPLEY

Senior Digital Artist

Gordon Tarpley comes from a background in traditional arts and focuses on applying these techniques to a digital medium. His skills cover the gamut, from painting, illustration, photography, graphic design, 3d modeling, sculpting (digital and traditional), lighting, matte painting and 3d printing. Outside of his many projects at StudioAMD he has done a wide variety of work for clients such as The state of Florida, Whirlpool, Kholer, Kitchen Aid, Microsoft, Lucasarts, Universal Studios and many more.

Masterclass Live Class Gallery

Day 1

STUDIO AMD

Course Length:  7 Hours

Join Jon Kletzien and Gordon Tarpley from Studio AMD as they show you how to make a great image, and get home on time. Through the development of an image project attendees will be shown reflections on a workflow strategy for small work groups in order to maximize productive office hours, even out man power demands over the project lifespan and paint (composite) it to its final form.

What’s in this Video Preview?

OBJECTIVE:  Work and Get Home on Time!

  • 0:00 – Understanding the industry and develop workflow as a canvas and not a 3D Model.
  • 5:53 – Using multiple mattes / layer passes with RPManager
  • 9:05 – Using mattes / layer passes in Photoshop
  • 10:32 – Fake lighting and using masks in Photoshop
  • 11:54 – Object IDs in 3ds Max
  • 12:58 – Adding shadows and God Rays in Photoshop
  • >> More In-Depth Version Available to Our Free Members

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Masterclass Session Outline

NOTE:  Masterclass times are approximate and can vary throughout the day or onto other days of training.

THE PRODUCTION CURVE (3 Hours)

The Masterclass Production Curve and where we all lose time

  • The Curve
  • info
  • feedback
  • technical snafus
  • changes
  • revisiting
  • render time

Attacking the Curve

  • Getting to painting sooner
  • Knowing what you’re making
    • space and form
    • landscapes, and portraits.
    • History, precedents
  • The real Power of Xrefs
  • Organizing a Pass manager for the issues we all confront
    • Library
    • Atomizing the database
    • Daily timing
    • Layer structure
  • Wedding xrefs, a pass manager, and a network render farm.
  • Backburner/Deadline and the project end game

NON-DESTRUCTIVE EDITING TOWARDS A FINAL PRODUCT (4 Hours)

  • Importing Layers and organizing passes
  • Layer groups, color coding and the importance of naming
  • Layer masks/Folder masks
  • Ways to utilize the handy elements of our specific workflow
    • Mask Channels
    • Alpha channels
    • MM passes
    • Object ID
    • vray wire color
  • Uses of adjustment layers
    • RBG curves
    • Hue/Saturate by individual color
    • Layer Mask Adjustment panel
  • Short deadlines and Photoshop rescue
    • Quickly creating mood for more dramatic images
    • Quick generic 3d lighting setups, the good and bad.
    • Knowing what you can get away with in photoshop to save time in 3d
    • How much time spent lighting in 3d vs adjusting in PS
  • Photoshop Masterclass related Time saving tips and Techniques
Day 2

NEOSCAPE

Course Length:  8.5 Hours

Join six of Neoscape’s top artists and company founders as they delve deep into the workflows and production tested techniques used in Neoscape film productions.

Neoscape Demo Reel

What’s in this Video Preview?

Pre-visualization, lighting, materials, and music tips and tricks.

  • 0:00 – Know what your client likes through branding
  • 3:26 – Storyboards
  • 7:41 – V-Ray lighting – light & fog / atmosphere passes and modifying in Photoshop
  • 11:26 – Using 3ds Max Slate material editor to manage multiple materials / textures on a single object
  • 15:55 – Real-World fill lights and reflections
  • 18:31 – Music and Voiceover 3D scene matching
  • >> More In-Depth Version Available to Our Free Members

Masterclass Session Outline

NOTE:  Masterclass times are approximate and can vary throughout the day or onto other days of training.

PRE-PRODUCTION (2.5 Hours)

Project Initiation / Treatment  (Rodrigo & Carlos) 

  • schedule
  • research
  • creative brief
  • project initiation
  • client buy-in
  • establish team “buy-in”
  • establish end use / presentation circumstances

Storyboarding / Creative   (Rodrigo & Carlos) 

  • establish composition
  • delineate key scenes and spaces
  • orient camera / POV maximize story clarity

   Pre-Viz   (Matt & Vinnie)

  • Bipeds to block out motion
  • simple massings to convey general size and shape
  • Google Earth imagery to mock-up aerial sequences
  • Vectorized map data to create rough 3d sites (e.g. Open Street Map)
  • indicate pacing, camera speed and motion.
  • time for exploration – composition, point of view, easy to create more than necessary
  • further refine organization / naming conventions

  Animatic Edit  (Dave & Vassili) 

  • whole – film pacing established (editorial)
  • template for shots – use whatever is available for mock-up
  • Solidify shot length
  • Soundtrack, Audio, Voice Over – initial music choice

PRODUCTION (6 Hours)

Asset Collection/Project Management/Troubleshooting  (Seth)

3d Modeling – This would be touched on, but not in depth

  • model purposes
  • collect info – models from client
  • rebuild when necessary
  • General Best Practices

Workflow issues considering Network Rendering

  • Scene Optimization
  • Large scale asset management
  • Scene Organization  (Seth & Rauf)

Scene Organization – master file, shot files, naming (Nils & Seth)

  • creating of a “Master” file – then breaking them out to “shot” specific files

  • Lighting   (Dan & Jonny)
      • lighting planning and research
      • Day, night, interior

     

  • Materials  (Seth & Jonny)
      • Real world materials
      • randomizations – fighting with repeating textures
      • complicated vs. simple
      • using Slate effectively

     

  • Camera Animation (Nils & Carlos)
    • taken from pre-vis step, being sure to keep naming consistent
    • real – world cameras – Dolly, Truck, Pan, Zoom, Crane, Focus pull
    • camera choreography – preceding shot – following shot movement
    • trick/match shots

     

  • Live action (Dave/Vassili)
    • b-roll

      • As in all films, proper content is necessary to contextualize the subject. On many films it is important to add supporting footage to set up the environment/location, mood, or concepts. We often film this content on our own with a combination of Canon dSLR’s and our RED SCARLET camera. Other essential equipment includes tripods, external monitors, and plenty of recording media and batteries.

    • live action – interviews

      • Interviews are often used by architects to describe their vision, and for key players to sing the praises of whatever project we are featuring.

    • live action – green screen

     

  • Compositing (Dave, Casey & Alex)
    • render passes – patches/mattes real world circumstances/fixes
    • integration techniques
    • motion graphics
    • post motion blur
    • effective rendering strategy for edge control (straight vs pre-multiplied)

    Editing – refining as assets become available (Vassili & Rodrigo)

Day 3

NEOSCAPE

Course Length:  7.5 Hours

Join six of Neoscape’s top artists and company founders as they delve deep into the workflows and production tested techniques used in Neoscape film productions.

Neoscape Animation

What’s in this Video Preview?

Advanced Architectural Visualization with 3D Tracking

  • 0:00 – 3D tracking & view matching in 3ds Max
  • 6:36 – PF Track Auto Tracking
  • 9:35 – 3D tracking with NukeX
  • 14:08 – Using the tracking keys to 3D track within 3ds Max
  • 17:38 – Patch objects with 2D / 3D tracking in After Effects
  • 19:54 – Animating floors, walls, windows, doors and furniture in 3ds Max
  • 25:02 – Compositing 2D / 3D people in After Effects
  • >> More In-Depth Version Available to Our Free Members

Masterclass Session Outline

NOTE:  Masterclass times are approximate and can vary throughout the day or onto other days of training.

EXAMPLE WORKFLOW #1 - VIEWMATCHING A STILL PHOTO (2 Hours)

(Seth, Matt & Corey)

Film Example Tutorials:

  • Similar to the camera tracking workflow, but would focus on precise camera lens and exposure information, as well as camera height and real-world location to help with the match.

EXAMPLE WORKFLOW #2 - CAMERA TRACKING (3.5 Hours)

(Matt/Nils)

  • Tracking of the footage (Nuke, PFTrack, AE, etc)
  • Exporting tracking data to 3d program
  • Aligning 3d camera information to a 3d model
  • Lighting, materials, and rendering to match the footage (e.g. matching the time of day)
  • Compositing 3d rendered frames with a moving video backplate

EXAMPLE WORKFLOW #3 - ANIMATED BUILD (2 Hours)

(Matt, Vinnie & Nils)

  • Larger scale build, like a whole building, or something more detailed, like a piece of furniture.
  • Go through the process of cleaning/organizing the model, animating the pieces, how to render out the different passes properly, and finally compositing everything together with the rest of the shot.
  • Techniques for animating, rendering, and compositing 3d people and cars.
Day 4

NEOSCAPE

Course Length: 6.5 Hours

Join six of Neoscape’s top artists and company founders as they delve deep into the workflows and production tested techniques used in Neoscape film productions.

Neoscape Animation

What’s in this Video Preview?

Post-Processing Tips and Tricks

  • 0:00 – Integrate Aerial Footage with 3D Objects in Nuke
  • 1:49 – Interior composition scene in After Effects
  • 7:29 – Green screen and real-world lighting
  • 8:49 – Composition of green screen in Adobe After Effects
  • 10:47 – Graphic Overlays on Live Footage within After Effects
  • 15:28 – Sound Editing in Adobe Audition – clipping and adjusting levels
  • 19:35 – Color grading / correction in Adobe Premier
  • 28:30 – Neoscape Demo Reel (Architectural Visualization Animations)
  • >> More In-Depth Version Available to Our Free Members

Masterclass Session Outline

NOTE:  Masterclass times are approximate and can vary throughout the day or onto other days of training.

EXAMPLE WORKFLOW #4 - GS FOOTAGE INTEGRATION AND LIVE PRODUCTION (2.25 Hours)

(Carlos, Dave & Rodrigo)

  • Live action film shoots/aerial footage (Cinematography)
  • Moving cameras in AE for GS integration
  • Green Screen shoots and integration of those assets into CG

EXAMPLE WORKFLOW #5 - MOTION GRAPHICS (1.5 Hours)

(Dave, Casey & Alex)

  • Establishing / Exploring a “treatment” (don’t be afraid to “Borrow”)
  • Working on messaging – what needs to be conveyed
  • scene organization – 3d camera integration in compositing packages

POST-PRODUCTION (2.75 Hours)

(Carlos , Dave & Rodrigo)

  • Final compositing – neutral color, for grading later
  • Final Edit
  • Audio sweeten – Audio Engineering
  • Color correction and Grading techniques
  • Final delivery – compression/delivery/presentation

Masterclass fancy divider

Kilograph + Factory Fifteen Masterclass

Overview


As you can see from the movie to the left, the techniques you will learn in this 4-day course can take your 3D visualizations to award-winning status. Work done from our instructors have been featured in the Sundance Film Festival, SXSW, Ars Electronica, Alpha-ville, The Royal Academy, Africa International Film Festival and London Short Film Festival.

For more information, review the top-level caliber of the Masterclass instructors, studios, and courses below.  Click on each tab above to review each Masterclass session outline (Day 1 -4).


Masterclass Studios, Instructors and Live Class Gallery

Masterclass Studios

Factory Fifteen Logo (Masterclass)

Factory Fifteen are a UK based film and animation studio, led by directors Jonathan Gales, Paul Nicholls and Kibwe Tavares. Their backgrounds range from architecture, 3d visualisation, engineering, animation and photography. They translate this to a multi-disciplinary and distinctive approach to film making.

Their creative shorts and artwork have been exhibited around the world in various film festivals such as Sundance Film Festival, SXSW, Onedotzero, Ars Electronica, Alpha-ville, The Creators Project, Frieze Art Fair, The Whitechapel Gallery, The Royal Academy, Africa International Film Festival and London Short Film Festival.

Kibwe picked up the Jury prize for animation direction in this year’s Sundance Film Festival for Robots of Brixton, which also won the RIBA Silver Medal. Factory Fifteen won 2 architectural 3D awards including ‘Best Architectural 3d Film’ (Golden Age) and ‘Best Architectural 3D Image’ (Megalomania). Their artwork has also been seen in many of the world’s leading Architecture, design and 3D books, magazines and blogs, including Stash Mag, 3D World, 3D Artist, Dezeen, Creative Web and Evolo.

Kilograph Logo (Masterclass)

Renderings and animations are frequently considered little more than a marketing tool. At Kilograph, they take visualization a step further ensuring that these visual assets inspire not only the client but also the designers themselves. As a valuable step of the design process, they strive to make their images as unique as your projects.

A multidisciplinary visualization studio, Kilograph’s extensive knowledge of the architectural design process coupled with over 15 years of combined experience in feature film visualization, animation and visual effects, informs our unique approach.  Their team of experts includes licensed architects, visual effects designers, illustrators and animators.

At Kilograph they are interested in a collaborative approach to design and visualization. Rather than practice a one size, one style fits all approach, they strive to cultivate close partnerships with their clients from project start to finish, ensuring that compelling translations of design visions are always achieved.

Kilograph produces a broad range of visual materials, from conceptual images and animations to complete digital video productions.

Masterclass Instructors

KEELY COLCEUGH

KEELY COLCEUGH

Founder

Keely Colcleugh founder of Kilograph Visualization, is a designer with over fourteen years experience in the fields of architecture, graphic design, film and animation. Keely has worked as an architectural designer, animator and visual effects artist on feature films, commercials and music videos. She was a project manager for Bruce Mau Design in Toronto Canada, a visualization artist for Atelier Jean Nouvel and, prior to founding Kilograph in 2009, she served as the Director of Architectural Visualization for Pixel Liberation Front, a leading visual effects and animation studio in Los Angeles. Keely received a Bachelors Degree in Architecture from McGill university in Montreal and a Masters in Design from the Southern California Institute of Architecture.

JASON ADDY

JASON ADDY

Associate

Jason Addy has been involved in architectural visualization for the past 10 years. Jason’s work has been published in Ballistic’s Expose and in 2012 he was the recipient of the ASAI Hugh Ferris award for architectural illustration. Jason spent six years in house at large architecture firms and two and a half years at Neoscape as a senior digital artist. Working on large scale, fast paced competition projects which involve architectural films as well as still rendering work has become his specialty through his years of experience. Moderating forums and editing industry news sites such as Max Underground and Vizdepot are a few things that Jason does to give back to the CG community. Jason currently uses his skill set and experience at Kilograph as an Associate.

FREDY CASTELLANOS

FREDY CASTELLANOS

Associate

Fredy has over 6 years of professional experience in architecture and visualization. Educated as an architect and having worked in the field Fredy has turned his interests toward representation. Special focuses for Fredy include painting in post production and color theory. Fredy has collaborated as an artist with Vyonyx in London, Pixel Flakes and Fosters Partners among many others. Fredy has been with Kilograph, both as a collaborating artist and most recently as Associate since 2010.


PAUL NICHOLLS

PAUL NICHOLLS

Founder/Creative Director

Paul Nicholls (UK) lives and works in London. He trained in architecture and animation at both Oxford Brookes and UCL (gaining a Distinction for his Masters). He has worked for many of London’s top architecture studios including Glenn Howells Architects and Allies and Morrison, as well as smaller firms like Moxon Architects. In 2011 Paul co-founded Factory Fifteen, a film, animation and design studio based in London.

He was recognised for his architecture and design work in 2007, selected as one of the top architecture students in the country for his project ‘Elevated Brood’. Paul’s creative animations have been seen the world over, notably being short-listed to the last 4 in the 2012 Vimeo awards for his technological vision ‘Somewhere’, being part of festivals throughout 2011-2012 including OnedotZero, The Creators Project NY, Alphaville and Soho Shorts. His film Golden Age – Simulation also won the Best Architectural Animation Award from CG Architect in 2011, and again in the image category for Jonah.

Paul is now a founding creative director of Factory Fifteen and is actively involved in the design and direction of all of Factory Fifteens projects.

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Masterclass Live Class Gallery

Day 1

KILOGRAPH

Course Length:  7.25

Join three of Kilograph’s lead artists as they dive into the production and creative workflows used in their company to create stunning renderings in a production environment.

What’s in this Video?

OBJECTIVE:  Creating a 3D Football Stadium with Crowds

  • 0:00 – Principals of Composition
  • 2:43 – Clay Renderings / Pre-visualization in 3ds Max
  • 4:42 – Rule of Thirds
  • 6:43 – 3D Camera Aperature
  • 9:15 – 2D / 3D People & Vegetation population with Forest Pack Pro (using 3ds Max)
  • 15:29 – Multi-matte with V-Ray
  • 20:16 – Enhancing Stadium / Post Processing with Mattes / Passes in Photoshop
  • >> More In-Depth Version Available to Our Free Members

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Masterclass Session Outline

NOTE:  Masterclass times are approximate and can vary throughout the day or onto other days of training.


PROJECT RESEARCH (.5 Hours)

  • Real world reference imagery Location, atmosphere, weather, colors. Photographers Websites/ Personal photography
  • Camera setups> High and low aerial, street views and interior views.(attractive point of views, playing with perspective, lens angle, rotating views, golden or third rules and photomontage)
  • Lighting references: oblique lighting/ times of day/ Natural, (Time of the day: Hard Light vs soft light, golden hour)
  • Color reference / Inspiration images Color Theories (Complementary Colors, Warm vs Cool defining mood, achromatic colors, opaques and highlights)

3D SCENE SETUP USING 3DS MAX AND V-RAY (3 Hours)

Importing / Exporting files from clients

    • Rhino
    • Sketchup
    • Revit
    • Other

  Model clean up and detailing

    • Flipping faces
    • Layer organization and grouping
    • Chamfering edges

  Planning composition

  Rendering – Test renders

    • Low GI
    • Image sampler settings – Use fixed for test renders
    • Noise threshold

  Lighting / Cameras – Interior / Exterior

    • Cameras – Interior / exterior exposure
    • Vray sun and sky setup – Exterior
    • Skylight portals – Interior
    • Using HDR’s
    • Environment overrides for reflections and GI

  Texturing / Materials

    • Diffuse / Specular setup
    • Bump vs Displacement – When to use them.
    • Large scale non-tiling textures for landscape
    • Road mapping textures: approaches.

  Using proxies to your advanatage

    • Collapsing geometry properly
    • Making sure pivots are at the base of your objects
    • Exporting Vray meshes after doing all of the above.
    • Talk about using only instanced geometry when copying proxies.

  Utilizing plugins – Forest pack

    • Adding plants to your newly created forest object
    • Splines vs Mesh scatter surfaces
    • Using boundaries to include / exclude
    • Clusters / grouping of plants
    • Variation / size and scale
    • Placing trees manually using sub object mode

  Render elements

    • Zdepth, raw reflection, raw refraction, Normals, Multi mattes, wire color, Specular, ExtraTex (dirt)

  Render settings – Final render

2D POST PRODUCTION (3.75 Hours)

PSD Management

    • Layer naming
    • Folders
    • Colors

   Overall color and level adjustments to balance raw renders

    • Utilizing our render elements

   Painting details

    • Adding textures to surfaces lacking detail
    • Painting dirt / wear and tear
    • Extending backgrounds
    • Using brushes and creating custom brushes

   Adding people

    • Lighting – Rim lights, point lights, sun direction etc.
    • Attire that fits our scene / mood and other people in the scene.
    • Scale and eye-lines
    • Hero characters – When to use them
    • Shadows

   Atmosphere and mood

    • Flares
    • Fog
    • Rain
    • Snow
    • Headlight Streaks
    • Extras (blowing leaves, touches of realism and fantasy)

   Final CC

    • Chromatic Abberation / Sharpening
    • Vignette
    • Cold and Warm
    • Contrast

   File output for print vs digital use

    • JPEG – Ok for web and digital use
    • TIF – Best for print / Color
    • DPI – The great debate / Pixels vs Inches

Day 2

FACTORY FIFTEEN – DESIGN

Course Length:  7 Hours

Paul Nicholls from Factory Fifteen guides you through the design and technical ambition of their award winning film Jonah, showing how the film was created  from the concept artwork, asset creation, animation and compositing. The course will be taught using 3DS Max, using several plugins, Vray, Zbrush, Photoshop, P-FTrack and Nuke.

The technical and creative challenges you face within Architectural Visualisation gives you an excellent array of skills which can be applied to other areas such as the vast world of visual effects, (from modelling, animation and rendering to advanced compositing in Nuke) or as an entrepreneurial self sufficient film maker. The skills and methodologies in this course are aimed at intermediate to advanced architectural (or other) 3ds Max users who want to broaden their skill set in this ever merging 3d landscape of ours.

Making of Jonah

What’s in this Video Preview?

Making of Sundance Film Jonah & Learn to Broaden Your Skill Sets

  • 0:00 – Course Overview and Why the Industry Needs People with Broadening Skill Sets
  • 3:58 – Introduction of Jonah
  • 6:56 – Modeling / texturing quickly in 3ds Max
  • 8:08 – Introduction on Creating Objects in Zbrush
  • 13:24 – Adding corroded boat models in 3ds Max
  • 15:54 – Live camera projection and quickly adding 3D objects to your scene
  • 19:24 – Compositing passes / mattes / masks in Photoshop
  • 23:16 – Creating and modifying underwater imagery from 3ds Max into Photoshop
  • 29:39 – Components that made up the Jonah poster
  • >> More In-Depth Version Available to Our Free Members

Masterclass Session Outline

NOTE:  Masterclass times are approximate and can vary throughout the day or onto other days of training.

DESIGN (.5 Hours)

Learn Factory Fifteen’s design sensibilities and approach to artwork creation pre production. Tips on how to start a new project and how to use references and build an idea quickly.

  •  The Big Idea
  •  References
  •  Design list -VS- Image List. (What do we need to tell the story)

ASSET CREATION IN 3DS MAX & ZBRUSH (3 Hours)

I will explain how we created much of the assets before starting any of the artwork, the benefits of this and show the workflow between 3DS Max,  Zbrush and Photoshop to create highly detailed models and textures for more organic elements.

  •  Signs and hard surface modelling and texturing.
  •  Sunken eroded boat modelling and texturing.
  •  Rock structure modelling and texturing.
  •  Corral Reef elements modelling and texturing.
  •  Texturing and painting.

SCENE SETUP IN 3DS MAX AND V-RAY (2 Hours)

Town Image – Rooftops

  •  Camera Match
  •  Context modelling
  •  Camera Projection
  •  Asset placement
  •  Lighting
  •  Rendering

Underwater Rocks Image

  •  Format Decision
  •  Composition design
  •  Asset placement
  •  Scattering
  •  Lighting
  •  Rendering

POST PRODUCTION IN PHOTOSHOP (1 Hour)

  •  Town Image – Rooftops
  •  Underwater Rock Image
  •  Poster Image

RECENT CLIENT PROJECT SAMPLES (.5 Hour)

  • Presentation of how our design approach has been used on client led projects also, showing work from 20k and Xavier.
Day 3

FACTORY FIFTEEN – ANIMATION

Course Length: 7 Hours

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What’s in this Video Preview?

OBJECTIVE:  Building Up & Blowing Up Walls, Tiles & Signs

  • 0:00 – Previsualization, camera placement and blending motion capture
  • 9:19 – Animating and transforming 3D objects
  • 11:33 – 3D tracking in PF Track
  • 17:38 – Tile animation of a wall in 3ds Max
  • 20:35 – 3D collision detection and explosions with RayFire
  • 23:26 – Particle View using PFlow (Box 1 & 2) in 3ds Max
  • 25:11 – Meshing particles using Thinking Particles & Frost
  • >> More In-Depth Version Available to Our Free Members

Masterclass Session Outline

NOTE:  Masterclass times are approximate and can vary throughout the day or onto other days of training.

PREVISUALIZATION IN 3DS MAX AND PREMIER (1.25 Hours)

Learn the simple techniques we used to quickly build an idea of an edit for your film and get a sense of the pace and feel for the spaces and characters. Previs is an invaluable thing to have when creating an ambitious cg heavy film. It helps give everyone with much less technical experience on a film set what you are planning to achieve.

  • Using bipeds to create generic camera moves
  • Linking mocap data to bipeds to use as placeholder character movement reference.
  • Filming base camera moves in the studio and tracking them to use in 3d previs for a more realistic edit.
  • Building an edit using reference music to get a feel for the animation.
  • Exporting from Premier.

TRACKING IN PF TRACK AND 3DS MAX (2.5 Hours)

Using PF-Track I will guide you through step by step on how to track  a dynamic street shot like the ones we used in the film.

  • Understanding your camera settings
  • Undo distorting in your footage
  • Auto-tracking and manual tracking
  • Solving your camera
  • Exporting camera data and undistorted footage to 3ds Max

ANIMATION IN 3DS MAX USING KEYFRAME + CONSTRAINTS, RAYFIRE, PFLOW, BOX #2 & #3, THINKING PARTICLES & MASS FX (3.25 Hours)

I will also introduce you to many of the animation techniques used in Jonah’s transformation scenes using dynamic simulations through max’s massfx, particle effects using both Max’s built in Pflow, Box #2+3, Thinking Particles, Rayfire, as well as manual animation using keyframes and constraints.

  • Animation of architectural elements and signs using manual key-framing and constraints within 3ds max.
  • Animation of a reverse wall fracture effect.
  • Animation of a dynamic emerging particle effect using Max’s Pflow and Box#2+3 plugins.
  • Animation of an object turning into another object using Thinking Particles.
  • Learn the basics of Mass FX and how we used it in specific areas in the transformation scenes.
Day 4

FACTORY FIFTEEN – RENDERING / COMPOSITING

Course Length:  6.25 Hours

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What’s in this Video Preview?

OBJECTIVE:  Putting All Your 3D Together in Nuke

  • 0:00 – Rendering animation scene setups in V-Ray
  • 5:35 – HDRIs and using them in 3ds Max
  • 8:32 – Linking render passes in Nuke
  • 15:58 – Motion blur passes in Nuke
  • 19:01 – Matte / Shadow channels in Nuke
  • 21:50 – Rotoscoping and node masks in Nuke
  • 23:18 – Alpha Masks / shadows and color grading in Nuke
  • 26:50 – Streamline your workflow processes quickly with render passes in Nuke
  • >> More In-Depth Version Available to Our Free Members

Masterclass Session Outline

NOTE:  Masterclass times are approximate and can vary throughout the day or onto other days of training.

RENDERING IN 3DS MAX AND V-RAY (2 Hours)

I will guide you through a professional lighting setup for a dynamic shot using a custom made hdri made on location. I will also give information on how best to capture hdri’s and what the most effective kit is for capturing them. Linear workflow is used throughout. I will discus the different settings for rendering animation and when to use each one.

  • The creation of high end professional HDRI’s from camera to Photoshop and what the best kit is for capturing them.
  • Linear work-flow setup
  • Lighting your scene with your custom HDRI
  • Camera setup
  • Vray settings for still object animation
  • Vray settings for moving object animation
  • When to use brute force
  • Which elements do you need for compositing? – Not just the ones you expect.

COMPOSITING IN NUKE (4.25 Hours)

Beginner – Intermediate, professional workflow introduction. Using the same shot as used previously, we bring all of our render elements into nuke along with our footage and composite them together seamlessly. Learn how to manage huge composits with several renders composited into the same shot. I will be breaking down the most complex shot from Jonah in this section.

  • Nuke interface and basic principles. Learn the professional standard workflow for cg integration into footage using by most top visual effects post houses.
  • Bringing your renders and passes into nuke
  • EXR work-flow. Embedded passes vs separate passes
  • Using masks, channels, roto and plate clean-up
  • Photo-realistic grading to match cg with footage
  • Nuke 3d – Bringing 3d elements from 3ds Max into Nuke
  • Creating 2d animated cards
  • Camera projection in compositing
  • Writing out your composite.