Weekly Walkthroughs provide a complete project, including geometry, file textures, shading networks, environment maps, gobos, and lighting rigs. The aim is to teach through deconstruction of a fully realized but simple scene.
Subsurfacing Sushi creates fish from Maya's wood procedure. It then delves into the network of the mental ray fast_simple subsurface scattering material. Even subsurface pros will learn something as hidden and underused parameters are uncovered from the depths. The lesson concludes with Depth of Field as a post process in Photoshop.

This video is a 97 minute timelapse demonstrating the entire making of the Biker by Rick Baker. There is no audio. Rick begins with a simple humanoid torse basemesh from which he sculpts the biker.
The final result consists of several subtools that originate from mesh extractions. The demo is made with Zbrush 3.0 beta, therefore the interface looks a little different from the final release.
While there is no audio, this timelapse demonstration represents an amazing opportunity to watch a master sculptor at work.

These chapters represent a technical overview of how the image 'Fume' was created using Maya, Zbrush and Photoshop.
In contrast to some of my other work on Gnomonology, Fume was created without any initial design direction.
There was no sketch to develop, as was the case with Jester or Trin. Therefore this tutorial demonstrates a slightly different workflow as I allowed a design to evolve organically. The actual creation of Fume was not recorded, therefore these lectures are all created in realtime as I explain, in detail, the process of creating the image. 'Fume' has been toprow plugged at CGtalk, zbrushcentral, 3Dtotal and was a 'daily deviation' at Deviant Art.

Let's face it: rotoscoping is a drag. You can put countless hours of work into cutting elements out from even a few seconds of your footage, and it comes out badly more often than it doesn't. You want to scream and rip out your hair, not to mention kill the guy who shot the footage and said "We'll fix it in post."

Trin was started to create a high-res 4k still image, yet evolved to become a looping ten second animation rendered in vertical HD at 1200x1920 to be displayed on a wall-mounted digital display.
Starting from a personal sketch, Trin was created in twenty hours using Photoshop, Maya, Zbrush, UVlayout, Bodypaint and Mental Ray. The entire process was recorded and is demonstrated using timelapse footage, where I explain every step with an emphasis on both the technical and aesthetic thought processes.

Swift 3D ® v4 is a simple, affordable 3D modeling and animation program. It focuses on output to Macromedia Flash (SWF) format and offers excellent vector and raster rendering capabilities.
Created specifically for Macromedia Flash designers, graphic artists and other designers who spend the majority of their time in the 2D world, Swift 3D provides an accessible toolset and interface that allows anyone to quickly learn the basics of 3D modeling and animation while providing plenty of room to grow into more advanced 3D tools. This practical "how to" course by 3D animation expert and long time VTC author, Michael Hurwicz, starts from the beginning and uses practical examples to demonstrate Swift 3D’s capabilities. Work files are provided for every example, so the user can follow right along. To begin learning today, simply click on one of the Swift 3D v4 lessons.

* The first will introduce you to a modeling technique that should dramatically speed up the creation of detailed models that can then be used to generate normal maps for their in-game assets
* The second focuses on the use of sophisticated in-game shaders to dramatically increase the visual quality and variety of the game world
* Authored by Alex Amancio, Art Director at Ubisoft

* Demonstrates tips and techniques for developing hair and fur in difficult situations
* Work efficiently with pipeline tools for hair setups such as cloth-driven hair
* Learn from real-world commercial production examples such as cattails, cloth-driven hair, and horse and human setup
* Authored by Joe Gunn, a senior 3D freelance artist and a lead character technical director at EyeballNYC in New York