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We'll be holding our annual conference on Monday, November 26th, 2012 in Las Vegas, Nevada (this is the Monday before Autodesk University begins). Join us for the Autodesk Media & Entertainment ADN Conference, a free event where you can learn about upcoming product releases and share your experience as a developer. The event also includes the M&E DevLab, free for all ADN members and the general public. Network with ADN partners, ask the DevTech team for programming advice, and gain insight from M&E experts.
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You can also access here the full list of activities. Recording available means video is available online.

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Bio

Adam Sale

Certified Softimage XSI Instructor, Certificate 3D Animation & Digital Effects (Vancouver Film School), Autodesk Master Adam co-founded Joncrow Entertainment in 1998. The company has serviced a varied portfolio of corporate clients in Film, Broadcast, Print and Games; Bardel Entertainment, Autodesk, Avid Inc., 3dTutorial.com, EA, BCAA, Traction Creative, Just Leap In, Mercury Filmworks, Scorched Wood, Digital Alchemy, Honkworm International, Nightfall Productions, and more. Adam is a master Softimage XSI user and has provided more than 130 hours of intermediate / advanced video training content aimed at studio artists and students for Softimage XSI. Adam works primarily as an animation, rigging and effects portfolio specialist. He also works with local industry providing internal educational training. To date, he has worked with student-artists on more than 1300 student films and portfolios.

Allan McKay

Allan McKay is an award winning Visual Effects Supervisor and Director, originating from the Gold Coast of Australia, now living in Los Angeles in the United States, working for over 16 years - for Hollywood studios including Warner Bro's, Prime Focus Company – Frantic Films, Emmy award winning Digital Dimension and Oscar nominated Blur Studio, as well as George Lucas' Emmy award winning company Industrial Light and Magic. Working primarily on Hollywood films, some of his more recent effects sequences have been for Transformers 3, Looper, Flight, Priest, The Last Airbender, Superman Returns, Dracula 3D, Daybreakers, Blade Trinity, Exorcist: The Beginning, Paycheck, Scooby Doo 2, and dozens of other feature films. In addition to being tied to various Oscar and Emmy award winning projects, Allan has been awarded as an Autodesk Max Master.

Allan McKay

Allan McKay is an award winning Visual Effects Supervisor and Director, originating from the Gold Coast of Australia, now living in Los Angeles in the United States, working for over 16 years - for Hollywood studios including Warner Bro's, Prime Focus Company – Frantic Films, Emmy award winning Digital Dimension and Oscar nominated Blur Studio, as well as George Lucas' Emmy award winning company Industrial Light and Magic. Working primarily on Hollywood films, some of his more recent effects sequences have been for Transformers 3, Looper, Flight, Priest, The Last Airbender, Superman Returns, Dracula 3D, Daybreakers, Blade Trinity, Exorcist: The Beginning, Paycheck, Scooby Doo 2, and dozens of other feature films. In addition to being tied to various Oscar and Emmy award winning projects, Allan has been awarded as an Autodesk Max Master.

Craig Barr

Craig Barr is a Technical Marketing Specialist at Autodesk specializing in Mudbox and Maya. Before joining Alias/Autodesk in 2005, Craig worked in feature film, commercial and games production. He also runs the Mudbox blog on The Area.

Daryl Obert

Daryl is a 20-year CG veteran who started working for Alias in 1995 as an application engineer. His current role at Autodesk is Senior Technical Marketing Manager. Daryl is responsible for building many of the presentations used at events such as Siggraph, IBC, GDC, and NAB. He has spent his career working with clients, ensuring their success at implementing Autodesk® technology. In addition to his role at Autodesk, Daryl was an adjunct faculty member at NYU"s Tisch School of the Arts, where he taught rendering and special effects.

Derald Hunt

CG Animation Creative Supervisor, Derald Hunt, helps lead Turner Studios' Visual Effects teams for many of their long form projects.  Derald, an 20 year veteran of the 3D animation and visual effects industry, is a prolific generalist, known for using his wealth of production knowledge to solve the toughest of technical and creative challenges.  Derald was awarded the prestigious title of Maya Master in 2004 and has become a popular presenter at various animation events worldwide.  He has co-authored training DVDs for Autodesk and continues to work on materials that help the CG animation community grow.  Derald is currently on assignment in Vancouver, supervising the visual effects for a series being shot for Cartoon Network.

Derald Hunt

CG Animation Creative Supervisor, Derald Hunt, helps lead Turner Studios' Visual Effects teams for many of their long form projects.  Derald, an 20 year veteran of the 3D animation and visual effects industry, is a prolific generalist, known for using his wealth of production knowledge to solve the toughest of technical and creative challenges.  Derald was awarded the prestigious title of Maya Master in 2004 and has become a popular presenter at various animation events worldwide.  He has co-authored training DVDs for Autodesk and continues to work on materials that help the CG animation community grow.  Derald is currently on assignment in Vancouver, supervising the visual effects for a series being shot for Cartoon Network.

Fred Ruff

An expert in the field of computer graphics for over 15 years, Ruff got his start in New York working for a digital post production facility, and worked for Crystal Dynamics in the 90"s. Ruff worked for the Autodesk Multimedia group as a product specialist. Eventually this passion and knowledge put him into the Product Designer position for 3ds max. After a few releases Ruff went on to be the design lead for a team of engineers tasked in creating other "top secret" 3d software for Autodesk. Having redesigned many aspects of 3ds max Ruff knows it inside and out—a huge benefit when it comes to creating compelling 3d animation. Currently he resides at Bent in Portland OR where he supervises their 3D graphics department. Ruff"s works on commercials, films TV shows and music videos. He is currently the visual effects supervisor for the Bent"s FX work on NBC"s Grimm.

Fred Ruff

An expert in the field of computer graphics for over 15 years, Ruff got his start in New York working for a digital post production facility, and worked for Crystal Dynamics in the 90"s. Ruff worked for the Autodesk Multimedia group as a product specialist. Eventually this passion and knowledge put him into the Product Designer position for 3ds max. After a few releases Ruff went on to be the design lead for a team of engineers tasked in creating other "top secret" 3d software for Autodesk. Having redesigned many aspects of 3ds max Ruff knows it inside and out—a huge benefit when it comes to creating compelling 3d animation. Currently he resides at Bent in Portland OR where he supervises their 3D graphics department. Ruff"s works on commercials, films TV shows and music videos. He is currently the visual effects supervisor for the Bent"s FX work on NBC"s Grimm.

Javier Solsona

Javier is currently a Lead Character Technical Director at DreamWorks Animation. Filmography at DreamWorks include: Shrek Forever After, Rise of the Guardians, Puss in Boots, Turbo and Trolls. Nominated for a Maya Masters Award in 2008. Presented seminars for Autodesk in 2007 and 2008 in LA, Boston and Torino, Italy. Also worked for Electronic Arts, Disney Interactive Studios and Lost Boy Studios as well as freelance work in VFX. Founder of Rigging101.com a site that has inspired and educated countless riggers across the world.

Joe Gunn

Joe Gunn is a senior freelance 3D artist based in New York City and has been involved in the 3D animation industry for more than 10 years. He has taught Autodesk"s Master Classes, produced numerous tutorials and scripts for free (and some for purchase) and is always available to answer questions, show you a tip using Autodesk® 3ds Max® software, and to offer advice based on real experience. In 2009 Joe has been recognized as an Autodesk Master by industry peers. He has authored 3 DVD training titles: "Hair 3ds Max Out-ofthe- Box", "mental ray Studio Car Rendering", and "Cloth Beyond the Character", with a fourth title in production. Joe has worked on many different productions from feature films like 2012, Fast 5, and Final Destination 5, to award nominated music videos (Kerli) and more.

Ken LaRue

Ken Larue is Autodesks technical Specialist for Smoke.

Kenny Roy

Kenny Roy started his career in 1998 as a dustbuster on the animated film, Marco Polo: Return to Xanadu. From those humble beginnings, he"s gone on to animate some of the most memorable characters on screen. In almost 15 years, Kenny has animated for TV shows, pilots, commercials, games, web, ride films and feature films, with his most notable credits being Scooby Doo 2, Garfield and King Kong. In 2006 Kenny founded Arconyx Animation Studios, LLC in Los Angeles, Calif. The boutique studio caters solely to character projects, and has found major success pleasing high-profile clients from Mattel to MTV, Nike to Nickelodeon, Saban to SyFy. To learn more about Arconyx Animation Studios, check out the site: http://www.arconyx.com/ Along with running Arconyx, Kenny mentors full-time at AnimationMentor.com. When not hard at work, Kenny enjoys writing screenplays, playing guitar, and spending time with his wife and son.

Laurent Abecassis

Laurent M. Abecassis is an Emmy Award-winning visual effects supervisor and CG character specialist. He is known for his work as a VFX sequence supervisor on the acclaimed TV series Lost, contributing to its breathtaking plane crash sequences. Having worked in the computer graphic field for more than 15 years, Abecassis has tackled many aspects of CG production and software development. He led CG character research efforts at Di-O-Matic, supervised visual effects, and designed production pipelines. For more than a decade, Abecassis has pushed Autodesk software to the extreme in countless productions in a wide range of media—games, television, visual effects, CG feature films, commercials, and innovative interactive kiosks. For the past ten years, Abecassis has been designing and actively developing CG character animations plug-ins for 3ds Max, Maya and Softimage since 2000. His technologies are in use today at leading production houses such as Activision, Blur Studio and Rockstar.

Lee Fraser

Lee Fraser started working for Alias|Wavefront over 15 years ago as an Application Engineer supporting Maya customers. He now works as a Sr. Technical Specialist for Autodesk focusing on helping customers get the most out of Maya, Mudbox, and MotionBuilder in a variety of pipelines. He has enjoyed working with a diverse array of customers from NASA to Disney and EA to the Hare Krishnas and numerous individual artists in between. He is a frequent speaker at User Groups and Trade Shows around the country such as Siggraph and GDC and often helps produce demo content for these events. He has also conducted training for numerous magazine writers that evaluate Maya for review articles including CGW, 3dWorld, and Post. Lee attended Florida State University where he attended classes focusing on Film, editing, and studio broadcast.

Louis Marcoux

Louis Marcoux is an Autodesk Technical Specialist for 3D Animation and Visual Effects since 2003. Prior to Autodesk, he was a real-time broadcast graphics specialist for 5 years, working with Discreet Logic and Vertigo X media. Louis received a Bachelor's degree in Electrical Engineering from Polytechnique in Montreal and also holds a Bachelor of Communications degree from UQAM and a Bachelor of Fine Arts in Film Production from Concordia University.

Matthew Doyle

Matthew has worked in video game development for the last 8 years, holding positions at Mythic as Lead World Designer on Warhammer Online: Age of Reckoning, Senior Gameplay Designer at the former Midway Games LA Studio, and has worked on indie projects as well. He speaks regularly at events around the world on development techniques and trends, and currently holds the position of Game Products Specialist at Autodesk. Most recently he has helped Autodesk lead the charge into mobile gaming and application development.

Mike Weiss

Mike Weiss is the Chief Technical Officer at Mackevision Corporation in Detroit, Michigan. He is part of a team that delivers the highest creative and technical levels of digital and print media. Mike is a highly skilled technician and artist, balancing the creative and logical sides of his brain to generate great imagery, animation, and visualization, as well as developing automated solutions with custom programs and scripts. Mike has developed tools for the creation of product-correct virtual vehicles that are highly complex, scalable, and repeatable. His true passion is bringing ideas to life through design, development, and production.

Paul Neale

Paul Neale has been internationally known in the 3D Animation industry for almost two decades. His extensive involvement as Senior Director of Research and Development and Art Director of 3D has encompassed areas in TV series, feature film, special effects and high-profile games. Paul specializes in character rigging and modeling as well as writing plug-ins and scripted tools for system, software and production needs. In addition to his industry experience, Paul has been an Ontario College Professor for fifteen years where he brings his knowledge, professionalism and passion of 3D to his students. In 2008, Paul received Autodesk Masters Award for Contributions to CG Artistry. Paul Neale has been a Presenter for multiple Siggraph Master Classes as well as a Master Class at GDC. He has represented Autodesk as a regular Guest Speaker at trade shows and special events. Paul Neale has trained numerous companies over the years including Walt Disney Studios, UBIsoft.

Paul Neale

Paul Neale has been internationally known in the 3D Animation industry for almost two decades. His extensive involvement as Senior Director of Research and Development and Art Director of 3D has encompassed areas in TV series, feature film, special effects and high-profile games. Paul specializes in character rigging and modeling as well as writing plug-ins and scripted tools for system, software and production needs. In addition to his industry experience, Paul has been an Ontario College Professor for fifteen years where he brings his knowledge, professionalism and passion of 3D to his students. In 2008, Paul received Autodesk Masters Award for Contributions to CG Artistry. Paul Neale has been a Presenter for multiple Siggraph Master Classes as well as a Master Class at GDC. He has represented Autodesk as a regular Guest Speaker at trade shows and special events. Paul Neale has trained numerous companies over the years including Walt Disney Studios, UBIsoft.

Paul Neale

Paul Neale has been internationally known in the 3D Animation industry for almost two decades. His extensive involvement as Senior Director of Research and Development and Art Director of 3D has encompassed areas in TV series, feature film, special effects and high-profile games. Paul specializes in character rigging and modeling as well as writing plug-ins and scripted tools for system, software and production needs. In addition to his industry experience, Paul has been an Ontario College Professor for fifteen years where he brings his knowledge, professionalism and passion of 3D to his students. In 2008, Paul received Autodesk Masters Award for Contributions to CG Artistry. Paul Neale has been a Presenter for multiple Siggraph Master Classes as well as a Master Class at GDC. He has represented Autodesk as a regular Guest Speaker at trade shows and special events. Paul Neale has trained numerous companies over the years including Walt Disney Studios, UBIsoft.

Roland Reyer

Roland Reyer has started in 1992 as an Application Engineer at Wavefront Technologies GmbH in Germany. He became an industry expert for the entire product portfolio of Wavefront Technologies, later Alias | Wavefront, Alias and finally Autodesk. In his role as an application specialist he tested, demonstrated and trained Maya from its very first version. With 20 years product and market experience, Roland now works at Autodesk as a Solutions Engineer for Maya, Maya Composite, Mudbox and Motionbuilder thoughout Europe.

Steve Williams

To come

TJ Galda

TJ Galda has distinguished himself in the fields of film, television, animation, and video game development since the '90s. Most notably, TJ has been honored with a Lifetime Achievement award from the Ontario Government and was one of three recipients worldwide of the Autodesk Maya Master awards in 2006. Accolades in the environmental sector include Mr. Galda as an Ambassador for the David Suzuki Foundation, on the Board of Advisors for Zerofootprint, and the Chair of the Green Team for Electronic Arts Canada. In his current role at Electronic Arts Canada, TJ is a Development Director leading the presentation and art production for a brand new game. His credits outside of multiple EA titles such as Fight Night Champion and SSX include work on two Academy Award nominated films, Over the Hedge, Kung Fu Panda, Fantastic Four, and many more. TJ is frequently asked to speak and has appeared at many conferences around the world.

Todd Akita

Todd Akita is a Senior Technical Director at Psyop. Founded in 2000 by five creatives, Psyop has become an amalgam of creativity and collaboration and remains focused on providing visual solutions for cinema, TV, and games. As an original member of the company, his role involved finding creative solutions to technical problems with limited available resources. His background as a painter turned out to be an important asset at Psyop where the projects often required both artistic and technical input. He considers himself proof that visual artists can learn how to build tools, and believes that understanding fundamental graphics math is well within the reach of most visual artists.

What's New in the Autodesk® Maya® API

This class highlights the Autodesk Maya API changes and their impact on plug-ins. The class will cover all of the APIs, including C++, Python® 2.0 and .NET.

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Adding Characters and Animations to Your Project in Real Time Using the Autodesk Animation Store

Mixamo is the company and technology behind the Autodesk Animation Store in Autodesk® 3ds Max® software. Over the years Mixamo has developed online/cloud solutions for character creation, automatic character rigging, and character animation. Some of this technology has now made it into 3ds Max, enabling users to add characters and animations to their projects with a single click of the mouse. The Animation Store offers high-quality characters produced by world-class content vendors, available in Biped and CAT versions. The primary innovation of the Animation Store is within the animation system, which automatically maps any bipedal skeleton in real time and uses a server-side service to retarget the desired animation to the user's character inside 3ds Max. The animation is then automatically applied to control rigs such as the Biped system or the CAT system. Real-time animation preview on the user's character is provided free of charge on thousands of animations available in the store. Both characters and animations are searchable through a taxonomy tree or keyword search based on content metadata such as name, description, keywords and tags. The service is powered by Mixamo's modular API and is available in all the languages supported by 3ds Max. The class will go through the most common use cases for which the service and the content have been designed, such as–but not limited to—game design, architecture, design, and previsualization.

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Pushing Autodesk® Maya® References

References in Autodesk Maya software are a very powerful way to organize and segment your scenes in smaller chunks. It makes things easier to share data between artists, to reuse assets, and to update data in your scenes in a more localized way. Artists have the ability to work simultaneously on different parts of the pipeline. For instance, a rigger can still work on the rig, while the animator is animating an older version of the rig in a shot. Since 2011, Maya also has had the very useful concept of reference edits that you can export and reapply in your scene. It can be difficult to find the way in the middle of all these functionalities. When managing complex assets and complex scenes, there are a couple of good practices and tips and tricks that can be used to properly work with all these features. In this class, we will learn how to create a pipeline that takes full advantage of references, reference edits, namespaces, proxies in Maya, and other features while maintaining a solid separation of the data. We will build a simple rig, using separate files for the geometry and for the facial rig. We'll cover best practices for ensuring a good separation of the data, reusability, and robustness. We will then use Maya reference edits to segment the animation in a separate file, with its own animation layer. We'll see how to best use the export and import of the reference edits feature available since Maya 2011. We will also go through some tips and tricks to create animation layers and to reuse these animation files with proxy references.

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New Metadata for Autodesk® Maya®

Historically, there have been a few different ways that a user could attach arbitrary data to an object in Autodesk® Maya® software. These included dynamic attributes, blind data for polygonal objects, association with custom node types that stored the data, and using the node's "notes" attribute. Each of these approaches has limitations: Some can store data only in a small number of formats, like a string attribute, which requires formatting for setting and parsing for querying of any numeric or complex data structures. Some can only hold a single value for a node, as opposed to a separate value for each vertex, for example. Still others do not flow through the dependency graph with the data that they are associated with. A new form of data has been added to Maya that can be used in place of many of these other forms. It can represent arbitrary data that can be associated with geometry data or even an individual node in the scene. It is a managed structure of user-definable data structures that can be organized based on users' needs, and it can be indexed to hold data that is global to the geometry or node, or on a per-component basis such as vertices, edges, faces, and face-vertices, or on a per-DAG-instance. The flexible nature of this data, or metadata, allows a much broader range of information to be associated with objects in the Maya scene. And a complete API for the metadata allows such data to be generated procedurally and even animated over time or in response to other data in the scene. It also allows for the description of callbacks into the data to programmatically respond to various events, including topological changes to the geometry data. This class describes the benefits as well as the limitations of the previous forms of arbitrary data storage. We will use each of these points to discuss the benefits of the new metadata when used to address similar production and engineering needs. A description of the data structure itself, along with a portion of the API, will also be referenced while discussing different uses for this new functionality.

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What's New in Autodesk® 3ds Max®?

This class highlights API changes in the Autodesk 3ds Max software SDK and explains their impact on plug-ins.

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An Autodesk® Maya® MEL Performance Profiler

Profiling is a critical part of maintaining any pipeline's edge. It is useful not only in finding bottlenecks, but also as a part of general diagnosis of a system. The MEL Profiler, provided as part of Autodesk Maya 2013 software, enables rapid and easy diagnosis of MEL toolsets that are a staple in many production facilities.

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Thinking Outside the Box with Autodesk® 3ds Max®

This class covers best practices and typical approaches to developing custom extensions for Autodesk 3ds max software. We will cover scripting and programming languages and discuss how to mix multiple development methods to help you create outstanding tools faster than ever. You will learn what you can do beyond what is available out of the box in 3ds Max and how to use the best methods available.

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TV Visual Effects Pipeline for NBC"s Grimm

This class will provide you with a basic understanding of working on short-deadline effects for television. We will walk through the process using Autodesk® 3ds Max® software with V-Ray®, including Autodesk® Mudbox® software and 3D lookup table workflows with render element compositing.

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Understanding Gamma (Linear Workflow) in Computer Graphics

This class will provide you with a basic and advanced understanding of sRGB space, otherwise known as gamma 2.2. Gamma 2.2 has the potential to ruin your renderings. We will present an overview of how to work with it and not be burdened by it. Then we will dive into using 1D and 3D lookup tables for production.

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Film Versus Game Rigging

In this class, we will demonstrate the differences and similarities between rigging for games and rigging for film. We will cover the challenges associated with each area and what can be done to overcome such challenges.

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Rigging for FX

This class will provide a general guide for rigging effects echniques. We will cover several different techniques for automating secondary motion, such as the spring controller, offsetting keys, and scripted offset controllers. We will also discuss why a basic rig is necessary before hero visual effects (VFX) work can begin. The class will also cover some cloth-based rig solutions. During the class, we will use a production-based example to show you how to use rigging effects techiques.

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Lights, Cameras, Action: Professional Editing and Effects for Better Storytelling

Take advantage of the tools and techniques that the pros use on blockbuster films and television commercials to create videos and presentations that will blow your audiences away. If you currently edit video or produce renders for video, you need to attend this class. You" will see how paring Autodesk® Smoke® software for editing and effects with animation products, such as Autodesk® 3ds Max® software, enables a powerful pro video workflow for integrating high-definition video, 3D renders, and 3D data to produce results that surpass the look of standard corporate video. Replace cumbersome workflows that require round-tripping between editing, 3D, and effects applications with the power of Autodesk products" integrated video, special effects, and 3D pipeline to deliver professional video results.

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Mass Entertainment: New Methods of Financing and Production to Create Your Own Content

As audiences flock to the web for entertainment, it is increasingly difficult for old-guard media companies to distribute content to the masses. However, this exodus from traditional channels spells new opportunities for individual content creators. Crowd-funding, ad-revenue-supported media, and direct-to-consumer distribution are changing the way creators get their content into the hands of willing audiences. We will discuss the trends in the industry, and I will share my personal story of success funding my short animated film The Little Painter at 170% of its projected budget using crowd funding and clever marketing.

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Think Outside the Box: Custom Development with Autodesk® Entertainment Creation Suites

During this class, you will learn the best practices and typical approaches involved when developing custom tools for Autodesk® 3ds Max®, Autodesk® Maya®, Autodesk® Softimage®, and Autodesk® Motionbuilder® software. We will cover scripting and programming languages and discuss the numerous APIs and SDKs available from Autodesk. This class will help you grasp what you can do beyond what is available out of the box in Autodesk Entertainment Creation Suites.

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Using Paint Effects in Autodesk® Maya®

The Paint Effects Tool in Autodesk Maya software enables artists to create a wide variety of objects—from organic trees and plants to hard-surface models such as stairs and structures. You can also use Paint Effects to add lighting effects and texture painting to a scene. This class will explore how to get the most out of Paint Effects and cover ways of using it for a wide range of projects.

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Reality Distortion Fields: The Art of 4D Projections

In this class, you will learn to build engaging video projections on public surfaces that will give the illusion that the surface is being animated with all sorts of effects. Projections in 4D involve reality capture, projector calibration, projection mapping, and renderings from distorted perspectives. The class will cover both theory and practical examples.

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Re-Thinking Mobile Business Applications Using Scaleform for Mobile Platforms

With the explosive growth of mobile devices and applications, many questions have arisen surrounding their practical implementation. In this session we will walk through the creation of a real, deployed app from early concept and design through deployment on multiple mobile platforms. The session will include a basic technical introduction to Scaleform for Mobile Platforms, which will be used as an example to show how mobile app creation can be made accessible to a variety of industries, project types, and skill levels.

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Standardizing a Data Pipeline for Complex Product Visualization

When working with engineering data for modern consumer products, there are many complexities in the development of marketing and visualization assets. The production of many concurrent variations in color, styling, and functionality makes handling these details inside a strong pipeline critical for success. This class will focus on a case study of how we at Mackevision focus on a convergence of all data from various sources to an internal standard in our image creation pipeline with Autodesk® 3ds Max® and Autodesk® Maya®. We will share some of the tools and techniques we have developed in production. We will discuss the value of organizing and tagging variants, NURBS and solids translation to standard quality polygonal sets, attribute tagging for cross-software use, efficient neutral data formats, batch processing of data on a computing farm, managing geometric and color variants on a large scale, tracking data through the entire pipeline, and scripting tools that help users to stay within the standards.

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Developing Character Rigs from the Ground Up in Autodesk® 3ds Max®

Autodesk 3ds Max software provides a comprehensive and flexible set of tools for developing character animation rigs and systems. This class will walk you through the steps necessary to create dynamic character rigging systems using the built-in tool sets. To ensure that you have a full understanding of the potential of working with 3ds Max for character-based productions, we will cover parameter wiring, constraints, bones, and skinning. If you are an artist who wants to understand the workings behind character animation, this class is for you.

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Advanced Character Tools and Systems in Autodesk® 3ds Max®

Autodesk® 3ds Max® software provides a comprehensive and flexible set of tools for developing character animation rigs and systems. This class will focus on taking it to the next level by exploring advanced features for developing character rigs and systems. We will use MAXScript to develop tool sets that help you create custom reusable character systems. The class will introduce you to new ways of thinking that enable character technical directors (TD) to provide character rigs with depth. Attendees should have prior knowledge of rigging in 3ds Max.

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Autodesk® 3ds Max MAXScript + Microsoft® .NET: Discover a Bigger World

In 2009, Autodesk® 3ds Max® software opened up MAXScript to .NET to enhance user interface design and extend the capability of MAXScript beyond the confines of 3ds Max. With .NET, tool developers can create dynamic and comprehensive production tools to help manage scenes, characters, and data sets, as well as an infinite host of other possibilities. In this class, you will learn to inspect .NET classes and objects and use them to build comprehensive .NET tools in MAXScript. This is an intermediate MAXScript class—participants should have a good working knowledge of MAXScript and the fundamentals of coding, including a good understanding of function, for loops, and data types.

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Autodesk® Maya® Scripting: MEL™ and Python

The script language MEL (Maya Embedded Language) is not only a feature of Autodesk Maya software, it is the foundation. Every function in Maya is a MEL command that can be accessed using menus, icons, buttons, marking menus, and other controls. In this class, we will cover MEL concepts, the possibilities and limitations of this scripting language, and the differences in the Maya API. We will work through some examples, and discuss the differences between MEL and Python and explain the advantages of using Python for Maya.

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Staring into the Abyss: The Evolution of Computer Graphics in Entertainment

Follow Steve "Spaz" Williams as he takes you through a brief history of the computer graphics industry and its influence on digital entertainment creation. This class will provide a complete behind-the-scenes look at movies that had a direct impact on the field of computer graphics imagery (CGI) for motion pictures, including The Abyss, Terminator 2, and Jurassic Park. As chief animator on these and many other landmark CGI special effects projects at Industrial Light and Magic, Steve lived through the evolution of computer graphics. Representing a revolution in the film industry, this important period set a new standard for special effects and set in motion the way we produce and consume media and entertainment to this day.

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Fight Night Champion©: Combining Half a Feature Film with a Boxing Game to Make the Game of the Year

How do you create half a feature film in a year without a renderer? Great games engage the player. The key is to fully immerse the player. Fight Night Champion set out to retain and improve on an already critically acclaimed game and add 40 minutes of a feature film cinematic experience, including lip-synching. In this class, we will show how we achieved the transition between real-time rendered graphics and key cinematics while keeping the same visual quality. To complete the project, we developed several unorthodox techniques that are a hybrid of film techniques and traditional game workflows. We will dive in to specific examples of how the various pieces of animation, lighting, renderin,g and compositing all fit together to deliver on these designs. Key concepts of using videos as the format of choice in order to open the doors for a true visual effects (VFX) approach will also be discussed.

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Autodesk® Softimage® Interactive Creative Environment: Making Math Accessible

An all-too-common complaint from most visual artists is that in school, mathematics wasn"t taught with a specific application or goal in mind and was too abstract or difficult to visualize. The Interactive Creative Environment (ICE) in Autodesk Softimage software combines high performance with a user-friendly interface. This combination of fast visual feedback and ease of use makes it a great environment to apply mathematics towards problem-solving in a hands-on way. In this hands-on lab, we will first examine what ICE is and what it can do. Then, we will introduce and review essential math concepts (trigonometry, vectors, and matrices) and explore the application of those concepts in a production context. Attendees should be familiar with the Softimage interface, but non-users are welcome because the graphics-related material is general enough to be applicable to almost any software package.

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