Allan mckay live action series free download module 4

If you pay close attention to the video lessons, follow the online discussion and take part in the live reviews you will be amazed by what you will be able to achieve and create. Even with no related previous experience. All I can say is, if you have the slightest interest in this field, then you will not find a better way to get a thorough insight into it.

I can only recommend it. Zsolt is a CG Supervisor in LA, and currently part of the mentorship and just recently finished on the upcoming sequel - Independence Day 2 , and working at FuseFX on many high profile projects such as Supergirl. The problem with most courses out there is they typically have the mentality of 'just a tutorial'.

They're 6 weeks long, each video about an hour in length and never really get all that in-depth. The instructors are just looking to make a 'quick buck' doing something on the side and because of that they are happy to show the basics but they don't want to give away any of their real tricks or valuable ways of working, and hand the mindset of what they're giving is 'good enough' or 'tutorial quality'.

Rarely do you see lessons that take you all the way through from start to finish, rather they cover a small piece, and the output, the final image or end result of the lesson is never at the level of quality that you would see a real production.

So you're learning to do 'tutorial quality' work and never anything that you can do in the real world. The little tweaks, subtlety's or getting your work approved are what are so critical and seems to without-fail be overlooked in every single course or lesson you ever see.

What I like about this training most is the practical, production approach, techniques I can apply at work. This is what makes me a better VFX artist. Being able to write a few lines of code and to save hours or even days of works allows me to focus on my shots instead of spending time setting up imports, exports, renders, etc.. This is exactly what this course will allow you to do. By the end of this course you will be able to write your own tools increase your productivity.

From Max, to Maya and Fume to Thinking Particles, Allan's training has helped me succeed in my personal projects and RnD, build up an FX heavy showreel, and start getting job offers from big name studios. Just by watching some hours in I was able to start writing my own scripts with completely different content from the stuff shown in the videos that I am definitely going to use in production and are going to be a huge time saver.

Allan was able to teach me someone who never had scripting experience how to think, actually script and look for scripting info on my own. Very detailed course, scripting oriented like no others. Allan gives you the right tools to became a great FX TD.

All the videos are absolutely amazing, useful to start building a solid production pipeline. I am loving this! Even tho i am a Texture artist, i was able to use a lot of the ideas i learned here to create tools for my team and without a doubt we increased the overall performance quite a bit because of it!

And now the entire studio is asking for it, they wanna make the tool a permanent shelf tool, that was quite unexpected and it felt awesome!

The fact is that as artists working in 3D, whether it's in animation, modeling, rigging, lighting or even FX - we all can benefit drastically from ability to write our own 3D tools and automate a lot of the tasks that we do day to day! Even simple things like having 3DS Max automatically update where it's saving out it's renders to, and render elements every time you save a new Max file, or automatically convert your renders to quicktime.

Building asset publishing systems, automatically light your shots, scale scenes or even launch photoshop or other tools from inside of Max! There are so many cool things we can do with 3DS Max, utilizing Maxscript that pretty much any artist is going to benefit from taking the plunge and learning these unique skills, that instantly set you aside from every other artist in your studio!

Completely unique material built from the latest film productions - the type of stuff built under the need to deploy for directors such as Michael Bay!

I'll be honest, this course is insane! Every module receiving access to new videos, new content and mentoring from Allan McKay and even additional print-outs and other bonus gifts along the way!

Module 4 - Environmental FX. Module 5 - Pyrotechnics. Module 6 - Fire and Dispersion FX. Module 7 - FX Pipeline and Workflow. Module 10 - Vehicle simulations and Car Crash Effects.

I am an architect by trade and I guess that's where I began with 3D modeling. I've done accident reconstruction visuals for civil lawsuits which is where I first learned about Allan. There is no better way to do this, than to be able to add Visual FX. If this course can teach a novice like myself how to script, learn particle simulation, as well as to create tools that will speed up your work 10x fold, then it can teach it to anyone determined to learn and with some basic knowledge of the modeling software 3DS max.

In essence, Allan clues you in on some of his magic settings and efficient workflows that will have you creating Visual FX in no time. All this while teaching you how to customize 3DS Max so that it behaves as if it was specifically programmed for your individual tasks. Mind blowing, and amazing!!! It would take years and years to gather this knowledge all by yourself!!!

Upon completion of this course you will receive a Certificate of Completion, representing that you have gone through the entire 12 months of training and what subjects were covered. This is something not all of us need, but can be important to some of us to have. Simply request the certificate at the end of the course for it to be sent out to you. During the mentorship, because of spending an entire 12 months working directly with Allan, it's not been uncommon for students to reach out and request a reference letter from Allan to attach to any job applications or positions students were applying for.

Provided you HAVE been participating in the mentorship and showing up for reviews, Allan was always happy to write up an honest assessment of his experience with that particular student on his studios letterhead to pass on. The same applies in the FXTD Mentorship , provided you are participating and showing your work, communicating ie.

Allan knows who you are from showing up to reviews Allan is more than happy to continue with this, and offer a letter of recommendation to students who request it. More so, Allan has created a 'Whitelist' for students who do exceptionally well. These are the rockstars of the course who are demonstrating hard work and growth within the course.

These students Allan will personally reach out to studios and recommend them, as he builds up his Whitelist of students of exceptional capability. When Allan is offered work he is too busy to do, this is the list he wants to be able to turn to to recommend artists directly to these studios. I want it to be easy for you to get started.

Not only will you have twelve full months to complete the entire course — but you can get started with a monthly plan and with zero interest, making it easy to pay off the remainder over the year with a total of 12 installments. And frankly, any one of the lessons could make you 10 times that before your second payment is due. Such interaction will also help other artists to fully understand the procedure of visual effects shot.

So, act fast. Click this link to get access to all video tutorials of VFX. Your email address will not be published. Save my name, email, and website in this browser for the next time I comment.

We all started in Maya. And if that person is really experienced in Maya, we know he can create visually appealing effects.

If he has some experience in Houdini and is motivated — it can definitely work out! You can put in the extra hours. Just to dive into some of your projects, what did you do for Hellboy? Andreas: For Hellboy , we did the scenes in the cathedral. We did some pyro and destruction. We also did these two creatures coming out of the mouth, in those shots. On Avengers: Endgame , what did you do? Korbinian: We worked more on Infinity War.

We did post crediting, the dissolving effect. We did some prototype shots of Dr. We had weeks to do all the effects. It was my first project as a Supervisor at Rise. What are the types of effects you find most fun? Andreas: The most fun stuff is when we can develop some kind of a new effect.

We have have to go through a lot of changes just to push it to the limit. Korbinian: As I tend to do magic effects a lot, I like those.

But I also like traditional effects like dust or explosions. For example, for the Netflix series Dark , we did a lot of complex matter on the black matter, as well as lot of traditional effects. I like the mixture between the two.

Twenty years ago, it would be flying spaceships and logos. Andreas: Definitely explosions in front of black! Another thing is there are so many resources out there today.

You should take the knowledge and build something new out of it. I agree that if people are copying setting for setting, there is no growth there. Andreas: That has definitely happened here, but it also depends on how the artist is handling it. You never know if they put the sliders or build them. Korbinian: Most of the time, people send us their Vimeo account because their reel is on it.

You can just hop onto the next video they have there. Andreas: We definitely check out their portfolio website as well. If they do other stuff, not related to FX, it shows that they have an eye for details. Andreas: I definitely ask them about scripting at some point of the job interview. But it depends on the direction you want to go. At mid-level, there is no way around scripting. What were the ways you approached them? Andreas: Apart from Captain America , it was my first project as a Supervisor.

Then it was Shazam! But what I really liked about that project is how everyone was working together to get the show done, as a team: from production, to coordination, to CG. All the departments worked closely together.

Like what I mentioned with Infinity War , when we had weeks. Those are the more challenging projects! Do you utilize that a lot? Andreas: Most definitely!

From few years ago, nearly every production has Lidar scanning. It helps in so many situations: from matching to building assets. You know the measurements of the set and where every person was standing. Andreas: Even in compositing, you can use it to re-project some plate data and not model everything. Andreas: We already talked about it. Put a lot of effort into your reel. You can shoot it yourself, track it, model it. Korbinian: Being a team player is very important.

I would consider Rise a family-like company. Therefore, being a team player — which you quickly realize in the interview — is key here! Thanks again, guys. Where would people go to find out more about you? I hope you found this Episode valuable. I want to thank Andreas and Korbinian for taking the time to chat.