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Getting a job in CG [[electronic resource] ] : real advice from reel people / / Sean Wagstaff ; with Dariush Derakhshani
| Getting a job in CG [[electronic resource] ] : real advice from reel people / / Sean Wagstaff ; with Dariush Derakhshani |
| Autore | Wagstaff Sean |
| Pubbl/distr/stampa | San Francisco ; ; London, : Maya press/SYBEX, c2004 |
| Descrizione fisica | 1 online resource (266 p.) |
| Disciplina | 006.69602373 |
| Altri autori (Persone) | DerakhshaniDariush |
| Soggetto topico |
Computer graphics - Vocational guidance
Computer animation - Vocational guidance |
| ISBN |
1-280-52255-0
9786610522552 0-7821-5143-4 1-4175-0496-X |
| Formato | Materiale a stampa  |
| Livello bibliografico | Monografia |
| Lingua di pubblicazione | eng |
| Nota di contenuto |
Foreword; Contents; Introduction; Chapter 1 What 3D Job is Right For You?; Finding Your Niche in Film and Television; 3D Job Descriptions; Chapter 2 Technical 3D Jobs and Other Industries; Technical Art Jobs; Management Jobs; Other 3D Jobs; Summary; Chapter 3 What To Learn; Fundamental Skills; 3D Graphics Skills; Other Skills; Summary; Chapter 4 How and Where to Learn; Going to School vs. Teaching Yourself; Choosing a School; Getting the Most Out of School; Teaching Yourself; Summary; Chapter 5 The Demo Reel, Portfolio, and Resume; Preparing Your Resume; The Portfolio; The Demo Reel; Summary
Chapter 6 Finding JobsTo Hollywood (and Beyond); Finding 3D Jobs on the Web; Summary; Chapter 7 The Real Goods: Who You Know; Friends in the Business: The Job Hunter's Hotline; Networking Opportunities; Film Festivals and Trade Shows; Summary; Chapter 8 Working with Recruiters; What Staffing Agencies Want; What In-House Recruiters Want; Summary; Chapter 9 Interviewing for the Job; Preparing for Different Types of Interviews; Research Before the Interview; Questions to Expect; Closing the Interview; Summary; Chapter 10 Frequently Asked Questions-Insights from Reel People What Kinds of People Do You Look or When You're Hiring?What Do You Look for in Specialized Positions?; What Do You Look for in a Demo Reel?; What Do You Look for During the Interview?; How Important Is Education?; What Advice Do You Have for Expanding Your Skills?; How Do You Network?; General Advice; Appendix: Real Reels; Index; A; B; C; D; E; F; G; H; I; J; K; L; M; N; O; Q; R; S; T; U; V; W |
| Record Nr. | UNINA-9910780447703321 |
Wagstaff Sean
|
||
| San Francisco ; ; London, : Maya press/SYBEX, c2004 | ||
| Materiale a stampa | ||
| Lo trovi qui: Univ. Federico II | ||
| ||
Getting a job in CG [[electronic resource] ] : real advice from reel people / / Sean Wagstaff ; with Dariush Derakhshani
| Getting a job in CG [[electronic resource] ] : real advice from reel people / / Sean Wagstaff ; with Dariush Derakhshani |
| Autore | Wagstaff Sean |
| Edizione | [1st ed.] |
| Pubbl/distr/stampa | San Francisco ; ; London, : Maya press/SYBEX, c2004 |
| Descrizione fisica | 1 online resource (266 p.) |
| Disciplina | 006.69602373 |
| Altri autori (Persone) | DerakhshaniDariush |
| Soggetto topico |
Computer graphics - Vocational guidance
Computer animation - Vocational guidance |
| ISBN |
1-280-52255-0
9786610522552 0-7821-5143-4 1-4175-0496-X |
| Formato | Materiale a stampa |
| Livello bibliografico | Monografia |
| Lingua di pubblicazione | eng |
| Nota di contenuto |
Foreword; Contents; Introduction; Chapter 1 What 3D Job is Right For You?; Finding Your Niche in Film and Television; 3D Job Descriptions; Chapter 2 Technical 3D Jobs and Other Industries; Technical Art Jobs; Management Jobs; Other 3D Jobs; Summary; Chapter 3 What To Learn; Fundamental Skills; 3D Graphics Skills; Other Skills; Summary; Chapter 4 How and Where to Learn; Going to School vs. Teaching Yourself; Choosing a School; Getting the Most Out of School; Teaching Yourself; Summary; Chapter 5 The Demo Reel, Portfolio, and Resume; Preparing Your Resume; The Portfolio; The Demo Reel; Summary
Chapter 6 Finding JobsTo Hollywood (and Beyond); Finding 3D Jobs on the Web; Summary; Chapter 7 The Real Goods: Who You Know; Friends in the Business: The Job Hunter's Hotline; Networking Opportunities; Film Festivals and Trade Shows; Summary; Chapter 8 Working with Recruiters; What Staffing Agencies Want; What In-House Recruiters Want; Summary; Chapter 9 Interviewing for the Job; Preparing for Different Types of Interviews; Research Before the Interview; Questions to Expect; Closing the Interview; Summary; Chapter 10 Frequently Asked Questions-Insights from Reel People What Kinds of People Do You Look or When You're Hiring?What Do You Look for in Specialized Positions?; What Do You Look for in a Demo Reel?; What Do You Look for During the Interview?; How Important Is Education?; What Advice Do You Have for Expanding Your Skills?; How Do You Network?; General Advice; Appendix: Real Reels; Index; A; B; C; D; E; F; G; H; I; J; K; L; M; N; O; Q; R; S; T; U; V; W |
| Record Nr. | UNINA-9910815584903321 |
|
Wagstaff Sean
|
||
| San Francisco ; ; London, : Maya press/SYBEX, c2004 | ||
| Materiale a stampa | ||
| Lo trovi qui: Univ. Federico II | ||
| ||
Maya [[electronic resource] ] : secrets of the pros
| Maya [[electronic resource] ] : secrets of the pros |
| Autore | Kundert-Gibbs John L |
| Edizione | [2nd ed. /] |
| Pubbl/distr/stampa | San Francisco, Calif. ; ; London, : SYBEX, c2005 |
| Descrizione fisica | 1 online resource (302 p.) |
| Disciplina | 006.696 |
| Altri autori (Persone) | DerakhshaniDariush |
| Soggetto topico | Computer animation |
| Soggetto genere / forma | Electronic books. |
| ISBN |
1-280-52134-1
9786610521340 1-4175-8473-4 0-7821-5061-6 |
| Formato | Materiale a stampa |
| Livello bibliografico | Monografia |
| Lingua di pubblicazione | eng |
| Nota di contenuto |
Maya: Secrets of the Pros; Front matter; Acknowledgments; Letter from the Publisher; About the Authors; Contents; Introduction; 1: Working with Maya Cloth; Work Flow with Cloth; Tutorial: Making a Skirt; Creating the Panels; Creating the Garment; Preparing the Garment for Simulation; Making the Model a Collision Object; Assigning cpSolver and cpProperty Attributes; Running the Simulation; Setting Up Cloth for General Animation; Saving the Relaxed Garment State; Mesh Constraining Cloth to the Model; Animating the Skirt; Truncating the Cache; Updating cpSolver and cpProperty Values
Creating a Gravity Constraint Interacting with Collision Objects; Affecting Cloth Motion Using Constraints; Transform Constraint; Mesh Constraint; Cloth Constraint; Field Constraint; Collision Constraint; Button Constraint; Avoiding Cloth Problems During Character Animation; Manually Updating Cloth; Saving Your Work; Alternative Uses for Maya Cloth; Building the Bracelet Garment; Animating the Bracelet; Always Learning; 2: Non-Photorealistic Rendering Techniques; Photorealism and Non-Photorealism; Integrating Hand-Drawn Textures with 3D Models; Creating and Applying the Hand-Drawn Texture Creating a Shader for the Hand-Drawn Texture Adding Edge Lines; Creating Impressionistic-Style Images; The Impressionist Paint Process; Implementing Impressionist Paint; Incorporating Shadows; Final Renders; Always Learning; 3: Realistic Camera Movement; CG Cinematography; Maya Camera Types; Creating a Dolly-and-Pan Shot Using a Two-Node Camera; Camera Lenses and Focal Lengths; Creating a Dolly Zoom; Re-creating Advanced Camera Motion; Creating Camera Shake; Creating a Handheld Camera; Capturing Camera Motion with Maya Live; Always Learning 4: Radiosity and Image-Based Lighting Techniques in Production A Quick Review; Where to Use; Common Applications for HDRI Techniques; Methods and Strategies for IBL; Using the Fresnel Effect; Using the Fresnel Effect and Matte Surfaces; Creating Reflection-Only Lighting; Ambient Occlusion; Baking Out Ambient Occlusion; Separate Ambient Occlusion Pass; A Practical Approach-the Droid; Compositing the Passes; Illuminating Global Illumination; What Global Illumination Means; Practicing Practical Global Illumination; An IBL Real-World Application: Katana; Real-World Application: Research Lab HDR versus LDR Lighting CGI Props; Additional Things to Try; Essential Techniques; Always Learning; 5: The Character Pipeline; The Structure of Things; Pipeline Flow Control; The Import Pipeline; The Reference Pipeline; The Assembly Pipeline; The Importance of Naming; Using Spaces and Underscores in Object Names; The Golden Rules of a Successful Pipeline; Consistency; Ease of Use; Flexibility; Cleanliness; The Rigging Curtain; Defining a Character for the Pipeline; Creating a Ref Window; Expressions and Utility Nodes in Rigs; Simple Tools You Should Be Using; Always Learning; 6: Hair Systems Hair at a Quick Glance |
| Record Nr. | UNINA-9910457612203321 |
|
Kundert-Gibbs John L
|
||
| San Francisco, Calif. ; ; London, : SYBEX, c2005 | ||
| Materiale a stampa | ||
| Lo trovi qui: Univ. Federico II | ||
| ||
Maya [[electronic resource] ] : secrets of the pros
| Maya [[electronic resource] ] : secrets of the pros |
| Autore | Kundert-Gibbs John L |
| Edizione | [2nd ed. /] |
| Pubbl/distr/stampa | San Francisco, Calif. ; ; London, : SYBEX, c2005 |
| Descrizione fisica | 1 online resource (302 p.) |
| Disciplina | 006.696 |
| Altri autori (Persone) | DerakhshaniDariush |
| Soggetto topico | Computer animation |
| ISBN |
1-280-52134-1
9786610521340 1-4175-8473-4 0-7821-5061-6 |
| Formato | Materiale a stampa |
| Livello bibliografico | Monografia |
| Lingua di pubblicazione | eng |
| Nota di contenuto |
Maya: Secrets of the Pros; Front matter; Acknowledgments; Letter from the Publisher; About the Authors; Contents; Introduction; 1: Working with Maya Cloth; Work Flow with Cloth; Tutorial: Making a Skirt; Creating the Panels; Creating the Garment; Preparing the Garment for Simulation; Making the Model a Collision Object; Assigning cpSolver and cpProperty Attributes; Running the Simulation; Setting Up Cloth for General Animation; Saving the Relaxed Garment State; Mesh Constraining Cloth to the Model; Animating the Skirt; Truncating the Cache; Updating cpSolver and cpProperty Values
Creating a Gravity Constraint Interacting with Collision Objects; Affecting Cloth Motion Using Constraints; Transform Constraint; Mesh Constraint; Cloth Constraint; Field Constraint; Collision Constraint; Button Constraint; Avoiding Cloth Problems During Character Animation; Manually Updating Cloth; Saving Your Work; Alternative Uses for Maya Cloth; Building the Bracelet Garment; Animating the Bracelet; Always Learning; 2: Non-Photorealistic Rendering Techniques; Photorealism and Non-Photorealism; Integrating Hand-Drawn Textures with 3D Models; Creating and Applying the Hand-Drawn Texture Creating a Shader for the Hand-Drawn Texture Adding Edge Lines; Creating Impressionistic-Style Images; The Impressionist Paint Process; Implementing Impressionist Paint; Incorporating Shadows; Final Renders; Always Learning; 3: Realistic Camera Movement; CG Cinematography; Maya Camera Types; Creating a Dolly-and-Pan Shot Using a Two-Node Camera; Camera Lenses and Focal Lengths; Creating a Dolly Zoom; Re-creating Advanced Camera Motion; Creating Camera Shake; Creating a Handheld Camera; Capturing Camera Motion with Maya Live; Always Learning 4: Radiosity and Image-Based Lighting Techniques in Production A Quick Review; Where to Use; Common Applications for HDRI Techniques; Methods and Strategies for IBL; Using the Fresnel Effect; Using the Fresnel Effect and Matte Surfaces; Creating Reflection-Only Lighting; Ambient Occlusion; Baking Out Ambient Occlusion; Separate Ambient Occlusion Pass; A Practical Approach-the Droid; Compositing the Passes; Illuminating Global Illumination; What Global Illumination Means; Practicing Practical Global Illumination; An IBL Real-World Application: Katana; Real-World Application: Research Lab HDR versus LDR Lighting CGI Props; Additional Things to Try; Essential Techniques; Always Learning; 5: The Character Pipeline; The Structure of Things; Pipeline Flow Control; The Import Pipeline; The Reference Pipeline; The Assembly Pipeline; The Importance of Naming; Using Spaces and Underscores in Object Names; The Golden Rules of a Successful Pipeline; Consistency; Ease of Use; Flexibility; Cleanliness; The Rigging Curtain; Defining a Character for the Pipeline; Creating a Ref Window; Expressions and Utility Nodes in Rigs; Simple Tools You Should Be Using; Always Learning; 6: Hair Systems Hair at a Quick Glance |
| Record Nr. | UNINA-9910784477003321 |
|
Kundert-Gibbs John L
|
||
| San Francisco, Calif. ; ; London, : SYBEX, c2005 | ||
| Materiale a stampa | ||
| Lo trovi qui: Univ. Federico II | ||
| ||
Maya [[electronic resource] ] : secrets of the pros
| Maya [[electronic resource] ] : secrets of the pros |
| Autore | Kundert-Gibbs John L |
| Edizione | [2nd ed. /] |
| Pubbl/distr/stampa | San Francisco, Calif. ; ; London, : SYBEX, c2005 |
| Descrizione fisica | 1 online resource (302 p.) |
| Disciplina | 006.696 |
| Altri autori (Persone) | DerakhshaniDariush |
| Soggetto topico | Computer animation |
| ISBN |
1-280-52134-1
9786610521340 1-4175-8473-4 0-7821-5061-6 |
| Formato | Materiale a stampa |
| Livello bibliografico | Monografia |
| Lingua di pubblicazione | eng |
| Nota di contenuto |
Maya: Secrets of the Pros; Front matter; Acknowledgments; Letter from the Publisher; About the Authors; Contents; Introduction; 1: Working with Maya Cloth; Work Flow with Cloth; Tutorial: Making a Skirt; Creating the Panels; Creating the Garment; Preparing the Garment for Simulation; Making the Model a Collision Object; Assigning cpSolver and cpProperty Attributes; Running the Simulation; Setting Up Cloth for General Animation; Saving the Relaxed Garment State; Mesh Constraining Cloth to the Model; Animating the Skirt; Truncating the Cache; Updating cpSolver and cpProperty Values
Creating a Gravity Constraint Interacting with Collision Objects; Affecting Cloth Motion Using Constraints; Transform Constraint; Mesh Constraint; Cloth Constraint; Field Constraint; Collision Constraint; Button Constraint; Avoiding Cloth Problems During Character Animation; Manually Updating Cloth; Saving Your Work; Alternative Uses for Maya Cloth; Building the Bracelet Garment; Animating the Bracelet; Always Learning; 2: Non-Photorealistic Rendering Techniques; Photorealism and Non-Photorealism; Integrating Hand-Drawn Textures with 3D Models; Creating and Applying the Hand-Drawn Texture Creating a Shader for the Hand-Drawn Texture Adding Edge Lines; Creating Impressionistic-Style Images; The Impressionist Paint Process; Implementing Impressionist Paint; Incorporating Shadows; Final Renders; Always Learning; 3: Realistic Camera Movement; CG Cinematography; Maya Camera Types; Creating a Dolly-and-Pan Shot Using a Two-Node Camera; Camera Lenses and Focal Lengths; Creating a Dolly Zoom; Re-creating Advanced Camera Motion; Creating Camera Shake; Creating a Handheld Camera; Capturing Camera Motion with Maya Live; Always Learning 4: Radiosity and Image-Based Lighting Techniques in Production A Quick Review; Where to Use; Common Applications for HDRI Techniques; Methods and Strategies for IBL; Using the Fresnel Effect; Using the Fresnel Effect and Matte Surfaces; Creating Reflection-Only Lighting; Ambient Occlusion; Baking Out Ambient Occlusion; Separate Ambient Occlusion Pass; A Practical Approach-the Droid; Compositing the Passes; Illuminating Global Illumination; What Global Illumination Means; Practicing Practical Global Illumination; An IBL Real-World Application: Katana; Real-World Application: Research Lab HDR versus LDR Lighting CGI Props; Additional Things to Try; Essential Techniques; Always Learning; 5: The Character Pipeline; The Structure of Things; Pipeline Flow Control; The Import Pipeline; The Reference Pipeline; The Assembly Pipeline; The Importance of Naming; Using Spaces and Underscores in Object Names; The Golden Rules of a Successful Pipeline; Consistency; Ease of Use; Flexibility; Cleanliness; The Rigging Curtain; Defining a Character for the Pipeline; Creating a Ref Window; Expressions and Utility Nodes in Rigs; Simple Tools You Should Be Using; Always Learning; 6: Hair Systems Hair at a Quick Glance |
| Record Nr. | UNINA-9910825831103321 |
|
Kundert-Gibbs John L
|
||
| San Francisco, Calif. ; ; London, : SYBEX, c2005 | ||
| Materiale a stampa | ||
| Lo trovi qui: Univ. Federico II | ||
| ||
