In her career as an animator, Angie Taylor has developed some powerful techniques for creating quick but compelling 2D animation, and in this workshop she shares those secrets with you. You’ll learn how to import layered files and paths from Illustrator into After Effects and how to animate flat vector artwork in both 2D and 3D space, and you’ll explore options for outputting your animations. The videos are short, focused, and solution-oriented, and all the project files are included so you can follow along as you go.

With the release of Photoshop CS6, Adobe introduced the ability to edit video footage. Author Rich Harrington guides you through this brand-new workflow, from building a sequence to working with audio and exporting your video in a variety of high-quality formats. The course also covers how Photoshop's strongest feature, its image enhancement toolset, translates to video, from fixing under- or overexposed footage, performing color balancing, and adding vibrance and contrast to special effects, such as converting to black and white and using Smart Filters to soften skin.

James Tan has worked with Unreal Technology for 13 years and specializes in programming. He has also traveled across the world with Epic Games demonstrating UDK. James currently works in his own studio called "Digital Confectioners" and has worked on such titles as "The Ball", "The Haunted", and "Cube".

In this video, we will be taking some of the principles of animation and applying them to biped and quadruped characters in real-world situations. This series will explore the fundamentals of skeletal anatomy and how it relates to the human and animal rigs used in animation using Autodesk Softimage. We will illustrate different types of joints motions on both types of characters. Then, we will move on to some fundamental intermediate exercises, the run cycle. Using two complete rigs, provided with the video, the viewer will be brought through the basics of running with both biped and quadruped forms.

In this tutorial we will learn how to create a female demon gargoyle creature.

Throughout the tutorial, we will learn the essential tools and techniques needed to create a stylized female. We'll discuss some tips for creating exaggerated proportions and features all the while following good design principles. Stylized characters as a whole can have their own sets of challenges but in this course you'll learn the essential techniques on how to overcome these types of challenges.

In this tutorial we will learn how to create a female demon gargoyle creature. Throughout these lessons we will learn how to quickly create block out shapes such as our creature's wings, horns, cloth and other ornate pieces. We will look at brushes that are used in a typical art pipeline as well as how to create custom brushes. Using 3ds Max, we'll learn how to create chains that conform to the character's body using splines. We will also take all the SubTool pieces in ZBrush to rig and pose our character in Transpose Master.

In this CINEMA 4D tutorial we will learn the fundamentals of rigging in CINEMA 4D. We’ll start off by covering the most basic form of rigging, which is parenting. We'll then take a look at how to modify an object's pivot and how to work with groups. After that, you’ll learn about joints, inverse kinematics, and control objects. And to wrap up this tutorial, we'll go over CINEMA 4D's binding process for skin deformations. By the end of the course, you will understand essential terms and definitions and build a solid foundation for rigging in CINEMA 4D

The 3D character ManCandy has been created by Bassam Kurdali for testing and teaching animation techniques. Over the past year it has become a wonderfully flexible character, deserving to become the first of the titles in the Open Movie Workshop series.

In this course, author Ashley Kennedy illustrates how to correct color imbalances or create a specific mood in pre-edited video with the complete color correction workflow in Avid Media Composer. The first color correction stage demonstrates how to manually correct footage by white balancing, removing color cast, correcting flesh tones, and correcting luma and chroma values in both the HSL and Curves groups, and explores the Avid automatic color correction functions. The second color correction stage focuses on achieving shot-to-shot consistency with templates and color match controls. In the final stage, Ashley investigates more creative color treatments, such as applying a gritty or bleached look to the footage