DOCSLIB.ORG

BLENDER the Ultimate Guide

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
BLENDER the Ultimate Guide Andrea Coppola BLENDER The Ultimate Guide VOLUME 1 © 2015 Blender High School, Roma First edition Blender High School, 2017 Cover: Andrea Coppola Development: Andrea Coppola Translation from Italian: Giovanni Caruso It is forbidden to duplicate this book, either by digital or analogue, by unauthorized sending via email or other telematic ways, and the publication, if not expressly authorized. ISBN: 978-0-244-90539-2 9000 Find Blender High School on: www.blenderhighschool.it Facebook: Blender High School Summary VOLUME 1 1. Before you start 1 1.1. Preface 3 1.2. Introduction 5 1.3. Blender history 7 1.4. About Free software and GPL 10 1.5. The method 12 1.6. Convention used in this volumes 14 1.7. How to install Blender 15 1.8. Settings and customization 16 1.8.1. User Preferences 17 Tab Interface 18 Tab Editing 21 Tab Input 22 Tab Addons 25 Tab Themes 26 Tab Files 27 Tab System 28 I 1.8.2. System requirements 31 1.9. Online resources 35 2. Basic Operations 37 2.1. Editors and Interface structure 39 2.1.1. Header 39 2.1.2. Work space 41 2.1.3. Sidebars 42 2.1.4. Regions 43 2.1.5. Tabs 44 2.1.6. Pannels 44 2.1.7. Resize windows 46 2.1.8. Split or join windows 46 2.1.9. Buttons and controls 48 2.1.10. Mathematical functions in counters and sliders 52 2.1.11. The minus symbol 52 2.1.12. Decimals 52 2.1.13. Units 53 2.2. Start Blender 54 2.2.1. Blender Interface and basic settings 55 2.2.2. The Info Editor 56 II 2.2.3. The 3D View Editor 64 2.2.4. The 3D View Sidebars - basic knowledge 85 Tools Shelf 86 Properties Bar 88 2.2.5. The Timeline Editor 91 2.2.6. The Outliner Editor 100 2.2.7. The Properties Editor 106 2.3. Keyboard Shortcut 116 2.4. Mouse and Keyboard navigation system 118 2.5. Selection 120 2.6. 3D Cursor and Origin (Pivot) 122 Exercise n. 1 125 3. Instert Objects 127 3.1. Graphic Card settings 129 3.1.1. Set the file units and the project scale 132 3.2. Placing Objects 134 3.2.1. Mesh 133 Exercise n. 2 136 3.2.2. Curve 140 3.2.3. Surface 142 3.2.4. Metaball 144 III 3.2.5. Text 145 3.2.6. Empty 146 3.2.7. Camera 147 View Panel of the Properties Bar 149 Camera settings in the Render Tab 150 Data Tab in the Properties Editor 151 Object Tab in the Properties Editor 154 3.2.8. Lamp 154 3.2.9. Pther Object types 157 4. Base Modeling 159 4.1. Environments and work organization 161 4.1.1. Object Mode and Edit Mode 161 4.1.2. Pie Menu 162 4.1.3. Command search 164 4.2. The Transformers (Grab, Rotate, Scale) 165 4.2.1. Appy (reset) the transformations 172 4.2.2. Use of the Transformers with the Proportional Editing 174 4.2.3. Use of the Transformers with the Snap 176 Exercise n. 3 177 4.3. Tools and object modify in Object Mode 181 IV 4.3.1. The Transform panel 181 4.3.2. The Edit panel 182 4.3.3. The History panel 185 4.4. Strumenti Tools and object modify in Edit Mode 186 Mesh 187 Transform 187 4.4.1. The Loops 187 Mesh Tools 192 Exercise n. 4 201 Mesh from Curve and Curve from Mesh 218 Loop Tools 223 4.4.2. Normals 230 4.4.3. Tab Data object properties and Vertex Group 233 The Normals panel 234 The Texture Space panel 234 The Vertex Group panel 234 The Shape Keys panel 234 Exercise n. 5 237 Curve 244 The Transform panel 245 The Curve Tools panel 246 V Handles 248 Modeling 249 The Curve Display panel 249 4.4.4. Tab Data 250 The Shape panel 250 The Geometry panel 250 The Path Animation panel 253 The Active Spline panel 254 Texts 254 The Text Tools panel 255 4.4.5. Tab Data 255 The Shape panel 255 The Geometry panel 256 The Font panel 256 The Paragraph panel 256 The Text Boxes panel 258 Surfaces 259 Tab Data 259 Metaball 260 Tab Data 260 4.5. Use of the reference images in background or blueprint 261 VI Exercise n. 6 263 4.5.1. A useful Addon: Image as Plane 268 Exercise n. 7 272 Exercise n. 8 277 Exercise n. 9 281 4.5.2. The Specials (W) menu 283 Specials menu relevant to meshes 285 Specials menu relevant to curves and surfaces 286 Specials menu relevant to texts 288 4.6. The menus of the 3D view header in Edit Mode 289 Mesh 289 Curve 316 Surface e Metaball 320 Text 320 5. Advanced modeling: Modifiers 325 5.1. What are the Modifiers 327 5.1.1. Assigning a Modifier 328 5.2. The Generate Modifiers 331 Array 331 Exercise n. 10 335 VII Bevel 340 Boolean 343 Build 346 Decimate 348 Edge Split 351 Mask 353 Mirror 344 Exercise n. 11 347 Multiresolution 364 Remesh 367 Screw 370 Exercise n. 12 371 Skin 373 Exercise n. 13 377 Solidify 383 Subdivision Surface 387 Exercise n. 14 390 Triangulate 393 Wireframe 395 5.3. Modificatori Deform 398 Cast 398 Curve 402 VIII Exercise n. 15 403 Exercise n. 16 404 Displace 410 Hook 415 Laplacian Smooth 418 Laplacian Deform 420 Exercise n. 17 421 Lattice 427 Mesh Deform 430 Shrinkwrap 432 Exercise n. 18 433 Simple Deform 435 Smooth 439 Warp 441 Wave 443 5.4. The sphere problem 447 6. Concluding remarks 453 6.1. Conclusions and aknoledgements 455 6.2. Support bibliography 438 6.3. About the Author 457 IX X 1 BEFORE YOU START 1.1. Preface A few years ago, when I first looked at the wonderful world of 3D modeling, I started my long search for the right tool. It was a really exhausting research: no software really suited to my needs because of either the unfriendly interface or the extreme complexity, or the bad guides or the poor results. I was about to give up. Maybe I’ll never find the right software that would allow me to go on by myself and create the 3D models of my own projects without asking for other professionals’ help (costing a lot of money, often out of budget). However, someone showed me Blender as the solution to my problems. At the beginning I was skeptical, due to the bad experiences mainly caused by the (sometimes partial) study of other open source or free software. It is a common opinion that “free” is synonymous with poor, incomplete, unprofessional. Blender immediately turned out something wonderful, extremely complete and professional. Its graphic interface seamed to me linear and well organized, perfectly clear and understandable, contrary to what is said by some users. Specially since newer versions kept on improving over and over. Its completeness and potential encouraged me so much that I purchased all English and Italian educational materials around and, not happy, I took private lessons. 3 I almost immediately felt my hardware had to be upgraded and then I bought all latest gen components that allow me to push the software towards higher performances. Meeting my friend and colleague Francesco Andresciani, which inspired me this extensive work, showed me a new direction: a series of successful publications that make me proud even today. Then I had the idea and the desire to write the guide I always wanted to read. The complete and full of practical examples handbook I wanted to have on my bookshelf and on which I wanted to learn Blender. A different guide from the others, far from the index-topic scheme, a path whose secrets will grow with me. Blender is an ever growing software, something open you can test and study on, reaching new goals every time. My research goes on, but in the same software environment now. Daily study, exercises and the discovering of new features, plugins and techniques encourage me to continuous improvement. I hope that the following pages could be for you what I unsuccessfully looked for and what could have doubled the knowledge in half the time. All my best wishes for your work! Andrea Coppola 4 1.2. Introduction This guide is obviously divided in 5 main volumes and annual updates, depending on the new Blender releases. This guide can be considered valid for all the versions of Blender 2.6x, 2.7x, and next 2.8x and 2.9x. In the first volume we will discuss basic topics from general information to system configuration, to the customization of work environment, to the structure and the functionality of the user interface (UI), to basic and advanced modeling tools (modes, transform tools, modifiers). In the second volume we will explore in depth the two main render engines (Blender Render e Cycles Render), the lighting, the materials in both the engines, the manifold nodes techniques and the camera framing. The third volume will focus on the physic simulations (fluids, smoke and flames, volumetric effects, rigid and soft bodies dynamic, cloche and force fields), on the particles systems and on the Compositing of final images. The fourth volume will be entirely dedicated to animations, rigging and armature’s inverse kinematic, Motion Tracking, Sculpting and audio-video editing. Finally, the fifth volume is dedicated to advanced Grease Pencil, advanced Compositing and Game Engine.
Load more

Recommended publications
  • Ulrich Kaiser Die Einheiten Dieses Openbooks Werden Mittelfristig Auch Auf Elmu ( Bereitge- Stellt Werden
    Ulrich Kaiser Die Einheiten dieses OpenBooks werden mittelfristig auch auf elmu (https://elmu.online) bereitge- stellt werden. Die Website elmu ist eine von dem gemeinnützigen Verein ELMU Education e.V. getra- gene Wikipedia zur Musik. Sie sind herzlich dazu eingeladen, in Zukun Verbesse rungen und Aktualisierungen meiner OpenBooks mitzugestalten! Zu diesem OpenBook finden Sie auch Materialien auf musikanalyse.net: • Filmanalyse (Terminologie): http://musikanalyse.net/tutorials/filmanalyse-terminologie/ • Film Sample-Library (CC0): http://musikanalyse.net/tutorials/film-sample-library-cc0/ Meine Open Educational Resources (OER) sind kostenlos erhältlich. Auch öffentliche Auf- führungen meiner Kompositionen und Arrangements sind ohne Entgelt möglich, weil ich durch keine Verwertungsgesellschaft vertreten werde. Gleichwohl kosten Open Educatio- nal Resources Geld, nur werden diese Kosten nicht von Ihnen, sondern von anderen ge- tragen (z.B. von mir in Form meiner Ar beits zeit, den Kosten für die Domains und den Server, die Pflege der Webseiten usw.). Wenn Sie meine Arbeit wertschätzen und über ei- ne Spende unter stützen möchten, bedanke und freue ich mich: Kontoinhaber: Ulrich Kaiser / Institut: ING / Verwendungszweck: OER IBAN: DE425001 0517 5411 1667 49 / BIC: INGDDEFF 1. Auflage: Karlsfeld 2020 Autor: Ulrich Kaiser Umschlag, Layout und Satz Ulrich Kaiser erstellt in Scribus 1.5.5 Dieses Werk wird unter CC BY-SA 4.0 veröffentlicht: http://creativecommons.org/licenses/by-sa/4.0/legalcode Für die Covergestaltung (U1 und U4) wurden verwendet:
    [Show full text]
  • Open Animation Projects
    OPEN ANIMATION PROJECTS State of the art. Problems. Perspectives Julia Velkova & Konstantin Dmitriev Saturday, 10 November 12 Week: 2006 release of ELEPHANT’S DREAM (Blender Foundation) “World’s first open movie” (orange.blender.org) Saturday, 10 November 12 Week: 2007 start of COLLECT PROJECT (?) “a collective world wide "open source" animation project” Status: suspended shortly after launch URL: http://collectproject.blogspot.se/ Saturday, 10 November 12 Week: 2008 release of BIG BUCK BUNNY (Blender Foundation) “a comedy about a fat rabbit taking revenge on three irritating rodents.” URL: http://www.bigbuckbunny.org Saturday, 10 November 12 Week: 2008 release of SITA SINGS THE BLUES (US) “a musical, animated personal interpretation of the Indian epic the Ramayan” URL: http://www.sitasingstheblues.com/ Saturday, 10 November 12 Week: 2008 start of MOREVNA PROJECT (RUSSIA) “an effort to create full-feature anime movie using Open Source software only” URL: morevnaproject.org Saturday, 10 November 12 Week: 2009 start of ARSHIA PROJECT (Tinab pixel studio, IRAN) “the first Persian anime” Suspended in 2010 due to “lack of technical knowledge and resources” URL: http://www.tinabpixel.com Saturday, 10 November 12 Week: 2010 release of PLUMIFEROS (Argentina) “first feature length 3D animation made using Blender” URL: Plumiferos.com Saturday, 10 November 12 Week: 2010 release of LA CHUTE D’UNE PLUME (pèse plus que ta pudeur) - France “a short French speaking movie made in stop motion” URL: http://lachuteduneplume.free.fr/ Saturday, 10 November 12
    [Show full text]
  • Artnodes REVISTA DE ARTE, CIENCIA Y TECNOLOGÍA
    Universitat Oberta de Catalunya artnodes REVISTA DE ARTE, CIENCIA Y TECNOLOGÍA http://artnodes.uoc.edu ARTÍCULO NODO «NARRATIVAS TRANSMEDIALES» Exploraciones transmedia en la creación cinematográfica colaborativa iberoamericana contemporánea* Jordi Alberich-Pascual Profesor Titular de Comunicación audiovisual y Publicidad Departamento de Información y Comunicación Universidad de Granada Francisco-Javier Gómez-Pérez Profesor Contratado Doctor de Comunicación audiovisual y Publicidad Departamento de Información y Comunicación Universidad de Granada Fecha de recepción: octubre de 2016 Fecha de aceptación: octubre de 2016 Fecha de publicación: noviembre de 2016 Resumen El presente artículo analiza la emergencia de iniciativas pioneras de creación cinematográfica colaborativa transmedia en la escena iberoamericana contemporánea. Para ello, evaluamos en primer lugar la unidad y estandarización narrativa dominante en los proyectos históricos de creación cinematográfica colaborativa de referencia internacional. A continuación, realizamos una selección y un análisis de desarrollos emergentes transmedia en producciones cinemato- gráficas colaborativas españolas e iberoamericanas a lo largo de la última década. Finalmente, ofrecemos la discusión de los resultados e implicaciones industriales y culturales que evidencian el conjunto de exploraciones colaborativas transmedia objeto de la presente investigación. Palabras clave Creación cinematográfica colaborativa, narrativa transmedia, cine de código abierto, crowd- sourcing, crowdfunding * Este artículo
    [Show full text]
  • Univerzita Karlova V Praze DIPLOMOVÁ PRÁCE Petr Köppel
    Univerzita Karlova v Praze Filozofická fakulta Ústav informačních studií a knihovnictví DIPLOMOVÁ PRÁCE Petr Köppel Veřejné licence a public domain jako alternativ cop ri!"tu Public licenses and public domain a# alternatives to cop ri!"t Praha 2012 !edoucí práce" M$r. !ít Šisler Prohlašuji, že jsem diplomovou práci vypracoval samostatně, že jsem řádně citoval všechny použité prameny a literaturu a že práce nebyla využita v rámci jiného vysokoškolského studia či k z skán jiného nebo stejného titulu! " Praze dne 15. 8. 2012 $bstrakt Práce ne'prve představu'e oblast veře'n*ch licencí 'ako prostor mezi autorsk*m zákonem a sf+rou voln*ch d,l% Pot+ u kate$orií proprietárního softwaru. svobodného a open source softwaru. otevřen+ho hard-aru a otevřeného obsahu postupně mapu'e 'ednotliv+ druh/ veře'n*ch licencí a s nimi spo'ená společenská a kulturní hnutí, dává 'e do vzá'emných a časových souvislostí, rozebírá 'e'ich charakteristick+ r/s/ a porovnává 'e mezi sebou. ukazu'e. 'ak veře'n+ licence definu'í různá s nimi spo'ená hnutí, a také anal/zu'e, 'aké překá1ky u1ití veře'n*ch licencí v 2esk+ republice klade česk+ právo% %líčová #lova 3utorské právo, licence, open source, creative commons, voln+ dílo. software, design. $bstract 4he -ork first introduces the area of public licenses as a space between the copyri$ht la- and public domain. 3fter that, consecutivel/ for proprietar/ software. free and open source software. open hard-are and open content, it maps particular types of public licenses and the accompanyin$ social and cultural movements. puts them in mutual as -ell as historical context, examines their characteristics and compares them to each other.
    [Show full text]
  • Open Source Film a Model for Our Future?
    Medientechnik First Bachelor Thesis Open Source Film A model for our future? Completed with the aim of graduating with a Bachelor of Science in Engineering From the St. Pölten University of Applied Sciences Media Technology degree course Under the supervision of FH-Prof. Mag. Markus Wintersberger Completed by Dora Takacs mt081098 St. Pölten, on June 30, 2010 Medientechnik Declaration • the attached research paper is my own, original work undertaken in partial fulfillment of my degree. • I have made no use of sources, materials or assistance other than those which have been openly and fully acknowledged in the text. If any part of another person’s work has been quoted, this either appears in inverted commas or (if beyond a few lines) is indented. • Any direct quotation or source of ideas has been identified in the text by author, date, and page number(s) immediately after such an item, and full details are provided in a reference list at the end of the text. • I understand that any breach of the fair practice regulations may result in a mark of zero for this research paper and that it could also involve other repercussions. • I understand also that too great a reliance on the work of others may lead to a low mark. Day Undersign Takacs, Dora, mt081098 2 Medientechnik Abstract Open source films, which are movies produced and published using open source methods, became increasingly widespread over the past few years. The purpose of my bachelor thesis is to explore the young history of open source filmmaking, its functionality and the simple distribution of such movies.
    [Show full text]
  • “Blender, a Classic Underdog Story, Is the World's Most Widely Used 3D
    The art of open source Open source powers every part of the creative arts. Jim Thacker explores how Blender is conquering animation and movie effects. lender has been used to create It may not be the market leader – animations for national commercial tools, particularly those television channels and developed by Autodesk, are still used for Bcommercials for Coca-Cola, the majority of professional animation, Pizza Hut and BMW. It creates slick visual effects and game development marketing images for brands ranging from projects – in the West, at least. But it is Puma to Philippe Starck. It has even been capable of great work. used on Oscar-nominated movies. And Over the next four pages, we’ll meet best of all, it’s open- source software. “Blender, a classic underdog Blender is a classic underdog story. story, is the world’s most Originally the in-house 3D toolset of a small widely used 3D software.” Dutch animation firm, it has survived early financial hardships and some of the companies using Blender for even the collapse of its original distributor to commercial projects, from illustrations win widespread popular acclaim. With over for cereal boxes to the visual effects four million downloads each year, it is now by for Red Dwarf. We’ll explore how the far the world’s most widely used 3D software. software powers an international But more importantly for the purposes network of animation studios on every of this article, it’s software that commands continent except Antarctica. And we’ll even the respect of professional artists. Once try to answer the question: ‘If Blender is so dismissed as a tool for hobbyists, Blender is great, why doesn’t it get used on more now praised by some of the world’s largest Hollywood movies?’ animation studios.
    [Show full text]
  • Newsletter Analoger Film #3 Januar – April 2020
    Newsletter analoger Film #3 Januar – April 2020 Liebe Filmfreunde, nach wie vor habe ich die Hoffnung nicht völlig aufgegeben, dass die AIG Celluloid- film oder andere engagierte Menschen wie- der zeitnah ein Print-Magazin zum perfo- rierten Film publizieren. Quasi zum Trost für die Corona-bedingte Absage der Deidesheimer Filmbörse und die dadurch entfallenden persönlichen Be- gegnungen, habe ich mich nun dennoch entschlossen, noch einmal einen eigenen E-Mail-Newsletter zusammenzustellen. Das Wochenende in Deidesheim ist für Ektachrome 100 D in Doppel-8 © FPP mich immer ein Highlight des Jahres; auf den gemütlichen Filmabend vor der Börse sich, da offenbar die Neukonfektionierun- und die gemeinsamen Abendessen in einer gen stets sehr schnell vergriffen sind. Weinstube mit Gesprächen rund um un- https://filmphotographystore.com/pro...31 ser heutzutage sehr „exotisches“ Hobby 987034521671 freue ich mich immer mindestens ebenso sehr wie auf die Veranstaltung selbst. Ferrania, der Farbumkehrfilm und eine Danken möchte ich bei diesem Newsletter schwarzweiße 16- und 35mm-Variante Herbert Schmelzer für die Zulieferung Eine Anfang Februar von FILM Ferrania- zweier Beiträge. CEO Nicola Baldini veröffentlichte Video- Der Newsletter darf natürlich gerne an in- Botschaft klang, als ob man nach sechs teressierte Freunde und Bekannte weiter- Jahren die Hoffnung auf ein eigenes neues geleitet werden, die ihn nicht bekommen Farbumkehrmaterial endgültig begraben haben. hatte; erstmals war von Scheitern die Re- Bleiben Sie bzw. bleibt gesund! de: „the original version of the project as Eberhard Nuffer we conceived in 2014 has failed“, bekann- te Baldini. Inzwischen ist man zurückge- Ektachrome 100D rudert: Farbfilm werde definitiv irgend- in Doppel-8-Konfektionierung bei FPP wann kommen, verkündete ein Ferrania- Zu den zahlreichen Schmalfilmmateria- Mitarbeiter auf cinematography.com.
    [Show full text]
  • 15.Çocuk Filmleri Festivali
    ÇOCUK FİLMLERİ FESTİVALİ 15. CHILDREN’S FILMS FESTIVAL İSTANBUL YOZGAT ERZİNCAN VAN İSTANBUL YOZGAT ERZİNCAN VAN TÜRKİYE SİNEMA VE AUDIOVISUEL KÜLTÜR VAKFI Gazeteci Erol Dernek Sokak Hanif Han No: 11/2 Beyoğlu / İstanbul Tel: 0212 244 52 51 [email protected] Sevgili Çocuklar, Değerli Aileler, 15 yıldır Bakanlığımızın desteğiyle ülkemizin dört bir yanında yaşayan çocuklarımızı sinema sanatıyla buluşturan Çocuk Filmleri Festivali, sadece küçük sinemaseverler yetiştirmekle kalmıyor, belki de geleceğin yönetmenlerinin, senaristlerinin, oyuncularının kalplerinde ilk merak ışıltılartını uyandırıyor. Festival’in, yarının yetişkinlerini sanat ve kültürle dolu bir gelecek inşa etmeye yönlendirmesini diliyor, festivalin gerçekleşmesinde emeği geçen herkese teşekkürlerimi sunuyor, hepinize iyi seyirler diliyoruz. Erkin YILMAZ T.C. Kültür ve Turizm Bakanlığı Sinema Genel Müdürü Turkish Republic Ministry of Culture and Tourism General Director of Cinema 4 Sevgili Küçük Dostlarım, Değerli Aileler, 15. Çocuk Filmleri Festivali’ni bu yıl dört şehirde,Yozgat, Erzincan, Van ve İstanbul’da sizlerle buluşturmanın heyecanını yaşıyoruz. Festival boyunca dünyanın dört bir yanından birbirinden renkli ve eğlenceli çocuk filmlerinin yanı sıra Masalcı Abla, Jüri Atölyesi, Yazarlık Atölyesi gibi güzel sürprizlerle dolu pek çok interaktif etkinlik festival boyunca sizleri bekliyor. T.C. Kültür ve Turizm Bakanlığı Sinema Genel Müdürlüğü’nün değerli destekleri ile Yozgat, Erzincan ve Van Valiliklerine, Beyoğlu Belediyesi Başkanlığına sizleri bu güzel etkinlikte ağırlamamız için verdikleri desteklere minnettarız. Sözlerimi Atatürk’ün cümlelerini tek bir kelime daha eklemeden katılarak son veriyorum “Küçük hanımlar, küçük beyler... Sizler hepiniz, geleceğin bir gülü, yıldızı, bahtının aydınlığısınız. Memleketi asıl aydınlığa boğacak olan sizsiniz. Kendinizin ne kadar önemli, kıymeti olduğunuzu düşünerek ona göre çalışınız.” Keyifli ve Sevgi Dolu Festivaller Dilerim Hasan Fehmi YAŞAR TÜRSAK Vakfı Yönetim Kurulu Başkanı TURSAK Foundation President of the Board 5 6 TÜRSAK Vakfı 15.
    [Show full text]
  • Digital Movie-Making Digital
    BLENDER Your project guide to preproduction, animation, and visual effects using the short fi lm Mercator YOU CAN DO IT WITH BLENDER, AND HERE’S HOW Create professional assets for fi lm, video, and games with open-source Blender 3D animation software and this project guide. Using the Blender-created short fi lm Mercator as a real-world tutorial, this unique book reveals animation and STUDIO PROJECTS movie-making techniques and tricks straight from the studio. Master the essentials of preproduction. Organize sequences and shots and build an asset library. Re-create an action BLENDER STUDIO PROJECTS scene from Mercator using actual movie assets. It’s all here and more in this hands-on guide. • Learn key Blender attributes, tools, and pipelines for professional results • Conceptualize, write a story, sketch the art, and storyboard your concepts • Organize sequences and shots, build an asset library, and create 2D and 3D animatics • See step by step how to add textures and materials for added realism Digital Movie-Making • Learn organic and inorganic mesh modeling and add clothing that wrinkles and moves • Master the rigging of objects, environments, and characters Digital Movie-Making Assemble 3D animatics Learn character rigging Create driven normal Set up cloth simulations maps using sculpting VALUABLE COMPANION DVD The DVD includes starter, intermediate, and fi nal fi les, as well as movie fi les to help you every step of the way. About the Authors Tony Mullen, PhD, teaches computer graphics and programming at Tsuda College and Musashino Art College in Tokyo. His screen credits include writer, codirector, or lead animator on several short fi lms, including the award-winning live-action/stop-motion fi lm Gustav Braustache and the Auto-Debilitator.
    [Show full text]
  • Made with Creative Commons MADE with CREATIVE COMMONS
    ii Made With Creative Commons MADE WITH CREATIVE COMMONS PAUL STACEY AND SARAH HINCHLIFF PEARSON Made With Creative Commons iii Made With Creative Commons by Paul Stacey & Sarah Hinchliff Pearson © 2017, by Creative Commons. Published under a Creative Commons Attribution-ShareAlike license (CC BY-SA), version 4.0. ISBN 978-87-998733-3-3 Cover and interior design by Klaus Nielsen, vinterstille.dk Content editing by Grace Yaginuma Illustrations by Bryan Mathers, bryanmathers.com Downloadable e-book available at madewith.cc Publisher: Ctrl+Alt+Delete Books Husumgade 10, 5. 2200 Copenhagen N Denmark www.cadb.dk [email protected] Printer: Drukarnia POZKAL Spółka z o.o. Spółka komandytowa 88-100 Inowrocław, ul. Cegielna 10/12, Poland This book is published under a CC BY-SA license, which means that you can copy, redistribute, remix, transform, and build upon the content for any purpose, even commercially, as long as you give appropriate credit, provide a link to the license, and indicate if changes were made. If you remix, transform, or build upon the material, you must distribute your contributions under the same license as the original. License details: creativecommons.org/licenses/by-sa/4.0/ Made With Creative Commons is published with the kind support of Creative Commons and backers of our crowdfunding-campaign on the Kickstarter.com platform. iv Made With Creative Commons “I don’t know a whole lot about non- fiction journalism. The way that I think about these things, and in terms of what I can do is. essays like this are occasions to watch somebody reason- ably bright but also reasonably average pay far closer attention and think at far more length about all sorts of different stuff than most of us have a chance to in our daily lives.” - DAVID FOSTER WALLACE Made With Creative Commons v vi Made With Creative Commons CONTENTS Foreword xi Introduction xv PART 1: THE BIG PICTURE 1 The New World of Digital Commons by Paul Stacey 3 The Commons, the Market, and the State .
    [Show full text]
  • Open Content Licensing
    Open Content Licensing Open Content Licensing From Theory to Practice Edited by Lucie Guibault & Christina Angelopoulos Amsterdam University Press Cover design: Kok Korpershoek bno, Amsterdam Lay-out: JAPES, Amsterdam ISBN 978 90 8964 307 0 e-ISBN 978 90 4851 408 3 NUR 820 Creative Commons License CC BY NC (http://creativecommons.org/licenses/by-nc/3.0) L. Guibault & C. Angelopoulos / Amsterdam University Press, Amsterdam, 2011 Some rights reversed. Without limiting the rights under copyright reserved above, any part of this book may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means (electronic, mechanical, photocopying, recording or otherwise). Contents 1. Open Content Licensing: From Theory to Practice – An Introduction 7 Lucie Guibault, Institute for Information Law, University of Amsterdam 2. Towards a New Social Contract: Free-Licensing into the Knowledge Commons 21 Volker Grassmuck, Humboldt University Berlin and University of Sao Paulo 3. Is Open Content a Victim of its Own Success? Some Economic Thoughts on the Standardization of Licenses 51 Gerald Spindler and Philipp Zimbehl, University of Göttingen 4. (Re)introducing Formalities in Copyright as a Strategy for the Public Domain 75 Séverine Dusollier, Centre de Recherche Informatique et Droit, Université Notre- Dame de la Paix (Namur) 5. User-Related Assets and Drawbacks of Open Content Licensing 107 Till Kreutzer, Institute for legal questions on Free and Open Source Software (ifrOSS) 6. Owning the Right to Open Up Access to Scientific Publications 137 Lucie Guibault, Institute for Information Law, University of Amsterdam 7. Friends or Foes? Creative Commons, Freedom of Information Law and the European Union Framework for Reuse of Public Sector Information 169 Mireille van Eechoud, Institute for Information Law, University of Amsterdam 8.
    [Show full text]
  • Made with Creative Commons MADE with CREATIVE COMMONS
    ii Made With Creative Commons MADE WITH CREATIVE COMMONS PAUL STACEY AND SARAH HINCHLIFF PEARSON Made With Creative Commons iii Made With Creative Commons by Paul Stacey & Sarah Hinchliff Pearson © 2017, by Creative Commons. Published under a Creative Commons Attribution-ShareAlike license (CC BY-SA), version 4.0. ISBN 978-87-998733-3-3 Cover and interior design by Klaus Nielsen, vinterstille.dk Content editing by Grace Yaginuma Illustrations by Bryan Mathers, bryanmathers.com Downloadable e-book available at madewith.cc Publisher: Ctrl+Alt+Delete Books Husumgade 10, 5. 2200 Copenhagen N Denmark www.cadb.dk [email protected] Printer: Drukarnia POZKAL Spółka z o.o. Spółka komandytowa 88-100 Inowrocław, ul. Cegielna 10/12, Poland This book is published under a CC BY-SA license, which means that you can copy, redistribute, remix, transform, and build upon the content for any purpose, even commercially, as long as you give appropriate credit, provide a link to the license, and indicate if changes were made. If you remix, transform, or build upon the material, you must distribute your contributions under the same license as the original. License details: creativecommons.org/licenses/by-sa/4.0/ Made With Creative Commons is published with the kind support of Creative Commons and backers of our crowdfunding-campaign on the Kickstarter.com platform. iv Made With Creative Commons “I don’t know a whole lot about non- fiction journalism. The way that I think about these things, and in terms of what I can do is. essays like this are occasions to watch somebody reason- ably bright but also reasonably average pay far closer attention and think at far more length about all sorts of different stuff than most of us have a chance to in our daily lives.” - DAVID FOSTER WALLACE Made With Creative Commons v vi Made With Creative Commons CONTENTS Foreword xi Introduction xv PART 1: THE BIG PICTURE 1 The New World of Digital Commons by Paul Stacey 3 The Commons, the Market, and the State .
    [Show full text]