This class will present an intermediate-to-advanced workflow integrating Maya software and Unreal Engine software to create more-complex and exciting game cinematics including characters animated with motion capture, manually animated vehicles, particles, and dynamics. This class will show you how to create and layout an advanced game cinematic in Maya, preparing it for export to Unreal Engine. Then we will show you how to import and set up the exported Maya scene in Unreal Engine, setting up materials, cameras, mocap, particles, and dynamics. Finally, we'll implement industry-standard best practices while working between Maya and Unreal Engine, and rendering the final cinematic in Unreal Engine. This hands-on class has the indie game dev and 3D artist in mind.

AI-powered animation is only as good as the data behind it, but most motion data wasn't designed for AI. In this session, we'll demonstrate a projection-mapped capture app that guides performers in real time to produce more-structured motion. As well as how Label Maker, a tool integrated within the Autodesk ecosystem, uses AI to turn raw motion data and videos into richly tagged, reusable data sets. You will walk away with a clearer picture of how to make motion data actually usable for AI, and how to rethink their pipelines to get there. The real value of motion data isn't in the capture it's in the enrichment.

Learn techniques that can speed up your day when you are working in Maya software to help you make better-looking art. It covers all aspects of Maya, including hidden hot keys, working with motion capture, getting faster renders, speeding up playback, and old school tips and tricks.

RADiCAL's artificial intelligence (AI) enables 3D motion capture, animation, and content solutions for film, gaming, and live events for everyone, everywhere. Our AI delivers an end-to-end software-only solution, generatively going straight from a single 2D video to 4D skeletal joint rotations, in real time, requiring no coding, hardware, investment, or training. Camera, browser, internet: done. In this product demo, we'll explain how RADiCAL Live works, how you bring real-time, multiplayer, motion-capture data into Maya software. We'll go into RADiCAL's development road map (including feature sets to be released soon). And we'll cover how we continue to partner with Autodesk in the creation of a truly democratized, end-to-end, cloud-based, collaborative content-creation platform that has AI at its heart.

With nearly everything you need to make an animated film, Maya Entertainment Creation Suite software enables animators and directors to do some real guerrilla filmmaking. This class will walk you through some of the techniques we are employing to bring the feature film Dog Eat Dog to life on a budget of less than $1 million. From timesaving rigging techniques to at-your-desk facial motion capture, we are bringing our entire bag of tricks to bear in our quest to release quality animation on a grassroots budget.

How can film and TV production move forward in the age of social distancing? This talk will explore a case study of a workflow under development by a broad team of studio production executives and technology partners. We will describe new capabilities in virtual production tools and system architectures to perform as much work as possible remotely using game engines, cloud services, virtualization, live LED wall projections, live motion-capture sessions, large-scale volumetric location scanning, and workgroup platforms.

3D layout is a critical component of the 3D animation production workflow. Working from storyboards, the layout artist builds the first 3D representation of that storyboard in a cinematic form by using the models created by the rest of the crew. The layout artist will set up cameras, and decide which lenses to use, where to position the lights, and how to lay out the 3D environment and props. They will then roughly animate the characters, either manually or with motion capture. The end result is a rough version of the scene that will be passed to the animation department. To be a good layout artist, a person needs to have a very good knowledge of Maya software, as well as a good mastery of cinematography concepts. This presentation will go though some basic concepts of cinematography that every layout artist needs to know. And then it will show how to create a 3D layout scene inside Maya step by step, starting from a 2D storyboard.

Let's take a look at how architectural visualization meets VFX with 3ds Max, MotionBuilder and Shotgun. We used Shotgun to help our team collaborate during the crazy-short production timelines, with 3ds Max and Motion Builder to integrate more storytelling and bring our stories to life via motion capture. …Or simply put, rendering 5760 8K frames of NYC city. Yes, the entire city! At Neoscape we have been creating future landscapes for over 24 years, every time striving for higher quality and higher standards. Software comes and goes, it evolves. However, we have always relied on 3ds Max as our workhorse. Every year we think we have achieved the impossible, yet every year we are asked for more and more. In this presentation we will share some of Neoscape’s latest endeavors to date, including those that were technically challenging as well as creative.

This talk will focus on recent work on how to build immersive experiences with support for collaboration.We will focus on three aspects of collaboration:A) Capture of human (e)motion B) visualization of captured data C) network distribution of data.We will illustrate these aspects using prototypes that we constructed over the past year.And we will demonstrate how these prototypes led to various pilot projects and how they utilize Autodesk Forge. (Joint AU/Forge DevCon class).

In this class, we will discuss a workflow to document and record cultural heritage sites using 3D data capture and Autodesk software. We will discuss integrated surveying techniques and software, including AutoCAD software, ReCap software, and 3ds Max software, used to document these sites for the next generations. Case studies will address the challenges of integrating aerial scans, terrestrial laser scans, and ground structure-from-motion photography, including working in confined spaces. We will also highlight the value of the data products for managing these important sites. FalconViz will share how the advancement of acquisition and scanning techniques is leading to new ways of fully documenting cultural heritage sites, rather than 2D hand sketching and standard photographing.

Maya software has recently added some significant new tools for character rigging and animation. These include Offset Parent Matrix, which creates an entirely new way to think about rigging characters. Understand how this feature works and how it can simplify rigs to make them both faster and easier to understand. In addition, new utility nodes such as UV Pin, Proximity Pin, and Rivet can help accelerate facial animation and other skinning tasks. Learn how to use these tools to create better rigs for your characters. Animation features include a brief tour of the new Maya Motion Library, along with a number of animation productivity enhancements, which can speed the animation process.

Synchronizing two robotic motion-control camera rigs, we’ve been able to create a new visual effect never attempted before: time displacement, which involves having the image reflected in a mirror show the reflection of an action 10 seconds after that action happens on the screen. We can detach the time of the reflection, but maintain the physics of a coherent reflection angle—all in a single take.

This case study will follow the creation of the attraction Monsters Unchained: The Frankenstein Experiment for the new theme park Universal Epic Universe. It will illustrate how Universal Creative, as both designer and owner, is using the full range of Autodesk software and Forma suite to collaborate between teams and bring to life groundbreaking attractions. Creating innovative theme park attractions necessitates the blending of disciplines. Attraction designers incorporate mechanical system animation with digital media, lighting, and visual effects using 3ds Max software—while architects and engineers design and document facility systems in Revit software to meet operational needs. During ride and show manufacturing and general construction, teams constantly monitor installation quality with reality capture methods like LiDAR using ReCap and Navisworks software, validating real-world conditions against the creative intent models and federated BIM, thereby completing the project lifecycle.

This class is a case-study presentation about the use of Maya software to produce a 3D-animated TV pilot for the Brazilian market with almost no money. Although Maya is usually thought of as the software of choice of big Hollywood studios, it can also be very effective in a low-budget context. The TV pilot used as a case study, "Dragao de Aco” (Steel Dragon), was produced with a grant from the Brazilian government in 2017–2018. It is a 22-minute, 3D-animated TV pilot with anime-inspired visuals.