Podcasts about mudbox

Podcasting isn't hard when you have the right partners, and the team at Buzzsprout is passionate about helping you succeed. Join over a hundred thousand podcasters already using Buzzsprout. Following the link in the show notes let's Buzzsprout know we sent you, gets you a $20 Amazon gift card if you sign up for a paid plan, and helps support our show. Click the link below to get started for FREE.https://www.buzzsprout.com/?referrer_id=399292Today I'm joined by 3D Animator Oscar Torres. Oscar has a degree in Computer Animation, with over 7 years of technical and artistic experience as a 3D modeler for Animation, Game design, Gobile app creation and Gd printing. He has a strong grasp on  various tools Maya, MudBox, SpaceClaim ,  Zbrush, and Photoshop. Oscar has worked on various arenas in the 3d realm. From mobile asset creation for ios and Android. To creating of assets for fabrication and manufacturing. He's also very capable of creating 3D objects for  3d printing as well. He has recently had an opportunity to work with Augmented Reality experiences.Here's what listeners can learn:- How To Get Started With 3D Animation- Types Of 3D Printing- Resources For Learning Online- 3D Fabrication IdeasGuest: Oscar Torres - Instagram (@creaturefactory54)Website: https://oscartorres9.wixsite.com/oscartorres-3dYouTube: https://www.youtube.com/user/OscarTorresWork/videosPodcast: Hardwood Rod Podcast (@hardwoodrod)Host: Rodrigo Roque IV (@rodrigo.filmmaker) My Website: RodrigoRoque4.comSubscribe and Share on all platforms.  Follow us on Instagram & Facebook @hardwoodrodInterested in Sponsoring or being on the Podcast? Contact us at info@relionmedia.comCheck out the new merch!www.HardwoodRod.comBuzzsprout - Let's get your podcast launched! Start for FREEDisclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you.Support the show (https://www.buymeacoffee.com/hardwoodrod)

Dave Cardwell is a true technological pioneer in the field visual effects. Dave has co-founded and partnered with numerous companies over the years including the Academy Award winning Mudbox. He is a true visionary that is now partnered with Spin VR creating new immersive technology called BRIO which is a cloud based AR, VR & 3D platform, now available for license subscription.  Dave's Info: www.linkedin.com/davecardwellbriovr/  https://www.spinvfx.com/ https://experience.brioxr.com/ Gregory's Info: www.ontracktopower.com www.gregorystapleton.com  

[⭐EPISODE 14 ⭐- Phil Nguyen - Senior Character Artist - Quantic Dream] C'est Phil qu'on retrouve cette semaine au micro de Gizmo. Avec lui, on ouvre la porte du monde des Characters, il nous raconte comment ça a commencé. Puis comment à travers ses différentes expériences professionnelles, il a étoffé sa stack de compétences pour avoir de plus en plus d'outils pour réaliser des characters toujours plus remarquables. On a discuté entre autres de

O que faz um generalista 3D? O que um artista precisa saber para se tornar um generalista? Como é trabalhar em estúdios fora do Brasil? No episódio dessa semana nosso host Gustavo Ribeiro conversou com o Ale Barbosa, um generalista 3D brasileiro que trabalha no Canadá! O Ale Barbosa tem 35 anos e 10 anos de experiência em publicidade, sempre atuando como generalista o que quer dizer, entre outras coisas, que ele conhece dezenas de softwares: 3Ds MAX, Vray, Arnold Renderer, Redshift, Mudbox, Zbrush, Maya, Xgen, FumeFX, Realflow , FractureFX, Rayfire, After Effects, Photoshop, PFTrack, Yeti e Marvelous Design. Impressionante, né? Ouvindo o episódio, você vai conhecer a jornada do Ale, então não esquece de seguir ele nas redes: https://www.artstation.com/alebarbosa Acesse todo o nosso conteúdo em https://revospace.com.br/, https://www.instagram.com/revospace.c... e https://twitter.com/revospace Tem sugestão de um conteúdo? Escreve pra gente no telegram @revospace ou no email oi@revospace.com.br ♥ Conheça o Topia! topia.com.br/ Conheça os cursos a distância e presenciais da Revolution! ead.escolarevolution.com.br/ escolarevolution.com.br/cursos/ Siga a Revo nas redes sociais: SITE: revospace.com.br FACEBOOK: www.facebook.com/EscolaRevolution INSTAGRAM: www.instagram.com/escolarevolution/ DISCORD: discord.gg/KeqmqdX PINTEREST: br.pinterest.com/revolutionartes/ TWITTER: twitter.com/revolutionartes

In part 2 of the 3D Interoperability series, you went through the workflow of exchanging 3D data between Flame and Mudbox. This allows you to take 3D geometry in Flame and push it over to Mudbox for sculpting and painting. Once you were happy with your model, tt gets sent back to Flame with an updated 3D geometry and a new diffuse texture map that was processed in Mudbox. In part 3, you'll learn to troubleshoot some mesh issues, when sending 3D geometry to Mudbox. This is actually quite easy to manage since Mudbox points out the issues as well as offers a solution to fix them. This is due to the technical complexity of sculpting on a 3D model and there are just a couple of guidelines that need to be followed in order to sculpt successfully in Mudbox. Please check out the Mudbox documentation for detailed descriptions when troubleshooting mesh issues.

With the release of Flame 2020.3, Maya 2020 and Mudbox 2020, it is now possible to instantly exchange 3d scenes between Flame and Mudbox or Maya, running on the same workstation (Mac or Linux). This is known as the 'Send To' workflow which offers 3D data exchange without the need for manual importing and exporting. In part 1, you'll go through the fundamentals of setting up the workflow as well as the potential for tons of creative and technical capabilities for any Flame Artists working with 3D assets. This video will cover a basic example of interoperability between Flame and Maya. Please note that this is a single system workflow and all the applications need to be on the same workstation. Please check the on-line documentation for the setup configuration. To learn more about Maya, please watch the Maya Learning Channel - http://www.youtube.com/mayahowtos

In the first part of this series, you learnt the fundamental basics of how to instantly exchange 3D data between the Flame 2020.3 Update, Maya 2020 and Mudbox 2020. In part 2 of the 3D Interoperability series, you'll recap some of the topics from part 1 as well as start looking at the interoperability between Flame and Mudbox. Mudbox is a 3D sculpting and 3D painting application compared to Maya which is a more general 3D application. So their toolsets are different and because of that, their 3D dataset requirements are slightly different. In fact Mudbox is really smart and it will tell you when something is wrong and how to correct that. We'll discuss this in detail as you progress through the workflow. To learn more about Mudbox, you can watch the following videos: Dynamic Tessellation Autodesk Basic: https://www.youtube.com/watch?v=lTubn6dTGMk Dynamic Tessellation Impressive Usage: https://www.youtube.com/watch?v=idF5C8mu4Ds https://www.youtube.com/watch?v=IqyCYjz9AHk https://www.youtube.com/watch?v=QXD8_7wS5Ew Vector Displacement Map(Very Cool for Flame users): https://www.youtube.com/watch?v=fJJQaQDRkG8 https://www.youtube.com/watch?v=yHWbOVYNoKw https://www.youtube.com/watch?v=QuGDdhSqIhg Modelling And Painting with Mudbox: https://www.youtube.com/watch?v=EIP9L7N5JTE https://www.youtube.com/watch?v=LrzbNaCFtEw https://www.youtube.com/watch?v=VvcS3_De9yg Retopology https://www.youtube.com/watch?v=ZPQfB333TBc https://www.youtube.com/watch?v=eXSkVfsZZic Meet the Experts: https://www.youtube.com/watch?v=ElVbyLyD_ts https://www.youtube.com/watch?v=fziRd30iECQ https://www.youtube.com/watch?v=rrolEp1uQY0 https://www.youtube.com/watch?v=ylgPKhgWzzA https://www.youtube.com/watch?v=yWldS1Jzq0U All aspect of Mudbox (third party): https://www.youtube.com/channel/UCPnvnhNXATxhKeNeKClD2yw/videos

No episódio de número 9 do V-Ray Master Talk vamos conversar com Mário Ucci, fundador e diretor do estúdio Red Knuckles, em Londres. Com passagens pela The Mill, Passion Pictures e MPC, entre outros, Mário fala um pouco sobre sua experiência trabalhando em filmes de grande orçamento como "A Fantástica Fábrica de Chocolate", "Harry Potter", a banda Gorillaz, a transição de generalista 3D a diretor, diferenças entre renderizadores como Renderman, Arnold e V-Ray e muito mais! Comentados neste episódio: David Cardwell, um dos criadores do Mudbox | https://en.wikipedia.org/wiki/Autodesk_Mudbox#History Lightwave (software 3D da Newtek) | https://www.lightwave3d.com/ The Foundry MODO | https://www.thefoundry.co.uk/products/modo/ Pascal Blanche | https://www.artstation.com/artist/pascalblanche Frank Frazetta | https://en.wikipedia.org/wiki/Frank_Frazetta Casablanca | http://www.teleimage.com.br/ Vetor Zero | www.vetorzero.com.br Clan VFX | www.clanvfx.com.br Fausto De Martini | http://www.faustodesign.com/about/ Luciano Neves | http://www.lucianonevesvfx.com/ La Maison | https://alamaison.fr/ The Mill | http://www.themill.com/ Gorillaz | https://pt.wikipedia.org/wiki/Gorillaz Passion Pictures | http://www.passion-pictures.com/ Red Knuckles | http://www.redknuckles.co.uk/ Blur Studio | www.blur.com Rafael Grampá e a melhor história do Wolverine | http://www.comicbookresources.com/?page=article&id=28946 Rafael Grampá's Dark Noir | https://www.youtube.com/watch?v=WeyaB9Gm4iw Project Literacy | http://www.projectliteracy.com/ École Gobelins | http://www.gobelins.fr/ MOPA (antiga Supinfocom) | http://en.ecole-mopa.fr//?utm_source=web&utm_medium=bdo_top&utm_content=btn_bdo&utm_campaign=fr_to_en O que é Brexit? | http://www.bbc.com/portuguese/internacional-36555376 Não se esqueça de visitar o V-Ray Masters: www.vraymasters.com www.facebook.com/vraymasters/ www.facebook.com/groups/vraymaster/ Dúvidas? Sugestões? contato@vraymasters.com

3D printing is having an effect on the way things are made. This episode talks about what those things are, how it benefits us all and how you can get involved. Chris Dombos knows a thing or two about 3D printing, and he is also a massive FX nerd so we got on rather well. Having met him first at LA IMATS in Jan 2017 (I discovered he had some of the original Lost Boys moulds), it made sense to catch up when he came over to London recently. Of course, I figured bring the mic and make a podcast out of it. We recorded in a cemetery in London, so there are background noises. The whole gamut of life - cars, sirens, passing people, kids, birds in the sky, aircraft, wind – it’s all there in a place of the dead. It's all background, our audio is clear and we chatted about a number of great topics which matter to anyone who makes things. This includes: There have been a number of auctions as big FX shops started scaling down! This means that the larger shops have all but disappeared but more smaller operations opening up. Props Store London https://propstore.com/ Importance of design and the danger of generic, the process informing the look. Occulus Medium: https://www.oculus.com/medium/ Cost of CAD programs - the free and the fortunes. Digital sculpting revealing an artists lack of anatomical understanding, and how an understanding of form is essential to good sculpture regardless of the medium – clay or pixels. Costs or materials v digital process. It exists as a process, will only get better. The increased incident of joined up thinking, and how digital FX uses a team to create what would have been the job of one person, teams fitting together. For practical FX this wider collaboration is a new thing. We also mention some great artists. These include: Norman Cabreara https://www.instagram.com/norman_cabrera_monsters/ Steve Wang https://www.instagram.com/stevewangcreaturecreator/ Gio Nakpil http://gionakpil.com/ Bill Corso https://www.stanwinstonschool.com/artists/special-effects-makeup-artist-bill-corso Digital Makeup Group - http://www.digitalmakeupgroup.com/ Adam beane and 'CS Wax' http://www.adambeaneindustries.com/cx5/ Landon Meier http://www.hyperflesh.com/ Jose Fernandez and http://ironheadstudio.com/ Software and websites to help include: Modo https://www.foundry.com/products/modo Places to learn 3D Sculpting https://www.renderosity.com/ http://www.wings3d.com/ Sculptris http://pixologic.com/sculptris/ ZBrush Central http://www.zbrushcentral.com/ ZBrush http://pixologic.com/zclassroom/ ZBrush Core https://store.pixologic.com/zbrushcore/ who listened to sculptors to make the software work for sculpture. Mudbox (https://www.autodesk.com/products/mudbox/overview ), DigiPen https://www.digipen.edu/ Gnomon https://www.gnomon.edu/ Pluralsight (Formerly Digital Tutors) https://www.pluralsight.com/ https://www.gentlegiantstudios.com/ https://3dprinting.com/what-is-3d-printing/ Reality Capture – photogrammetry software https://www.capturingreality.com/ Hope you enjoy this episode - It's exciting and scary at the same time for me. Check us out on Facebook, https://www.facebook.com/stuartandtodd/ or email us direct at stuartandtodd@gmail.com! - Stuart & Todd

Hoy tratamos los programas 3ds Max, Maya, Blender, Zbrush y Mudbox. Brevemente sus utilidades, posibilidades, plataformas y sus precios. ¡¡Lo mejor es probarlas todas y ver para que funcionan!!

Explicación del término de modelar en 3d con herramientas como 3ds Max, Blender, Maya, Zbrush o Mudbox. Todos los días de Lunes a Viernes tendréis un capítulo nuevo en https://rubi3d.com ;)

Blood ! Podcast #15! It's something gets thrown around a lot in film, TV and theatre. There's bad blood, good blood, mudbloods, blood thicker than water and blood brothers.  This episode we're talking about blood, and our guest this time is Rob Smith, blood master as well as an all-around effects bod. He also runs a lot of foam, and makes exquisite soft foam appliances which you really need to feel to appreciate. He makes his own pieces but runs a lot of foam for other people, and you'll certainly have seen his work if you've been to the cinema in the last few years! Blood needs to be a number of things: The right colour The right opacity The right viscosity It also needs to be: Safe to use (skin, mouth and costume) Easy to clean up As a product, there are lots of different kinds of things which can be classified as blood. For example, blood as a real biological product does things - like clot, dry, separate, form scabs and flake once dry. One of these blood drops is real! An artificial blood won't do that, so to create all these different possibilities, there are blood effects products like the standard liquid, flowable blood that comes directly out from an opening in the skin to 'clotted' blood, scab, wound fillers and pastes. Often these are made from the same sugar or corn syrup base, thinned with water or thickened and then coloured with food grade pigments to an appropriate shade. However, as convenient and mouth safe as that may be, it attracts flies especially when shooting in warm climates.  Sugarless bloods, drying bloods which are alcohol based and even specialist bloods for use in eyes and mouth are available for use where appropriate. All this means, of course, a large amount of product range, which we touch on a bit with Rob, who makes a lot of blood, but focusses mainly on the flowable blood which gets used in rigs to pump and splash around on set.   Blood Gags I've done a fair few blood gags (a lot of necks, weirdly), that is makeup effects which use blood that gets pumped on cue, and thinning blood so it flows right under pressure means a fair bit of effort and testing to ensure it looks right. The thing about a blood gag is figuring out what kind of tubing to use and where to put it - we could do a whole podcast just on the ins and outs of blood gags - but there's all that stuff under the piece which needs to be right, and then the appliance over the top is just to hide that plumbing job underneath. If blood is too thin and translucent then it doesn't look right, and if it is too thick then it won't move and spray correctly.  The fact it needs to travel under pressure, through various different tubes and connectors etc.  All that changes the way the blood flows, so knowing this and doing lots of tests to make sure you have a good idea about how that particular gag is going to work is important.   Interview with Rob Smith Anyhow, listen to some bloody wisdom from Rob Smith, which we recorded in his home. It's worth pointing out the guitar you're going to hear is Rob, plucking away just for fun as he showed me his guitar collection hanging from the walls in the lounge. Pretty cool stuff. We chatted for a long while so I've split this up into two hour-long chats, and we shall release part 2 within the week. Rob makes a great blood for use on silicone appliances which flows and smears realistically and which doesn't 'bead' up on oily surfaces which can happen with many water and syrup based blood. You can see which is which in this comparison!   Teaching & Learning Makeup FX Being in Belfast this week teaching at Titanic Creative Management made me reflect on the various kinds of learning environments I see so I talk a bit about some of the issues I see in colleges, namely that the institutes often fail the tutors. They squeeze the goodwill and best efforts of many tutors and some don't even appreciate the requirements of a course leaving tutors woefully unsupported.  I think many of the tutors do a good job despite their faculty rather than because of  it. I have said before that makeup is often underestimated,  people may attend a makeup course because they themselves wear makeup so...how hard can it be,  right? The majority of people I've met at colleges really do care about being there,  and some are outstanding. However, I've been to other places which fell like it was a crèche for big 20-year-old kids and you know that shit wouldn't  truck if they were an apprentice. I care about the craft side of things and I don't want to see people wasting their time.  When college attendance is ruled by 'do you have the money' rather than 'look, this is hard work...do you really want to do this?' College makeup school tutors, I salute you. There are people who just won't turn up on time and who skip entire weeks, suddenly to return at the last minute as assessments rear their head. Then that poor tutor has to give up endless extra hours to mend that as best they can because the college took on someone that frankly doesn't want to be there. If that was a freelance apprenticeship, I can just fire you for being shit. If you've paid to be there, it shifts the power so the relationship between the learner and the teacher is transactional rather than one of mutual reliance. Read that original blog post here:  http://www.learnmakeupeffects.com/what-is-the-best-way-to-learn-makeup-effects/ There is of course nothing wrong to pay to learn, I myself pay to learn things and am glad I can do so. However, the people taking the money at colleges and universities are not directly responsible for dealing with the learners on a day to day basis. Private makeup schools, however, usually have a closer relationship with their attendees, and as such, I have seen a marked difference in attitude - they are there for a short time and really want to be there. I suppose also college is the first logical step after school, so many are attending fresh from a school education and are younger. I know I did! This is what goes through my head when I get asked three times a week which college is best etc. or whether they should go private. It seems a college will provide an academic qualification, and that is the appeal to do that over a private course. However, If a large portion of the course is endless theory which is not required on a set, you can become 'qualified' whilst being utterly useless. If you pump out thousands of students like that, that serves nobody except the facility which charged you a small fortune for the privilege.   Will Digital Kill The Practical? Lots of people ask this question, and the changes are new relatively speaking so a thorough understanding of the future effect of it is not something any one person has a full explanation for.  The truth is it isn't going away, it isn't taking over everything and it isn't something that you can't take part in. Lots of people are getting in touch and asking for survey responses, so it's clearly a hot topic. It even made it to the editorial of the latest Prosthetics Magazine (well worth it by the way, I'd recommend it. Get yours here in print and digital: https://www.prostheticsmagazine.co.uk/ ) Transferable skills needed in both digital and practical work remain good basic abilities: good design, ability to render and understand anatomy, and using reference to constantly upgrade what you know. The computer doesn't do it all for you - there is a skilled person behind the keyboard. You could be one of them. There are a lot of areas which come under the digital umbrella, and the trick is to find a way in if you are interested. If you like sculpting then check out the digital sculpting programs and photo retouching is usually done in Photoshop. This is a paid for programme but you can still get CS2, an old version for free here: https://www.adobe.com/support/downloads/detail.jsp?ftpID=3466 Also check out the free image editing software from GIMP: https://www.gimp.org/   Digital Sculpting Digital sculpting is changing a lot of things slowly, and programmes like Zbrush and Mudbox make it possible to apply the same editing qualities of a Word document to a sculpture. Clay is great and I recommend using it - you don't need to choose just digital or just clay, I think using both is important. However, for no money at all, you can introduce yourself to the digital sculpting To check out and download Sculptris: http://www.learnmakeupeffects.com/what-is-the-best-way-to-learn-makeup-effects/ The stripped down version of ZBrush is called Zbrush Core, so check that out here: http://store.pixologic.com/ZBrushCore/. Keep on trucking! Remember you can get in touch through email on stuartandtodd@gmail.com, through our Facebook Page: https://www.facebook.com/stuartandtodd/ or comment on the blog post, http://www.learnmakeupeffects.com/rob_smith_pt1/ Stuart & Todd

Our series of CAD software reviews continues with Mudbox, an artistic and sculptural type of program that is a simple program to pick up and use as an intermediate level program once you've outgrown the beginner and basic CAD softwares out there. Although it's not a free program, it's small monthly fee for the features it offers is nominal. Tom Hazzard shares what sets this program apart from the other CAD software programs out there suited for creating creative and artistic 3D print models. To send us a message, go to 3dstartpoint.com or shoot us a message at info@3dstartpoint.com or on our facebook or twitter! Its absolutely free, so ask away and and don't forget to subscribe so you can hear more on our regularly scheduled Thursday podcast episodes!

Art and Technology 0006 An Interview with Dan Gustafson Next Engine Scanner and Traditional Sculptor Mark Byrd Dan Gustafson- Marketing Director at NextEngine-3d Scanners LISTEN NOW from your browser Using digital technology such as scanning and milling in the traditional art studio is what I refer to as Tra-digi art. Dan Gustafson of the NextEngine Scanner and Traditional Sculptor Mark Byrd spend time with me talking about using the NextEngine scanner in the creating of life size traditional bronze sculptures. What are the advantages of using the scanner? What are the pitfalls to watch out for when incorporating this technology in your own studio? Some of these concepts of digital scanning and printing were featured in chapter 7 of the Mudbox book.   * Listen to the podcast from our podcast player on the nav bar at Digital Sculpting.net * The forum for this topic. You may add your comments and thoughts * The direct link to this podcast segment- should you want to put it on your website or blog http://media.libsyn.com/media/artandtechnology/Art_Technology_006_Scanning_and_Milling_in_the_Tradtitional_Studio.mp3 More photographs to come The Art and Technology Podcast listen from the Digital Sculpting.net website or Subscribe to the podcast in itunes  The processes and pof 3d scanning are featured in chapter 7 of the Mudbox book.    _______________ You are welcome to use this podcast on your website. For further information and possible images associated with this podcast visit the podcast page of DigitalSculpting.net For more information and more podcasts visit DigitalSculpting.net   Join the conversation on 3D technology in fine art and craft on both Facebook and LinkedIn.  Find "3D Technology in Fine Art and Craft: Exploring 3D Printing, Scanning, Sculpting and Milling" on Amazon.  Follow the podcast host on twitter.  Some of these podcasts are made into enhanced podcasts with images and can be found on youtube.   

Paul Effinger is a digital sculptor who is exploring different methods of bronze casting other than the lost wax method of bronze casting.  He is exploring z corp printing in a cellulose powder, infiltrates and others. Effinger worked 13 years in the gaming industry creating for published titles as lead Character Artists and Animator and contributed to many others as an independent contractor. He strives to see some of his creations into physical forms and loves the feel of bronze. This has caused him to explore in different areas of 3d printing and investment casting.  The processes and pitfalls of 3d printing are featured in chapter 7 of the Mudbox book.   * Listen to the podcast from our podcast player on the nav bar at Digital Sculpting.net * The forum for this topic. You may add your comments and thoughts * The direct link to this podcast segment- should you want to put it on your website or blog http://media.libsyn.com/media/artandtechnology/Art_technology_005_Interview_with_Paul_Effinger.mp3 _______________ You are welcome to use this podcast on your website. For further information and possible images associated with this podcast visit the podcast page of DigitalSculpting.net For more information and more podcasts visit DigitalSculpting.net   Join the conversation on 3D technology in fine art and craft on both Facebook and LinkedIn.  Find "3D Technology in Fine Art and Craft: Exploring 3D Printing, Scanning, Sculpting and Milling" on Amazon.  Follow the podcast host on twitter.  Some of these podcasts are made into enhanced podcasts with images and can be found on youtube.    Art and Technology Podcast “A fire side chat where innovation, creativity, technology and science meet.”  

An introduction to the Art and Technology Podcast. Host Bridgette Mongeon and illustrator/writer Mike de la Flor talk about their hopes for digital sculpting.net, the Art and Technology podcast and the new book Digital Sculpting with Mudbox: Essential Tools and Techniques for Artist.  A bit about the host Bridgette Mongeon Bridgette is a traditional sculptor and a writer. She has been creating podcasts for two years on various topics and looks forward to exploring art and technology with the community at DigitalSculpting.net. Her passion for this subject is fueled by her ongoing graduate studies. She is also coauthor of the new Mudbox book and co-administrator for this website. Mike de la Flor Mike is a medical, illustrator/animator, instructor and writer. He is the author of several CG titles including the popular The Digital Biomedical Illustration Handbook. He has written dozens of articles for 3DWorld, Computer Arts, and MacWorld among other magazines. Mike is also the co-administrator of the DigitalSculpting.net website.    Art and Technology Podcast   “A fire side chat where innovation, creativity, technology and science meet.”   _______________ You are welcome to use this podcast on your website. For further information and possible images associated with this podcast visit the podcast page of DigitalSculpting.net For more information and more podcasts visit DigitalSculpting.net   Join the conversation on 3D technology in fine art and craft on both Facebook and LinkedIn.  Find "3D Technology in Fine Art and Craft: Exploring 3D Printing, Scanning, Sculpting and Milling" on Amazon.  Follow the podcast host on twitter.  Some of these podcasts are made into enhanced podcasts with images and can be found on youtube.   

In this session we will have a closer look at how to use the mip Shaders, in particular the mip_grayball. This is a simple Shader that can be utilized to shade an object via a texture file, very similar to the behavior of Mudbox lit Sphere material. With this workflow you can achieve the same look that you have in any 3D package, just by using a simple rendered sphere.

A quick NAB wrapup, reviews of 3Ds Max 2010 and MudBox 2009, talk about the NVidia GT300 and ATI HD4770, we ask if Data.gov should visualize and if we can help with K-12 science education, and prove the existence of the original Teapot.