Podcasts about sculptris

We have all spotted things in shows which were never meant to be there. Scars swapping sides, hair up one minute and then down the next, blood which moves shot to shot or an errant edge which can't be hidden. Those are the things which you notice, and maybe take great pleasure in spotting and shaming those unfortunate artists who were 'responsible'. However, there are many things which you didn't spot which could have been issues if they were not overcome before the cameras started rolling. We go through some of these hidden problems which are not so rare, and which will tax the creative minds of those on whose shoulders these things fall. We have had a long lay-off and been quiet coping with one thing and another, so apologies for the radio silence. We have a few new toys which will mean things are going to be more regular on the podcast front. ------------------------------- Links to things we mention in this episode Nomad sculpting app: https://nomadsculpt.com/ Procreate art app: https://procreate.art/ Infinite painter: https://www.infinitestudio.art/discover.php Forger sculpting app: https://forgerapp.com/ ZBrush (all bells and whistles): https://pixologic.com/ Zbrush Core (stripped down, lighter version): https://store.pixologic.com/zbrushcore-2020/ ZBrush Core Mini (even more stripped down and free): https://zbrushcore.com/mini/# Sculptris (free sculpting app): https://pixologic.com/sculptris/ What we do in the shadows (excellent TV show): https://www.imdb.com/title/tt7908628/ ------------------------------ Many thanks as always for your time checking the stuff out. You can email us direct at stuartandtodd@gmail.com or leave us a voice message directly on our site. If you enjoy this podcast and got something out of it, would you do us a solid and tell just one more person about us? Send them a link and help us grow! -Stuart & Todd  

Starting Education In Makeup Effects & Prosthetics This episode is prompted by seeing a few questions on forums about how best to learn about makeup FX and prosthetics. Where to go and what to learn? Depending on what you want to be able to do, let's also draw a distinction between a makeup artist who sometimes will apply a prosthetic v someone who specialises in creating and applying more complex pieces. Some people want to exist in the workshop only and have no interest in being on set all day. It takes all types but understands there is a profession which specialises in making and one in makeup, they don't always cross over, and you don't need to be able to do everything. ----------------------- There are some great colleges out there with tutors doing sterling work. There are also some not so great. We think that is worth mentioning and discussing. In this episode, I mention some institutions off the top of my head which I reckon do a great job, and I have had the privilege of visiting many more and speaking with the students there. In the podcast recording, I didn't supply an exhaustive list, and to those which I neglected to mention I apologise. The result of memory oversight. I have been overwhelmed recently by the kindness and generosity of the tutors who make huge efforts to deliver good education. Thank you for what you do. There are a few different paths to go down if looking to get schooling. Nowadays it essentially boils down to three main categories of training. Education systems vary across the world, but the essence of these categories remain the same. 1. Academic or ‘certified’ qualification level (usually longer term) 2. Private courses & tuition (usually short term) 3. Self-taught through books, DVD’s and online sources (usually long term & ongoing) The link to the blog post about training and apprentices we mentioned is here. That free digital sculpting programme is called Sculptris and is available here: https://pixologic.com/sculptris/ The link to the blog post about training and apprentices we mentioned is here. That free digital sculpting programme is called Sculptris and is available here: https://pixologic.com/sculptris/ Rick Bakers book, Metamorphosis is out now in good bookstores!  

Ciao, questo è the Pixels Chips e io sono Matteo Sgherri. News, stampa e scultura 3d per giocattoli e art toys, il mio progetto, eventi e molto altro.Su instagram https://www.instagram.com/thepixelschips/ Su telegram https://t.me/thepixelschipsPer altre news - https://thepixelschips.home.blog/tag/news/Per altre informazioni linktr.ee/thepixelschipsalcuni link saranno aggiornati con i prossimi episodi.Bio in breve - https://thepixelschips.home.blog/2019/06/28/welcome-to-my-blog/credits la soundtrack di sottofondo BoxCat Games - Inspirations - http://freemusicarchive.org/music/BoxCat_Games/Nameless_the_Hackers_RPG_Soundtrack/BoxCat_Games_-_Nameless-_the_Hackers_RPG_Soundtrack_-_07_Inspiration --- Send in a voice message: https://anchor.fm/thepixelschips/message

On this week's episode, your nice hosts talk with local artist/developer and VR Creative at Pixel Farm, Krista McCullough, about VR workflows and a lot more! VR Workflows ProductionVR / AR / XRPixel Farm VRJoyce Minions on Twitter - @minionsart, TwitterSculptris (free 3D sculpting software)Mike Blackney's exploration of spline-based modelling - TwitterKrista McCulloughGuestKrista McCullough is a VR Developer in Minneapolis. External link On Twitter @knm_xyzOn Instagram @knm_xyz

On this week’s episode, your nice hosts talk with local artist/developer and VR Creative at Pixel Farm, Krista McCullough, about VR workflows and a lot more! VR Workflows Category Production VR / AR / XR Pixel Farm VR Joyce Minions on Twitter - @minionsart , Twitter Sculptris (free 3D sculpting software) Mike Blackney's exploration of spline-based modelling - Twitter Guest Krista McCullough is a VR Developer in Minneapolis. External link On Twitter @knm_xyz On Instagram @knm_xyz

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

This week we interview the artist and creator of the comic Kings Club, AmeliaP! Her comic was featured and Gunwallace also gave it a theme tune that was featured in Quackcast 335. AmeliaP is a talented professional comic creator and game designer. We couldn't interview her directly because she's not confident enough in her spoken English, so what we've done instead is read out a written interview that I did with her especially for this Quackcast. Amelia has some surprising and valuable insights for comic creators. You can read the full text of her interview bellow. Gunwallace's theme for the week was for Abejitas - This tune bounces in like a wild thing, spinning and buzzing crazily, full of black striped yellow techno sweet honey madness and rapid wingbeats of energy, this will sting you into full awareness! Topics and shownotes Featured comic: ZINC COMIX - http://www.theduckwebcomics.com/news/2017/aug/22/featured-comic-zinc-comix/ Links: Kings Club - http://www.theduckwebcomics.com/Kings_Club/ AmeliaP - http://www.theduckwebcomics.com/user/AmeliaP/ Quackcast 335, Kings Club theme and feature - http://www.theduckwebcomics.com/quackcast/episode-335-dialoguecast Special thanks to: Gunwallace - http://www.virtuallycomics.com Banes - http://www.theduckwebcomics.com/user/Banes/ Tantz Aerine - http://www.theduckwebcomics.com/user/Tantz_Aerine/ PitFace - http://www.theduckwebcomics.com/user/PIT_FACE/ Ozoneocean - http://www.theduckwebcomics.com/user/ozoneocean Featured music: Abejitas - - http://www.theduckwebcomics.com/Abejitas/, by Lazarinho, rated E. INTERVIEW WITH AMELIA.P PART I 1.So your name is Amelia Pessoa but you go by Amelia Woo for your US work, why is that? -Thanks to my grandmother, who changed the surname when her family was running away from Spain, I have a Portuguese surname ahahaha! Woo… Like any kid, I started to draw comics in manga style. One of my first jobs in inside industry was “manga”, but in that time, the audience had a rage against any Western trying to do a manga, so I chose a name from a director I grew up watching his movies, John Woo. I know, it's Chinese, not Japanese, but… it was an Eastern name at least. After that, I did some important jobs under this name, so, for publishers track me, I had to keep this. Slowly, I'm trying to be ME, and erasing this surname from industry. 2. You've had a LOT of work professionally in comic publishing, how did you break into that? I'm assuming you're Brazilian, was it hard to break into the US market from outside like that? - My Glasshouse Graphics portfolio, Comic Vine profile and ComicDB are way too outdated. I have more works on my belt than that. After a boring experience from a 9 to 5 job in my college days, I pretty decided it wasn't my path, so I stepped into the comics industry. I believe in the momentum, so everything I should do is just to start. But before I enter into the comics word, I searched for the easiest way to enter. There were too many barriers to writers (besides the language) and their salary was horrible… AND I didn't want to tell a story about the universe and characters from other creators. It's hard for me having the same agenda. I had to enter on it one way or another. So I improved my art skill enough to be paid for it, because I really wanted to be a professional visual storyteller. (Bachelor degree in Arts at one of the best colleges in my country, doing a lot of personal projects to train myself, all those things). -Yeah, I'm Brazilian. Believe or not, we must be around 30% of the US comic book artistic force. Brazilians are like doppelgangers, with Italian, German, Japanese and other surnames. Even a Brazilian doesn't know if you are Brazilian by surname (pretty different from my case. But, if wasn't for my grandma, you could think I'd be Spanish or Mexican). I found many artists I didn't know they are Brazilians before, like Greg Tocchini and others. I think it's hard to break into US market no matter the country an artist comes from. Even for a North American it's a hard task unfortunately. Many factors make this a hard task, since the unstable incoming to the social contempt. You know, most parents want your kids to grow up as a doctor, or lawyer, etc. Parents encourage their children to get into Arts (or writing) as a hobby usually. CONTINUE IN PART II PART II 3. What was your first professional comic? -I have a double debut, a one shot at Yaoi Press (yeah, it was my first manga experience. Yaoi… not my cup of tea, but, hey, I like to see “Bara” guys in beautiful drawings) and some pages in The Avengers (special edition to military forces). 4. How long have you been in the industry? -About 12 years. 5. Is it hard work? -Hell YEAH! This isn't for weaklings. You have to work under pressure (if you don't meet the deadline day, that super expensive booth from your client will suffer). Long hours working keeps you away from other people (between 10 to 16 hours daily, rare days off). Plus, the financial instability makes an artist a financial wizard… or a control freak of his/her own finances. No health insurance in the Americas (different from Germany, the Estate gives a health insurance for a certified artist). It isn't a glamorous life people think it is. But, I prefer to endure all those things than staying in a job I don't have a slight affinity. 6. Why did you embark on a videogame version of your work? Please tell us about the game. - Games are my passion, since my childhood. I think it's one of the greatest media you can tell a story, because the player has a feedback in real time, in a deep layer. Also, I'm a hardcore gamer, but being a player and being a developer are two different things. After testing the waters, I discovered I like it much more than playing a game. My preferred genre is the third person shooter, and I was pretty unsatisfied about the games with the same gameplay being reproduced over and over again. So I had a vision. After I established the main gameplay, I thought about using one of my ready-to-use stories, and Kings Club fits well. So I polished the gameplay from the idea and I finished with something like that: PC Third Person Adventure Shooter with 4 general skills and a cover system in a Non-Linear Open Level, facing the enemies on your own terms and pace. This first mission takes on Mexico. The player has to discover where the narcos are, taking them off the hideouts, picking a fight or provoking them until they lead to their leader. Exploration and combat mixed into an experimental hybrid game genre. The player skills are based on playing card suits Hearts = Stealth/Infiltration Spades = Assault Club = Escape/Extraction Diamonds = Protection/ Scout The player character will be announced in the last chapter of the comic book (that's why I'm rushing to finish the Graphic Novel and go back to the game. I'm dealing with a limited time; I'm still a comic book artist as my day job). Before focusing on the Graphic Novel, I was building the levels to send to testers before exposing it to the public. (The internet is a goddamn viral thing. If you put an ugly video from your game any place online, it can be spread and your first time to impress will be compromised. I saw it happen to some game dev buddies of mine, with people downloading their WIP videos and posting online. It isn't fair…). 7. What kind of work are you doing on the game? Did you have to learn any new skills to be able to do it? -Other than music/soundtrack/voices, everything. From programming to animation. I'm still in solo production; it's a small, indie and a short introductory game in the series, no big shot here. This first game is a practice to understand the players, the marketing (and how to deal with big operations in the future) and test my skills as game designer and level designer. I just want to know where areas I'm a failure and in what areas I have to hire new members for the next game. I can finish the first game in solo mode, but I'm not sure if I want to. Slowly, I'm changing my mind and considering bringing investors to build a small team after I finish the demo. After the demo game launching, I'll be sure of what path I have to take. -I did. A LOT of them. I still think one of the HARDEST things a person can do is a video game. So many hats to use… I past 5 years studying HOW to do a game before thinking about doing one. And, the basic skills. Now I'm putting the things together, I have to bring testers to adjust the gameplay rhythm. Game devs say you must have a tester for the day one usually. But I had to learn how to make a functional game before someone test it. 8. Why did you choose Drunk Duck to host the Kings Club on? And what did you think if the theme music that Gunwallce did for it? What's the story behind your potato avatar? :) - When I decided Kings Club would be digital-first, I started to search for cool webcomics hosting. I was shocked I didn't find a place where a non-manga esque title could find its audience. The internet is totally dominated by its visual style (I like manga too, but guys, c'mon! It's like a zombie attack!). I was desolated… Ironic, isn't it? My agent oriented me I had to adapt myself or I wouldn't survive in the early days. He was right! In the “printed realm”, if I hadn't adapted myself from manga to something more naturalist/stylized realist, my career would have sunk. And online, we have this. I was unmotivated to release Kings Club online and almost contacting publishers and some buddy editors to a printed edition, forgetting going digital-first… When I remembered Drunk Duck. A decade ago, or so, before being a comic book professional, I was a DD member. No bullshit, but this was the place which motivated me to follow a professional path. Here was the place I exercised my art (I did a fanzine at that time, that's about Warcraft, ugh). I mirror Kings Club to other hosting, but Drunk Duck is one of my favorites, considering a house for Kings Club. One of the reasons I like Drunk Duck is because there are readers and creators with a wide taste here (well, I read ALL comics, Eastern and Western, so I don't understand limited preferences to visual style. For me, the story comes first). -The theme he did was PERFECT! With an urban and gritty touch, love it!I found it so amazing that I asked his permission to add this theme in the game. He was so nice he only didn't ask for payment or royalties and gave me the permission, as he offered me a rearrange in the theme if is necessary. -“Even when something is considered low quality, this thing can produce cool results” or “Never, ever, underestimate someone”. It's a letter of love to indie production ^^ (And it's a real photo I took from a potato with a toy military helmet, because it had to be a real thing!). CONTINUE IN PART III PART III 9. What are the materials and or programs that you use to make your art? -My Wacom Intuos Pro, Photoshop CS2 (old stuff), Sculptris, Blender and an old version of 3DS MAX. I'm goddamn fast 3D modeler and I take advantage of it, doing some background with 3D (and sometimes, I do “freehand”, it depends how many times a background will be present in the story. I modeled N.Y. Central Park Belvedere castle in some hours when it was present in an entire issue of Gates of Midnight. It saved me days and days of work). But, my “analogical” arsenal is: pen, pencil, paper, brush and ink (my favorite technique). If I have to color on paper, I like acrylic, gouache and watercolor. I love Prismacolor markers too. 10. Do you prefer analogue or digital methods of comic creation? .e. pen and ink VS a Wacom tablet and a computer. - Despite being faster on paper and ink, I prefer a digital way to save paper and storage space. 11. How long does it take you to make a comic page? -It depends on the genre and audience my client is aiming for. When it demands a crazy detailed artwork, it took me around 2 days to finish a page. For my simplified and neo noir Kings Club comic, it took around 1 to 3 hours (but much more time to think how the page will look like). 12. What is your comic making process like? i.e. coming up with a script, plots, characters etc,. How does creation a comic for yourself differ for your professional jobs. -Like a bull in a China shop hahaha! For publishers, I read the script and start to walk around my house, thinking and evoking images in my mind before going to paper. I try to remember all references the audience is used to the thing I'm working and extract something they can be related to, but done on my way. After that, I start the thumbnails, defining the composition and keeping the author's storytelling in mind. Then, I do the layout, when it's a new client, or I go to the inking part if it's a client who already knows me and my modus operandi. I do the thing and wait for the editor follow-up. If I have the greenlight, I send the high resolution to the editor, if not; I fix what have to be fixed. Usually I don't have to change a drawing more than 2 times, with the most of part doing no changing in the drawing. It sounds methodical, but as I said, it's like a bull in a china shop, with all those steps happening at once, in high speed in my mind. Sometimes I stop everything and study another technique to improve the results, simply. When I'm creating my own comic, it's an entirely different story. That's the moment I AM the storyteller. My steps to create this Graphic Novel were: -World creation, followed by characters creation, polishing the background first. Everything had to be connected, for me. Establishment of the visual part. -Plot Overview -Some research from real to fictional events to thicken the story. Book time! (Blackwater and Rainbow Six were two different examples used as documentary and fiction work I'm referring to). -Breaking plot to arcs -Check the consistency -Breaking arcs to scenes -Check the pace, overhauling the ideas -Breaking scenes to micro points, dealing with dialogues -Come back again and adjust the pace, having the whole picture in mind. - Thumbnails associated with the script, checking the scenes rhythm while I'm doing the whole chapter. Sometimes I have to change something in a previous chapter or in the next chapter to create a solid link. -Draw! Directly to the digital paper, with minimum sketching. -Color Time! - Lettering (sometimes I check again the dialogue here, changing it. I like to see how it looks like after everything was set up). -Wrap it and happy time to publish online (a sort of. Because I have to slice the pages and dialogues to make a mobile version). YEAH! Game development had a great impact in the way I organize a story. I became an organized bastard. 13. What's in the future for the Kings Club? Will you publish it as is, do a film treatment and sell the rights, release it though a publisher or self publish and sell it that way? - This first Graphic Novel will establish Kings Club series future. I don't like the way I'm doing it now, as a print format and digital format at the same time. An online comic and printed comics can't be treated in the same way. At least, I can't! I saw two different beasts here. It can work for other creators, but not for me. Digital and printed-version, I'm testing test both. I don't want to kill the online version after the first Graphic Novel, even with a printed version, but testing the two versions will give me the necessary feedback to check what the most well received version is. I have some tricks up my sleeve (and an agent) and I'll use it to find a good publishing house for Kings Club. I don't want to do it by myself. I prefer someone helping me with the promotion. I have a game to finish, and a comic publisher will save me some time. I'll bring on board an (famous) editor buddy, who I worked with before, to edit this first Graphic Novel (surprise, surprise. it'll be revealed later). It's interesting a movie being mentioned because I have more contact with this kind of thing than many artists could have, but, I never been thought about a movie. Well, if a contract comes to me; fine! But when I created Kings Club, I had only the comic in mind; the game is being a nice bonus for this IP.

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

EdGamer Edvisor is a compacted but highly focused version of EdGamer that gives the listener a quick list of tools or reviews to aid learning in the classroom. This episode highlights our top 5 (ish) digital creation tools for the classroom. Enjoy!   The right computer lab – Macs, monitors & Wacom tablets Adobe Photoshop/CS Suite & Adobe Lightroom Final Cut Pro / iMovie 3D Studio Max / Maya / Autodesk Suite / ZBrush / Sculptris / Pixologic / Cheetah 3D Unity Game Engine Sound editing software – GarageBand / Avid’s Pro Tools Journaling program – Corel / Pento / Evernote Hosting program – JIBE / web design   Your thoughts?… Read the rest

Wherein we peer into Corey’s mind. It is pretty much what you would expect. Spaceships, superheroes, artificial intelligence, pulp heroes, and dragons. You know, the usual stuff. Corey talks about a really cool sculpting program called Sculptris as well. Also, we talk about Darkwing Duck for some reason and Chris gets called a douche some more. Alright, enough of this synopsis. Moving on. Theme music by Latché Swing.