Perfect your design technique with the mastery of After Effects, 3DX Max, Blender, or Maya in this Hybrid Master's Degree"  

Titles such as Borderlands, Final Fantasy, Assassin's Creed, or League of Legends have reached the top thanks to the immense work of the creative, design, and development teams that make up the main studios of the video game industry. An arduous task where the role of the game designer is fundamental. This is why this Hybrid Master's Degree provides students with a technical learning and a theoretical-practical approach, which will help them to be present in large companies in the sector. 

In this way, students will find in this program a theoretical framework taught in 100% online mode that can be accessed without fixed schedules and from any device that allows you to connect to the Internet from anywhere in the world. This multimedia syllabus will cover 2D and 3D animation, as well as the key elements of object and character animation, modeling, and the main engines for video games. All this using the most widely used computer programs in the sector, allowing students to fully understand the design of the most successful titles.

An excellent opportunity offered by TECH to video game professionals looking for a specialization that will allow them to reach the best companies in the sector. For this purpose, the program provides flexibility to access the entire syllabus from the first day, distributing the course load according to the student’s interests. The simulation of cases and multimedia content complete this program, which also ends with a 3-week internship program in one of the leading studios in the industry and with the best specialists in Video Game Design.

Design video games at the level of God of War Ragnarök, Starfield, Elden Ring thanks to this Hybrid Master's Degree" 

This Hybrid Master's Degree in Video Game Design contains the most complete and up-to-date program on the market. Its most notable features are: 

• Development of more than 100 cases that provide a broad knowledge of practical application in the field of video game design
• The development of practical case studies presented by experts in design and video game development
• The graphic, schematic, and practical contents with which they are created, provide scientific and practical information on the disciplines that are essential for professional practice
• Practical exercises where self-assessment can be used to improve learning. 
• Its special emphasis on innovative methodologies  
• All of this will be complemented by theoretical lessons, questions to the expert, debate forums on controversial topics, and individual reflection assignments
• Content that is accessible from any fixed or portable device with an Internet connection
• In addition, you will be able to do a technical internship in leading companies in the video game industry

This program offers you a 3-week stay in a leading company in the sector. Enroll now and don't miss the opportunity" 

In this proposed Master's program, of a professional nature and hybrid mode, the program is aimed at updating video game professionals who develop their functions in studios dedicated to the creation and design of games. The contents are based on the latest scientific evidence, and oriented in an educational way to integrate theoretical knowledge in the practice of design and the elements that comprise its development in an industry that requires professionals with a high technical level.

Thanks to multimedia content developed with the latest educational technology, they will allow video games professionals a situated and contextual learning, i.e., a simulated environment that will provide immersive learning programmed to prepare professionals for real situations. This program is designed around Problem-Based Learning, whereby the professional must try to solve the different professional practice situations that arise throughout the program. For this purpose, the students will be assisted by an innovative interactive video system created by renowned and experienced experts.

This Hybrid Master's Degree gives you access to all the multimedia theoretical content from day one. Learn at your own pace"

Learn the key concepts of 2D and 3D modeling in this hybrid learning program"

TECH, in its philosophy of offering an elite education within everyone's reach, offers the most recent and up-to-date content in each of its programs. In this way, students have at their disposal in this program a syllabus divided into 10 modules that will deal in depth with graphic and artistic expression, 2D and 3D animation, motion graphics, or the different computer programs that must be mastered for their development. A program that will be taught entirely in online mode, where you can access the content at any time, download it, and view it when you need it.   

Learn in a professional working environment with specialists who will provide you with all their knowledge, so that you can grow in the sector" 

Module 1. Graphic and Artistic Expression

1.1. Drawing and Perspective

1.1.1. The Freehand Drawing or Sketch. The Importance of Sketching
1.1.2. Perspective and Methods of Spatial Representation
1.1.3. Proportions and Fitting Methods: The Human Figure
1.1.4. Proportions and Fitting Methods: The Animal Figure

1.2. Lights and Color

1.2.1. Chiaroscuro: Light and Shadows
1.2.2. Color Theory and Painting. How is Color Perceived?
1.2.3. Plastic Tools for the Creation of Contrasts
1.2.4. Color Harmony. Types of Color Harmony

1.3. Textures and Movement

1.3.1. Textures and Material Rendering Methods
1.3.2. Textured Artwork Analysis
1.3.3. Representation of Actions and Movement
1.3.4. Moving Artwork Analysis

1.4. Composition

1.4.1. Structural Aspects of the Image: the Point, the Line and the Plane
1.4.2. Gestalt Laws
1.4.3. Formal Operations: Development of Shape from Concepts
1.4.4. Rhythm, Structure, Scale, Symmetry, Balance, Tension, Attraction, and Clustering
1.4.5. Patterns

1.5. Approach to the Digital Iconographic Environment

1.5.1. Introduction
1.5.2. Verification of the Generative Scope of the Digital Iconography
1.5.3. Adoption of New Digital Iconographic Archetypes
1.5.4. Aesthetics and Function as Concepts Derived from the Use of the Machine

1.6. Analysis of Digital Graphic Resources. Synthesis Image

1.6.1. Digital Iconographic Typologies: Recycled and Synthetic Images
1.6.2. Digital Graphic File Formats
1.6.3. Two-Dimensional Shapes. Analysis of Software for Image Creation and Retouching
1.6.4. Three-Dimensional Shapes. Analysis of Software for the Creation of Volumetric Structures
1.6.5. 3D Graphic Structures. Introduction. Wire Structures
1.6.6. Devices for Visualization and Interaction with Multimedia Applications
1.6.7. Terminology Assigned to the Sector where the Digital Image is Framed

1.7. Artistic Expression in Digital Media: Graphics in Adobe Photoshop

1.7.1. Installation and Introduction to Adobe Photoshop
1.7.2. Basic Adobe Photoshop Tools
1.7.3. Analyzing and Learning Adobe Photoshop
1.7.4. Use of the Digital Tool in Graphic Works for the Creation of Video Games

1.8. Scenarios and Atmosphere for Video Games

1.8.1. Cartoon Scenarios and Atmosphere
1.8.2. Compositional Analysis
1.8.3. Realistic Scenarios and Atmosphere
1.8.4. Compositional Analysis

1.9. Characters for Video Games

1.9.1. Cartoon Characters
1.9.2. Compositional Analysis
1.9.3. Realistic Characters
1.9.4. Compositional Analysis

1.10. Presentation of Professional Portfolio

1.10.1. Approach
1.10.2. Methodology
1.10.3. Document Creation Software
1.10.4. Analytical Study of Professional Portfolios

Module 2. 2D Animation

2.1. What is Animation?

2.1.1. History of Animation
2.1.2. Animation Pioneers
2.1.3. 2D and 3D Animation
2.1.4. Is it Necessary to Know How to Draw?

2.2. The Animator and Its Role in the Production

2.2.1. Positions in the Department: Junior, Mid, Senior
2.2.2. Animator Lead, Supervisor and Director
2.2.3. Supervisory Steps in a Production
2.2.4. Quality Criteria

2.3. Physical Laws

2.3.1. Push
2.3.2. Friction
2.3.3. Severity
2.3.4. Inertia

2.4. Animation Tools

2.4.1. Timeline
2.4.2. Dope Sheet
2.4.3. Curve Editor
2.4.4. Use of Rigs

2.5. Animation Methodology

2.5.1. Graph Editor: Curves and Curve Types
2.5.2. Timing and Spacing
2.5.3. Overshoots
2.5.4. Stepped and Spline
2.5.5. Parents and Constraints
2.5.6. Charts and Inbetweens
2.5.7. Extreme Poses and Breakdowns

2.6. The 12 Principles of Animation

2.6.1. Timing
2.6.2. Squash and Stretch
2.6.3. Slow In and Slow Out
2.6.4. Anticipation
2.6.5. Overlap
2.6.6. Arcs
2.6.7. Pose to Pose and Straight Ahead
2.6.8. Pose
2.6.9. Secondary Action
2.6.10. Staging
2.6.11. Exaggeration
2.6.12. Appeal

2.7. Anatomical Knowledge and its Function

2.7.1. Human Anatomy
2.7.2. Animal Anatomy
2.7.3. Anatomy of Cartoon Characters
2.7.4. Breaking the Rules

2.8. Posing and Silhouettes

2.8.1. Importance of Location
2.8.2. Importance of the Pose
2.8.3. Importance of the Silhouettes
2.8.4. Final Result. Compositional Analysis

2.9. Exercise: Ball

2.9.1. Shape
2.9.2. Timing
2.9.3. Spacing
2.9.4. Weight

2.10. Exercise: Basic Cycles and Body Dynamics

2.10.1. Walking Cycle
2.10.2. Walking Cycle with Personality
2.10.3. Running Cycle
2.10.4. Parkour
2.10.5. Pantomime

Module 3. Motion Graphics

3.1. Introduction to After Effects

3.1.1. What After Effects Are and Their Use? Illustrative Examples
3.1.2. Project and Interface Settings
3.1.3. Composition Settings, Brushes and Windows
3.1.4. Workflow Definition: Creation of a Basic Project
3.1.5. Preliminary Video Issues
3.1.6. Color Depth, Display Formats, Audio and Video Compression

3.2. After Effects Basics

3.2.1. Import
3.2.2. Basic Tools. Layer Types and Options
3.2.3. Transformation Properties and Origin of Coordinates
3.2.4. H.264 Basic Export

3.3. Brushes and 3D Space

3.3.1. Brush Panels and Paint Effect
3.3.2. Eraser, Cloning Brush, Rotoscoping Brush
3.3.3. Activate 3D Space. Views for 3D Working
3.3.4. Material and Processing Properties
3.3.5. Lights and Cameras. Camera Control
3.3.6. Unified Camera Tool. Customized View
3.3.7. 3D Text: Text Extrusion. Raytracing
3.3.8. Vanishing Point and Camera Projection

3.4. Text and Transparencies

3.4.1. Text Tool
3.4.2. Layer Styles
3.4.3. Animators, Ranges and Selectors
3.4.4. Text Animation Presets
3.4.5. Alpha Channel: Mates Alpha and Preservation of Transparencies
3.4.6. Transfer Control Panel: Track Mate, Blending Modes, Preserve Underlying Transparency
3.4.7. Luminance Inlays

3.5. Masks and Shape Layers

3.5.1. Masks Creation and Edition Tools
3.5.2. Shape Layers
3.5.3. Convert Text and Graphics to Shape Layers or Masks
3.5.4. Masks as Trajectories
3.5.5. Effects that Work with Masks: Stroke, Doodle

3.6. Animation

3.6.1. Keyframes. Types
3.6.2. Trajectories
3.6.3. Curve Graph
3.6.4. Convert Audio to Keyframes
3.6.5. Parenting and Pre-Comps
3.6.6. Alternative Animation Techniques: Loops, Layer Sequencing, Free Transform Tool, Motion Sketch, Slider
3.6.7. Time Remapping

3.7. Effects and Chroma Key

3.7.1. Effects Application
3.7.2. Examples of Effects
3.7.3. Color Correction
3.7.4. Chroma Key: Keylight

3.8. Stabilization

3.8.1. Classic Stabilizer
3.8.2. Deformation Stabilizer
3.8.3. Tracking Options
3.8.4. Position, Rotation and Scale Stabilization

3.9. Tracking and Expressions

3.9.1. Position and Rotation Tracking Perspectives
3.9.2. Tracing with Solids, Adjustment Layers and Null Objects
3.9.3. 3D Track Embedding Logos, Text or Images in 3D Space
3.9.4. Mocha AE
3.9.5. Expressions: Time
3.9.6. Expressions: Loop Out
3.9.7. Expressions: Wiggle

3.10. Export

3.10.1. Export Configurations: Most Common Formats and Codecs for Editing and Viewing I
3.10.2. Export Configurations: Most Common Formats and Codecs for Editing and Viewing II
3.10.3. Export Configurations: Most Common Formats and Codecs for Editing and Viewing III
3.10.4. Saving Complete Projects: Collecting Files and Backups

Module 4. 3D Art

4.1. Advanced Art

4.1.1. From Concept Art to 3D
4.1.2. 3D Model Principles
4.1.3. Modeling types: Organic / Inorganic

4.2. 3D Max Interface

4.2.1. 3D Max Software
4.2.2. Basic Interface
4.2.3. Organización escenas

4.3. Inorganic Modeling

4.3.1. Modeling with Primitives and Deformers
4.3.2. Editable Polygon Modeling
4.3.3. Modeling with Graphite

4.4. Organic Model

4.4.1. Character Modeling I
4.4.2. Character Modeling II
4.4.3. Character Modeling III

4.5. Creation of UVs

4.5.1. Basic Materials and Maps
4.5.2. Unwrapping and Texture Projections
4.5.3. Retopology

4.6. Advanced 3D

4.6.1. Creation of Texture Atlas
4.6.2. Hierarchies and Bone Creation
4.6.3. Application of a Skeleton

4.7. Animation Systems

4.7.1. Biped
4.7.2. CAT
4.7.3. Own Rigging

4.8. Facial Rigging

4.8.1. Expressions
4.8.2. Restrictions
4.8.3. Controllers

4.9. Principles of Animation

4.9.1. Cycles
4.9.2. Libraries and Use of MoCap Motion Capture Files
4.9.3. Motion Mixer

4.10. Export to Engines

4.10.1. Export to Unity Engine
4.10.2. Models Export
4.10.3. Animation Export

Module 5. 3D Design

5.1. 3D in Video Games, Why is it Important?

5.1.1. History of Computer 3D
5.1.2. Implementation of 3D in Video Games
5.1.3. Techniques for 3D Optimization in Video Games
5.1.4. Interaction between Graphics Software and Game Engines

5.2. 3D Modeling: Maya

5.2.1. Maya's Philosophy
5.2.2. Maya's Capabilities
5.2.3. Projects Carried out with Autodesk Maya
5.2.4. Introduction to Modeling Tools, Rigging, Texturing, etc.

5.3. 3D Modeling: Blender

5.3.1. Blender's Philosophy
5.3.2. Past, Present and Future
5.3.3. Projects Made with Blender
5.3.4. Blender Cloud
5.3.5. Introduction to Modeling Tools, Rigging, Texturing, etc.

5.4. 3D Modeling: ZBrush

5.4.1. Zbrush Philosophy
5.4.2. Integrating ZBrush into Production Pipelines
5.4.3. Advantages and Disadvantages Compared to Blender
5.4.4. Analysis of Designs Made in ZBrush

5.5. 3D Texturing: Substance Designer

5.5.1. Introduction to Substance Designer
5.5.2. Substance Designer Philosophy
5.5.3. Substance Designer in Video Game Production
5.5.4. Substance Designer and Substance Painter Interaction

5.6. 3D Texturing: Substance Painter

5.6.1. What Is Substance Painter Used For?
5.6.2. Substance Painter and its Standardization
5.6.3. Substance Painter in Stylized Texturing
5.6.4. Substance Painter in Realistic Texturing
5.6.5. Analysis of Textured Models

5.7. 3D Texturing: Substance Alchemist

5.7.1. What is Substance Alchemist?
5.7.2. Substance Alchemist Workflow
5.7.3. Alternatives to Substance Alchemist
5.7.4. Examples of Projects

5.8. Rendering: Texture Mapping and Baking

5.8.1. Introduction to Texture Mapping
5.8.2. UVs Mapping
5.8.3. Optimization of UVs
5.8.4. UDIMs
5.8.5. Integration with Texturing Software

5.9. Rendering: Advanced Lighting

5.9.1. Lighting Techniques
5.9.2. Contrast Balance
5.9.3. Color Balance
5.9.4. Lighting in Video Games
5.9.5. Resource Optimization
5.9.6. Pre-Rendered Lighting vs. Real-Time Lighting

5.10. Rendering: Scenes, Render Layers and Passes

5.10.1. Use of Scenes
5.10.2. Utility of Render Layers
5.10.3. Utility of the Passes
5.10.4. Integration of Passes in Photoshop

Module 6. Computer Graphics

6.1. Computer Graphics Overview

6.1.1. Computer Graphics Applications and Uses
6.1.2. Computer Graphics History
6.1.3. Basic Algorithms for 2D Graphics
6.1.4. 3D Transformations: Projections and Perspectives

6.2. Mathematical and Physical Basis for Simulations and Textures

6.2.1. Light Rays
6.2.2. Absorption and Scattering
6.2.3. Specular and Diffuse Reflection
6.2.4. Color
6.2.5. Bidirectional Reflectance Distribution Function (BRDF) Color
6.2.6. Energy Conservation and Fresnel F0 Effect
6.2.7. Key Features of Physically Based Rendering (PBR)

6.3. Image Representation: Nature and Format

6.3.1. Presentation: Theoretical Foundation
6.3.2. Digital Image Size: Color and Resolution
6.3.3. Uncompressed Image Formats
6.3.4. Compressed Image Formats
6.3.5. Color Spaces
6.3.6. Levels and Curves

6.4. Image Representation Textures

6.4.1. Procedural Textures
6.4.2. Quixel Megascans: Texture Scanning
6.4.3. Texture Baking
6.4.4. Normal Mapping and Displacement
6.4.5. Albedo, Metallic and Roughness Maps

6.5. Scene Rendering: Display and Lighting

6.5.1. Light Direction
6.5.2. Contrast
6.5.3. Saturation
6.5.4. Color
6.5.5. Direct and Indirect Light
6.5.6. Hard and Soft Light
6.5.7. Shadows: Basic Rules and Types

6.6. Rendering Hardware Evolution and Performance

6.6.1. The 1970s: The Advent of First 3D Modeling and Rendering Software
6.6.2. Architectural Orientation
6.6.3. The 1990s: Current 3D Software Development
6.6.4. 3D Printing
6.6.5. VR Equipment for 3D Visualization

6.7. 2D Graphics Software Analysis

6.7.1. Adobe Photoshop
6.7.2. Gimp
6.7.3. Krita
6.7.4. Inkscape
6.7.5. Pyxel Edit

6.8. 3D Modeling Software Analysis

6.8.1. Autodesk Maya
6.8.2. Cinema 4D
6.8.3. Blender
6.8.4. ZBrush
6.8.5. SketchUp
6.8.6. Computer-Aided Design (CAD) Software

6.9. 3D Texturing Software Analysis

6.9.1. Procedural Texturing in Maya
6.9.2. Procedural Texturing in Blender
6.9.3. Baking
6.9.4. Substance Painter and Substance Designer
6.9.5. ArmorPaint

6.10. 3D Texturing Software Analysis

6.10.1. Arnold
6.10.2. Cycles
6.10.3. Vray
6.10.4. IRay
6.10.5. Real-Time Rendering: Marmoset Toolbag

Module 7. Video Game Engines

7.1. Video Games and Information Communication Technology (ICT)

7.1.1. Introduction
7.1.2. Opportunities
7.1.3. Challenges
7.1.4. Conclusions

7.2. History of Video Game Engines

7.2.1. Introduction
7.2.2. Atari
7.2.3. The 80s
7.2.4. First Engines: The 90s
7.2.5. Current Engines

7.3. Video Game Engines

7.3.1. Types of Engines
7.3.2. Video Game Engine Parts
7.3.3. Current Engines
7.3.4. Selecting an Engine

7.4. Motor Game Maker

7.4.1. Introduction
7.4.2. Scenario Design
7.4.3. Sprites and Animations
7.4.4. Collisions
7.4.5. Scripting in Game Maker Languages (GML)

7.5. Unreal Engine 4: Introduction

7.5.1. What Is Unreal Engine 4? What Is Its Philosophy?
7.5.2. Materials
7.5.3. UI
7.5.4. Animations
7.5.5. Particle Systems
7.5.6. Artificial Intelligence
7.5.7. Frames Per Second (FPS)

7.6. Unreal Engine 4: Visual Scripting

7.6.1. Blueprints and Visual Scripting Philosophy
7.6.2. Debugging
7.6.3. Types of Variables
7.6.4. Basic Flow Control

7.7. Unity 5 Engine

7.7.1. C# y Visual Studio Programming
7.7.2. Creating Prefabs
7.7.3. Using Gizmos to Control Video Games
7.7.4. Adaptive Engine: 2D and 3D

7.8. Godot Engine

7.8.1. Godot Design Philosophy
7.8.2. Object-Oriented Design and Composition
7.8.3. All in One Package
7.8.4. Open and Community-Driven Software

7.9. RPG Maker Engine

7.9.1. RPG Maker Philosophy
7.9.2. Taking as a Reference
7.9.3. Creating a Game with Personality
7.9.4. Commercially Successful Games

7.10. Source 2 Engine

7.10.1. Source 2 Philosophy
7.10.2. Source and Source 2: Evolution
7.10.3. Community Use: Audiovisual Content and Video Games
7.10.4. Future of Source 2 Engine
7.10.5. Successful Mods and Games

Module 8. Character Design and Animation

8.1. Why is Aesthetics and Character Design so Important in Video Games?

8.1.1. Design with Personality
8.1.2. Sources of Inspiration. Referencing is not Plagiarism
8.1.3. Filtering Reality
8.1.4. Adopt your Own Style

8.2. 2D Phase: Alternative Use of Software or Hand Drawing

8.2.1. Quick Sketch
8.2.2. Cleanup
8.2.3. Color
8.2.4. Introduction

8.3. 2D Phase: Part I

8.3.1. Archetypes
8.3.2. Personality
8.3.3. Style
8.3.4. Basic Geometry
8.3.5. Proportions and Anatomy
8.3.6. Teamwork

8.4. 2D Phase: Part II

8.4.1. Color Palettes
8.4.2. Illumination and Contrast
8.4.3. Level of Detail
8.4.4. Adaptation to 2D Pipeline

8.5. 3D Modeling Phase: Concepts and Pipeline 3D

8.5.1. Modeling Adapted to Production
8.5.2. Modeling for an Audiovisual Project
8.5.3. Modeling for an Interactive Project
8.5.4. 3D Pipeline: Phases

8.6. 3D Phase Modeling: Introduction to Blender

8.6.1. Navigation
8.6.2. Outliner and Viewport: Workbench Render
8.6.3. Concept of Vertex, Edge and Face
8.6.4. Concept of Normal
8.6.5. Loops

8.7. 3D Modeling Phase: Basic Modeling Notions

8.7.1. Extrude Tool
8.7.2. Bevel Tool
8.7.3. Apply Transformations
8.7.4. Knife Tool
8.7.5. Other Useful Tools

8.8. 3D Modeling Phase: Topology

8.8.1. Edge Loops
8.8.2. Face Loops
8.8.3. Low Poly  vs. High Poly
8.8.4. Flow of Shapes
8.8.5. Quads vs. Tris

8.9. 3D Modeling Phase: Textures, Materials and UVs

8.9.1. Introduction to Nodes in Blender
8.9.2. Basic Procedural Texture Creation
8.9.3. Application of Materials
8.9.4. UVs, What Are They?
8.9.5. Utility of UVs
8.9.6. Avoid Stretching in UV Mapping and Optimization

8.10. 3D Phase Introduction to Animation

8.10.1. AutoKey
8.10.2. Insert Keys
8.10.3. Animation Curves: Graph Editor
8.10.4. Interpolation Modes

Module 9. Animation and Simulation

9.1. Introduction: Physics and Mathematics Behind the Simulation

9.1.1. Concepts Applied to Simulation
9.1.2. Collisions, Volume Calculation
9.1.3. Computing Time
9.1.4. Prerenderized vs. Real-Time Calculations

9.2. Methodology

9.2.1. Emitter
9.2.2. Collisions
9.2.3. Fields
9.2.4. Breakage

9.3. Rigid Body Dynamics

9.3.1. Basic Concepts of Movement
9.3.2. Force Management
9.3.3. Interaction Between Objects
9.3.4. Collisions

9.4. Non-Rigid Body Dynamics

9.4.1. Fluid Simulation
9.4.2. Smoke Simulation
9.4.3. Effective Volume
9.4.4. Real-Time Non-Rigid Body Simulation

9.5. Clothing Simulation

9.5.1. Marvelous Designer
9.5.2. Clothing Pattern References
9.5.3. Wrinkles: Sculpted Clothing for Resource Savings
9.5.4. Blender: ClothBrush

9.6. Hair Simulation

9.6.1. Types of Particle Siss
9.6.2. Technologies for Hair Simulation
9.6.3. Particles vs. Mesh
9.6.4. Resource Consumption

9.7. Motion Capture

9.7.1. Motion Capture Technologies
9.7.2. Motion Capture Refinement
9.7.3. Application of Motion Capture to Audiovisual and Interactive Projects
9.7.4. Mixamo

9.8. Motion Capture Software

9.8.1. Kinect
9.8.2. Implementation of Kinect in Video Games
9.8.3. Refinement Technologies
9.8.4. Other Motion Capture Software

9.9. Facial Capture

9.9.1. FaceRig
9.9.2. MocapX
9.9.3. Advantages and Disadvantages of the Facial Capture
9.9.4. Facial Capture Refinement

9.10. Future Technologies: Artificial Intelligence

9.10.1. Artificial Intelligence in Animation: Cascadeur
9.10.2. Artificial Intelligence in Simulation
9.10.3. Future: Possible Alternatives
9.10.4. Current Case Studies

Module 10. Character Rigging

10.1. Functions of a Rigger Knowledge of a Rigger Types of Rig

10.1.1. What is a Rigger?
10.1.2. Functions of a Rigger
10.1.3. Knowledge of a Rigger
10.1.4. Types of Rig
10.1.5. Blender Rigging Facilities
10.1.6. First Contact with Bones and Constraints

10.2. Bone Chains and Bone Parenting. FK and IK Differences and Restrictions

10.2.1. Bone Chains
10.2.2. Bone Parenting
10.2.3. FK and IK Chain
10.2.4. Differences between FK and IK
10.2.5. Use of Restrictions

10.3. Human Skeleton and Facial Rig Shape Keys

10.3.1. Human Skeleton
10.3.2. Advanced Human Skeleton
10.3.3. Facial Rig
10.3.4. Shape Keys

10.4. Vertex Weighing. Complete Weighing of a Character and Creation of a Pose

10.4.1. Weighing System
10.4.2. Character Weighting: Face
10.4.3. Character Weighting: Body
10.4.4. Use of Pose Mode

10.5. Character Rig: IK-FK Column System

10.5.1. Bone Location and Parenting
10.5.2. FK Systems
10.5.3. IK Systems
10.5.4. Other Options
10.5.5. Controls

10.6. Character Rig: IK-FK Arm System

10.6.1. Bone Location and Parenting
10.6.2. FK Systems
10.6.3. IK Systems
10.6.4. Other Options
10.6.5. Controls

10.7. Character Rig: IK-FK Hand System

10.7.1. Bone Location and Parenting
10.7.2. FK Systems
10.7.3. IK Systems
10.7.4. Other Options
10.7.5. Controls

10.8. Character Rig: IK-FK Leg System

10.8.1. Bone Location and Parenting
10.8.2. FK Systems
10.8.3. IK Systems
10.8.4. Other Options
10.8.5. Controls

10.9. Facial

10.9.1. Facial Setup
10.9.2. Use of Shape Keys
10.9.3. Use of Buttons
10.9.4. Eye Configuration
10.9.5. Squash and Stretch of the Head

10.10. Corrections of Facial Shape and Setup

10.10.1. Shape Corrections
10.10.2. Pose Mode
10.10.3. Easy Weighing
10.10.4. Leaving the Rig Ready for Production

Achieve successful animation products with the learning acquired in the 12 months of this program"