In these series of videos we're going to edit our animations together, featuring the dancing girl, the VR girl and the coggs scene. With Val Cameron from Dreamlight.

In these series of videos we're going to edit our animations together, featuring the dancing girl, the VR girl and the coggs scene. With Val Cameron from Dreamlight.

In these series of videos we're going to edit our animations together, featuring the dancing girl, the VR girl and the coggs scene. With Val Cameron from Dreamlight.

In these series of videos we're going to edit our animations together, featuring the dancing girl, the VR girl and the coggs scene. With Val Cameron from Dreamlight.

In these series of videos we're going to edit our animations together, featuring the dancing girl, the VR girl and the coggs scene. With Val Cameron from Dreamlight.

In these series of videos we're going to edit our animations together, featuring the dancing girl, the VR girl and the coggs scene. With Val Cameron from Dreamlight.

In these series of videos we're going to edit our animations together, featuring the dancing girl, the VR girl and the coggs scene. With Val Cameron from Dreamlight.

In ttoday's video we're taking a look behind the scenes of advanced animation using Lightwave 3D, featuring multiple objects, linked objects, lighting and camera. Sometimes, by looking at how things are done in a different software, we can pick up some useful insights and ideas for use in the applications we use. With Jason White from 2 Create.

In these series of videos we're going to edit our animations together, featuring the dancing girl, the VR girl and the coggs scene. With Val Cameron from Dreamlight.

In these series of videos we're going to edit our animations together, featuring the dancing girl, the VR girl and the coggs scene. With Val Cameron from Dreamlight.

In these series of videos we're going to edit our animations together, featuring the dancing girl, the VR girl and the coggs scene. With Val Cameron from Dreamlight.

In these series of videos we're going to edit our animations together, featuring the dancing girl, the VR girl and the coggs scene. With Val Cameron from Dreamlight.

In these series of videos we're going to light the Steampunk Vents scene using advanced lighting as well as advanced animation, bringing the static cogs to life. This will be part of our music video, combined with the VR Girl as well as the dancing girl. With Val Cameron from Dreamlight.

In these series of videos we're going to light the Steampunk Vents scene using advanced lighting as well as advanced animation, bringing the static cogs to life. This will be part of our music video, combined with the VR Girl as well as the dancing girl. With Val Cameron from Dreamlight.

In these series of videos we're going to light the Steampunk Vents scene using advanced lighting as well as advanced animation, bringing the static cogs to life. This will be part of our music video, combined with the VR Girl as well as the dancing girl. With Val Cameron from Dreamlight.

In these series of videos we're going to light the Steampunk Vents scene using advanced lighting as well as advanced animation, bringing the static cogs to life. This will be part of our music video, combined with the VR Girl as well as the dancing girl. With Val Cameron from Dreamlight.

In these series of videos we're going to light the Steampunk Vents scene using advanced lighting as well as advanced animation, bringing the static cogs to life. This will be part of our music video, combined with the VR Girl as well as the dancing girl. With Val Cameron from Dreamlight.

In these series of videos we're going to light the Steampunk Vents scene using advanced lighting as well as advanced animation, bringing the static cogs to life. This will be part of our music video, combined with the VR Girl as well as the dancing girl. With Val Cameron from Dreamlight.

In these series of videos we're going to light the Steampunk Vents scene using advanced lighting as well as advanced animation, bringing the static cogs to life. This will be part of our music video, combined with the VR Girl as well as the dancing girl. With Val Cameron from Dreamlight.

In these series of videos we're going to use 3rd party still 3D figures, and use camera and light animation to make the characters "alive". With Val Cameron from Dreamlight.

In these series of videos we're going to use 3rd party still 3D figures, and use camera and light animation to make the characters "alive". With Val Cameron from Dreamlight.

In these series of videos we're going to use 3rd party still 3D figures, and use camera and light animation to make the characters "alive". With Val Cameron from Dreamlight.

In these series of videos we're going to use 3rd party still 3D figures, and use camera and light animation to make the characters "alive". With Val Cameron from Dreamlight.

In these series of videos we're going to use 3rd party still 3D figures, and use camera and light animation to make the characters "alive". With Val Cameron from Dreamlight.

In these series of videos we're going to use 3rd party still 3D figures, and use camera and light animation to make the characters "alive". With Val Cameron from Dreamlight.

In these series of videos we're going to use 3rd party still 3D figures, and use camera and light animation to make the characters "alive". With Val Cameron from Dreamlight.

In these series of videos we're going to use 3rd party still 3D figures, and use camera and light animation to make the characters "alive". With Val Cameron from Dreamlight.

In these series of videos we're going to use 3rd party still 3D figures, and use camera and light animation to make the characters "alive". With Val Cameron from Dreamlight.

In these series of videos we're going to use 3rd party still 3D figures, and use camera and light animation to make the characters "alive". With Val Cameron from Dreamlight.

In these series of videos we're going to use 3rd party 3D figures and dance moves, and bring them over to DAZ Studio for rendering. With Val Cameron from Dreamlight.

In these series of videos we're going to use 3rd party 3D figures and dance moves, and bring them over to DAZ Studio for rendering. With Val Cameron from Dreamlight.

In these series of videos we're going to use 3rd party 3D figures and dance moves, and bring them over to DAZ Studio for rendering. With Val Cameron from Dreamlight.

In these series of videos we're going to use 3rd party 3D figures and dance moves, and bring them over to DAZ Studio for rendering. With Val Cameron from Dreamlight.

In these series of videos we're going to use 3rd party 3D figures and dance moves, and bring them over to DAZ Studio for rendering. With Val Cameron from Dreamlight.

In these series of videos we're going to use 3rd party 3D figures and dance moves, and bring them over to DAZ Studio for rendering. With Val Cameron from Dreamlight.

In these series of videos we're going to use 3rd party 3D figures and dance moves, and bring them over to DAZ Studio for rendering. With Val Cameron from Dreamlight.

In these series of video you'll learn how to time the camera, characters and music together in order to create a sequence that builds up and accents a maximized section of the music. With Val Cameron from Dreamlight.

In these series of video you'll learn how to time the camera, characters and music together in order to create a sequence that builds up and accents a maximized section of the music. With Val Cameron from Dreamlight.

Learn how to light and animate stunning static car animations right inside DAZ Studio. With Val Cameron from Dreamlight.

Learn how to light and animate stunning static car animations right inside DAZ Studio. With Val Cameron from Dreamlight.

In these series of videos we're going to create a downtown skidding car animation with two camera angles. With Val Cameron from Dreamlight.

In these series of videos we're going to create a downtown skidding car animation with two camera angles. With Val Cameron from Dreamlight.

In these series of videos we're going to create a downtown skidding car animation with two camera angles. With Val Cameron from Dreamlight.

In these series of videos we're going to create a downtown skidding car animation with two camera angles. With Val Cameron from Dreamlight.

In these series of videos we're going to animate character using morphs and expressions. You'll also learn how to remove body parts is scary ways. With Val Cameron from Dreamlight.

In these series of videos we're going to use 3rd party 3D figures and dance moves, and bring them over to DAZ Studio for rendering. With Val Cameron from Dreamlight.

In these series of videos we're going to use 3rd party 3D figures and dance moves, and bring them over to DAZ Studio for rendering. With Val Cameron from Dreamlight.

In these series of videos we're going to use 3rd party 3D figures and dance moves, and bring them over to DAZ Studio for rendering. With Val Cameron from Dreamlight.

In these series of videos we're going to use 3rd party 3D figures and dance moves, and bring them over to DAZ Studio for rendering. With Val Cameron from Dreamlight.

In these series of videos we're going to use 3rd party 3D figures and dance moves, and bring them over to DAZ Studio for rendering. With Val Cameron from Dreamlight.

In these series of videos we're going to use 3rd party 3D figures and dance moves, and bring them over to DAZ Studio for rendering. With Val Cameron from Dreamlight.

In these series of videos we're going to use 3rd party 3D figures and dance moves, and bring them over to DAZ Studio for rendering. With Val Cameron from Dreamlight.

In these series of videos we're going to use 3rd party 3D figures and dance moves, and bring them over to DAZ Studio for rendering. With Val Cameron from Dreamlight.

In these series of videos we're going to explore character animation, facial animation and expressions. With Val Cameron from Dreamlight.

In this video you'll learn how using a so called "previs" can speed up your workflow, by using a low quality mockup while designing more complex scenes with characters and cameras. With Val Cameron from Dreamlight.

In this video you'll learn how using a so called "previs" can speed up your workflow, by using a low quality mockup while designing more complex scenes with characters and cameras. With Val Cameron from Dreamlight.

In this video you'll learn how using a so called "previs" can speed up your workflow, by using a low quality mockup while designing more complex scenes with characters and cameras. With Val Cameron from Dreamlight.

In this video you'll learn how using a so called "previs" can speed up your workflow, by using a low quality mockup while designing more complex scenes with characters and cameras. With Val Cameron from Dreamlight.

In this video you'll learn how using a so called "previs" can speed up your workflow, by using a low quality mockup while designing more complex scenes with characters and cameras. With Val Cameron from Dreamlight.

In this video you'll learn how using a so called "previs" can speed up your workflow, by using a low quality mockup while designing more complex scenes with characters and cameras. With Val Cameron from Dreamlight.

In this video you'll learn how using a so called "previs" can speed up your workflow, by using a low quality mockup while designing more complex scenes with characters and cameras. With Val Cameron from Dreamlight.

In this video you'll discover 3 different ways of making your characters breathe, from subtle to extreme animations. With Val Cameron from Dreamlight.

When a character stands still, we don't want them to be still like a robot. Instead, we can use so called idle animation to make them more alive. In today's video, you'll learn 3 ways of creating idle animations for your characters in DAZ Studio. With Val Cameron from Dreamlight.

In today's video we're going to create a camera movement while create an "auto exposure" adjustment on the fly, which is often used in chaotic scenes or when you want to have a hand-held camera look and feel. With Val Cameron from Dreamlight.

In today's video you'll learn a cool technique that will help you keep your environmental camera glide animation look way more professional. With Val Cameron from Dreamlight.

In these series of video we're going to create a camera that glides through a scifi room, while the lights go off and switch into a scary red-type of lighting. In part 4, we're adding the monster-tunnel-light sequence to the main animation and also search for sound effects and add them to the project. With Val Cameron from Dreamlight.

In these series of video we're going to create a camera that glides through a scifi room, while the lights go off and switch into a scary red-type of lighting. In part 3, we're tweaking the monster anomaly animation, render out the final 100 frames and mix it with the other animations in a video editing software. With Val Cameron from Dreamlight.

In these series of video we're going to create a camera that glides through a scifi room, while the lights go off and switch into a scary red-type of lighting. In part 2, we're mixing the two animations from part 1, and also setting up the tunnel light and monster shadow. With Val Cameron from Dreamlight.

In these series of video we're going to create a camera that glides through a scifi room, while the lights go off and switch into a scary red-type of lighting. We're also later going to add a scary shadow from the opening, all while the camera performs a motion through the room. In part 1, we're setting up the camera and both the lights on and lights off versions. With Val Cameron from Dreamlight.

Back in the 90's when I first got my hands on a video camera, I was filming in a specific way which I call wall-running. It's really cool, and is also often used in movies, such as Alien 3. In part 2, we're timing various events with the camera motion, such as a light flash and also a moving wall. With Val Cameron from Dreamlight.

Back in the 90's when I first got my hands on a video camera, I was filming in a specific way which I call wall-running. It's really cool, and is also often used in movies, such as Alien 3. In part 1, we're covering the basics and setting up a 300 frames long animation. With Val Cameron from Dreamlight.

In these series of videos, we're going to play with the Grimes and DAZ free package. In part 3, we're mixing sequence 6 with the animation we rendered in the last video using a video editing software. We're also adding additional fog effects. With Val Cameron from Dreamlight.

Blender is a great software with some incredible animation features, one of which the rigid body animation. In today's video we'll be creating a cool scene with multiple boxes being dropped down into a container. With Brian Loukatos from ImagineX.

In these series of videos, we're going to play with the Grimes and DAZ free package. In part 2, we're designing the animation behind sequence number 6. We're covering scale, position and lighting. With Val Cameron from Dreamlight.

In these series of videos, we're going to play with the Grimes and DAZ free package. In part 1, we're going over the material, and you'll learn how to blend the pre-keyed footage with the pre-renderd DAZ background using Photoshop in just a few seconds, including color correction and camera DOF. With Val Cameron from Dreamlight.

In these series of videos, we're going to explore a so called motion control camera, which is perfect for creating all kinds of effects, as the camera performs the same motion through repeated takes. With Val Cameron.

In these series of videos, we're going to explore a so called motion control camera, which is perfect for creating all kinds of effects, as the camera performs the same motion through repeated takes. With Val Cameron.

In these series of videos, we're going to explore a so called motion control camera, which is perfect for creating all kinds of effects, as the camera performs the same motion through repeated takes. With Val Cameron.

In these series of videos, we're going to explore a so called motion control camera, which is perfect for creating all kinds of effects, as the camera performs the same motion through repeated takes. With Val Cameron.

In these series of videos, we're going to illustrate how the camera can cycle through different targets in an animation, rather than being static. In part 2, we're setting up an animation from scratch and using a very special technique to move our camera. With Val Cameron.

In these series of videos, we're going to illustrate how the camera can cycle through different targets in an animation, rather than being static. This is especially useful when creating orbiting animations, where the camera moves around the target in a circular fashion. With Val Cameron.

In these series of videos, we're going to create a landing ship in various environments, ranging from Stonmason's UF7 to a sandy cowboy city with sand blowing into the camera. In the final part, we're making the final adjustments while also adding a new background alpha mask from DAZ Studio. With Jason White from 2Create.

In today's video we're diving into the new timeline features, while also highlighting the pros and cons so that you know what will work and what won't. With Val Cameron from Dreamlight.

In these series of videos, we're going to create a landing ship in various environments, ranging from Stonmason's UF7 to a sandy cowboy city with sand blowing into the camera. In part 6, we're working on camera matching as well as an additional alpha layer to adjust the background image. With Jason White from 2Create.

In today's video we're going to take a look behind the scenes of an animation created using Movie Maker Iray. Learn how the sound effects were added, how they were tweaked to sound more real and where they were downloaded from. With Val Cameron from Dreamlight.

In these series of videos, we're going to create a landing ship in various environments, ranging from Stonmason's UF7 to a sandy cowboy city with sand blowing into the camera. In part 5, we're working on adding landing thuster effects using After Effects. With Jason White from 2Create.

In these series of videos, we're going to create a landing ship in various environments, ranging from Stonmason's UF7 to a sandy cowboy city with sand blowing into the camera. In part 4, we're blending the main layer and mask with footage of steam from Pond5 using After Effects. With Jason White from 2Create.

In these series of videos, we're going to create a landing ship in various environments, ranging from Stonmason's UF7 to a sandy cowboy city with sand blowing into the camera. In part 3 of our desert scene, we're testing the main render sequence in a video editing software. We're also setting up and rendering the special mask which will be used in After Effects (in part 4). With Val Cameron from Dreamlight.

In these series of videos, we're going to create a landing ship in various environments, ranging from Stonmason's UF7 to a sandy cowboy city with sand blowing into the camera. In part 2 of our desert scene, we're setting up the camera DOF effect animation, while battling some DAZ Studio issues and missing features. We're also tweaking the render setting for the first layer of the final animation. With Val Cameron from Dreamlight.

As you may have already discovered, animating surface properties in DAZ Studio is not possible. But it can still be done by rendering two animations, and then blending them together in a video editing software. In this video, we're making our female model's hair turn blonde using this very technique. With Val C. / Dreamlight.

In these series of videos, we're going to create a landing ship in various environments, ranging from Stonmason's UF7 to a sandy cowboy city with sand blowing into the camera. In part 1 of our desert scene, we're setting up the scenery, making sure the ship lands in a good spot. We're also adding extra props and making the camera movement. With Val Cameron from Dreamlight.

In these series of videos, we're going to create a landing ship in various environments, ranging from Stonmason's UF7 to a sandy cowboy city with sand blowing into the camera. In part 4, we're adding postwork effects using Photoshop as well as a glare effect to one of the ship's lights. With Val Cameron from Dreamlight.

In these series of videos, we're going to create a landing ship in various environments, ranging from Stonmason's UF7 to a sandy cowboy city with sand blowing into the camera. In part 3, we're examining the rendered sequence, and also investigating a rendering error that messes up the DOF effect. With Val Cameron from Dreamlight.

In these series of videos, we're going to create a landing ship in various environments, ranging from Stonmason's UF7 to a sandy cowboy city with sand blowing into the camera. In part 2, we're fine-tuning camera DOF, lighting and final render settings. With Val Cameron from Dreamlight.

In these series of videos, we're going to create a landing ship in various environments, ranging from Stonmason's UF7 to a sandy cowboy city with sand blowing into the camera. In part 1, we're setting up the scene, adding the ship and animate the camera. With Val Cameron from Dreamlight.

In these series of videos, we're going to break a longer animation into small pieces, which is going to make things much easier as far as transitions goes, and also make things more interesting. In part 11, we're making final quality adjustments to camera angle A + B. With Val Cameron from Dreamlight.

In these series of videos, we're going to break a longer animation into small pieces, which is going to make things much easier as far as transitions goes, and also make things more interesting. In part 10, we're adding camera angle 6 to the rest of the animation in a video editing software, and trim it so it fits the pace. We're also starting to enhance the first scene into full quality. With Val C.

In these series of videos, we're going to break a longer animation into small pieces, which is going to make things much easier as far as transitions goes, and also make things more interesting. In part 9, we're creating and rendering the final camera angle, where our female model sits on the chair with her feet on the table. With Val Cameron from Dreamlight.

In these series of videos, we're going to break a longer animation into small pieces, which is going to make things much easier as far as transitions goes, and also make things more interesting. In part 8, we're creating camera angle 5, as our lady puts her legs and heels on the table. We're also rendering the sequence and testing it with the other 4 camera angles in a video editing software. With Val Cameron from Dreamlight.

In these series of videos, we're going to break a longer animation into small pieces, which is going to make things much easier as far as transitions goes, and also make things more interesting. In part 7, we're creating camera angle 4, as our lady sits down on the chair. We're also rendering the sequence and testing it with the other 3 camera angles in a video editing software. With Val Cameron from Dreamlight.

In these series of videos, we're going to break a longer animation into small pieces, which is going to make things much easier as far as transitions goes, and also make things more interesting. In part 6, we're creating camera angle 3, which covers the chair being pulled out. We also render the camera angle, and test it with the other 2 camera angles we did before. With Val C. from Dreamlight.

In these series of videos, we're going to break a longer animation into small pieces, which is going to make things much easier as far as transitions goes, and also make things more interesting. In part 5, we're making final tweaks to camera angle 2, where she grasps the chair. We also render a draft, and test it with camera angle 1 in a video editing software. With Val Cameron from Dreamlight.

In these series of videos, we're going to break a longer animation into small pieces, which is going to make things much easier as far as transitions goes, and also make things more interesting. In part 4, we're working on the second camera angle, where our female model's hand touches the chair, just before it gets pulled away from the table. With Val Cameron from Dreamlight.

In these series of videos, we're going to break a longer animation into small pieces, which is going to make things much easier as far as transitions goes, and also make things more interesting. In part 3, we're tweaking the lighting and camera for cam angle 1. We're also doing a test-render of the entire clip and playing it back to see how it performs using the new Iray de-noiser feature. With Val Cameron from Dreamlight.

In today's video, you're invited behind the scenes of a music video currently being rendered using DAZ Studio Iray. Covering 30 sec so far, this draft showcases some really cool technique that enables you to re-use your DAZ Scenes in a very cool way, giving you more footage to play with with minimal extra work. Also, discover some limitations with HDRI maps when used with animation. With Val Cameron from Dreamlight.

In these series of videos, we're going to break a longer animation into small pieces, which is going to make things much easier as far as transitions goes, and also make things more interesting. In part 2, we're planning the entire animation and breaking it down into smaller segments. We also look up appropriate animation clips for each sequence. With Val Cameron from Dreamlight.

In these series of videos, we're going to break a longer animation into small pieces, which is going to make things much easier as far as transitions goes, and also make things more interesting. In part 1, we're setting up the "old" V4 female model with hair and clothing. We also look for a suitable room and add basic lighting. With Val Cameron from Dreamlight.

In these series of videos, we're going to toy with loop-able backgrounds, just the way it's done in Hollywood. In part 5, we're mixing 2 fog layers for a very cool high speed effect, using a technique that at times seems impossible to pull of using this particular software (Vegas Studio). But in the end, it succeeds perfectly, and is a great example of working outside the box using creative approaches. With Val Cameron from Dreamlight.

In these series of videos, we're going to toy with loop-able backgrounds, just the way it's done in Hollywood. In part 4, we're mixing the final 2 layers in a video editing software, plus we add a camera motion on top of our animation. A sci-fi scene is not complete without fog, so we're going to explore two ways of adding a background and foreground fog, in preparation of full fog rendering in the next part. With Val Cameron from Dreamlight.

In these series of videos, we're going to toy with loop-able backgrounds, just the way it's done in Hollywood. In part 3, we're creating a realistic motion-blur effect using Photoshop on our entire animation, and we're also setting up another animation with the car as a separate layer. Plus, we're also testing a few frames of the mix in a video editing software. With Val Cameron from Dreamlight.

In these series of videos, we're going to toy with loop-able backgrounds, just the way it's done in Hollywood. In part 2, we're animating the background and setting up all the key-frames with some math involved. We also create the final background animation and give it a spin inside a video editing software, before adding more effects and animating the car in part 3. With Val C. from Dreamlight.

In these series of videos, we're going to toy with loop-able backgrounds, just the way it's done in Hollywood. For instance when the set moves around a static car in the studio. This gives you much more easy ways of adjusting the camera and vehicle or character, plus you don't need such a huge set, which saves memory. In part 1, we're setting up the background, car and camera initial positions. With Val Cameron from Dreamlight.

In The Look series of videos, we're going to create a captivating female that turns towards the camera and opens her eyes. In part 2, we're taking a look at the actual render settings, all the rendered frames and we also load them into a video editing software and add a few cool filters and effects that make the animation more smooth. With Val Cameron from Dreamlight.

In The Look series of videos, we're going to create a captivating female that turns towards the camera and opens her eyes. In part 1, we're taking a look at a low key lighting scene and adding our animation key frames, plus tweaking the lighting and final render settings. With Val Cameron from Dreamlight.

In part 4, we're finding sound effects online, plus adding two layers of sound effects, once for the railing and one for the ground / floor. We're also making sure that the sound effects are correctly placed in the 3D space using panning and volume controls. With Val Cameron from Dreamlight.

In part 3, we're editing the two animation sequences, following some important video editing rules. We're also showcasing basic filters inside the video editing software as well as pointing out an overview of creating filters using Photoshop that can be automatically applied to complete image sequences. With Val Cameron from Dreamlight.

In part 2, we're animating the ball on the y-axis, as well as both cameras, plus creating the final lighting and set. We're also setting the appropriate render settings. With Val Cameron from Dreamlight.

In these series of videos, we'll be creating a bouncing ball down the stairs animation. Learn some cool time-saving techniques, especially the ones that help you during design time, speeding up the work-flow, but also the actual preview of the scene. In part 1, we're modifying the set, as well as animating the ball's main path. With Val Cameron from Dreamlight.

The timeline is the heart of your animations, your command center where you'll control every single motion of your objects. In this video we're going over the basics of using the timeline and also how to render / save your animations in the best way. With Val Cameron from Dreamlight.

When you're under time pressure to create your animation, or simply lack rendering power, you can still create long animations when using this cool trick. In this video, you'll learn how you can use just 2 images and still create a cool animation. With Val Cameron from Dreamlight.

Lighting moving objects and camera can be tricky at times. In these series of videos, you'll discover the 3 various ways of lighting your scenes and objects, that can be used on their own, or mixed in any combination. In part 3, we're going to explore the "Follow Lighting Method". With Val Cameron from Dreamlight.

Lighting moving objects and camera can be tricky at times. In these series of videos, you'll discover the 3 various ways of lighting your scenes and objects, that can be used on their own, or mixed in any combination. In part 2, we're going to explore the "A/B Lighting Method". With Val Cameron from Dreamlight.

Lighting moving objects and camera can be tricky at times. In these series of videos, you'll discover the 3 various ways of lighting your scenes and objects, that can be used on their own, or mixed in any combination. In part 1, we're going to explore the "Static Lighting Method". With Val Cameron from Dreamlight.

Rendering speed is crucial when doing animations, whether you have a slow PC or a super fast render farm, since we artists tend to always add more than we can handle. In these series of videos, you'll learn how you can actually render 12 times the speed using DAZ Studio Iray, and yet get 100% quality. With Val C. / Dreamlight.

Rendering speed is crucial when doing animations, whether you have a slow PC or a super fast render farm, since we artists tend to always add more than we can handle. In these series of videos, you'll learn how you can actually render 12 times the speed using DAZ Studio Iray, and yet get 100% quality. With Val C. / Dreamlight.

When animating objects it's important to understand how mass affects movements, but also how the camera can affect how we perceive size and motion. With Val Cameron from Dreamlight.

Victoria 4 is an older female model, but has the most animation clips available at her disposal, making her the perfect choice for your animations. Having that said, there's a few things you need to know about before doing your animations, so that you make her look her best. Also, learn how to adjust the camera across your animations, including Depth Of Field. With Val Cameron from Dreamlight.

Using HDRI maps for your animations will give you lots of incredible rendering speed, and backgrounds to choose from. In this video, you'll learn some limitations of this technique, and how to go around it using very cool tricks. With Val Cameron from Dreamlight.

The timeline is the heart of your animations, where you control objects over time. But it has a couple of limitations, which you'll learn about in this video, and also how to go around them and still get what you need. With Val Cameron from Dreamlight.

BEGINNER'S SECTION WORTH $50 100% FREE:

These series of videos will give you a quick, easy and fun start with DAZ Studio if you're new to 3D art, so that you can focus on the parts that give you quick progress instead of facing trial & error. With Tonnie Wolfe.

These series of videos will give you a quick, easy and fun start with DAZ Studio if you're new to 3D art, so that you can focus on the parts that give you quick progress instead of facing trial & error. With Tonnie Wolfe.

These series of videos will give you a quick, easy and fun start with DAZ Studio if you're new to 3D art, so that you can focus on the parts that give you quick progress instead of facing trial & error. With Tonnie Wolfe.

These series of videos will give you a quick, easy and fun start with DAZ Studio if you're new to 3D art, so that you can focus on the parts that give you quick progress instead of facing trial & error. With Tonnie Wolfe.

These series of videos will give you a quick, easy and fun start with DAZ Studio if you're new to 3D art, so that you can focus on the parts that give you quick progress instead of facing trial & error. With Tonnie Wolfe.

These series of videos will give you a quick, easy and fun start with DAZ Studio if you're new to 3D art, so that you can focus on the parts that give you quick progress instead of facing trial & error. With Tonnie Wolfe.

Null objects are invisible objects with so many functions and helpful features, that they can literally change how you create your scenes and images much quicker and easier than ever before. With Val Cameron from Dreamlight.

Learn the basics of using DAZ Studio Iray render engine, with the most important and useful features and functions. With Val Cameron from Dreamlight.

Photoshop is the world leading photo and image editing software. In this video, you'll learn the very basics so you can quickly navigate through the menus, using the most common tools. With Val Cameron from Dreamlight.

In this short video, I'll show you the most simple and best way to manually install DAZ Studio and Poser content inside DAZ Studio. With Val Cameron from Dreamlight.

Learn all the basics of DAZ Studio cameras, how to use movement, rotation and Depth of Field, plus all the features you need to know to really start feeling at home with your cameras. With Val Cameron from Dreamlight.

Lighting is one of the most important aspects of 3D art. It's also one of the largest topics and most new 3D artists get quickly lost in all the options. In this easy to digest video, you'll be introduced to the 4 ways of using lighting inside DAZ Studio Iray. With Val Cameron from Dreamlight.

Jumping straight into a new software can be intimidating. DAZ Studio is the best software in the world regarding it's amazing user interface, but all the options can at times seem overwhelming. In this video, you'll be immediately set you on the right track with the main important areas, settings and navigation. With Val Cameron from Dreamlight.

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Add spectacular neon lights to your renders and make them GLOW! Several cool shapes and colors, giving you maximum creativity and control over position and rotation. Can be added to buildings, characters and vehicles. Bump them into walls to alter their shape and lighting. At last, add incredible "Tron"-look-alike effects in seconds! BONUS: Includes 5 instant presets for 5 Stonemason sets!

Create stunning renders with a total of 54 HDRI 360 degree maps: 9 camera positions, with and without DOF, with and without extra filler light baked into the maps with 2 intensities, giving you an incredible 54 HDRI maps with 8000 x 4000 HD resolution, ready to render out of the box at high speeds and low memory consumption.

BONUS SECTION WORTH $150 100% FREE:

Follow behind the scenes of this cool DAZ Studio Iray animation, rendered at 1920 x 1080, with 300 frames using a GTX 1080 in only 25 hours... See all the tricks used, including camera, dForce hair, lighting and posing. Including postwork effects done inside Photoshop. With Val Cameron from Dreamlight.

We're going for a walk! In these series of videos, we'll be creating a short animation of a female walking in high heels, with the camera capturing her waist down from a behind perspective. We're going to use dForce and speed up Iray rendering using special techniques. With Val Cameron from Dreamlight.

We're going for a walk! In these series of videos, we'll be creating a short animation of a female walking in high heels, with the camera capturing her waist down from a behind perspective. We're going to use dForce and speed up Iray rendering using special techniques. With Val Cameron from Dreamlight.

Create stunning renders with a total of 20 HDRI 360 degree maps: 10 camera positions, with and without extra filler light baked into the maps, giving you an incredible 20 HDRI maps with 10000 x 5000 HD resolution, ready to render out of the box at high speeds and low memory consumption.

In this multi-part video tutorial, we're going to animate a slow moving car on rough terrain. In today's video, we're finalizing the camera, adding lighting and doing test rendering prior to rendering the final animation. In the following video, we'll be doing postwork and effects. With Val Cameron from Dreamlight.

In this multi-part video tutorial, we're going to animate a slow moving car on rough terrain. In today's video, we're animating the rear wheels up and down, plus adding an additional animation layer for the car body, so that it follows the wheels movement. With Val Cameron from Dreamlight.

In this multi-part video tutorial, we're going to animate a slow moving car on rough terrain. In today's video, we're animating the car over the terrain, rotating all four wheels and applying up and down movement to the left front wheel. With Val Cameron from Dreamlight.

In this multi-part video tutorial, we're going to animate a slow moving car on rough terrain. In today's video, we're prepping the vehicle for car body movement, making it independent of the wheels suspension. With Val Cameron from Dreamlight.

In this multi-part video tutorial, we're going to animate a slow moving car on rough terrain, with suspension  moving up and down, wheels rotating and the car body moving in a realistic way. With Val Cameron from Dreamlight.

You can use this gorgeous pack in 3 ways: For still rendering, with or without camera DOF, for rendering animations 100% inside DAZ Studio with the Animated Textures script sold separately at DAZ, or by rendering an image sequence with an empty background, and combining the supplied ocean sequence in a video editing software. Video instructions included for all 3 methods. Designed by Dreamlight.

In these series of videos, we'll be animating a Genesis 8 Female face, with dForce hair as well as making her eyes maintain eye contact with the camera at all times. Learn how to make the movements more realistic and avoid a few pitfalls. Including Photoshop postwork effects. Animation files not included. With Val Cameron from Dreamlight.

In these series of videos, we'll be animating a Genesis 8 Female face, with dForce hair as well as making her eyes maintain eye contact with the camera at all times. Learn how to make the movements more realistic and avoid a few pitfalls. Including Photoshop postwork effects. Animation files not included. With Val Cameron from Dreamlight.

In these series of videos, we'll be animating a Genesis 8 Female face, with dForce hair as well as making her eyes maintain eye contact with the camera at all times. Learn how to make the movements more realistic and avoid a few pitfalls. Including Photoshop postwork effects. Animation files not included. With Val Cameron from Dreamlight.

In these series of videos, we'll be animating a drone that surpasses a balcony in a sci-fi setting, and illuminates it with its lights. In order to speed up the rendering up to 50 times, we're going to pre-render the background. We're also going to play back the animation in a video editing software and apply some additional effects.  Animation files not included. With Val Cameron from Dreamlight.

In these series of videos, we'll be animating a drone that surpasses a balcony in a sci-fi setting, and illuminates it with its lights. In order to speed up the rendering up to 50 times, we're going to pre-render the background. We're also going to play back the animation in a video editing software and apply some additional effects.  Animation files not included. With Val Cameron from Dreamlight.

In these series of videos, we'll be animating a drone that surpasses a balcony in a sci-fi setting, and illuminates it with its lights. In order to speed up the rendering up to 50 times, we're going to pre-render the background. We're also going to play back the animation in a video editing software and apply some additional effects.  Animation files not included. With Val Cameron from Dreamlight.

In these series of videos, we'll be animating a drone that surpasses a balcony in a sci-fi setting, and illuminates it with its lights. In order to speed up the rendering up to 50 times, we're going to pre-render the background. We're also going to play back the animation in a video editing software and apply some additional effects.  Animation files not included. With Val Cameron from Dreamlight.

Most of us artists don't have a super PC and cannot afford a rendering farm that can cost thousands of dollars per week. In these videos, you'll learn amazing techniques that will let you render almost "live" with DAZ Studio Iray by thinking outside the box. With Val Cameron from Dreamlight.

Cyber Punk is a short DAZ Studio animation done using the Iray render engine. Learn how lighting, camera and special effects were created for the "coggs scene" with rendering speed in mind. With Val Cameron from Dreamlight.

Love 2 is a short music video project that was created using DAZ Studio and the older 3Delight render engine. In these videos, you'll see how the lighting and visual style of the project was created, as well as some later music changes and music editing, plus extra high speed rendering techniques. Learn the concepts and how to think while being limited by rendering speed. With Val Cameron from Dreamlight.

Female Animation teaches you how to animate a single female model using aniBlocks as well as without. Showcases special techniques that speed up rendering during animation. Includes videos on how to edit the animation clips using a video editing software. With Val Cameron from Dreamlight.

Learn how to create classy renders featuring a female and a male 3D model using DAZ Studio Iray. Master incredible posing and lighting techniques that will help you with your sensual animations and speed up your workflow. Includes video editing tips. With Val Cameron from Dreamlight.