maya realflow plugin 2012-2016
RealFlow connect mayawin 2012-2016
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Digital Tutors - Professional Tips for Creating Thumbnails in SketchBook Pro
Duration 1h 58m Project Files Included MP4
In this SketchBook Pro tutorial, we’ll learn how to create several fantasy character concept thumbnails. We’ll explore females, males and creatures with various simple poses.
By the end of this SketchBook Pro training, you?ll have learned new techniques to help you quickly generate conceptual projects.
http://www.digitaltutors.com/tutorial/2338-Professional-Tips-for-Creating-Thumbnails-in-SketchBook-Pro
In this SketchBook Pro tutorial, we’ll learn how to create several fantasy character concept thumbnails. We’ll explore females, males and creatures with various simple poses.
By the end of this SketchBook Pro training, you?ll have learned new techniques to help you quickly generate conceptual projects.
http://www.digitaltutors.com/tutorial/2338-Professional-Tips-for-Creating-Thumbnails-in-SketchBook-Pro
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Thinkbox KrakatoaMX 2.4.3.59385 For 3ds max 2010-2016
KRAKATOA™ MX is Thinkbox Software’s production-proven Volumetric Particle Rendering, Manipulation and Management Toolkit for Autodesk 3ds Max.
It provides a pipeline for acquiring, caching, transforming, modifying, deforming, culling, shading and rendering vast quantities of particles at unprecedented speed to represent natural phenomena like dust, smoke, silt, ocean surface foam, plasma and even solid objects. Krakatoa™ integrates well with Particle Flow, the flexible 3ds Max built-in Event-Driven Particle System, and provides data exchange capabilities for sharing particles with other 3D and simulation applications.
The rendering features include Particle and Voxel representation of the same data, support for shading and texturing using standard 3ds Max maps and materials; Particle Self-Shadowing and Shadow Casting from and onto matte objects; support for per-particle Scatter, Emission, Absorption and Density data, Various Light Scattering models incl. Isotropic, Phong Surface, Schlick and Henyey-Greenstein, Kajiya-Kay and Marschner; Environment Reflections; Motion Blur and Depth Of Field effects; Ambient Participating Medium Extinction and more.
The Particle Manipulation pipeline includes Particle Culling using arbitrary geometry and Particle Deformations using 3ds Max deformation modifiers and Space Warps like Bend, Twist, PathDeform and Free Form Deformation lattices; Particle Retiming using custom graphs, offset and limit range behaviors; Particle Data Channels access via a powerful node-based MagmaFlow editor; read and write access to particle data via MAXScript
Thanks to “n0MAD”
It provides a pipeline for acquiring, caching, transforming, modifying, deforming, culling, shading and rendering vast quantities of particles at unprecedented speed to represent natural phenomena like dust, smoke, silt, ocean surface foam, plasma and even solid objects. Krakatoa™ integrates well with Particle Flow, the flexible 3ds Max built-in Event-Driven Particle System, and provides data exchange capabilities for sharing particles with other 3D and simulation applications.
The rendering features include Particle and Voxel representation of the same data, support for shading and texturing using standard 3ds Max maps and materials; Particle Self-Shadowing and Shadow Casting from and onto matte objects; support for per-particle Scatter, Emission, Absorption and Density data, Various Light Scattering models incl. Isotropic, Phong Surface, Schlick and Henyey-Greenstein, Kajiya-Kay and Marschner; Environment Reflections; Motion Blur and Depth Of Field effects; Ambient Participating Medium Extinction and more.
The Particle Manipulation pipeline includes Particle Culling using arbitrary geometry and Particle Deformations using 3ds Max deformation modifiers and Space Warps like Bend, Twist, PathDeform and Free Form Deformation lattices; Particle Retiming using custom graphs, offset and limit range behaviors; Particle Data Channels access via a powerful node-based MagmaFlow editor; read and write access to particle data via MAXScript
Thanks to “n0MAD”
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Vertex Tool
Round mask/shape layer corners with a click! Vertex Tool applies rounding algorithms to a shape by placing two (in some cases more) new vertices in place of original one at selected corner, based on a specified line length. There are 12 corner rounding algorithms to choose from.
For More Info : http://aescripts.com/vertex-tool/ :)
All the best ©POTT
For More Info : http://aescripts.com/vertex-tool/ :)
All the best ©POTT
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Thinkbox KrakatoaMX 2.4.3.59385 For 3ds max 2010-2016
KRAKATOA™ MX is Thinkbox Software’s production-proven Volumetric Particle Rendering, Manipulation and Management Toolkit for Autodesk 3ds Max.
It provides a pipeline for acquiring, caching, transforming, modifying, deforming, culling, shading and rendering vast quantities of particles at unprecedented speed to represent natural phenomena like dust, smoke, silt, ocean surface foam, plasma and even solid objects. Krakatoa™ integrates well with Particle Flow, the flexible 3ds Max built-in Event-Driven Particle System, and provides data exchange capabilities for sharing particles with other 3D and simulation applications.
The rendering features include Particle and Voxel representation of the same data, support for shading and texturing using standard 3ds Max maps and materials; Particle Self-Shadowing and Shadow Casting from and onto matte objects; support for per-particle Scatter, Emission, Absorption and Density data, Various Light Scattering models incl. Isotropic, Phong Surface, Schlick and Henyey-Greenstein, Kajiya-Kay and Marschner; Environment Reflections; Motion Blur and Depth Of Field effects; Ambient Participating Medium Extinction and more.
The Particle Manipulation pipeline includes Particle Culling using arbitrary geometry and Particle Deformations using 3ds Max deformation modifiers and Space Warps like Bend, Twist, PathDeform and Free Form Deformation lattices; Particle Retiming using custom graphs, offset and limit range behaviors; Particle Data Channels access via a powerful node-based MagmaFlow editor; read and write access to particle data via MAXScript
Thanks to “n0MAD”
It provides a pipeline for acquiring, caching, transforming, modifying, deforming, culling, shading and rendering vast quantities of particles at unprecedented speed to represent natural phenomena like dust, smoke, silt, ocean surface foam, plasma and even solid objects. Krakatoa™ integrates well with Particle Flow, the flexible 3ds Max built-in Event-Driven Particle System, and provides data exchange capabilities for sharing particles with other 3D and simulation applications.
The rendering features include Particle and Voxel representation of the same data, support for shading and texturing using standard 3ds Max maps and materials; Particle Self-Shadowing and Shadow Casting from and onto matte objects; support for per-particle Scatter, Emission, Absorption and Density data, Various Light Scattering models incl. Isotropic, Phong Surface, Schlick and Henyey-Greenstein, Kajiya-Kay and Marschner; Environment Reflections; Motion Blur and Depth Of Field effects; Ambient Participating Medium Extinction and more.
The Particle Manipulation pipeline includes Particle Culling using arbitrary geometry and Particle Deformations using 3ds Max deformation modifiers and Space Warps like Bend, Twist, PathDeform and Free Form Deformation lattices; Particle Retiming using custom graphs, offset and limit range behaviors; Particle Data Channels access via a powerful node-based MagmaFlow editor; read and write access to particle data via MAXScript
Thanks to “n0MAD”
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Ben Mauro - Primate Anatomy Full
http://www.badking.com.au/site/product-category/tutorial-pro-packs/
Primate Anatomy Part 1
In this six part tutorial, internationally renowned Artist and Instructor Ben Mauro shows us the tools and techniques necessary to build a high-resolution primate skull. Working within ZBrush 4R6, Ben utilizes a set of ZBrush tools and reference material to shows us his techniques to turn a simple three-dimensional sphere into a complex and highly detailed Chimpanzee Skull.
Primate Anatomy Part 2
In this twelve part tutorial, internationally renowned Artist and Instructor Ben Mauro continues to work within ZBrush 4R6 taking us through his process of creating a highly realistic Chimpanzee Bust from a simple three-dimensional sphere. He builds upon his primate skull created in his previous tutorial and demonstrates how to best utilize reference material to create desired results. Ben discusses how he renders, exports and brings sculpts into Photoshop before using a number of photobashing tips for added realism.
Instructors Bio
Ben Mauro is a US born concept designer and digital sculptor. He studied industrial design and entertainment design at Art Center College of Design in Pasadena, California. After college he relocated to Wellington, New Zealand where he worked at Weta Workshop from 2009- 2013, over that time he contributed to a vast array of Film, Television and Videogame projects such as ‘The Hobbit Trilogy’ and ‘Elysium’ among many many others. Before coming to Weta he worked as a freelancer for various clients including Boston Dynamics, Treyarch, LucasFilm, Rhythm & Hues, Activision, EuropaCorp, Universal Pictures, Sony Pictures Animation, Insomniac Games, Design Studio Press and Vishwa Robotics. In 2013 he moved to Singapore working as an independant freelance concept designer where he continues to offer his design services to clients around the world.
Should be the same stuff on Gumroad https://gumroad.com/benmaurodesign#
Primate Anatomy Part 1
In this six part tutorial, internationally renowned Artist and Instructor Ben Mauro shows us the tools and techniques necessary to build a high-resolution primate skull. Working within ZBrush 4R6, Ben utilizes a set of ZBrush tools and reference material to shows us his techniques to turn a simple three-dimensional sphere into a complex and highly detailed Chimpanzee Skull.
Primate Anatomy Part 2
In this twelve part tutorial, internationally renowned Artist and Instructor Ben Mauro continues to work within ZBrush 4R6 taking us through his process of creating a highly realistic Chimpanzee Bust from a simple three-dimensional sphere. He builds upon his primate skull created in his previous tutorial and demonstrates how to best utilize reference material to create desired results. Ben discusses how he renders, exports and brings sculpts into Photoshop before using a number of photobashing tips for added realism.
Instructors Bio
Ben Mauro is a US born concept designer and digital sculptor. He studied industrial design and entertainment design at Art Center College of Design in Pasadena, California. After college he relocated to Wellington, New Zealand where he worked at Weta Workshop from 2009- 2013, over that time he contributed to a vast array of Film, Television and Videogame projects such as ‘The Hobbit Trilogy’ and ‘Elysium’ among many many others. Before coming to Weta he worked as a freelancer for various clients including Boston Dynamics, Treyarch, LucasFilm, Rhythm & Hues, Activision, EuropaCorp, Universal Pictures, Sony Pictures Animation, Insomniac Games, Design Studio Press and Vishwa Robotics. In 2013 he moved to Singapore working as an independant freelance concept designer where he continues to offer his design services to clients around the world.
Should be the same stuff on Gumroad https://gumroad.com/benmaurodesign#
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The Foundry Mari 3.0v1
MARI is the most fluid and natural way to paint in 3D. It makes life simple for artists by allowing them to paint directly onto 3D models with more time for painting and less time managing technical issues.
Painting
MARI’s cutting-edge paint tools give you the freedom and flexibility to create truly stunning effects and detail, with the added advantage of full triplanar projection for faster scene set-up.
Advanced layering
The full power of a layer-based workflow along with adjustments, procedurals and advanced masking means that you can paint faster and with greater control than ever before with MARI. Procedural layers make it easy to create the look you want, seamlessly blending procedural and painted detail with the same toolkit. A powerful procedural engine is built into the heart of the layer stack, offering fluid, GPU-accelerated real-time procedural noises, patterns, projections and more.
Realistic interactive preview
With MARI, you can create normal maps on the fly from bump maps, making it simpler and easier to generate and manipulate textures. Shadow support lets you cast real-time shadows on objects from multiple light sources and provides a customisable real-time 3D shader preview for things like specular highlights, displacement preview via bump mapping and colour correction. MARI also allows you to import multiple camera moves through which to view your model.
Geometry handling
MARI handles animated geometry and animated textures with ease, making it possible to isolate, select, mask and hide geometry per patch and face. Being able to have overlapping UVs means you can re-use the same texture across 3D models in any shared UV space, as well as handling multiple objects, versions and instances, with or without baked animation.
Color management
With OpenColorIO (OCIO), the open source color management solution from Sony Picture Imageworks, you can handle color transforms and image display across multiple applications by setting up a single profile to provide consistent colors across the board. A key tool in simplifying the color management process, OCIO is suitable for both visual effects work and animated features and is specifically geared towards post-production work.
https://www.thefoundry.co.uk/products/mari/
Painting
MARI’s cutting-edge paint tools give you the freedom and flexibility to create truly stunning effects and detail, with the added advantage of full triplanar projection for faster scene set-up.
Advanced layering
The full power of a layer-based workflow along with adjustments, procedurals and advanced masking means that you can paint faster and with greater control than ever before with MARI. Procedural layers make it easy to create the look you want, seamlessly blending procedural and painted detail with the same toolkit. A powerful procedural engine is built into the heart of the layer stack, offering fluid, GPU-accelerated real-time procedural noises, patterns, projections and more.
Realistic interactive preview
With MARI, you can create normal maps on the fly from bump maps, making it simpler and easier to generate and manipulate textures. Shadow support lets you cast real-time shadows on objects from multiple light sources and provides a customisable real-time 3D shader preview for things like specular highlights, displacement preview via bump mapping and colour correction. MARI also allows you to import multiple camera moves through which to view your model.
Geometry handling
MARI handles animated geometry and animated textures with ease, making it possible to isolate, select, mask and hide geometry per patch and face. Being able to have overlapping UVs means you can re-use the same texture across 3D models in any shared UV space, as well as handling multiple objects, versions and instances, with or without baked animation.
Color management
With OpenColorIO (OCIO), the open source color management solution from Sony Picture Imageworks, you can handle color transforms and image display across multiple applications by setting up a single profile to provide consistent colors across the board. A key tool in simplifying the color management process, OCIO is suitable for both visual effects work and animated features and is specifically geared towards post-production work.
https://www.thefoundry.co.uk/products/mari/
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ESRI CityEngine Advance 2015.2
Esri has released update of CityEngine Advance 2015, the latest version of its advanced 3D GIS urban design software. CityEngine generates detailed city models from simple procedural rules, importing and exporting data in standard file formats, including OBJ, 3DS and DXF.
New Features and updates:
- Introducing the Reporting Dashboard
- Improved KML and WGS84 support
- Updated RenderMan export
- Several FileGDB fixes
- 3D exporters with new features
- Better 3D editing
- CGA procedural modeling enhancements
- Fixed rendering issues on OS X Yosemite
- User interface and other improvements
- RenderMan export upgrade
More info on Esri CityEngine site.
Link(s):
http://www.esri.com/cityengine
Name: ESRI CityEngine Advance
Version: (64bit) 2015.2.147974
New Features and updates:
- Introducing the Reporting Dashboard
- Improved KML and WGS84 support
- Updated RenderMan export
- Several FileGDB fixes
- 3D exporters with new features
- Better 3D editing
- CGA procedural modeling enhancements
- Fixed rendering issues on OS X Yosemite
- User interface and other improvements
- RenderMan export upgrade
More info on Esri CityEngine site.
Link(s):
http://www.esri.com/cityengine
Name: ESRI CityEngine Advance
Version: (64bit) 2015.2.147974
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Tutsplus – Capture One for Fashion Photographers
Capture One Pro 8 is a powerful, professional raw image processing suite for Mac and Windows. In this course, you will learn how to process fashion photos by delving deep into Capture One. We'll work with two different sets of images, each with different processing needs, and you will gain a thorough grounding in the fashion post-production workflow. This course is for fashion photographers who have intermediate level experience with image processing and want to unlock a new level of speed, efficiency, and accuracy in their style.
http://photography.tutsplus.com/courses/capture-one-for-fashion-photographers
http://photography.tutsplus.com/courses/capture-one-for-fashion-photographers
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The Foundry Mari 3.0v1 (MacOSX/Linux)
MARI is the most fluid and natural way to paint in 3D. It makes life simple for artists by allowing them to paint directly onto 3D models with more time for painting and less time managing technical issues.
Painting
MARI’s cutting-edge paint tools give you the freedom and flexibility to create truly stunning effects and detail, with the added advantage of full triplanar projection for faster scene set-up.
Advanced layering
The full power of a layer-based workflow along with adjustments, procedurals and advanced masking means that you can paint faster and with greater control than ever before with MARI. Procedural layers make it easy to create the look you want, seamlessly blending procedural and painted detail with the same toolkit. A powerful procedural engine is built into the heart of the layer stack, offering fluid, GPU-accelerated real-time procedural noises, patterns, projections and more.
Realistic interactive preview
With MARI, you can create normal maps on the fly from bump maps, making it simpler and easier to generate and manipulate textures. Shadow support lets you cast real-time shadows on objects from multiple light sources and provides a customisable real-time 3D shader preview for things like specular highlights, displacement preview via bump mapping and colour correction. MARI also allows you to import multiple camera moves through which to view your model.
Geometry handling
MARI handles animated geometry and animated textures with ease, making it possible to isolate, select, mask and hide geometry per patch and face. Being able to have overlapping UVs means you can re-use the same texture across 3D models in any shared UV space, as well as handling multiple objects, versions and instances, with or without baked animation.
Color management
With OpenColorIO (OCIO), the open source color management solution from Sony Picture Imageworks, you can handle color transforms and image display across multiple applications by setting up a single profile to provide consistent colors across the board. A key tool in simplifying the color management process, OCIO is suitable for both visual effects work and animated features and is specifically geared towards post-production work.
http://www.thefoundry.co.uk/products/mari/
Painting
MARI’s cutting-edge paint tools give you the freedom and flexibility to create truly stunning effects and detail, with the added advantage of full triplanar projection for faster scene set-up.
Advanced layering
The full power of a layer-based workflow along with adjustments, procedurals and advanced masking means that you can paint faster and with greater control than ever before with MARI. Procedural layers make it easy to create the look you want, seamlessly blending procedural and painted detail with the same toolkit. A powerful procedural engine is built into the heart of the layer stack, offering fluid, GPU-accelerated real-time procedural noises, patterns, projections and more.
Realistic interactive preview
With MARI, you can create normal maps on the fly from bump maps, making it simpler and easier to generate and manipulate textures. Shadow support lets you cast real-time shadows on objects from multiple light sources and provides a customisable real-time 3D shader preview for things like specular highlights, displacement preview via bump mapping and colour correction. MARI also allows you to import multiple camera moves through which to view your model.
Geometry handling
MARI handles animated geometry and animated textures with ease, making it possible to isolate, select, mask and hide geometry per patch and face. Being able to have overlapping UVs means you can re-use the same texture across 3D models in any shared UV space, as well as handling multiple objects, versions and instances, with or without baked animation.
Color management
With OpenColorIO (OCIO), the open source color management solution from Sony Picture Imageworks, you can handle color transforms and image display across multiple applications by setting up a single profile to provide consistent colors across the board. A key tool in simplifying the color management process, OCIO is suitable for both visual effects work and animated features and is specifically geared towards post-production work.
http://www.thefoundry.co.uk/products/mari/
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Lu Dongjun Metal Study
Lu Dongjun Metal Study from his gumroad
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maya 2012-2016 realflow plugin
dropbox link
https://www.dropbox.com/s/jwiiq5mqmiddqmb/rfconnect-maya-win-2012-2016.rar?dl=0
https://www.dropbox.com/s/jwiiq5mqmiddqmb/rfconnect-maya-win-2012-2016.rar?dl=0
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Evermotion Archmodels Vol. 152 For Max
Archmodels vol. 152 includes 76 professional, highly detailed 3d models for architectural visualizations. This collection comes with high quality LUG lamps. All objects are ready to use in your visualizations. Presented models and scenes were rendered in V-ray with 3ds max.
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mac maya osx 2012-2016 realflow plugin
dropbox link
https://www.dropbox.com/s/x0dz5t72359e0vy/rfconnect_maya_osx_2015.0.0.5.zip?dl=0
https://www.dropbox.com/s/x0dz5t72359e0vy/rfconnect_maya_osx_2015.0.0.5.zip?dl=0
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CartoonSmart - Four Leg Walk Cycles Tutorial
This one hour Toon Boom Animate tutorial demonstrates how to animate a quadroped walk cycle. You’ll get a fully rigged elephant character as part of the finished animated example file. For those students just getting started with their careers, animating quadropeds is a great portfolio piece, as it’s considered an essential example of your skills.
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CartoonSmart - Walk and Run Cycles
This 90 minute lesson teaches various techniques for animating walk or run cycles in Toon Boom Animate. Your instructor assumes you already know the basics of character rigging, but if not the source files provided include 3 pre-rigged characters to begin animating with. Which means you’ll get an unanimated and completed character file for the Side View Walk Cycle, Front 3/4 View Walk Cycle, and Side View Run Cycle (6 files total). These source files alone are a valuable resource as the character art can be modified without affecting the completed cycles.
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3DMotive - Hand Painted Dagger
Duration 2h 16m Project Files Included MP4
During this course we will utilize a combination of Maya and Photoshop to take a concept for a stylized weapon and translate that into a fully realized low poly hand painted asset for use within a videogame environment. We’ll start by briefly analyzing the concept, deciphering the different elements which will make up the model, and then from there, give ourselves some realistic constraints to adhere to. By utilizing the default set of tools available in Maya we will create a low poly mesh which maintains the character of the concept and move on to assign it a UV unwrap of which will be easy to read and more user friendly
paint in Photoshop. We’ll also take a look at some of the process and techniques used to create the texture map being sure to replicate the crafted look of the concept. Tools such as clipping masks, Variations and Dilation will be utilized to help keep our texture easy to maintain and looking neat for potential future revisions. Throughout the creation process we’ll also touch upon how things relate to a production environment whilst also pointing out any areas which are likely to generate the need for some problem solving.
http://3dmotive.com/series/hand-painted-dagger.html
During this course we will utilize a combination of Maya and Photoshop to take a concept for a stylized weapon and translate that into a fully realized low poly hand painted asset for use within a videogame environment. We’ll start by briefly analyzing the concept, deciphering the different elements which will make up the model, and then from there, give ourselves some realistic constraints to adhere to. By utilizing the default set of tools available in Maya we will create a low poly mesh which maintains the character of the concept and move on to assign it a UV unwrap of which will be easy to read and more user friendly
paint in Photoshop. We’ll also take a look at some of the process and techniques used to create the texture map being sure to replicate the crafted look of the concept. Tools such as clipping masks, Variations and Dilation will be utilized to help keep our texture easy to maintain and looking neat for potential future revisions. Throughout the creation process we’ll also touch upon how things relate to a production environment whilst also pointing out any areas which are likely to generate the need for some problem solving.
http://3dmotive.com/series/hand-painted-dagger.html
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vrgirlz
vrgirlz ripped in OBJ with big textures
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Gumroad - Daarken - Blending in Photoshop with Pen Pressure
"In this second Patreon video, I discuss my process of blending in Photoshop using opacity jitter set to pen pressure. People always want to know how I blend, so I take you through my process as I paint the decapitated head.
Length - 21:26
Format - 2560x1600 MP4
Language - English, full commentary
If you would like to see more videos, please consider backing my Patreon. Lower tiers can enjoy monthly videos while higher tiers receive paintovers, personal assignments, and chat sessions!"
<3 Check out my other uploads http://cgpeers.com/torrents.php?type=uploaded&userid=55540
Length - 21:26
Format - 2560x1600 MP4
Language - English, full commentary
If you would like to see more videos, please consider backing my Patreon. Lower tiers can enjoy monthly videos while higher tiers receive paintovers, personal assignments, and chat sessions!"
<3 Check out my other uploads http://cgpeers.com/torrents.php?type=uploaded&userid=55540
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Gumroad - Daarken - Character Design - Hunter
"This tutorial covers the design process I go through when creating a character for a client. I walk you through several different design iterations before taking one to final. I talk about adding color to a black and white sketch and what I think about when designing a character for a client.
Most of the video is in real time, but there are a few parts that are sped up by 4-6x. The actual painting time was around 4 hours 45 minutes, so I tried to speed up a few of the more tedious parts."
<3 Check out my other uploads http://cgpeers.com/torrents.php?type=uploaded&userid=55540
Most of the video is in real time, but there are a few parts that are sped up by 4-6x. The actual painting time was around 4 hours 45 minutes, so I tried to speed up a few of the more tedious parts."
<3 Check out my other uploads http://cgpeers.com/torrents.php?type=uploaded&userid=55540
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More Pages to Explore .....
