Daz3D Genesis 3 Female Head Morphs

http://www.daz3d.com/genesis-3-female-head-morphs

Advanced Game Mechanics in Unity' helps users push their Unity knowledge to the next level. In this course, instructor Alan Thorn explores many powerful features in Unity 5, from debugging tools and version control, to 2D sprites and User Interfaces. See how to get started quickly at scripting useful behaviours and functionality for building solid games across many platforms, from endless-runners to shooters.

Part 1 consolidates scripting knowledge, exploring fundamental scripting tasks in Unity, developing a solid foundation for your games, whatever the genre. In part 2, learn how to build resolution-adapting interfaces for multiple screen-sizes, and see how to integrate 2D and 3D elements in a single scene, using the GUI features and sprite framework. In part 3, explore how to find and diagnose problems in your applications using MonoDevelop Debugging, as well as Visual Debugging. In part 4, learn how to manage team work-flows with Git and version control, allowing many people in a team to exchange and maintain source code easily anywhere in the world. And in Part5, explore a range of more advanced scripting tasks: see how to combine particle systems with physics, see how to develop save game states, how to make objects survive across multiple scenes, and how to develop for mobile devices, reading input from the accelerometer. Overall, 'Advanced Game Mechanics in Unity' features everything you need to become a powerful game developer quickly and easily, producing immersive games that sell.

In this short course we will analyze how light and shadow work in the real physical world. Then we’ll look at how we can take those concepts and use them in Adobe Photoshop to produce better shadows and more realistic lighting. Whether you're a graphic designer, concept artist or digital painter, this course will help you improve your digital artwork!

http://design.tutsplus.com/courses/mastering-light-shadow-in-adobe-photoshop

On Your own risk: https://www.virustotal.com/en/file/3ba186b1fb68c23cdbaa0dfe243babf85b94cf4da07736bd611c747d680837aa/analysis/1435420767/

Description
Enabling you to simulate the unique appearance of different film types with your digital files, DxO's FilmPack 5 Elite Edition adds an element of analog photography to your digital workflow. Comprising more than 80 distinct film types, this software includes a variety of favorite black & white, color negative, and color positive films whose unique qualities and grain structures can be applied to digital images. Beyond applying the film profiles themselves, this software is also capable of processing raw image files, compensating for optical defects automatically, and minimizing digital noise in favor of simulated film grain. An array of traditionally-inspired creative effects can also be applied to imagery, including toning, filter effects, light leaks, and vignettes; each of which are fully controllable to create a personalized look. Offering some of the most beloved and distinct aspects of film photography within an efficient digital interface, FilmPack 5 allows you to re-enter the world of analog photography with the convenience and control of a digital workflow.

Set within an intuitive interface, this program neatly organizes all creative effects, film renderings, and editing controls within reach and also incorporates a file browser for easy access to local and networked file folders. FilmPack 5 can function as both a standalone application or as a plug-in with popular editing programs from Adobe, Apple, and DxO.


Features

•Image-processing Software
• Plugin and Standalone Application
• Over 80 Analog Film Renderings
• Support for RAW Format
• Automatic Corrections

• Support for RAW format*: perfectly faithful color renderings:
Now supporting RAW format, DxO FilmPack uses the calibrated data from your camera to apply analog renderings with perfectly faithful colors
Since the colors in your images haven't been altered in any way, DxO FilmPack's exclusive automatic Color protection feature is even more effective
And as it is based on all of DxO's RAW processing know-how, DxO FilmPack automatically corrects - without any intervention on your part - all of your equipment's possible optical flaws: distortion, vignetting, and chromatic aberrations, all while efficiently reducing the undesirable digital noise in your images
And of course, processing TIFF and JPEG images is always possible
* Standalone application only


• More than 80 "high-fidelity" analog film renderings:
DxO FilmPack renderings are created in DxO's laboratories using an exclusive scientific process of exhaustively profiling each film
This process is based on a series of shots of specially-calibrated targets and as well as real-life subjects taken with the film being profiled
The film is subjected to high-resolution digitization in order to measure the film response and to extract the grain matrices
This process has allowed DxO to perfectly reproduce "high-fidelity" rendering of the characteristic appearance, colors, and grains of 83 legendary films - color negatives, black & white, slide, and instant snapshots


• 16 new analog film renderings to help you express your creativity
Discover 16 new analog film renderings among the 80 included in DxO FilmPack 5: films that have disappeared or will soon disappear, creative films, black & white renderings
To further express your own creativity


• Color renderings: the poetry of analog film applied to digital photos:
DxO FilmPack applies to your digital images the saturation, the contrast, and the grain of the most celebrated analog silver halide, slide, and color negative films
Rediscover the sweetness of a Kodak Portra 160 NC for your portraits and events, the magic of a Polaroid so as to imitate old vacation photos, or even the contrast and stunning colors of a Fuji Velvia 50 for macrophotography
Up to 45 color analog films are available to bring out the sleeping visual poet in you


• Analog film grain: reproduce the authenticity and natural look of film:
Add grain to your digital photos to recapture the authenticity of an analog film
Give character to your images and discover a new photographic dimension by using the many grain effects available in DxO FilmPack
Use the Denoising tool to eliminate the digital noise in your images taken at high ISO and to replace the noise with a veritable analog film grain


• Original effects: highlight your photos:
Easily apply a large number of effects to your images with settings that are accessible in one click


• Textures
With the Textures tool, choose among a wide variety of textures - scratches, stains, grains, or wrinkled papers - to give a vintage aspect to your photos
Fine-tune the intensity and the orientation of your effect and then use DxO FilmPack's intuitive controls to apply it to a toning


• Light leak
Using the Light leak palette, simulate the accidental exposure to light of a film cartridge, and reproduce the areas of overexposure or color saturation on the edges of the image
Select the type of effect you want to apply, its orientation, its intensity, and change its position as you wish


• Frames
DxO FilmPack offers some 20 black or white frames - passe-partout, darkroom, slide, instant, film, glass, or old paper
Define their placement - inside or outside of the image - and their thickness, to show off your photos


• Creative vignetting
Use the Creative vignetting effect to reveal the spirit of your digital image: use the many available settings to darken or lighten the edges of your image to show off your subject, depending on the composition of your photo


• Blur
With the Blur tool, you can apply a blur Vignetting effect along the perimeter of your image in just one click, so as to draw attention to a subject, or apply Soft Focus to reproduce an overall artistically blurry effect
Place the center of the effect in the image with one click, and then fine-tune the parameters ? intensity, radius, transition, roundness, and diffusion


• Designer presets: a touch of madness for your images:
DxO FilmPack provides you with many original creative renderings: up to 39 color and black & white designer presets are available
Vintage effects, aged photos, improbable tints: give a unique style to your photos
With the Poetic preset, recreate the warm tones and past colors of an old American series
With Red tone, warm up the colors to capture the evening light
Use Photo 1900 to reproduce all the sweetness of sepia enhanced with a fine grain


• Advanced settings: take control:
Explore an infinite field of possibilities with DxO FilmPack's many advanced settings: have fun with colors using the Hue/Saturation/Luminance feature, for example
With the Tone curve, fine-tune light tones, midtones, and dark tones so as to best manage contrast
With the Vibrancy tool, subtly reinforce a tint by taking into account the different colors present in the image
For perfect compositions, manage the proportions in your image with the easy-to-use Crop tool and its adjustable "rule of thirds" grid
With the Toning tool, age your images using a color dominant (sepia, selenium, etc)
For an even better look and an infinite number of creative possibilities, apply the effects separately on the light and dark tones of your photo


• More than 30 specific silver halide renderings:
Rediscover the magic of black & white photography and enter a universe of analog films, thanks to DxO's advanced calibration technologies
DxO FilmPack faithfully reproduces numerous films, such as Kodak Tri-X, Fuji Neopan, Ilford FP4 Plus, and Polaroid 664
Depending on the rendering you desire, choose a film for its contrast, its grain, or its gray nuances
Up to 38 different analog black & white films are available to you to help you reveal your artistic sensibility or to find a familiar style again


• Fine micro-contrast for even more striking images:
Enhance your black & white photos: DxO FilmPack's new fine micro-contrast tool is more efficient for adjusting local contrast and gives you more flexibility
The algorithm applies a multi-scale filter that blurs the details, while preserving the marked contours of the image
The contrast is visibly reinforced by avoiding halo effects and it is particularly enhanced in highlights
It is also possible to act on each luminosity range - highlights, midtones, and lowlights - for ultra-precise adjustments
Ideal for increasing the dramatic intensity of a landscape photo or for giving a distinctive look to a portrait by highlighting the details in skin tone


• Advanced settings: bring out the nuances in your black & white photos:
Use DxO FilmPack's many advanced settings to take control and show off your black & white photos
With the colored filters, subtly convert your photos
With the Channel mixer, bring out all of the nuanced shades of color in your images
With the Tone curve, adjust the skin tones, the midtones, and the darker tones, as well as precisely manage the contrast of your black & white images


• Plugin and standalone application:
You can use DxO FilmPack both as a standalone application and as a plugin for Adobe Photoshop, Adobe Photoshop Elements, Adobe Photoshop Lightroom, Apple Aperture, and DxO OpticsPro
In standalone application mode or as a plugin for DxO OpticsPro, you can directly process your TIFF, JPEG, and RAW images in just a few clicks
In plugin mode, you can follow your regular processing workflow while enriching your Adobe or Apple solutions


• Ergonomic interface:
Process your images even more easily, thanks to DxO FilmPack's new interface - even more simple and intuitive
Use the integrated file browser to choose your work directory and instantly see all the images it contains
Quickly access all presets, effects, and settings grouped together in the unique lateral control panel
Select the style that best matches your taste: analog film or Designer, color or black & white, with or without a toning effect or a frame - the combinations are infinite
Click on a thumbnail: the processing is applied immediately
Want to give your photo an even more unique style? Go into the Settings, take control of the sliders, and modify all of the parameters
In just one click, find the presets you use the most in the Favourites tab in the presets window, and easily find any of the available presets by using the Search tool


• Other features:
Facebook export: Easily share your images via your Facebook account
Batch processing: Process a large number of images in a few clicks and thus be assured of an overall uniform rendering
Printing: Perfectly reproduce all of the processing applied to your images by printing them directly from DxO FilmPack
Snapshots: Save a snapshot of your image during processing in order to recall and re-use the same corrections later
Custom presets: Save your intensity, grain, and contrast settings so you can easily apply them to other images in your library
Preset import/export: Share your processing settings with other DxO FilmPack users


What’s new version 5

•16 new very-high-fidelity analog film renderings
• More faithfully-reproduced colors with RAW format
• Even more powerful images, thanks to new Micro-contrast
• Improved tools for greater creative possibilities
• An entirely redesigned interface
• Availability



system requirements

Microsoft Windows
Intel Core 2 Duo, AMD Athlon 64 X2 or higher
2 GB of RAM (4 GB recommended)
400 MB of available disk space
Microsoft Windows 7 (64 bits), Microsoft Windows 8 (64 bits), Microsoft Windows 8.1 (64 bits)

Compatible host applications:
DxO OpticsPro 10 or higher
Adobe Photoshop CS3, CS4, CS5, CS6, CC, CC 2014 (32 & 64 bits)
Adobe Photoshop Elements 9, 10, 11 & 12
Adobe Photoshop Lightroom 3, 4 & 5
Apple Aperture 3

Compatibility:
DxO FilmPack can be used as a standalone application and as a plugin for Adobe Photoshop, Elements, Lightroom, Apple Aperture, and DxO OpticsPro
In standalone application mode or as a plugin for DxO OpticsPro, you can directly process your RAW, TIFF, and JPEG images in just a few clicks
In plugin mode, preserve your workflow while enriching your Adobe or Apple solutions

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What's New

Hardware selection features

If you are writing your own custom shader for use with the dx11Shader or glslShader plug-in in Viewport 2.0, the following semantics have been added that allow your DX11 or GLSL shader to perform hardware selection; for example, semantics that allow you to specify whether selection is to be done at the object level or vertex level. Annotations have also been added that allow you to draw non-material items such as the wireframe and selected edges/vertices components.
Hardware selection is enabled when you run Maya in OpenGL Core Profile mode. Alternatively, you can also set the environment variable MAYA_USE_HARDWARE_SELECTION = 1.
The Maya Developer Kit has been updated to include new versions of the dx11Shader and glslShader plug-in examples. These examples have been updated to illustrate hardware selection. In addition, the glslShader example also supports shadow pass, transparency and advanced transparency passes. Varying inputs are selectable (choice of color or UV sets), and performance is improved.
The Developer Kit is available online at Autodesk Exchange at https://apps.exchange.autodesk.com/MAYA/en/Home/Index.
New selection semantics

Name Type Description
HWS_PrimitiveBase
int
Integer used to generate the color of the object, or the first component, or the first geometry instance. (GPU Instancing must be enabled in the Viewport 2.0 options window.)
Corresponds to: MUniformParameter::kSemanticHWSPrimitiveBase.
HWS_PrimitiveCountPerInstance
int Specifies the amount that HWS_PrimitiveBase needs to be incremented for each geometry instance.
Corresponds to: MUniformParameter::kSemanticHWSPrimitiveCountPerInstance.
HWS_ObjectLevel
bool Specifies whether selection is to be done at the object level.
Corresponds to: MUniformParameter::kSemanticHWSObjectLevel.
HWS_FaceLevel
bool Specifies whether selection is to be done at the face level.
Corresponds to: MUniformParameter::kSemanticHWSFaceLevel.
HWS_EdgeLevel
bool Specifies whether selection is to be done at the edge level.
Corresponds to: MUniformParameter::kSemanticHWSEdgeLevel.
HWS_VertexLevel
bool Specifies whether selection is to be done at the vertex level.
Corresponds to: MUniformParameter::kSemanticHWSVertexLevel.
HWS_FrontCCW
bool Specifies whether a counter clockwise triangle is front facing. Useful when generating fat points or lines.
Corresponds to: MUniformParameter::kSemanticHWSFrontCCW.
HWS_InstancedDraw
bool Specifies whether geometry instances are being drawn.
Corresponds to: MUniformParameter::kSemanticHWSInstancedDraw.
New supported technique annotations

Name Type Description
OverridesNonMaterialItems
string (bool)
Specifies if this technique should be used to render non-material items such as the wireframe and the selected edges/vertices components.
This is particularly useful for shading effects that compute displacement for which the object geometry will not match the rendered material, making selection difficult.
false : does not override non-material items (default)
true : used to render non-material items, so that the shader can display UI primitives
See DrawContext in New supported pass annotations below.
Corresponds to: MPxShaderOverride::overridesNonMaterialItems().
New supported pass annotations

New nonMaterialItemsPass and selectionPass contexts are now available for the DrawContext annotation, and a new PrimitiveFilter annotation has been added.
Name Type Description
DrawContext string
Specifies that this pass should be enabled only for this draw context.
Multiple passes can have the same DrawContext value.
This can be any string value that matches a pass semantic in MHWRender::MPassContext. For example, the following contexts are supported: colorPass, shadowPass, depthPass, and normalDepthPass.
An empty value (or if DrawContext is not set) is equivalent to setting this annotation to colorPass.
You can now set this annotation to nonMaterialItemsPass for passes used to render non-material items. Set to selectionPass for passes used to select non-material items See OverridesNonMaterialItems in New supported technique annotations above.
PrimitiveFilter
string
Specifies that this pass can handle the rendering of the following components:
line as fat line (line size > 1)
point as fat point (point size > 1)
Can be used to handle edge or vertex components during the rendering pass or the selection pass.
Vertex components are rendered as quads instead of single pixels, and edge components, mostly during pre-selection highlighting, are rendered larger, for better visibility.
This is usually achieved by using a geometry shader to convert lines and points to quads.
fatLine : this pass can render lines as quads
fatPoint : this pass can render points as quads
If there is no pass defined that handles this special case, the default pass that handles the draw context nonMaterialItemsPass or selectionPass is used.
Varying attributes for vertex streams

Additional functionality has been added for the GLSL Shader, for use with the COLOR0 and TEXCOORD0-7 semantics.
Semantic Type Description
COLOR0
float3/4 (dx11Shader)
vec3/4 (glslShader)
Instructs Maya to bind this attribute to the color set vertex buffer.
NOTE:
For glslShader only:
Currently, there is only 1 stream available.
While OGSFX is limited to only one color stream defined by the COLOR0 semantic, it is still possible to define more than one color stream by using the TEXCOORDx semantic.
An attribute using the TEXCOORDx semantic that is of a vec3 or vec4 type can be used to convey a color stream to the shader, and an attribute using the TEXCOORDx semantic that is of vec2 type used to convey a UV coordinate stream.
TEXCOORD0-7
float3/4 (dx11Shader)
vec 2 or vec3/4 (glslShader)
Instructs Maya to bind this attribute to the UV set vertex buffer.
Currently, there are 8 streams available.
NOTE:
For glslShader only:
While OGSFX is limited to only one color stream defined by the COLOR0 semantic, it is still possible to define more than one color stream by using the TEXCOORDx semantic.
An attribute using the TEXCOORDx semantic that is of a vec3 or vec4 type can be used to convey a color stream to the shader, and an attribute using the TEXCOORDx semantic that is of vec2 type can be used to convey a UV coordinate stream.
Shader example

The WaterSimulation example has been updated to use the newly added semantics and annotations to demonstrate how to write a shader that performs hardware selection on displaced geometry, and to draw vertex, edge, and face components at their correct displaced positions. For the GLSL version of the shader example, see WaterSimulation.ogsfx in the presets\GLSL\examples folder of the Maya installation directory. For the DX11 version, see WaterSimulation.fx in the presets\HLSL11\examples folder.
The following describes the new additions to the GLSL version of the example.
To select and draw displaced components

The technique NormalView_Selection demonstrates how to perform hardware selection on displaced components, and to render non-material items (such as wireframe and selected edges/vertices) at their displaced positions.
Hardware selection allows you to select tessellated geometry. In addition, wireframe and components draw with the same outline as the shaded material in the viewport. This technique has 7 different passes.
Before defining the techniques, the #include directive is used to load four shaders as follows. The #include directive allows you to share the same GLSL fragments between different applications, and maintain separate shader code files instead of having to combine them all into one .ogsfx file.
GS_FatLine.ogsfh: This is a geometry shader that converts a line to a rectangle, and therefore allow render lines to be drawn bigger (for example, red pre-selection highlighting edges are drawn larger than dormant edges).
GS_FatPoint.ogsfh: This is a geometry shader that converts a point to a quad, and therefore allow render points to be drawn bigger (for example, vertices are rendered as a square instead of a single pixel).
PS_SolidColor.ogsfh: This is a pixel shader that draws with a solid color.
PS_HWSelection.ogsfh: This is a pixel shader that renders the components during hardware selection, where each component is rendered in a different solid color that is calculated using the object or component ID.
The first 4 passes are used for drawing in the viewport; therefore the PS_SolidColor pixel shader is used.
Pass pNormal: renders the textured material
Pass pNonMaterialItems: renders components such as wireframe and vertices. Components are rendered with a solid color, such as blue for edges of dormant objects and light green for edges of active objects.
Pass pNonMaterialItemsFatLine: renders lines using the GS_FatLine geometry shader.
Pass pNonMaterialItemsFatPoint: renders points using the GS_Point geometry shader.
The last 3 are used to render components during hardware selection, and therefore the PS_HWSelection pixel shader is used. The PS_SolidColor pixel shader is not used, as these passes are not used to draw in the viewport.
A primitive id (such as vertex id) is used to produce a color to identify the object that is picked. An offscreen buffer is used to store these computed colors so that Maya knows what is picked by the mouse.
Pass pNonMaterialItemsSelection: used for selection of components such as wireframe and vertices.
Pass pNonMaterialItemsSelectionFatLine: used for selection of fat lines
Pass pNonMaterialItemsSelectionFatPoint: used for selection of fat points.
Technique and pass annotations

The overridesNonMaterialItems technique annotation specifies that this technique can be used to render non-material items such as the wireframe and components like edges or vertices.
string overridesNonMaterialItems = "true";
Pass annotations are used to tell the plug-in which pass to use for which render items.
For example:
pass pNonMaterialItemsFatLine
<
// This pass will be used to render non material items as fat lines
string drawContext = "nonMaterialItemsPass";
string primitiveFilter = "fatLine";
>
Therefore, if a render item is categorized as a non-material item, and the primitive type is categorized as fat line, then the pNonMaterialItemsFatLine pass is used.
New C++ API methods added

MUIDrawManager::beginDrawInXray() and MUIDrawManager::endDrawInXray() methods have been added so that primitives drawn between calls to these two methods will display on top of other geometries in the scene. These methods can be used to draw objects such as locators.
The squaresNode_noDepthTest example in the Maya Developer Kit has been updated to illustrate the use of these methods. This example draws meshes without performing depth testing. MUIDrawManager is used to draw two squares and some text, and these two squares and text display on the top of other geometries in the scene.
The Developer Kit is available online at Autodesk Exchange at https://apps.exchange.autodesk.com/MAYA/en/Home/Index.
The method descriptions are as follows:
void MHWRender::MUIDrawManager::beginDrawInXray ( )
void MHWRender::MUIDrawManager::endDrawInXray ( )
The drawables between calls to beginDrawInXray() and endDrawInXray() will display on top of other geometries in the scene, as the depth test is disabled for these drawables.
These methods can be used to draw objects such as locators.
Limitations:
Only drawables that meet the following conditions will be affected by beginDrawInXray() and endDrawInXray().
Created by the method MUIDrawManager::mesh()
The first input parameter (primitive type) for MUIDrawManager::mesh() is one of kTriangles, kLines and kPoints.
Any other drawables between calls to beginDrawInXray() and endDrawInXray() will display as normal.
painter.beginDrawInXray();
painter.mesh(MHWRender::MUIDrawManager::kTriangles, ...); // assume this is geometry A
painter.mesh(MHWRender::MUIDrawManager::kLines, ...); // assume this is geometry B
painter.mesh(MHWRender::MUIDrawManager::kPoints, ...); // assume this is geometry C
painter.endDrawInXray();
painter.text(...); // assume this is text D
If several meshes are drawn between these two APIs, then their draw order is the reverse of the mesh() function call order. For example, in the sample code above: C will be drawn on top of B; B on top of A. If text calls are made after these two APIs, the text will be drawn on top. In sample code above, text D will be drawn on top of C.
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What's Fixed

The following list contains bug numbers and corresponding descriptions for issues fixed in this release.
Bug Number Description
Animation
MAYA-16724 Playback is not as fast as expected when all rigs are hidden
MAYA-45974 Performance : Investigate why transform nodes have a lot of attributes evaluated
MAYA-48500 Performance : Manipulation with Evaluation Manager in Legacy Default Viewport after switching from Viewport 2.0 doesn't always work
MAYA-50016 Fixed the filterCurve slowdown when motion trails are used
MAYA-51067 Trax Editor Offset poses key incorrectly
MAYA-51112 Undo of key all controls will hang Maya for a long time when autokey is on
MAYA-51181 Sequencer : Message displayed in viewport after Ubercam creation
MAYA-51394 MotionTrail : Maya fails to create motion trail on a simple sphere
MAYA-52178 Performance : Hide on playback does not perform as well as turning off visibility
MAYA-52247 Sequencer : Memory spikes with large number of shots
MAYA-52252 Performance : softMod GPU override doesn't support per vertex weights
MAYA-52313 Performance : Zooming causes mesh to disappear
MAYA-52414 Performance : Shadows disappear when GPU override is enabled
MAYA-52430 Performance : Shadows don't properly update with Evaluation Manager and Viewport 2.0
MAYA-52544 Performance : Wrap deformer evaluation triggers a wait cursor
MAYA-52910 Geometry cache : Crash when switching topology on the cached mesh
MAYA-53076 Fixed performance of cmds.deformer
MAYA-53381 Fixed an error loading Python scripted plug-in (Unknown C global variable)
MAYA-53941 MFnGeometryFilter::indexForOutputConnection produces error for sparse outputs
Bifröst
MAYA-34678 Mesh clip bounding box inexact
MAYA-35206 Bifröst: Attributes left behind when object is removed from simulation
MAYA-35458 Attribute Editor tabs for bifrostContainer and bifrostShape should be displayed upon selection (showEditor.mel : More than one object matches name)
MAYA-35974 When creating a liquid without a mesh selected, an error occurs (but the liquid is created)
MAYA-36645 Bifröst: Auto-rename does not check if renamed name exists
MAYA-42236 Bifröst emitter density values of 0 hang/crash Maya
MAYA-44322 Turning on meshing on an Aero returns vorticity warning
MAYA-45283 Clip Bounding Box Min and Max are still exposed as channels in the Channel Box
MAYA-45947 Mesh node that holds current or prior Bifröst attributes will break redo if Attribute Editor is open
MAYA-48543 Bifröst: Too much dissipation in Aero voxels compared to particles
MAYA-48544 Bifröst: Performance problems when emitter is outside adaptive mesh
MAYA-49577 Unable to render both liquid and aero together
MAYA-49946 Bifröst Aero: Adaptive mesh deletes all particles outside mesh
MAYA-51397 Bifröst: Accelerators consume too much RAM
MAYA-51440 Bifröst Aero: Adaptive mesh is not managed by state server, consumes RAM
MAYA-51469 Gravity is applied twice when spatial is Off
MAYA-51509 Bifröst cached scenes that are saved at a non-start frame should read cache on load
MAYA-51526 Unable to emit into thin geometries with spatial on
MAYA-51614 Foam moves too slowly when time steps are used
MAYA-51634 Particle properties not properly transferred to the mesh with spatial on
MAYA-51747 Turning off BGcompute after user caching multi-liquid Bifröst simulations with the same user cache name crashes Maya during playback
MAYA-51863 Imported Bifröst Visor example scenes have zeroed out foam (foam 0.0) attributes
MAYA-52068 Adaptive Aero memory leak
MAYA-52110 Opening Bifröst scene twice on windows with GTX card prints a lot of hardware shader code
MAYA-52153 Viewing Aero voxels from orthographic view at far distances hangs Maya
MAYA-52167 Diffusion in emitted aero quantities presents problems for adaptive Aero
MAYA-52431 Aero blockiness
Color Management
MAYA-43869 Adding an invalid transform while in regional mode (for example, Simplified Chinese) fails to generate a popup error and adds the invalid transform to list
MAYA-49394 Shaderball swatch without file texture doesn't update with Color Management preference settings
MAYA-50854 The Color Management setting does not update after loading a policy that enables Color Management
MAYA-51125 Color Management custom view transform is not loaded after adding a new transform from Apply Output Transform to Playblast in the Preferences window
FBX
MAYA-53738 relativeNamespace flag of file command doesn't work on FBX files when Dialog style preference set to OS native
General
MAYA-44677 GameExporter FBXReview feature on Mac OS X - folder not found error occurs if FBXReview has never been launched
MAYA-45050 Mac OS X: Menu labels in Bullet drop down menu are missing their labels
MAYA-47723 Crash when importing FBX
MAYA-49175 Fixed an issue where removing a connectAttr edit would delete other connectAttr edits involving the same plug
MAYA-51363 Fluid shelf icons not executing commands as expected
MAYA-51551 Fixed renaming of multi-attribute
MAYA-51628 Fixed an FBX import/export problem when blendShape items have the same short name
MAYA-51689 Fixed the MFnMesh::setFaceVertexColors() API
MAYA-52207 getFilesToArchive() never gets called for MPxLocatorNode
MAYA-52449 nParticles > Paint Soft Body Weights Tool menu now appears correctly
MAYA-52943 Alembic reference doesn't work with dir mapping correctly (command dirmap)
MAYA-53385 HIK rename character tool only changes the name of the character in Outliner once
MAYA-53631 Can't right-mouse paint goal weights on nSoftbody
MAYA-54273 Game Exporter does not find FBX Review on Mac OS X
MAYA-54358 PySide Phonon fails to import on Mac OS X
mental ray
MAYA-49286 Maya crashes when performing several mental ray renders consecutively in scenes with instances
MAYA-50396 mila_material specular highlight in IPR is too large and creates a cloudy halo effect
MAYA-50932 Runtime error returned with mila_material and render layer material override workflow upon invoking Attribute Editor
MAYA-51275 Improved mental ray render times with procedural shaders/textures (ocean, fractal, and so forth)
MAYA-51970 mental ray always uses/creates optimized texture for UV-tiled textures
MAYA-52168 mental ray colorprofile shader parameter always enabled for UV-tile scenes
MAYA-52657 mental ray, if selected as the renderer in the Hypershade Material View, will crash the given scene if file nodes use UV-tiling
MAYA-52696 Hypershade Material Viewer errors with mental ray mila_material
MAYA-52863 mental ray batch render crashes or hangs after a few frames with large mental ray mi proxy, abc and UV tiles in scene
MAYA-53478 Adding mental ray bake set throws error
MAYA-53719 mental ray preference 'Use optimized textures (auto-conversion)' does not work
Modeling
MAYA-32188 Bevel produces bad results on a simple geometry
MAYA-40032 Bevel creates skewed geometry in example scene
MAYA-43256 MAC OS X: Multi-cut tool cut line is drawn on mouse up or when dragging
MAYA-43491 In Viewer Editor text and values are in bold on Mac OS X and on Windows when using the Legacy Default Viewport
MAYA-44278 Crash beveling edges after merging vertices to center
MAYA-45889 Sculpting may stop working if mesh has been rotated
MAYA-47328 Mac OS X: Stamp thumbnail sometimes does not display in the Sculpt Tool settings window
MAYA-48630 Editing blend shape targets using the Scale tool and symmetry causes problems
MAYA-48987 Cannot sculpt mesh after delete history and freeze transforms
MAYA-50720 OpenSubdiv Adaptive displacement is always on even when disabled
MAYA-50806 Edge selection is inaccurate after bevel
MAYA-50824 Freeze brush not working properly with pen pressure and surface falloff
MAYA-50970 Pinch brush not creating symmetrical strokes in object mirror mode
MAYA-50995 Delete part edges of smoothed mesh crashes Maya
MAYA-51026 Screen pixel performance drop in Volume falloff
MAYA-51029 While in UV Editor, soft select doesn't work on any other components than UVs
MAYA-51184 Grab brush's Grab silhouette doesn't work properly with Volume or Surface falloff
MAYA-51530 Bevel Fraction not working as expected
MAYA-52156 Grab UV and Pin UV tool are missing from UV Editor right-mouse menu
MAYA-52441 Bevel problem when increasing segment count
MAYA-52867 Pivot reset when changing the view
MAYA-53447 Bevel is not connecting an edge
MAYA-53479 Component axis orientation sometimes incorrect on rotated or non-uniformly scaled objects
MAYA-53602 Disappearing geometry with Bevel tool
MAYA-53610 Performing Poly Smooth while in Sculpting Tool corrupts geometry
MAYA-53926 Increasing segments moves UVs to -1 -1
MAYA-54476 Beveling this geometry creates non-planar faces
Rendering
MAYA-47111 Maya Software renderer IPR crashes the application
MAYA-47703 Soloing/unsoloing complex Layered Shader locks up Maya even though nothing changes
MAYA-50337 Removing default windows inside Hypershade and then re-adding them will not be restored upon File > New
MAYA-50529 Docking Hypershade windows, then closing Maya with Hypershade still open, will not restore the docked windows after restart
MAYA-50549 Changing Node Editor tabs or re-opening the Hypershade causes the Material Viewer to render the selected node if an upstream node is selected
MAYA-51087 Hardware Material Viewer is always active and causes unnecessary Viewport 2.0 processing (slow down)
MAYA-51327 Scene is dirtied when selecting File > New after opening the Render Settings
MAYA-51829 Texture-centric UV linking does not work with Hypershade open
MAYA-52321 Fatal error trying to snap with Bifröst shape visible
MAYA-52418 Frames per second drops unexpectedly when setting Hypershade swatch button to OFF
MAYA-53409 Viewport and Hypershade Material Viewer get out of sync when deleting a node and soloing in Hypershade
MAYA-54004 Maya will crash when rendering scenes with textures over 8k using the software renderer
MAYA-54403 Maya crashes when IPR renders checker texture using the software renderer
MAYA-54709 Latest mental ray satellite doesn't have the right mental ray version
User Interface
MAYA-54522 Node Editor bookmark stops shape node from being removed when you delete history
MAYA-55057 Unconnected DG nodes get deleted on save
MAYA-53166 hotkey command doesn't work anymore
Viewport
MAYA-17905 Viewport 2.0: rawfootPrintNode node shaded display is incorrect
MAYA-31779 Mac OS X with wacom pen : viewport frames per second much slower during manipulation with help line visible
MAYA-37518 Viewport 2.0: Assign Shader to Each Projection does not work as expected
MAYA-42089 User can't select the XGen guide in the viewport in OpenGL Core Profile mode
MAYA-50042 Image sequence fails to load with image names such as image<f>.<ext>
MAYA-50565 Joints and locators are not drawn when isolated in Viewport 2.0
MAYA-50891 OpenSubdiv smoothed geometry in Viewport 2.0 in Core Profile mode is covered in cross-hatched artifacts
MAYA-50931 Cannot point snap to geometry in OpenGL Core Profile mode (middle mouse move snap to curve fails)
MAYA-51013 Errors when switching renderer in Render Settings window if rendering shelf is open
MAYA-51094 Crash adjusting subdivisions on extruded faces that are isolated
MAYA-51215 Viewport 2.0 locator depth drawing is inconsistent with Legacy Default Viewport
MAYA-51437 Incorrect intersection point computation in software selection mode when all points are in selection region
MAYA-51638 Maya crashes in Viewport 2.0 when duplicating instancer of fireworks
MAYA-51818 Pivot edit mode curve and point snap problems in OpenGL Core Profile mode
MAYA-51831 playblastTest crashes when run in automated test mode
MAYA-51862 Selected spring components are not shown in Viewport 2.0
MAYA-52549 MotionTrail : Viewport 2.0 sorting issue when show frame markers are enabled
MAYA-52746 Major memory leak in Viewport 2.0 when cycling select/unselect
MAYA-52966 Image plane losing alignment in Viewport 2.0
MAYA-53350 Missing transparency in Playblast
MAYA-53388 Image sequences as textures do not load
MAYA-53661 Image sequence cache on image plane doesn't work well for the specified scene
MAYA-53869 Framing locator with no bounding box confuses perspective layout
MAYA-54045 Viewport 2.0 MRenderOverride heads-up display does not appear
XGen
MAYA-51245 Performance problem when iterating objects in XgmUtil::pushOver()
MAYA-51976 Select Material Attributes context menu fails for items with XGen groomable splines attached
MAYA-52246 XGen Export Selected as Archives triggers firewall message on Mac OS X
MAYA-52496 The _lo and _med objects are exported twice using batch export archive with manual Level of Detail
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Limitations

The following section describes limitations and workarounds (where applicable) about this release.
Bug Number Description
API and Scripting
MAYA-54817
Maya Developer Kit does not contain file OpenMayaMac.h on Mac OS X.
OpenMayaMac.h has been removed as it is no longer used. Customer's legacy projects must be updated to remove the use of the header file.
Bifröst
MAYA-49898
Adaptivity is not turned off when step is set to zero
To turn adaptivity off, you must set min and max steps both to 1.
MAYA-38451
Large user cache files not readable
Bifröst cache files that exceed 4.2 GB may not play back.
mental ray
When the mental ray interactive preview render view (IPR) is active, the mental ray Material Viewer in the Hypershade will not update on changes or selections.
Modeling
MAYA-45402
OpenSubdiv: Painting texture maps does not display on polygon in smooth mode.
Workaround: Use Maya Catmull-Clark instead of OpenSubdiv Catmull-Clark subdivision method.
Scene Assembly
MAYA-45340
Incorrect order of scene assembly edits may cause animated components to not respect the timeline animation when a key framed scene representation is unloaded and then reloaded.
If the animated component does not reflect the animation timeline after reloading the scene representation, workaround the issue by scrubbing the timeline.
Viewport
MAYA-53164
Scenes with many procedural textures in one network may cause the Hypershade to hang when the Material Viewer is open in Viewport 2.0 in OpenGL mode only (cg library failure).
If the Hypershade hangs or crashes while using OpenGL mode in Viewport 2.0, this may be due to a legacy Cg library issue. A possible workaround is to use the more modern OpenGL Core Profile or DirectX 11 mode.
XGen
MAYA-39333 / MAYA-39354
XGen control guides: Soft-select falloff color is not yet supported.

Format Factory is a multifunctional media converter.
Provides functions below:
All to MP4/3GP/MPG/AVI/WMV/FLV/SWF.
All to MP3/WMA/AMR/OGG/AAC/WAV.
All to JPG/BMP/PNG/TIF/ICO/GIF/TGA.
Rip DVD to video file , Rip Music CD to audio file.
MP4 files support iPod/iPhone/PSP/BlackBerry format.
Supports RMVB,Watermark, AV Mux.

Format Factory's Feature:
1 support converting all popular video,audio,picture formats to others.
2 Repair damaged video and audio file.
3 Reducing Multimedia file size.
4 Support iphone,ipod multimedia file formats.
5 Picture converting supports Zoom,Rotate/Flip,tags.
6 DVD Ripper.
7 Supports 62 languages

OS requirements: All Windows OS

HeadShop 9 is a software product used to create 3D heads from photographs.

It can accomodate user at different skill levels, from beginners to advanced 3D users. It uses a number of advanced features, such as:

Automatic „Face-rotation” to rotate tilted portraits into the upright position
Automatic recognition of eye and mouth features
„Autodot” feature automatically adds dots to describe face shape, position and shape of eyes, mouth and nose.

HeadShop 9 can be used for a number of applications:

Create custom characters to be used within another 3D software such as DAZ Studio, Poser or Maya. 3D faces and morphs can be used with most softwares that can import OBJ formats.
„Age” characters like children to see how they will look like in a few years in the future.
HeadShop 3D heads can be also used to create 3D prints for non-commercial purposes. OBJ files can be sent to print shops that use the files to produce solid objects with 3D printers, either in single color or multi-color.
At the Stage tab of the applications users also can take „photos” of newly created charcters with any number of imported backgrounds and use the saved JPG image with Photoshop or other image software.

HeadShop 9 has an EZ mode to create Male, Female and Child heads based on DAZ Studio’s popular Genesis 2 series of charcters. In addition, HeadShop can use any additional non-Genesis 2 charcter via the „Import OBJ” function. These charcters from DAZ, Poser or Maya need to have a „head” bone to read correctly into HeadShop.

HeadShop 9 incorporates elements of another Abalone software; HairShop. Thus, the workflow is divided into 9 tabs, of which the first 3 tabs (Front, Profile and Features) are focused on 3D head creation, and the next 5 tabs (Style, Cut, Shape, Accessories and Color) on adding and modifying hair and accessories. The last tab, Stage, is to view and capture both face and hair, either for 2D photos or 3D printing.

http://www.daz3d.com/headshop-9

In this course you will learn how to build games for iPhone, Android, PC, HTML5 and Flash.

The objective of this course is to help you "a non-programmer"
create games without you having any experience in game development. If you are a programmer, you will find that this course will help you reduce the amount of time you spend developing games.

This course will enable anyone willing to enter the gaming industry and begin making games and apps. Ride the current wave of 2D game development for PC, Steam, Tablets, Mobile devices, Micro-Consoles and Browser based games.

In this course we will use Clickteam Fusion to build games without coding. We will use Clickteam Fusion's exporters to export games to different platforms (PC, iOS, Android, HTML5, FLASH, OUYA) all with a click of a button, just like that!

This course is not technical or theoretical, this is a hands on training course. From lecture 1 to the last lecture you will be actively engaged as the lectures progress and the instructor reveals new material.

Each lecture contains one or more example(s) for you to take a look an experiment yourself. At the end of the course you will learn how to build a Flappy Bird Clone and a Doodle Jump Clone. We'll also review some common techniques to build games in Clickteam Fusion.

Feel free to ask any questions I will be more than glad to help you.

Cheers,

Ron

---------------------------------------------

https://www.udemy.com/nocode2dgames/

This Master Lesson by instructor Marc Brunet explains his process of creating a clean line drawing first, and then the techniques to color it. Everything is done in Photoshop, any version work as do most other painting softwares supporting layers. Content:
* High res images
* Gradient Maps
* Basic Brush Pack
* 7 Chapters (2h40 – 1080p resolution)

Get an in-depth look at Autodesk Inventor 2016. In this course, author John Helfen takes you through the interface and key processes of this parametric design system, including sketching, drawing, modeling parts, and building assemblies. With Inventor and these tutorials, you can create parts and assemblies and document them for manufacturing. Throughout the course, John touches on more complex topics such as sweeps and lofts, T-splines, and assembly visualization techniques that will take your documentation to the next level.
Topics include:
Reviewing the Inventor workflow and file types
Creating a project
Sketching and working with origin geometry
Creating and modifying sketch geometry
Projecting and importing geometry
Modeling parts
Building parts with placed features
Creating feature patterns and sculpted objects
Adding parts to an assembly
Using constraints to position parts
Creating drawing views
Adding annotations
6h 26m Beginner Jun 12, 2015 Updated Jun 12, 2015
http://www.lynda.com/Inventor-tutorials/Inventor-2016-Essential-Training/373550-2.html

Ready to dive into Lightroom? Andrew Childress will introduce you to Adobe’s professional photography software suite. From simple adjustments to removing eyesores, we’ll have you up and running with Lightroom in no time.

http://photography.tutsplus.com/courses/lightroom-for-photographers

This is a great book about the timing principles for Advanced Character Animation in 2D animation from a Disney Legend Eric Goldbeg.

I hope the scan quality is acceptable.

Review:
http://www.awn.com/animationworld/book-review-character-animation-crash-course

*** The book comes with a great CD which has already been uploaded, you can find it here: http://cgpeers.com/torrents.php?id=6710&torrentid=6707#torrent6707

This video is designed for people that are looking to learn Autodesk Flame Premium OR Smoke to replace your Adobe Premiere and Apple Final Cut Pro workflows. As of this year, Flame Premium is now the most robust all around studio that money can buy. Its new editing tools make it a knock out for all those who have been dependent on the ease of Final Cut Pro for so many years, but longing for the power of Nuke in their timelines. This video is exactly 2.5 hours long, so if you can sit through a movie on your couch, then you can be up and running as a Flame Operator by the time you get your second bucket of popcorn! This video has been stripped of any wasted time and rhetoric, and built efficiently for the end-user’s benefit. Learn how to do similar tasks in several different ways, using the robust set of tools found in this program. THIS VIDEO IS FOR ANYONE WHO IS INTERESTED IN THE FUTURE OF OUR INDUSTRY (VFX, EDITING, AUDIO, 3D GRAPHICS and more).

https://cmivfx.com/store/587-autodesk-flame-premium-migration-guide

This is the first section of a two part tutorial series covering the entire process for creating the textured low poly wheel above. The project is presented in real time, and narrated throughout.

It covers building base meshes in 3DS Max and combining them using various modeling techniques in Zbrush. This section of the series covers constructing the high poly model.

This series assumes a basic familiarity of both 3DS Max and Zbrush. Procedures and tools used throughout the tutorial are explained and demonstrated in detail. These include working with smoothing groups and the Turbosmooth Modifier in 3DS Max, and Dynamesh, Insert Mesh, and Curve Functions in Zbrush.

In case you’d like to run through the texturing pipeline, covered in Part 2, without building the asset first, the high poly .ZTL, low poly .OBJ, and texture bakes are available for purchase separately.

In addition to 10 videos, this product includes my custom Zbrush User Interface, wheel bolt brush, and the reference images.

We’ve got an exciting mag in store for you this month! Issue 118 brings you an informative joint interview with Henning Sanden and Morten Jæger, and a thoughtful chat with veteran environment artist Rob Watkins – all full of worthwhile advice that you should check out!

Our tutorials cover modeling sleek futuristic cars in 3ds Max or Maya, and creating normal maps for machinery – or if you’re in the mood for something more organic, you can beef up your anatomy skills with a bodybuilder figure, or sculpt a stylized human bust in ZBrush.

This is the second section of a two part tutorial series covering the entire process for creating the textured low poly wheel above. The project is presented in real time, and narrated throughout.

This section of the series covers retopologizing the high poly model in Zbrush, laying out UVs in 3DS Max, baking procedural maps in Xnormal, and creating textures using Quixel Suite.

This series assumes a basic familiarity of both 3DS Max and Zbrush. Procedures and tools used throughout the tutorial are explained and demonstrated in detail.

In case you’d like to run through the texturing pipeline without building the asset first, the high poly .ZTL, low poly .OBJ, and texture bakes are available for purchase separately.

In this course we are going to learn how to use photo manipulation techniques in Photoshop to blend a 3D model in a 2D digital painting. We will create a head statue in Poser and bring it to Photoshop to create fantasy scene. We will also design the fantasy landscape from scratch and use textures to create details in our artwork. By the end of this tutorial, you will be comfortable working with 3D models in Photoshop, using blending modes to create special effects, and implementing adjustment layers in postproduction.

http://www.digitaltutors.com/tutorial/2159-Blending-3D-Models-into-2D-Digital-Paintings-in-Photoshop

Avid Media Composer is professional-grade video editing software with a high learning curve. With a bit of help and a practical project, however, even the newest video editors can unlock its power. In this course you will learn how to combine footage, graphics and audio to create polished videos that can be shared with anyone.

http://photography.tutsplus.com/courses/introduction-to-video-editing-in-avid-media-composer

Cropped Video files fixed, force recheck in client and dl only fixed files if you have already dl the previous torrent

In this RenderMan 19 RIS tutorial we’ll learn about character lighting using three different techniques and workflows.

We’ll use RenderMan RIS and its powerful and efficient GI system, where lighting is more organic and realistic. We’ll match the lighting for our character into two different plates. The first one will follow a more traditional art directed approach while the second will explore a more realistic approach that is closer to the workflow used in the VFX industry.

Finally, we’ll end this RenderMan training by creating a portrait of our character using techniques similar to the ones used in a real life photography studio.

http://www.digitaltutors.com/tutorial/2138-Character-Lighting-in-RenderMan-19-RIS