Crystal CG Collection Vol. 1-68

May 2, 2016, 11:53 pm

≫ Next: Animated Motion Graphics - Liquid Text Animation in After Effects!

≪ Previous: NextLimit Maxwell Render 3.2.1.3 WIN x64

CGI
Perfect combination of creativity and technology, harmonious integration of commercial and arts brings our customers unique visual experiences with every delicate detail.

Photorealistic
Computer produced architectural rendering techniques are known as 'Photo Real' renderings and can produce 3D models, as well as create life-like visuals. You can market project even before construction starts because people can actually get a perception of how the complete structure would look.

Stylistic
There's another type of CG architectural renderings as we call "Art Style" renderings. It creates artistic visuals with the real dimensions, real textures, materials, colors, and finishes, which visualizes the actual appearence of your projects as different design and layout options.

Animation
With skillful manipulation of cameras, animations effectively interpret the design concept and philosophy to create striking visual power. Inspiration & technology is our commitment that will spur us to serve our custumers the best.

Fly Through
The immanent convergence of Geographic Iinformation systems and 'walk-through' architectural simulations has generated great enthusiasm but little critical reflection. It specializes in the architectural representation for visualizing different scenes of both interiors and exteriors.

Commercial Films
The computer generated models will provide a truth and accuracyn in depictions, which contains the high quality and effect both of movies and TVC. It makes significant impression on the minds of the viewers and help to push your project to the market.

Virtual Reality
Our virtual reality rendering engine provides the great capability to make the viewers visite to be personally on the scene.

A computer simulation of real or imaginary world or scenario, in which a user may interact with simulated objects or living things in real time. Your project can be introduced by VR technology that brings the people into the VR space of the buildings. It will visualize the lots of conditions as well as the height, illumination, view and interior decoration for creating an attractive perception to the viewers.

http://www.archcrystalcg.com/flash/index.html

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Animated Motion Graphics - Liquid Text Animation in After Effects!

May 3, 2016, 2:28 am

≫ Next: Maya 2016 Extension 2 New Features

≪ Previous: Crystal CG Collection Vol. 1-68

n this class I want to show you a quick and effective workflow allowing you to make an amazing looking liquidy-

displaced text animation. You could compare it to a paint bucket which would be spilled over text with random colors

and made it complete. This animation can be great for any kind of youtube video, text animation, logo intro and more!

During the class you will learn essential After Effects techniques as well as advanced tricks on how to top-up and

make any animation a little more interesting. You will work with Track Mattes, Outlining, Shape Layers, the Pen Tool,

Effects, Keyframes...so it's action-packed material!

Link:
https://www.skillshare.com/classes/design/Animated-Motion-Graphics-Liquid-Text-Animation-in-After-Effects/807346423

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Maya 2016 Extension 2 New Features

May 3, 2016, 7:13 am

≫ Next: Nuke nuggets

≪ Previous: Animated Motion Graphics - Liquid Text Animation in After Effects!

http://www.lynda.com/Maya-tutorials/Maya-2016-Extension-2-New-Features/425404-2.html

Autodesk has refined their release strategy for Maya. Instead of updates, subscribers have exclusive access to extensions, which build new tools and workflows on top of Maya's already robust toolset. Extension 1 included a 3D text tool and SVG support. Extension 2 is here and it provides even more great features. In this course, George Maestri reviews Maya 2016 Extension 2, including the new Content Browser, camera tools, modeling enhancements (including the MASH procedural animation system), character rigging tools, Light Editor, and Render Setup window. Watch these videos to see the extension in action, and get tips to incorporate the new toolset into your Maya workflow.
Topics include:
Finding the new features
Using the Content Browser
Working with symmetry and Mirror tool improvements
Using the MASH networks
Rigging a character with Quick Rig
Animating with the Pose Editor
Lighting with the Light Editor
Rendering Render Setup layers

Skill Level Intermediate
1h 24m
Duration

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Nuke nuggets

May 3, 2016, 7:21 am

≫ Next: Adrien Lazar Breaking the Ice series

≪ Previous: Maya 2016 Extension 2 New Features

is Not yet completed !!!!!!!

http://www.lynda.com/Nuke-tutorials/NUKE-NUGGETS-Weekly/450279-2.html

NUKE NUGGETS Weekly is a series of short 5–10 minute tips and tricks for Nuke compositing. New tips are delivered every Thursday, covering topics such as lighting, color matching, grading, animation, camera moves, interlaced video, cloning, rotoscoping, and more. With NUKE, there are literally hundreds of possibilities. Expert Steve Wright helps you explore a different facet of the program every week, including little known nodes and production tips to help you become a better, more efficient compositor.

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Adrien Lazar Breaking the Ice series

May 3, 2016, 7:56 am

≫ Next: Forest Pack Pro 4.4.1

≪ Previous: Nuke nuggets

Training Description.
Spreading across more than 6 hours of full-hd video, this Advanced Training Course is based on a real production CG shot I did for a commercial some time ago – a submarine submerging under on a frozen see. We’re going to build the 3d scene in Houdini and setup the render-passes to have maximum flexibility in compositing. Fix it in post will also be taken into consideration but to a smaller degree than usual since this training is focused on Houdini.

The video includes only the 3d part of the production but at the end we’re going to briefly discuss the steps that were done at the compositing stage.

While I tried to keep as much of the original recording as possible I did had to edit out some of the render times and a few crashes happened here and there.

We’re going to start with quickly modeling a proxy version of the submarine that we’re going to use until we receive the high-rez version from the shot supervisor. Then we will create the ice using a combination of procedural and classic poly-modeling techniques. Based on the feedback from the shot supervisor we will then tweak the high rez submarine we received and we’re also going to do some changes to the ice. Besides some modeling tweaks for the ice we’re going to animate the broken pieces that are left behind the submarine and we’ll do this using dynamics. Also based on the feedback we’re going to quickly model a ground object.

After the modeling part is done we’re going to focus on lighting the submarine and the ice keeping in mind that we’re going to rely heavily on render passes. We’ll set up rim-lights, fill-lights and all that’s necessary for our submarine to look the best.

Then we’ll work on the shaders, again focusing on the ice and the submarine. And since we’re under deadline we’ll search for a good balance between looks and render times.

Next we’re going to setup the render passes to offer maximum flexibility in post and we’re going to finish this training with talking a bit about the final result and the steps that I made in compositing.

Content.

Introduction – few words about me and this training course.

1.0 – Modeling

1.1 – Modeling: Submarine (proxy)
1.2 – Modeling: Ice
1.3 – Modeling: Ground
1.4 – Modeling: Submarine
1.5 – Modeling: Proxies
1.6 – Modeling: Ice Tweaks and animation
1.7 – Adding Custom Parameters

2.0 – Lighting

2.1 – Lighting: Submarine
2.2 – Lighting: Ice

3.0 – Shaders

3.1 Shaders: Ice
3.2 Shaders: Submarine

4.0 Render Passes

4.1 Render Passes: Ice
4.2 Render Passes: Submarine
4.3 Render Passes: Sun rays
4.4 Render Passes: Z-depth
4.5 Render Passes: Ground

5.0 Final Image and Conclusion

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Forest Pack Pro 4.4.1

May 3, 2016, 9:55 am

≫ Next: Amusement Park unty 3Dmodels

≪ Previous: Adrien Lazar Breaking the Ice series

Forest Pack Pro 4.4.1

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Amusement Park unty 3Dmodels

May 3, 2016, 11:21 am

≫ Next: Udemy – VFX Bootcamp Zombie Highway

≪ Previous: Forest Pack Pro 4.4.1

Amusement Park Assets Pack
This package contains 20+ Theme Park assets done in a Cartoon style. All the larger Assets have a simple rig and contains idle animations. Most models have a single Diffuse texture and a Lightingmap applied. All models displays High Quality in modelling, unwrapping and in texturing. They are all suitable for real time use. These models can easily be used in a first person environment. https://www.assetstore.unity3d.com/en/#!/content/13479

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Udemy – VFX Bootcamp Zombie Highway

May 3, 2016, 1:18 pm

≫ Next: FXPHD - DCT303 Advanced Digital Colour Theory

≪ Previous: Amusement Park unty 3Dmodels

Learn techniques that you can apply to your own footage! We dive into many effects to create a final scene!

I will guide you through a small VFX pipeline to make an amazing movie clip-Once learned you will have the knowledge to take on your own footage and create some stunning visual FX. I will cover Matte painting work and how to use resources from our original footage, than we proceed in creating movement in the shot with various items like smoke- Then on to some 3d integration to make the shot really sing.

You will learn how to:

Create a realistic matte painting(add items,delete items from our footage)
Create your own smoke VFX
Create lighting for your scene
Take a 3d model and and use in footage with its own shadow VFX
and many techniques to make a real Hollywood clip!
Bonus Tutorial: Learn to take any 3d object and place into any live footage! This technique is one of the best things I have ever learned! With this knowledge you can place robots,spaceships and any thing you can imagine inside live footqage- to me this bonus is worth the price in its self, why because it took me months to figure it out lol I know you will be truly happy with this bonus for sure-

More Info
https://www.udemy.com/vfx-bootcamp-zombie-highway/
And
http://cgpersia.com/2015/11/udemy-vfx-bootcamp-zombie-highway-83084.html
And
https://forum.cgpersia.com/f73/udemy-vfx-bootcamp-zombie-highway-139427/#post1275507

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FXPHD - DCT303 Advanced Digital Colour Theory

May 3, 2016, 3:01 pm

≫ Next: FXPHD - DCT303 Advanced Color Theory and ACES Workflow

≪ Previous: Udemy – VFX Bootcamp Zombie Highway

https://www.fxphd.com/fxphd/courseDetails.php?idCourse=421

olour image coding is at the heart of digital imaging; it is a critical element of high-quality digital cinema and HD production. In this course we follow colour from its spectral form in front of the camera into acquisition where colour is reduced to 3 components, then through the post-production, grading, finishing, approval, mastering, distribution, and display/exhibition stages. We discuss the colour transforms and colourspaces used at all of these stages. We discuss colour aspects of subsampling and compression (H.264, as in Canon cameras, ProRes, as in Alexa, and JPEG2000, as used in DCPs).

We'll present lots of diagrams, graphs, and equations using math at intermediate level; we hope that you're quite familiar with y = mx + B, and somewhat familiar with matrices, power functions, and logarithms. (WARNING: The presenter is Canadian; colour will be spelled with a "u".)

Class 1: Technical introduction to colour science: We introduce the spectral power distributions of physics using Newton's drawing from the year 1666. We introduce the CIE standard observer, and the tristimulus values ("tristimuli") that result from applying those weighting functions to SPDs. We derive RGB values, and demonstrate RGB colour mixtures. We review the CMY coding of motion picture film, and review the densitometric coding of classic CPD/DPX systems.
Class 2: Perceptually uniform coding: We define the concept of linearity, and explain why it is important in modern imaging systems. We define lightness. We introduce power functions and logarithms. We discuss the code-100 problem. We ask, what bit depth is necessary to represent reality? What bit depth is required to satisfy human vision?
Class 3: Lin, log, and quasilog coding: There are two kinds of "linear" acquisition and two kinds of "log" acquisition; we elaborate. We outline various proprietary log formats. We discuss theoretical and practical aspects of acquisition coding.
Class 4: Colour transforms: There are many kinds of colour transforms: affine transforms (3x3 linear matrix, in LMS, XYZ, RGB colourspaces, and also in Y'CBCR spaces), projective transforms transforms (used in CIE xy), and various nonlinear transforms (including CIE LAB). We discuss 3D LUTs, gamut mapping, and ICC colour management systems.
Class 5: The ACES workflow, colourspaces, and transforms: Scene-referred linear-light image coding is fast becoming the standard way to do high-end production. We describe the ACES and OCES colourspaces, and the ACES colour transforms: IDT, LMT, RRT, RDT, and ODT.
Class 6: We explain the theoretical and practical necessity of a camera 3x3 matrix. We describe how to build a transform from real camera RGB (device space) to the ACES interchange colourspace - that is, we explain how to build an ACES input device transform, IDT. We also discuss why IDTs have illumination dependencies.
Class 7: Video colour coding: We present a systematic overview of gamma, including the DCI standard for digital cinema (2.6), the BT.1886 standard for HD (2.4) and the sRGB standard for desktop computing (2.2). We review chroma subsampling (4:4:4, 4:2:2, 4:2:0), and discuss its effects on noise, resolution, and bit depth.
Class 8: Distribution: We describe in detail the DCI P3 image coding used for reference D-cinema projectors, and the XYZ coding for DCPs. We outline compression issues associated with ProRes, H.264, and JPEG2000.
Class 9: HD, 2K, 4K ("UHD"), 8K: We detail current and future image formats, and we discuss the underlying theory of spatial sampling, resampling, and oversampling.
Class 10: Emergent display systems: Wide gamut colour is emerging rapidly. We discuss LED backlights on LCD displays; OLED displays; laser displays; spatially modulated backlights and high dynamic range displays. We also discuss the open issue of observer metamerism in emergent displays.

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FXPHD - DCT303 Advanced Color Theory and ACES Workflow

May 3, 2016, 3:07 pm

≫ Next: FXPHD - BKD107 Collection: LUTs, Gamma and ACES

≪ Previous: FXPHD - DCT303 Advanced Digital Colour Theory

https://www.fxphd.com/fxphd/courseDetails.php?idCourse=375

For nearly 20 years, cinema production and post-production has been based upon the conceptual model of film acquisition: Even if digitally acquired, imagery was typically processed using the Cineon/DPX model– technically, Cineon Printing Density (CPD) coding. That coding incorporates the technical parameters of film; in particular, the S-shaped tone response and the colour crosstalk of film are built-into the image encoding. Because CGI and VFX computations are best performed in linear-light, the CPD scheme has made CGI and VFX difficult.

Emergent techniques such as the OpenEXR encoding (promulgated by ILM) acquire “scene-linear” data – that is, image data is linearly related to the scene elements. Imposition of any required “look” is imposed in a structured manner during the DI process. The technique has been developed and refined at the Academy (as the AMPAS STC Image Interchange Framework, IIF). The scheme is being deployed commercially. Even without strict technical conformance to the various elements of the IIF – the IDT, APD, ADX, ACES, RRT, RDT, ODT – the concepts are being used in many productions.

In this course, we will discuss the technical and visual requirements for acquisition and processing of digital cinema and HD using the scene-linear (ACES) model. Charles will introduce the basic technical parameters of the various camera encodings. Charles will explain the conceptual and technical differences between power-function based video coding and log coding, and describe the dynamic range and noise properties. Charles will outline how “picture rendering” must be imposed in the DI pipeline (for example, by the AMPAS reference rendering transform, RRT). We will discuss details concerning how the scene-linear model alters the traditional pipeline, and aids CGI/VFX integration.

This course will be suitable for people in positions such as these:
HD engineers and Digital Imaging Technicians (DITs)
Compositors, lighters, shaders, and pipeline engineers
Post-production and visual effects supervisors, post/VFX engineers, and technically minded colourists
Digital cinema, digital video, and CGI/VFX software developers

You should be familiar with digital video, HD, and digital cinema. Knowledge of mathematics isn’t required; nonetheless, lots of graphs and equations will be discussed!

Class 1: Background: ILM's pioneering work, OpenEXR, CTL; review of bit depths for physical and perceptual representation; appearance effects; picture rendering theory.
Class 2: ACES block diagram and its concepts, colourspaces, and transforms: RICD, IDT, LMT, RRT, RDT, ODT.
Class 3: Perceptually uniform coding; log-exp-power function math; 1D and 3D LUT interpolation.
Class 4: Sensors (CCD and CMOS), quasilog coding; display physics, display pipeline, and display calibration.
Class 5: Cineon Printing Density (CPD); printer points; APD/ADX; colour grading theory and practice.
Class 6: Classic CIE colorimetry; LMS, XYZ, xyY, and RGB systems; colour transform theory.
Class 7: The ACES pipeline in detail.
Class 8: 3x3 transforms; the ACES IDT, how to acquire or build one.
Class 9: Colour grading in detail; emergent software systems (ctl, OpenColorIO).
Class 10: Special topics, forum questions, open discussion.

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FXPHD - BKD107 Collection: LUTs, Gamma and ACES

May 3, 2016, 3:13 pm

≫ Next: FXPHD - FLM205 Flame on Red Dwarf

≪ Previous: FXPHD - DCT303 Advanced Color Theory and ACES Workflow

https://www.fxphd.com/fxphd/courseDetails.php?idCourse=350

Professor: Mike Seymour

This package consists of a collection of our efforts to explain and demystify one of the most challenging issues in day-to-day vfx workflows: dealing with LUTs, gamma, and general color pipeline issues. Taking advantage of the technical nature of this collection, we've also included some classes on 3D, Virtual Cinematograhy, and rendering with Renderman and Mental Ray. And, we have a series of talks with Charles Poynton explaining color science.

Class 1: LUS match grades with different camera material (bkd222_class03)
Class 2: Monitors, calibration and modern LCD’s (bkd207-08)
Class 3: Gamma and linear workflow (bkd211-10)
Class 4: Chat with Charles Poynton - Light human perception vs real world (BKD- 221-class05)
Class 5: Chat with Charles Poynton - scene linear workflow (BKD- 221-class06)
Class 6: Chat with Charles Poynton - ACES/IIF workflow (BKD- 221-class07)
Class 7: Virtual Cinematography in Pixar’s Up (bkd213-09)
Class 8: Talking with Zap Andersson about car shading techniques using Mental Ray (bkd209-05)
Class 9: Understanding the function of the BRDF, Biderectional Reflectance Distribution Function (bkd209-08)
Class 10: A chat with Per Christensen about Pixar's Renderman rendering techniques (bkd209-07)

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FXPHD - FLM205 Flame on Red Dwarf

May 3, 2016, 3:26 pm

≫ Next: The Art of Sanjay's Super Team by Sanjay Patel

≪ Previous: FXPHD - BKD107 Collection: LUTs, Gamma and ACES

https://www.fxphd.com/fxphd/courseDetails.php?idCourse=156

We've finally been able to tap fxguide co-founder Jeff Heusser to teach a course at fxphd, and he'll be showing work he did for the Red Dwarf: Back to Earth production. A long time flame user, Jeff has worked on commercials, feature films, TV shows, music videos and network promos in Los Angeles, New York, Chicago and San Francisco. He will share his experience working in small shops to large as well as the freelance world.

Jeff will start out with an overview of setting up a project on flame, gleaned from his variety of experiences over the years. Next, he'll start tackling shots and share tricks for dealing with various compositing problems which come up on the jobs we do every day. Probably the most common shot of all in visual effects is the monitor replacement shot and this show is no different. With shots ranging from a fairly basic 8 monitor replacement (complete with depth of field and keying issues) and switches gears to the mother of all monitor shots -- 20+ televisions at all angles and depths, a camera move, varying levels of bluescreen, depth issues, and more. Next, several shots from another sequence will be tackled as we work through this job including topics such as green screen with RED footage, compositing tricks, a look at the next release of flame, and more.

The course members will receive full quality footage to follow along and complete the composites themselves.

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The Art of Sanjay's Super Team by Sanjay Patel

May 3, 2016, 4:38 pm

≫ Next: CadJunkie – Maxwell - Studio Lighting Techniques with James Coleman

≪ Previous: FXPHD - FLM205 Flame on Red Dwarf

The Art of Sanjay's Super Team by Sanjay Patel

Requirements: ePUB/PDF Reader

Overview:
In the new short film from Pixar Animation Studios, Sanjay's Super Team, accomplished artist Sanjay Patel uses his own experience to tell the story of a young, 1st generation Indian boy whose love for western pop culture comes into conflict with his father's traditions. This art-filled peek behind the curtain of this groundbreaking film is sure to excite Sanjay's legion of fans, and thrill animation lovers around the world.

Genre: Non-Fiction|Animation Art|Pixar

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CadJunkie – Maxwell - Studio Lighting Techniques with James Coleman

May 4, 2016, 1:27 am

≫ Next: Skillshare-Start Drawing Techniques for Pencil Portraits

≪ Previous: The Art of Sanjay's Super Team by Sanjay Patel

Welcome to our first series with Maxwell Render Ninja James Coleman! In this series James Coleman takes you through the basics of setting up a photo studio lighting scene in Maxwell Render. James will cover various topics and there's even bonus material for those hungry for knowledge!

http://www.cadjunkie.com/courses//maxwell-studio-lighting-techniques

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Skillshare-Start Drawing Techniques for Pencil Portraits

May 4, 2016, 6:44 am

≫ Next: Lynda – Learn Adobe Fuse CC: The Basics

≪ Previous: CadJunkie – Maxwell - Studio Lighting Techniques with James Coleman

https://www.skillshare.com/classes/design/Start-Drawing-Techniques-for-Pencil-Portraits/1250675911

Drawing is an art that is accessible to anyone. Originally a self-taught artist, I learned so much through practice alone. However, through studying tutorials posted by peers online, taking classes with professional portrait artists, and by studying the works of old masters, I’ve been able to reach a new level of knowledge that I would love to pass on to anyone willing to learn.

I’m teaching this class to share my process with you so you can learn the drawing secret it has taken me years to discover: the most beautiful drawings are often the most simple drawings.

What You'll Learn

In this class I'll teach you how to get started drawing your own beautiful life-like pencil portraits. We'll cover:

Materials. Which materials and references will make for the best portraits.

Basic Sketching. How to compose your basic sketch through gesture and accurate proportions.

Planes. How to understand light and shade on the planes of the face.

Features and Forms. How to structure the forms of your subject's eyes, nose, mouth, and hair.

Finishing Touches. How to capture those finishing details that will really make your portrait special.

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Lynda – Learn Adobe Fuse CC: The Basics

May 4, 2016, 7:04 am

≫ Next: Blender NPR - Freestyle Level Up

≪ Previous: Skillshare-Start Drawing Techniques for Pencil Portraits

Design your own 3D characters with Adobe Fuse CC—no experience needed. Fuse's powerful features allow you to change the shape and weight of each facet of a character's anatomy, and customize its hair color and clothing to suit your design. See how the new app makes it easy to build, outfit, and customize realistic-looking 3D human models in minutes; save them to your Creative Cloud Libraries; and then pose and animate them right inside Photoshop CC. You can also take them into the online platform Mixamo for auto rigging and animation. With these new tools, you can create unique human characters for your own art, designs, prototypes, games, and more.
Topics include:

Choosing and customizing the character's head
Choosing a torso, legs, and arms
Adding clothing, hair, glasses, and hats
Posing the model in Mixamo
Placing and animating the model in Photoshop

https://www.lynda.com/Fuse-tutorials/Learn-Adobe-Fuse-CC-Basics/473891-2.html

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Blender NPR - Freestyle Level Up

May 4, 2016, 7:26 am

≫ Next: Blender NPR - Freestyle Level Up

≪ Previous: Lynda – Learn Adobe Fuse CC: The Basics

Learn FreeStyle the fun way! Masterfully create geometry based, post-processed line art. Begin from the very basic to the very advance. Freestyle line art your still images, product design, arch-viz, motion graphics & motion pictures.

Inside Freestyle Level Up
What FreeStyle really is
Learn the art of line selection
Learn the art of line styles
Mini projects with multiple object types, organic and non organic models
Troubleshooting and power tips
Advance line styles never taught this in-depth before
How to think and model for FreeStyle
Compositing with FreeStyle

Website:
https://blendernpr.org/store/?page_id=2

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Blender NPR - Freestyle Level Up

May 4, 2016, 7:39 am

≫ Next: Reallusion CrazyTalk Pipeline 8.03.1620.1 Incl Crack + Resource Pack

≪ Previous: Blender NPR - Freestyle Level Up

Learn FreeStyle the fun way! Masterfully create geometry based, post-processed line art. Begin from the very basic to the very advance. Freestyle line art your still images, product design, arch-viz, motion graphics & motion pictures.

Inside Freestyle Level Up:
What FreeStyle really is
Learn the art of line selection
Learn the art of line styles
Mini projects with multiple object types, organic and non organic models
Troubleshooting and power tips
Advance line styles never taught this in-depth before
How to think and model for FreeStyle
Compositing with FreeStyle

Website:
https://blendernpr.org/store/?page_id=2

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Reallusion CrazyTalk Pipeline 8.03.1620.1 Incl Crack + Resource Pack

May 4, 2016, 7:58 am

≫ Next: realflow

≪ Previous: Blender NPR - Freestyle Level Up

What's New in Version 8.03:
Content Changed:
. Enhanced: Eye templates with bigger eyes.

System Requirements:
Operating System:
- Windows 10 /Windows 8 /Windows 7
- Requires 64-bit to run.
CrazyTalk is the world‘s most popular facial animation software that uses voice and text to vividly animate facial images. The brand new CrazyTalk 8 contains all the powerful features people love about CrazyTalk plus a highly anticipated 3D Head Creation tool, a revolutionary Auto Motion engine, and smooth lip-syncing results for any talking animation projects.

Pipeline Features:
- Photo to 3D Head
- Photo to 2D Head
- Face Puppet Profile
- Auto Motion
- Auto Audio Lip-sync
- Full Timeline Editing
- Content Resource
- Export to iClone 6

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