Les traigo a ustedes este excelente tutorial en video, casi 17 horas, en donde se explica paso a paso cómo crear una visualización exterior, de día y de noche, usando el motor de renderización V-Ray y el programa 3D Max. La descripción y el tutorial están en inglés, pero aunque no sepan el idioma, gracias a los videos explicativos, resulta muy fácil de entender. Gócenlo :)
SIGERSHADERS V-Ray Material Presets Pro v.2.1.0b (2.0.9)
is a powerful material collection for 3ds max and V-Ray (MacroScript). It includes shaders like: Metal, Ceramic, Leather, Stone, Mosaic, Concrete.
KEY FEATURES
370 V-Ray Material presets and templates:
Metal Materials (140) Ceramics Materials (70) Leather Materials (82) Stone Materials (36) Mosaic Materials (12) Concrete Materials (30)
Compatible with 3ds Max 2009/2010/2011. Compatible with V-Ray SP2/SP3/SP4/SP5, V-Ray 2.0
All materials have been tested by professionals on real projects.
You can select the resolution of used textures (High / Medium)
All textures used are seamless (580 maps on 1.46GB).
Friendly and simple interface.
Useful for V-Ray newbies, average and power users.
Download:
http://hotfile.com/dl/91095845/1372877/VMPP2_setup.part01.rar.html
http://hotfile.com/dl/91096893/db75d65/VMPP2_setup.part02.rar.html
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Crack: http://hotfile.com/dl/91093568/0fff447/VMPP2.1.0b_LicGen_iND.rar.html
instructions:
-if on Vista/Win7 disable UAC and restart pc if needed
-unplug from the net or block with the firewall
-install VMPP2
-run max
-drag the LicGen into max and create the vmpplock.dat file inside max’s root folder or select runscript and run the LicGen from within max
-start VMPP2 and on first run select this folder as your default:
C:\Program Files\Autodesk\3ds Max 2011\Scripts\SigerShaders\MPSP\maps
(you may choose to move the maps folder elsewhere and register that path instead)
-restart plugin and you’re registered!
VRay – THE COMPLETE GUIDE – second edition is the first book in the world completely devoted to VRay. Its aim is to provide an advanced support for the specialists in this branch. All too often we lose a lot of time searching the meaning of a particular parameter. Who hasn’t spent entire days trying to understand what was wrong with their rendering? Having some “presets” is not enough: it is necessary to understand and have knowledge of the tools daily used. This is the only way thanks to which you’ll be able to face more and more difficult tasks.
VRay – THE COMPLETE GUIDE – second edition was born thanks to two year’s hard work, during which we tried to produce a high-quality handbook committed to VRay’s users. Not just a basic list of commands, but a special tool, composed by technical and theoretical parts, by which you’ll be carried away! You’ll be able to find, through 1060 pages, 2300 images and 3200 renderings expressly created for this handbook.
Enclosed you’ll also find a DVD-ROM containing 32 animations in .mov format, bearing examples otherwise impossible to understand via images only.
It’s an unrepeatable handbook, difficult to find elsewhere: made up of 1060 pages, full color, A4 21x29x6cm (other manuals are usually smaller: 21x19x4cm). Bound with extreme care, through paperback binding stitched with wire referendum and not simply glue, it holds up through the time. The hardback cover also is hardbound disk, allowing a better usability.
NEW EDITION
The SECOND EDITION, is available only in PDF digital format and we upgrade to VRay 1.5 SP3a, with 30 new pages unpublished. For a research we make a full interactive index. Now you can quickly reach any part of the book with one click. This index is inside in the sample files you can download below.The PDF has a little watermark noninvasive with the with client info (name, address), the print, copy-paste function is disable. Plus there is a password to open the PDF, which will be used to access the private section of our FORUM, a place where to discuss directly with the author. Also, each PDF will has a little difference than the other (text changes, different images position, etc. …), which will make each copy unique and immediately recognizable The book price is 25 euro, but the old customers can buy the PDF version only for 15 euro!
More Info:http://www.francescolegrenzi.com/blog/static.php?page=vray_guide_eng
Rapidshare:
http://rapidshare.com/files/380707379/VR.T.C.G.DVD.PDF.part01.rar
http://rapidshare.com/files/380707170/VR.T.C.G.DVD.PDF.part02.rar
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PDF Only:
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PDF Only:
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http://hotfile.com/dl/40048491/44196af/VR.T.C.G.2.E.PDF.part3.rar.html
Password: tdmf
Pirateado de CG Persia
143 Vray Materials for 3dsmax
143 *.Mat
Enjoy !
Download:
http://rapidshare.com/files/379369393/Materials_for_Vray_by_Karimax.rar
Pirateado de CG Persia
more than 500 .Mat file of Vray architecturial materials
1 rar fils 126m / 800m after unrar 
by Karim Lazaar, Tunisia
Enjoy
Links:
http://rapidshare.com/files/379987208/Vray_Mat_new__Archicollection_by_Karimaxkarimlazaar.rar
In this tutorial I will go through all the steps that we usually do when I’m asked to do an “exterior night-rendering”.
In order to follow it you need to know the basics of 3ds max and vray.
1) Natural light
The first step is to choose a background image of a sky.
For this tutorial I have used the image bellow:
Now put the desired image into the environment slot (3d max’s environment slot, not in vray’s).
In the vray settings, check global illumination, select lightcache for secondary bounces, irradiance map for primary (you could also use brute force, but it will take longer to render).
In the global switches tab, make sure that “default lights” is unchecked.
Last but not least go to the vray environment slot and check “GI environment (skylight) override. In the slot right beside put a gradient (dark blue in the upper slot, a lighter blue in the middle and a pale orange or purple in the lower position)
If you hit render, you will end up with something like this:
2) Adding artificial lights inside
As you notice, it is starting too look like a night rendering, but at the moment it lacks artificial lighting so the spaces look deserted.
We will begin by adding vray lights inside the house, to simulate artificial lighting.
The important thing to keep in mind at this point is that artificial light can look different from one case to another depending on many factors (intensity, color temperature, size of the space that is actually lit, etc.) so you shouldn’t put a light source and instance it all over the place. Be creative and play with parameters like intensity multipliers, filter colors, etc.
For this scene I have used spherical vray lights with intensity multipliers varying from 1 to 2, filter colors with orange, yellow and blue tints and different a radius for each one.
If you hit another render you will end up with something very similar to the following.
3) Simulating artificial light “spreading” from inside
Now we have light inside the house, but the light doesn’t seem to “come out” enough. Therefore we will place vray planar lights just in front of the windows, pointing towards the exterior, like in the following image.
Hit another test rendering and you should have something similar to the render bellow:
4) Adding artificial lights in the courtyard
We are getting closer. What doesn’t look right at the moment is the fact that the courtyard is too dark. Depending on your scene, you may have exterior lighting fixtures (like the lighting posts that I have in this scene), or even exterior spotlights that illuminate the building. If you don’t have specific instructions for these, you could place lights somewhere behind the camera, so that you give the impression that the space is receiving illumination from neighboring sources (street lights, car lights, or even other buildings).
In this particular scene, adding lights to the lighting small garden lighting posts should be enough.
First I have assigned them a vraylight material with a gradient map; than I have placed vray spherical lights over each one. For each vray light in the courtyard I have excluded the lighting post bellow it. This is kind of a fake, but in the end it looks right, and that’s all that matters. (If you want to do it more “accurate” check out the lampshade tutorial as well).
Hitting a test render at this stage you should obtain something like this:
5) Photoshop touches
a) Add a subtle glow effect to the visible artificial light sources (in this case, the small lighting posts). You can do this using the diffuse glow filter.
b) In a new layer, add a linear gradient from bottom to somewhere at the middle from orange to transparent. Put the layer on “color” and play with the transparency until you like the result. If you are feeling creative, you can also try some subtle brush strokes, with different tints of red, yellow or orange to create diversity.
After having done all of the above, here is the final image.
(CLICK THE IMAGE TO VIEW A HIGH RESOLUTION RENDERING)
Conclusion
Rendering an exterior at night can be very tricky. The best approach in my opinion is to take it systematically by starting with natural light, and adding artificial lights one by one during the process. Otherwise, you may find yourself lost not knowing where you did something wrong.
I can not stress enough how important is to have a few examples of professional architectural photography at hand and look at them at every stage of the process.
Here are some general guidelines that I always keep in mind when I’m doing a night rendering:
1) Even at night time the skylight still casts a subtle shadow.
2) Never make the sky 100% black; it should have either a blue or a purple tint.
3) If there are no artificial lights on the ground, the sky will always be brighter and the ground would “borrow” a bluish or purple tint from the sky
4) The lighting is a mixture of dark purple/bluish tints at the upper part and orange/yellow on the ground and on the building(s). That is because the natural light blends with artificial light sources placed on the ground.
5) The colors are more saturated in a night rendering that in a daytime one.
6) Artificial light sources have a subtle glow around them.
7) If you have “moving objects” in your scene, don’t be afraid to use motion blur. If you know a bit about photography, you are aware that at night time photographers use high exposure times when they target architectural subjects; this causes all moving things around (cars, people, etc) to appear with motion blur.
If you think that I have missed something, feel free to post a comment and let me know.
Pirateado de CG Digest
Gnomon Collection
Download: Video Files only size 2.13 GB
In this DVD, Cetin Tuker gives an introductory explanation of the main concepts, actions, tools and workflow of 3ds Max. In the first chapters Cetin gives an overview of the user interface and explains how to customize it. Next, he demonstrates placing and transforming objects and discusses hierarchies which are very important for animation. Cetin covers the basics of viewing and navigating in 3D space, creating geometry, creating 2D shapes, selecting objects and modifying them by using the modifiers and modifier stack. He also shows how to manage scenes and files effectively. Finally Cetin talks about animation and time controls and gives a quick introduction to animation in Max.
Cetin Tuker
Cetin Tuker graduated from the Middle East Technical University in Ankara with a BA in Architecture in 1992 and completed his MA in 1996. He started working with 3D computer graphics in 1991 producing architectural visualizations and started his 3D teaching career in 1994. In 2001, after working on several multimedia and 3D animation projects, he joined the team of the AMBUSH – PUSU, the first Turkish 3D real-time action video game, and stayed with them through the project’s completion in 2004. He has since been teaching 3D animation and motion graphics in the Graphic Design Department of the Mimar Sinan Fine Arts University in Istanbul, Turkey. Cetin has a number of published articles in respected 3D magazines and his first book about “3D environment design” was published in 2006. Cetin also works as a character animator in the digital post-production field primarily for TV commercials.
Topics Covered:
UI Overview
Customization of UI
Placement
Hierarchies
Viewing and Navigating 3D Space
Creating Geometry
Scene Management
Selecting Objects
Creating Shapes
Using Modifiers
Managing Files
Animation and Time Controls
Chapters:
UI Overview
Customization of UI
Placement of Objects
Hierarchies
Viewing and Navigating 3D Space
Creating geometry
Scene Management
Selecting Objects
Creating shapes
Using modifiers
Managing files
Animation and time controls
http://rapidshare.com/files/231863563/GW_ItM.part01.rar
http://rapidshare.com/files/231869166/GW_ItM.part02.rar
http://rapidshare.com/files/231874385/GW_ItM.part03.rar
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PASS: extrox.com
Environment Lighting for Production - 3ds Max Rendering Techniques with Tim Jones | ISO
Download: ISO size 2.39 GB | Rared size 1.21 GB
In this DVD, after setting up various production lighting rigs, Tim discusses the pros and cons of each solution. You will learn when to use one type of rig over another based on the goals of the project, as well as how to deal with the challenges that different scene elements create for your lighting setups. Tim will also show you how to render passes out of 3ds Max, composite them using Digital Fusion and set up your lighting in real-time using floating point image formats. Finally, you will learn how to set up a scene for multiple lighting scenarios including day, sunset and night shots.
Tim Jones
CG Supervisor
Blur Studios
Tim Jones is a CG Supervisor specializing in environment modeling, lighting and compositing for a wide variety of projects ranging from game cinematics and ride films to television commercials and film. He received duel degrees in the fields of architecture and illustration from Lawrence Tech. After several years doing freelance and working for an architecture visualization firm he has made the switch to entertainment and is now working for Blur Studio. Tim’s work can be seen in game cinematics and commercials such as Warhammer 40K, Hellgate: London, Ghost Recon 3, X-Men Legends 2 and Call of Duty: Finest Hour.
Topics Covered:
Setting up Light Rigs
Rendering Passes
Compositing
Night-time Lighting
Sunset Lighting
Chapters:
Light Rigs
Rendering Passes
Compositing
Night-time Light Rigs
Sunset Rigs
http://rapidshare.com/files/230803023/GW_ELfP.part01.rar
http://rapidshare.com/files/230806208/GW_ELfP.part02.rar
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http://rapidshare.com/files/230840308/GW_ELfP.sfv
PASS: extrox.com
Character Modeling for Production - Character Modeling Techniques with Ian Joyner | ISO
Dovnload: ISO size 4.31 GB | Rared size 3.29 GB
In this DVD, Ian shows you the tools and techniques he uses to quickly create a full character model in 3ds Max, leading you through the basic character production pipeline used at Blur Studio. He takes you through the process of building clean geometry using Max’s built-in toolset as well as using the PolyBoost plugin. Ian shows how to easily enhance objects with ZBrush, and how to quickly find the form and detail of your character. From there he demonstrates how to bring the geometry back into Max to make it animation friendly by retopologizing. After the model is finished, Ian covers how to set up hair using Hair FX as well as how to set up lights, cameras and a simple rig using Biped to pose and render the character. Finally, using Adobe Photoshop®, Ian discusses how to present the character in a professional manner. This DVD is intended for artists with a basic understanding of polygon modeling in Max, but is useful to anyone regardless of skill level or software. In this DVD Ian uses: Max, PolyBoost, ZBrush, BodyPaint and Adobe Photoshop®.
Ian Joyner
Blur Studios
Ian Joyner is a freelance character artist residing in Culver City, CA. Over the years he has worked on games, commercials and feature films at Blur Studio, and recently ventured out as a freelance character artist for clients all over the world. His work can be seen throughout various projects including (but not limited to) BioShock, Halo Wars (upcoming), Golden Axe (upcoming), Marvel : Ultimate Alliance, Hellgate : London, Jericho, Brothers in Arms, Warhammer: Age of Reckoning and Rise of Legends to name a few. Film work includes Rocky Balboa, Aliens of the Deep, and Blur Studio’s short film A Gentlemen’s Duel. Other work includes tech demonstrations for XSI’s Face Robot, training material (DVD’s and classes) for The Gnomon Workshop, and promotional material for a large variety of projects.
Topics Covered:
Max Modeling tools
Using PolyBoost Tools
Poly by Poly Modeling
Detailing in ZBRush
Retopologizing Hi-res Objects
Building Props
Setting Up Lighting/Camera Rig
Basic Brazil Techniques
Hair FX Set up
Basic BodyPaint and Material Editing
Rigging for a Pose
Chapters:
Setting up a Template Character
Basic Light Rig/Blocking in Character, Part 1
Basic Light Rig/Blocking in Character, Part 2
Detailing Simple Objects and Retopologizing
Detailing the Character, Part 1
Using Paint Overs to Shape Your Characters
Detailing the Character, Part 2
Hair, Setting a Style with HairFX
Rigging Using Biped, Part 1
Rigging Using Biped, Part 2
Final Renders
http://rapidshare.com/files/231553573/GW_CMfP.part01.rar
http://rapidshare.com/files/231556913/GW_CMfP.part02.rar
http://rapidshare.com/files/231560009/GW_CMfP.part03.rar
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http://rapidshare.com/files/231672058/GW_CMfP.sfv
PASS: extrox.com
Character Texturing for Production - Material and Texturing Techniques with Ian Joyner | ISO
Dovnload: ISO size 4.33 GB | Rared size 3.37 GB
In this DVD, Ian textures and completes the game cinematic character he modeled in Character Modeling for Production. In this lecture, he shows different techniques to UV map objects of various complexities quickly and efficiently using 3ds Max’s UV tools and DeepUV. Ian covers both hand-painted and image-based methods to create textures for the character. From there he uses various ZBrush plugins to both block-in and finalize textures and he uses BodyPaint to fix seams and to begin new textures. Ian demonstrates a variety of other techniques incorporated in the Max > ZBrush > BodyPaint pipeline and shows you how to enhance the hair created in his first DVD, and take it to a more finalized level. Finally, Ian shows how you can reuse your rigs from character to character using Biped, and how to use Adobe Photoshop® to add an extra level of professionalism to your final models before submitting them to a client. In this DVD Ian uses: Max, DeepUV, PolyBoost, ZBrush, ZappLink, Zmapper, BodyPaint and Adobe Photoshop®.
Ian Joyner
Blur Studios
Ian Joyner is a freelance character artist residing in Culver City, CA. Over the years he has worked on games, commercials and feature films at Blur Studio, and recently ventured out as a freelance character artist for clients all over the world. His work can be seen throughout various projects including (but not limited to) BioShock, Halo Wars (upcoming), Golden Axe (upcoming), Marvel : Ultimate Alliance, Hellgate : London, Jericho, Brothers in Arms, Warhammer: Age of Reckoning and Rise of Legends to name a few. Film work includes Rocky Balboa, Aliens of the Deep, and Blur Studio’s short film A Gentlemen’s Duel. Other work includes tech demonstrations for XSI’s Face Robot, training material (DVDs and classes) for The Gnomon Workshop, and promotional material for a large variety of projects.
Topics Covered:
UV Layout with Max and DeepUV
Creating Textures with Photos
Texture Painting Using Photoshop, ZBrush(ZappLink) and BodyPaint
Fixing Seams
Using Textures as Guides to Enhance Modeling
HairFX Settings
Brazil Materials
Simple Rigging Using Biped
Chapters:
UV Techniques
Roughing in Textures for Head
Making the Eye
BodyPaint and ZBrush’s Zapplink
Fixing Seams with BodyPaint
Costume Texturing
Enhancing Hair
Re-rigging and Final Renders
http://rapidshare.com/files/231956318/GW_CTfP.part01.rar
http://rapidshare.com/files/231959645/GW_CTfP.part02.rar
http://rapidshare.com/files/231963095/GW_CTfP.part03.rar
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http://rapidshare.com/files/232113657/GW_CTfP.sfv
PASS: extrox.com
Global Illumination Interiors - V-Ray Lighting Techniques with Christopher Nichols | ISO
Dovnload: ISO size 3.37 GB | Rared size 1.67 GB
Continuing from his first DVD, Global Illumination: Exteriors, Christopher Nichols explains how interior global illumination differs from exterior GI. Christopher focuses on the concept of digital sets and explores issues of interior lighting for GI, including the variety of light sources that can be used, as well as how space plays an important role in lighting. Christopher demonstrates the differences between regular light sources, environment light, IES lighting, area lights, and even how geometry and shaders can affect the lighting of a scene. Additionally, since bouncing light plays an important role in interior GI, this lecture looks at some special techniques such as using V-Ray’s photon mapping and light cache. Christopher also explores the idea of baking lighting into textures, which is a useful technique for some situations. With Global Illumination: Interiors, you will see the rendering of an interior space in a whole new light.
Christopher Nichols
Visual Effects Supervisor
Sway Studio
Christopher Nichols received a Bachelors in Mathematics and Fine Arts from Colgate University. He went on to get a Masters of Architecture from Rice University, where as a lecturer he taught the principles of architectural visualization and animation. After a long career in architecture, Christopher entered the world of feature film visual effects, specializing in color and lighting. Having spent several years at Digital Domain and Sony Pictures Imageworks, Christopher has credits on such movies as The Day After Tomorrow, I, Robot, Stealth and Ghost Rider. He is currently a Supervisor at Sway Studio.
Topics Covered:
Principles of Global Illumination
Specular and Diffuse Reflection
Comparison of Different Techniques
Sky Lights
Image Based Lighting
Using HDRIs
Animation Issues in GI
Baking Lighting Animation
Chapters:
Key Elements from the Exteriors DVD
Interior Versus Exterior GI
Lighting Interiors with Exterior Light
Other Interior Light Sources
Lots of Secondary Bounces
Baking Lighting into Textures
Lighting Scenario 1
Lighting Scenario 2
http://rapidshare.com/files/230487851/GW_GII.part01.rar
http://rapidshare.com/files/230491424/GW_GII.part02.rar
http://rapidshare.com/files/230495309/GW_GII.part03.rar
http://rapidshare.com/files/230499297/GW_GII.part04.rar
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http://rapidshare.com/files/230561259/GW_GII.part18.rar
http://rapidshare.com/files/230561266/GW_GII.sfv
PASS: extrox.com
Global Illumination Exteriors - V-Ray Lighting Techniques with Christopher Nichols | ISO
Dovnload: ISO size 3.07 GB | Rared size 1.61 GB
In this lecture on the subject of Global Illumination lighting techniques, Christopher Nichols discusses the subject of exterior lighting. This DVD covers a general introduction to the principles of Global Illumination, which are essential to the understanding of this specialized form of lighting. While the series primarily uses V-Ray as the render engine in a 3ds Max environment, those using other GI renderers will also benefit from the conceptual techniques described. From the general concepts of reflected specular and diffuse light, to sky lights and image based lighting with HDRIs, Christopher shows how to light scenes using real world lighting in a fully reflective environment. He also demonstrates how to tackle the issues of animation by finding the most optimal way to bake lighting for exterior sets. This series is geared toward the CG artist that already has an intermediate understanding of direct lighting and is making the transition to GI lighting.
Christopher Nichols
Visual Effects Supervisor
Sway Studio
Christopher Nichols received a Bachelors in Mathematics and Fine Arts from Colgate University. He went on to get a Masters of Architecture from Rice University, where as a lecturer he taught the principles of architectural visualization and animation. After a long career in architecture, Christopher entered the world of feature film visual effects, specializing in color and lighting. Having spent several years at Digital Domain and Sony Pictures Imageworks, Christopher has credits on such movies as The Day After Tomorrow, I, Robot, Stealth and Ghost Rider. He is currently a Supervisor at Sway Studio.
Topics Covered:
Principles of Global Illumination
Specular and Diffuse Reflection
Comparison of Different Techniques
Sky Lights
Image Based Lighting
Using HDRIs
Animation Issues in GI
Baking Lighting Animation
Chapters:
It Is All About Reflection
Methods of Producing Diffuse Scatter
Environment Light
Image Based Lighting
Lighting an Exterior Scene
Changing the Mood
The Problem with Animation
Animation for Large Scenes
http://rapidshare.com/files/230085752/GW_GIE.part01.rar
http://rapidshare.com/files/230089065/GW_GIE.part02.rar
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http://rapidshare.com/files/230151029/GW_GIE.part17.rar
http://rapidshare.com/files/230268621/GW_GIE.sfv
PASS: extrox.com
Creature Modeling for Production - Creature Modeling Techniques with Laurent Pierlot | ISO
Dovnload: ISO size 4.12 GB | Rared size 3.20 GB
In this DVD, Laurent reveals his process for creating a high resolution creature, designed by Carlos Huante, for the video-game cinematic production pipeline. The pipeline presents many challenges such as working with short deadlines, achieving a clean topology and being able to interpret a 3/4 view concept into a complex and detailed 3D model. This DVD will cover the creature modeling from low-poly modeling to high-poly detailing using 3ds Max and ZBrush. Topics include Max’s basic polygon tools, creating the base volumes and proportions, cleaning up topology, reshaping in ZBrush, and lighting and rendering a sample still with Brazil for presentation to clients and supervisors..
Laurent Pierlot
Blur Studios
Laurent Pierlot is an alumnus of ESAAT in Roubaix, France and Supinfocom in Valenciennes. After finishing his student movie Baecktopur, which combined live footage mixed with 3D characters, he began working at SPARX in Vietnam as a modeling and lighting artist. He then worked at Attitude Studio in Paris for one year before joining Blur Studio in California as a character modeler and CG supervisor. At Blur, Laurent has worked on lighting, rendering and compositing on a number of projects including the game cinematics for BloodRayne 2, Area-51, The Punisher, Hellgate, Rise of Legends, Fantastic 4 and X-Men Legends.
Topics Covered:
Max’s Polygon Modeling Tools
Volumes and Proportions
Achieving Clean Topology
Reshaping Volume with ZBrush
Lighting and Rendering the Final Mesh
Quick Sample Presentation for Clients/supervisors
Chapters:
Low Poly Modeling of the Body
Subdividing the Body
Low Poly Modeling of the Arms and Legs
Subdividing/Detailing the Arms and Legs
Reshaping the Mesh in ZBrush
Adding the Final Details
Lighting, Rendering for a Sample Still
http://rapidshare.com/files/232359730/GW_CrMfP.part01.rar
http://rapidshare.com/files/232363964/GW_CrMfP.part02.rar
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http://rapidshare.com/files/232519519/GW_CrMfP.sfv
PASS: extrox.com
Creature Detailing for Production - Model Refining and UV Mapping with Laurent Pierlot | ISO
Dovnload: ISO size 3.01 GB | Rared size 2.03 GB
In this DVD, Laurent shares his techniques for detailing and refining the model he started in “Creature Modeling for Production”. Using 3ds Max, Deep UV and ZBrush, Laurent demonstrates the pipeline he uses every day at Blur Studio to add final details to a high-poly model based on a Carlos Huante design. He discusses how to achieve clean UVs with Deep UV, and how he adjusts volume proportions in ZBrush. He also shows how to create alpha maps in Photoshop® and use them in ZBrush to easily add surface details such as veins, bumps and other skin textures. Finally, Laurent shows how to export normal maps from ZBrush using the ZMapper plug-in and how to use the normal maps and cavity maps in Max for a sample render with Brazil.
Laurent Pierlot
Blur Studios
Laurent Pierlot is an alumnus of ESAAT in Roubaix, France and Supinfocom in Valenciennes. After finishing his student movie Baecktopur, which combined live footage mixed with 3D characters, he began working at SPARX in Vietnam as a modeling and lighting artist. He then worked at Attitude Studio in Paris for one year before joining Blur Studio in California as a character modeler and CG supervisor. At Blur, Laurent has worked on lighting, rendering and compositing on a number of projects including the game cinematics for BloodRayne 2, Area-51, The Punisher, Hellgate, Rise of Legends, Fantastic 4 and X-Men Legends.
Topics Covered:
Preparing the Mesh to Unfold the UVs
Using Planar Projections and Deep UV
Adjusting Shapes in ZBrush
Painting Final Details Using Alpha Maps in ZBrush’s Projection Master
Creating Custom Alpha Maps
Exporting Normal and Cavity Maps with ZMapper
Chapters:
Cutting the Mesh and Unfolding UVs
Reshaping and Refining Volumes in ZBrush
Adding Final Details in ZBrush
More Detailing, Creating Custom Alphas
Exporting the Maps/Rendering a Sample Still
http://rapidshare.com/files/232288851/GW_CrDfP.part01.rar
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http://rapidshare.com/files/232355825/GW_CrDfP.sfv
PASS: extrox.com
Creature Texturing and Rendering for Production - Texturing Techniques with Laurent Pierlot | ISO
Dovnload: ISO size 3.88 GB | Rared size 3.31 GB
In this DVD, Laurent reveals his techniques for creating the textures and shaders for the final stage of the creature modeling and texturing pipeline. Laurent shows how to create texture maps from scratch using a small library of different concrete and plaster textures. Using BodyPaint, he takes the cavity map from ZBrush and uses it as a guide to create the other maps for the creature. Laurent demonstrates how he experiments with one area of the body and then brings it to a near final stage before duplicating the maps and shaders for the rest of the creature using Photoshop® and Max. He then shows how to use BodyPaint to paint over the seams and finalize the textures. Finally, Laurent renders out separate passes and composites them together in Digital Fusion, discussing how this process allows better control of the final image and enables him to test the shaders for scene assembly and lighting.
Laurent Pierlot
Blur Studios
Laurent Pierlot is an alumnus of ESAAT in Roubaix, France and Supinfocom in Valenciennes. After finishing his student movie Baecktopur, which combined live footage mixed with 3D characters, he began working at SPARX in Vietnam as a modeling and lighting artist. He then worked at Attitude Studio in Paris for one year before joining Blur Studio in California as a character modeler and CG supervisor. At Blur, Laurent has worked on lighting, rendering and compositing on a number of projects including the game cinematics for BloodRayne 2, Area-51, The Punisher, Hellgate, Rise of Legends, Fantastic 4 and X-Men Legends.
Topics Covered:
Painting Texture Layers with Bodypaint
Creating Maps in Photoshop®
Duplicating Maps in Photoshop®
Creating Shaders with Brazil
Painting Seams with Bodypaint
Rendering Passes with Max/Brazil
Compositing with Digital Fusion
Chapters:
Creating the Map Folders, Collecting Textures
Importing the Mesh in BodyPaint 3D
Creating Maps in Photoshop, the Overall Look
Duplicating Shaders and Maps
Fixing Seams in BodyPaint 3D
Rendering and Presenting a Sample Still
:
http://rapidshare.com/files/232659225/GW_CrTaRfP.part01.rar
http://rapidshare.com/files/232664046/GW_CrTaRfP.part02.rar
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http://rapidshare.com/files/232783815/GW_CrTaRfP.sfv
:
PASS: extrox.com
3D Matte Painting and Camera Mapping - Matte Painting for Film with Chris Stoski | ISO
Dovnload: ISO size 3.04 GB | Rared size 1.99 GB
In this second DVD in a series, Chris Stoski illustrates the creation of several 3D matte paintings. In the visual effects industry, directors are always asking for moving cameras in matte paintings and Chris shows how this is achieved. He creates two different environments and discusses how a matte painter creates camera movement in these key scenarios. In addition to Adobe Photoshop®, Chris uses Autodesk 3ds Max, but the techniques can be implemented with other popular 3D software as well. From forward-moving dolly shots to lateral helicopter aerials, Chris covers the essentials of 3D and 2.5D matte painting for matte artists of all skill levels.
Chris Stoski
Lead Digital Matte Artist
Industrial Light & Magic
Chris Stoski is one of the leading matte painters and concept artists in the visual effects industry. His clients and employers include Industrial Light & Magic, Lucasfilm, Matte World Digital, Warner Brothers, 20th Century Fox, Dreamworks, Touchstone Pictures and The Cartoon Network to name a few. Recently he authored a book entitled “d’artiste: Matte Painting” in conjunction with Dylan Cole and Alp Altiner, and published by Ballistic Publishing. His film credits include Star Wars Episode III, The Ring, The Last Samurai and Pirates of the Caribbean: Dead Man’s Chest. He currently works for ILM as a Lead Digital Matte Artist.
Topics Covered:
Matte Painting Fundamentals
Film Resolutions
Painting
3D Modeling
Lighting
Texturing
Image Manipulation
3D Particles
Cloud Extractions
Compositing for Matte Painters
Post Camera Animation
Chapters:
Matte Painting Fundamentals
Starting the Matte Painting
Vegetation with Vue
Creating the CG Palace
Lighting and Render Passes
Misty Clouds and Painting
Painting with CG Renders
Planning the Waterfalls
Foreground Vegetation
Final Painting Touches
3D Particles
Compositing in Shake
:
http://rapidshare.com/files/232788237/GW_3dMPaCM.part01.rar
http://rapidshare.com/files/232793692/GW_3dMPaCM.part02.rar
http://rapidshare.com/files/232804036/GW_3dMPaCM.part03.rar
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http://rapidshare.com/files/232924721/GW_3dMPaCM.sfv
:
PASS: extrox.com
Matte Painting Production Techniques - Matte Painting for Film with Chris Stoski | ISO
Dovnload: ISO size 4.10 GB | Rared size 2.63 GB
In this DVD, Chris Stoski demonstrates his techniques for creating a complex matte painting. He illustrates how a matte artist utilizes 3D modeling, texturing, lighting, photographic reference materials and digital painting to complete a beautiful and efficient matte painting. Throughout the lecture he describes his techniques and relates his experiences designing shots for feature films and executing them as final matte paintings. From painting and image manipulation in Adobe Photoshop® to 3D particle-system waterfalls and animated vegetation blowing in the wind, this DVD offers a complete spectrum of knowledge for the beginner to intermediate matte painter.
Chris Stoski
Lead Digital Matte Artist
Industrial Light & Magic
Chris Stoski is one of the leading matte painters and concept artists in the visual effects industry. His clients and employers include Industrial Light & Magic, Lucasfilm, Matte World Digital, Warner Brothers, 20th Century Fox, Dreamworks, Touchstone Pictures and The Cartoon Network to name a few. Recently he authored a book entitled “d’artiste: Matte Painting” in conjunction with Dylan Cole and Alp Altiner, and published by Ballistic Publishing. His film credits include Star Wars Episode III, The Ring, The Last Samurai and Pirates of the Caribbean: Dead Man’s Chest. He currently works for ILM as a Lead Digital Matte Artist.
Topics Covered:
Matte Painting Fundamentals
Film Resolutions
Painting
3D Modeling
Lighting
Texturing
Image Manipulation
3D Particles
Cloud Extractions
Compositing for Matte Painters
Post Camera Animation
Chapters:
Matte Painting Fundamentals
Starting the Matte Painting
Vegetation with Vue
Creating the CG Palace
Lighting and Render Passes
Misty Clouds and Painting
Painting with CG Renders
Planning the Waterfalls
Foreground Vegetation
Final Painting Touches
3D Particles
Compositing in Shake
:
http://rapidshare.com/files/232930525/GW_MPPT.part01.rar
http://rapidshare.com/files/232936131/GW_MPPT.part02.rar
http://rapidshare.com/files/232942241/GW_MPPT.part03.rar
http://rapidshare.com/files/233085650/GW_MPPT.part04.rar
http://rapidshare.com/files/233089051/GW_MPPT.part05.rar
http://rapidshare.com/files/233092301/GW_MPPT.part06.rar
http://rapidshare.com/files/233095906/GW_MPPT.part07.rar
http://rapidshare.com/files/233099698/GW_MPPT.part08.rar
http://rapidshare.com/files/233104027/GW_MPPT.part09.rar
http://rapidshare.com/files/233107857/GW_MPPT.part10.rar
http://rapidshare.com/files/233111091/GW_MPPT.part11.rar
http://rapidshare.com/files/233114329/GW_MPPT.part12.rar
http://rapidshare.com/files/233117247/GW_MPPT.part13.rar
http://rapidshare.com/files/233120431/GW_MPPT.part14.rar
http://rapidshare.com/files/233123508/GW_MPPT.part15.rar
http://rapidshare.com/files/233126784/GW_MPPT.part16.rar
http://rapidshare.com/files/233129976/GW_MPPT.part17.rar
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http://rapidshare.com/files/233147495/GW_MPPT.part22.rar
http://rapidshare.com/files/233150906/GW_MPPT.part23.rar
http://rapidshare.com/files/233154299/GW_MPPT.part24.rar
http://rapidshare.com/files/233158895/GW_MPPT.part25.rar
http://rapidshare.com/files/233162539/GW_MPPT.part26.rar
http://rapidshare.com/files/233166063/GW_MPPT.part27.rar
http://rapidshare.com/files/233166068/GW_MPPT.sfv
:
PASS: extrox.com
Set Extension and Lighting Effects - Matte Painting for Film with Chris Stoski | ISO
Dovnload: ISO size 3.13 GB | Rared size 2.27 GB
In today’s feature film industry, productions are in constant need of digital set extensions. On this third DVD in a series, Chris Stoski shows how digital set extensions are achieved. The lecture uses two examples to demonstrate matching simple and complex lighting in the plate photography, dealing with difficult lighting changes, matching the camera angle of the plate with 3D software, and adding camera movement in a compositing environment. The lecture results in the creation of two beautiful moving shots. In addition to Adobe Photoshop®, Chris uses Autodesk 3ds Max and Apple Shake to create these examples, but the techniques can be implemented with other popular 3D and compositing software as well. This DVD is designed for all skill levels.
Chris Stoski
Lead Digital Matte Artist
Industrial Light & Magic
Chris Stoski is one of the leading matte painters and concept artists in the visual effects industry. His clients and employers include Industrial Light & Magic, Lucasfilm, Matte World Digital, Warner Brothers, 20th Century Fox, Dreamworks, Touchstone Pictures and The Cartoon Network to name a few. Recently he authored a book entitled “d’artiste: Matte Painting” in conjunction with Dylan Cole and Alp Altiner, and published by Ballistic Publishing. His film credits include Star Wars Episode III, The Ring, The Last Samurai and Pirates of the Caribbean: Dead Man’s Chest. He currently works for ILM as a Lead Digital Matte Artist.
Topics Covered:
Plate Analysis
Perspective Matching
3D Modeling
Lighting
Composition
Motion Picture Plates
Digital Painting
Compositing
Animation
Chapters:
Working with the Plate
Painting the Set Extension
Compositing the Final Shot
Concept Sketch and Camera Matching
Painting, Modeling and Lighting
Test Composites and Modeling
Sign Animation and Compositing
Final Compositing and Painting
:
http://rapidshare.com/files/233170338/GW_SEaLE.part01.rar
http://rapidshare.com/files/233174441/GW_SEaLE.part02.rar
http://rapidshare.com/files/233178448/GW_SEaLE.part03.rar
http://rapidshare.com/files/233182397/GW_SEaLE.part04.rar
http://rapidshare.com/files/233186855/GW_SEaLE.part05.rar
http://rapidshare.com/files/233191256/GW_SEaLE.part06.rar
http://rapidshare.com/files/233196183/GW_SEaLE.part07.rar
http://rapidshare.com/files/233201212/GW_SEaLE.part08.rar
http://rapidshare.com/files/233205978/GW_SEaLE.part09.rar
http://rapidshare.com/files/233210731/GW_SEaLE.part10.rar
http://rapidshare.com/files/233222967/GW_SEaLE.part11.rar
http://rapidshare.com/files/233227849/GW_SEaLE.part12.rar
http://rapidshare.com/files/233232591/GW_SEaLE.part13.rar
http://rapidshare.com/files/233237376/GW_SEaLE.part14.rar
http://rapidshare.com/files/233242386/GW_SEaLE.part15.rar
http://rapidshare.com/files/233247473/GW_SEaLE.part16.rar
http://rapidshare.com/files/233252696/GW_SEaLE.part17.rar
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http://rapidshare.com/files/233284669/GW_SEaLE.part23.rar
http://rapidshare.com/files/233286271/GW_SEaLE.part24.rar
http://rapidshare.com/files/233286279/GW_SEaLE.sfv
:
PASS: extrox.com
Fluid Simulation with Glu3D - 3ds Max Techniques with Cetin Tuker | ISO
Dovnload: ISO size 3.07 GB | Rared size 1.87 GB
In this DVD, Cetin Tuker demonstrates the basic parameters of Glu3D in 3ds Max including the Glu3D main node, particle source, object manager and per object parameters. Cetin also walks you through a production quality fluid simulation animation project, starting from the storyboards. Modeling the objects in Max, scene setup and animation alternatives using the PWrapper function of Glu3D with the particle flow of Max, filling closed volumes with Glu3D particles and designing a fluid explosion are all thoroughly discussed. By watching this DVD you will see the entire production process for a fluid based commercial project.
Cetin Tuker
Cetin Tuker graduated from the Middle East Technical University in Ankara with a BA in Architecture in 1992 and completed his MA in 1996. He started working with 3D computer graphics in 1991 producing architectural visualizations and started his 3D teaching career in 1994. In 2001, after working on several multimedia and 3D animation projects, he joined the team of the AMBUSH – PUSU, the first Turkish 3D real-time action video game, and stayed with them through the project’s completion in 2004. He has since been teaching 3D animation and motion graphics in the Graphic Design Department of the Mimar Sinan Fine Arts University in Istanbul, Turkey. Cetin has a number of published articles in respected 3D magazines and his first book about “3D environment design” was published in 2006. Cetin also works as a character animator in the digital post-production field primarily for TV commercials.
Topics Covered:
Plate Analysis
Perspective Matching
3D Modeling
Lighting
Composition
Motion Picture Plates
Digital Painting
Compositing
Animation
Chapters:
Interface and Basic Parameters
Basic Parameters (continued)
Storyboard
Modeling the Objects
Scene Setup and Animation
PWrapper
Filling the Closed Container
Splash
Splash (Continued)
:
http://rapidshare.com/files/233465344/GW_FSwG3d.part01.rar
http://rapidshare.com/files/233468960/GW_FSwG3d.part02.rar
http://rapidshare.com/files/233472838/GW_FSwG3d.part03.rar
http://rapidshare.com/files/233476244/GW_FSwG3d.part04.rar
http://rapidshare.com/files/233479838/GW_FSwG3d.part05.rar
http://rapidshare.com/files/233483164/GW_FSwG3d.part06.rar
http://rapidshare.com/files/233486332/GW_FSwG3d.part07.rar
http://rapidshare.com/files/233489589/GW_FSwG3d.part08.rar
http://rapidshare.com/files/233492528/GW_FSwG3d.part09.rar
http://rapidshare.com/files/233495502/GW_FSwG3d.part10.rar
http://rapidshare.com/files/233498689/GW_FSwG3d.part11.rar
http://rapidshare.com/files/233502116/GW_FSwG3d.part12.rar
http://rapidshare.com/files/233505428/GW_FSwG3d.part13.rar
http://rapidshare.com/files/233508932/GW_FSwG3d.part14.rar
http://rapidshare.com/files/233511939/GW_FSwG3d.part15.rar
http://rapidshare.com/files/233515076/GW_FSwG3d.part16.rar
http://rapidshare.com/files/233518235/GW_FSwG3d.part17.rar
http://rapidshare.com/files/233521512/GW_FSwG3d.part18.rar
http://rapidshare.com/files/233525056/GW_FSwG3d.part19.rar
http://rapidshare.com/files/233525695/GW_FSwG3d.part20.rar
http://rapidshare.com/files/233525701/GW_FSwG3d.sfv
:
PASS: extrox.com
Brazil Material Fundamentals - 3ds Max and Brazil Techniques with Sebatien Chort | ISO
Dovnload: ISO size 3.28 GB | Rared size 2.23 GB
:
http://rapidshare.com/files/233622464/GW_BMF.part01.rar
http://rapidshare.com/files/233628010/GW_BMF.part02.rar
http://rapidshare.com/files/233633593/GW_BMF.part03.rar
http://rapidshare.com/files/233639114/GW_BMF.part04.rar
http://rapidshare.com/files/233644510/GW_BMF.part05.rar
http://rapidshare.com/files/233650225/GW_BMF.part06.rar
http://rapidshare.com/files/233655920/GW_BMF.part07.rar
http://rapidshare.com/files/233661675/GW_BMF.part08.rar
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http://rapidshare.com/files/233686546/GW_BMF.part10.rar
http://rapidshare.com/files/233698001/GW_BMF.part11.rar
http://rapidshare.com/files/233703930/GW_BMF.part12.rar
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http://rapidshare.com/files/233728239/GW_BMF.part16.rar
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http://rapidshare.com/files/233761997/GW_BMF.part22.rar
http://rapidshare.com/files/233766537/GW_BMF.part23.rar
http://rapidshare.com/files/233766559/GW_BMF.sfv
:
PASS: extrox.com
Pirateado de CG Persia
Get all texture libraries at once. The bundle consists of Jeremy Engleman’s 3 new titles - many gigabytes of textures as well as training on how to use them. Gnomon Workshop textures are high resolution and seamlessly tileable. This allows for the creation of texture pages of any size.
Every texture has a corresponding bump and specular map. These have been hand manipulated to ensure a proper bump and specular response, and are not simply a grayscale version of the color map. The textures are entirely handled and stored in 24-bit TIFF format to avoid any compression artifacts normally associated with JPEG images. Also supplied are features with alpha masks that add richness and variety to any texture project.
Bricks and Blocks (2 DVDs of textures and 1 DVD of training) contains 250 high resolution textures for the creation of all kinds of brick and cement block surfaces. Included are photographs of clean bricks, bricks which have been painted, bricks used as paving stones, rough and worn bricks, as well as specialty and decorative bricks. Gnomon Workshop textures are high resolution and seamlessly tileable. This allows for the creation of texture pages of any size - from the walls of an entire factory complex down to the exposed brick surrounding a mouse hole. Every texture has a corresponding bump and specular map. These have been hand manipulated to ensure a proper bump and specular response, and are not simply a grayscale version of the color map. The textures are entirely handled and stored in 24-bit TIFF format to avoid any compression artifacts normally associated with JPEG images. Also supplied are more than 200 features - texture maps with alpha masks that add richness and variety to any texture project. Included are features commonly found with bricks like graffiti, paint, windows and more.
Clean Bricks
Painted Bricks
Paving Stones
Rough and Worn Bricks
Specialty and Decorative Bricks
Special Features
Bump & Specular Maps for All Images
Training for Using the Library
1. Assembling Textures in Photoshop
2. Applying Textures in Maya
3. Applying Textures in 3DS Max
Distressed Metal (2 DVDs of textures and 1 DVD of training) contains 280 high resolution textures for the creation of all kinds of deteriorated and fatigued metal surfaces. Included are photographs of corroded metal, metal which has been painted, scratched metal, burnt metal, and severely damaged metal. Gnomon Workshop textures are high resolution and seamlessly tileable. This allows for the creation of texture pages of any size - from the small scale of a ragged cuff link up to the immense scale of a deteriorating oil refinery. Every texture has a corresponding bump and specular map. These have been manipulated to ensure a proper bump and specular response, and are not simply a grayscale version of the color map. The textures are entirely handled and stored in 24-bit TIFF format to avoid any compression artifacts normally associated with JPEG images. Also supplied are more than 150 features - texture maps with alpha masks that add richness and variety to any texture project. Included are features common to worn metal like paint, rust, bolts and more.
Corroded Metal
Painted Metal
Scratched Metal
Burnt Metal
Severely Damaged Metal
Special Features
Bump & Specular Maps for All Images
Training for Using the Library
1. Assembling Textures in Photoshop
2. Applying Textures in Maya
3. Applying Textures in 3DS Max
Planks and Panels (2 DVDs of textures and 1 DVD of training) contains 305 high resolution textures for the creation of all kinds of man-made structured wooden surfaces. Included are photographs of boards, panels, planks and posts as well as specialty wood constructions. Gnomon Workshop textures are high resolution and seamlessly tileable. This allows for the creation of texture pages of any size - from a fly’s eye view of a backyard fence up to the broadside of a majestic Spanish galleon. Every texture has a corresponding bump and specular map. These have been manipulated to ensure a proper bump and specular response, and are not simply a grayscale version of the color map. The textures are entirely handled and stored in 24-bit TIFF format to avoid any compression artifacts normally associated with JPEG images. Also supplied are more than 160 features - texture maps with alpha masks that add richness and variety to any texture project. Included are features commonly found with structured wood like nails, bolts, signs, hinges and more.
Wood Boards
Wood Panels
Wood Planks
Wood Posts
Specialty Wood Constructions
Special Features
Bump & Specular Maps for All Images
Training for Using the Library
1. Assembling Textures in Photoshop
2. Applying Textures in Maya
3. Applying Textures in 3DS Max
Soldados y armamento rusos
*.max | texturas | 16 MB
Usar HDRIs en 3Ds Max Guía paso a paso (Vray o Brazil)
Un pequeño tutorial que encontré en línea recientemente. No he usado Brazil por casi 4 años, pero para VRay no es malo para instrucciones paso a paso...
Guía en inglés
http://rapidshare.com/files/157747489/0020-HDRI-max-English.pdf
Pirateado de 3dsmax-stuff
Traducido al español por Fezz
VRAY Materials - Liquid
Materiales de www.vray-materials.de -con fecha de 25.01.2009
Otros ejemplos:
Liquid_02.jpg
Liquid_03.jpg
password: www.fuzja.com
http://rapidshare.com/files/189272835/Liquid.rar
….
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VRAY Materials - Automotive
Materiales de www.vray-materials.de - con fecha de 25.01.2009
Otros ejemplos:
Automotive_02.jpg
Automotive_03.jpg
password: www.fuzja.com
http://rapidshare.com/files/189307151/Automotive.rar
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VRAY Materials - Food
Materiales de www.vray-materials.de - con fecha de 25.01.2009
Otro ejemplo:
Food_02.jpg
password: www.fuzja.com
http://rapidshare.com/files/189317333/Food.rar
———————————————
Otros ejemplos:
Glass_02.jpg
Glass_03.jpg
Glass_04.jpg
password: www.fuzja.com
http://rapidshare.com/files/189317334/Glass.rar
