All posts for the day April 18th, 2010


Creature FX: Volume 1 is the first in a series of training DVDs designed to focus on dozens of the visual effects associated with characters, creatures and other organic and animated subjects. It introduces many advanced industry techniques developed specifically for the latest crop of effects-laden films and utilizes up to date software and methods to create blockbuster visual effects!

In Volume 1, you’ll learn the entire creative process for generating convincing character disintegration effects; similar to the visual effects created for the upcoming action feature film Day Breakers (release date early 2010) to create a character bursting into flames and burning away. Each layer of this effect is meticulously handled through advanced particle systems, scripting, fluids and advanced shader techniques.

This training includes the initial construction of each layer of the effect, the rendering out of each layer pass and the construction of a heavy 2D composite to bring all of the render elements together into one seamless visual. You will see how to effectively tweak each layer and utilize compositing tricks to enhance the overall visual effect. Not only will you cover how to create this effect, but also how to conceptualize and create an intuitive workflow process for building the entire visual effects pipeline, so you can make changes on the fly and the entire system will update and adapt. Moreover, you’ll see how to replicate the pipeline easily for dozens of other effects shots!

With over 8 hours of advanced training content designed for intermediate to expert level artists but designed in a way that any 3D user should be able to follow and understand – CreatureFX: Volume 1 is guaranteed to raise the level of anyone’s visual effects work, teaching them core techniques and evolving into Hollywood blockbuster visual effects methods.

Just look at the course outline:

DISC 1: Effects Creation

1. Introduction
2. Particle Mask Generation
3. Creating Particle Triggers
4. Creating Sparks
5. Generating Flames
6. Tweaking the Flame effect
7. Creating Ash Layers
8. Bringing the Fire and Ash Layers Together
9. Creating Smoke
10. Building a Burn Shader
11. Floor Impact FX Elements
12. Generating Fire Sparks

DISC 2: Compositing

1. Masking Channels
2. Building the Initial Comp Tree
3. Illumination
4. Lighting
5. Advanced Compositing
6. Finalizing the Look



Pass: sharing_is_caring


In case you hesitated with your purchase yet because you were wondering if both training DVDs would come cheaper in the bundle we are happy to tell you that saving time is here!
Get both DVDs in one shipment and enjoy 16 hours of training on Particle Flow Toolbox 1,2,3,Krakatoa and RayFire.

The complete course outline:

Box 1 videos:
1. Feather Rig
2. Scripted Fracture
3. Laola Wave
4. Brittle Wall
5. Floating Money

Box 3 Pro videos:
1. Introduction
2. Driving Particles with Grayscale values
3. Gradient by Distance
4. Speed by Gradient
5. Color by Camera Angle
6. Ocean Wake Particles
7. Revolve along Surface
8. Pipe Sub-Operator
9. Random Sub-Operator
10. Align to Object
11. Positional Object Locks
12. Force Influencer
13. Influence by Distance
14. Animated Collisions
15. Fire Embers
16. Shape Controls
17. Nanomites Part 1
18. Nanomites Part 2
19. Contol by Proxy
20. Pimp my Toolbox

Box 2 Pro videos:

1. Introduction
2. Explaining the Glue Operator
3. Me & My Katamari
4. Squash
5. Donuts
6. Bomb
7. Particle Cloth
8. Capture Net
9. Bamboo Ragdoll
10. Foliage
11. Ripping & Tearing
12. Glass Shattering

Box 2 Pro & Box 3 Pro videos:
1. Box 2 & 3: Bomb
2. Box 2 & 3: Avalanche
3. Pimp my Toolbox

RayFire videos:
1. Grayscale Fracture
2. Activate by Force
3. Custom Properties
4. Glue



VUE8 and Vray in 3dsmax 2011

Well my friends after scratching my head as many have trying this and looking for an answer I found the way as how this could work I saw that max 2011 can support many plugs from 2010 but the thing is that some structures of max 2011 have vary so something belong somewhere else now. So to make VRAY render VUE8
1. Go to the Max2011 plugins directory
2.Go into the vrayplugins folder
3. look for the Vue7xStream.dlr
4.copy this file and now paste it out side the folder in the normal plugins folder, or you can just transfered with out copy and paste.

Do make sure to delete the extra copy of Vue7xStream.dlr if you have copied and pasted the file so no the only file is on the plugins folder.

Well this is it fire up Max2011 and render in VRAY
Note make sure before starting any Vue8 to first set the render to Vray and than start using VUE8 for it might go a bit off, it has not happen to me but just in case.

This works for I have succesfully render VUe8 in mental ray and now on VRAY with out any problems
I am not trying maxwell render but its more tricky, realflow pluging works fine

3Delight 9 & 3Delight for Maya 5 32Bit & 64Bit Win/Linux

3Delight For Maya is our plug-in for Maya users wishing to create high quality work that is sometimes difficult to achieve using Maya’s internal renderer. The plug-in was designed to be easy to use for Maya artists as well as provide the necessary power and flexibility for the more demanding production environments. Users can rapidely experience the power of the 3Delight renderer in their projects thanks to HyperShade support, complete geometry support and direct rendering to Maya’s render view. Advanced features include multi-pass work-flow, RIB output, MEL RenderMan? binding, multiple output variables, photon mapping, etc …This tool has already a wealth of production experience and has been used with success in productions such as X-Men 3, Chronicles of Narnia and Fantasic Four.

Rendering Features
Two Render Modes
Both direct rendering in Maya (including rendering into Maya’s render view) and RIB export are supported. Direct rendering is useful in normal lighting and rendering work while RIB export can be used for render farm rendering. RIBs exported by 3Delight For Maya are optimized for size and can be written in compressed binary form.

HyperShade and RenderMan Shaders Support
Both RenderMan shaders and Maya’s HyperShade nodes can be assigned to objects. HyperShade nodes are automatically converted into human-readable SL code and compiled for rendering. New HyperShade nodes can easily be added by providing 3Delight For Maya with their SL code.

Motion Blur and Depth of Field
Multi-Segment motion blur and realistic camera shutter simulation contribute to high quality rendered images. Compared to other rendering software, motion blur in 3Delight For Maya is fast. Depth of field is fully supported and simulates a realistic camera bokeh.
High Quality Anti-AliasingEdge anti-aliasing, motion blur and depth of field quality are all controlled using very simple and predictable controls. “Pixel Samples”, “Pixel Filter” and “Filter Width” are the most common parameters one needs to know. Contrary to other rendering packages, such as ray tracers, increasing pixel samples for higher quality anti-aliasing does not affect performance significantly.

Geometric Displacements
Displacements are efficiently rendered to sub-pixel accuracy. Hypershade displacement shaders as well as RenderMan shaders can be assigned to geometry.
ShadowsBoth ray tracing and shadow maps can be used to render shadows. Shadow maps can be rendered in “deep” mode for realistic shadows in hair and fur. Additionally, 3Delight For Maya can automatically generate “cube shadow maps” for point lights. Contrary to other rendering packages, cube shadow maps are not stored as six separate shadow maps but in one special shadow map.

Ray Tracing
Reflections and refractions are accurately rendered.

Global Illumination
Photon maps, caustics, final gathering and image based lighting are supported.

Subsurface Scattering
Automatic subsurface scattering can be enabled on a per-object basis and delivers impressive results, fast.

3Delight For Maya offers a multi-pass rendering workflow that is suitable for production work. “Render Passes” can be used to render different components of a scene (as in “Render Layers” or to render different lighting characteristics of a scene (such as diffuse, specular or ambient occlusion). In short, a render pass can define the following parameters (please refer to the User’s Manual for a thorough description):
Camera and quality options

Render mode. Either direct render or RIB export.
Objects to render. Maya sets can be used to define groups of objects to render in a given pass. The default is to render all objects in the scene.
Light sources to render. Maya sets can be used to define the light sources that are used. The default is to use all light sources.
Clipping planes to use. A 3Delight For Maya clipping plane can cut space in any desired direction to clip away geometry. Clipping is performed at sub-pixel accuracy and can be used, for example, to cut an object in two.Additionally, a given render pass can use a certain “shader collection.” This means that objects can have different shaders assigned to them, depending on the pass being rendered. The User’s Manual provides more information about this unique feature. Note that one could simply use one render pass for the more traditional one layer rendering.

Supported Geometry
Maya Hair and Paint Effects
Rendered using 3Delight’s efficient `RiNuCurves’ primitive.

All types of polygons, including those with holes, are supported. Additionally, polygonal geometry can be tagged as a subdivision surface and rendered as such.
NURBS (Maya surfaces)All NURB surfaces are supported. Trim curves on surfaces are also fully supported and rendered to sub-pixel accuracy. All surfaces are rendered smooth.Hierarchical Subdivision SurfacesFully supported, including both creasing and partial creasing on edges and vertices as well as per-level UV sets. As always, all hierarchical subdivisions are rendered smooth and to sub-pixel accuracy.

“Point”, “blobby”, “sphere” and “patch” particles are supported. “Point” particles are rendered using 3Delight’s efficient lightweight particle primitive.
Curves.Maya curves can be tagged as renderable on a per object basis and rendered using 3Delight’s RiNuCurves primitive.Additionally, UV sets, texture reference objects and normals (if any) are correctly assigned to all primitives.

Configurability and Flexibility
As with all serious production tools, 3Delight For Maya has been designed with flexibility in mind. In fact, no other rendering plug-in on the market achieves the same balance between integration and configurability.
We implemented most of the RenderMan interface in MEL, which means that you can call RenderMan commands in your MEL scripts. Other packages mainly provide “RIB boxing” capability.
3Delight For Maya was written mostly using the MEL RenderMan interface which means that one can modify it at will. Only core functionalities have been programmed in C++ for performance reasons.

Import and Export
Output Formats
3Delight For Maya can save rendered images in many file formats, including: TIFF, IFF, OpenEXR, cineon, bmp, sgi, softimage and PSD.

Input Formats
Maya’s textures used in HyperShade shaders are automatically converted to 3Delight “.tdl” textures. When using RenderMan shaders, 3Delight’s texture converter (tdlmake) can be used to convert the most common images formats to “.tdl” textures.
HDR Images tdlmake can convert high dynamic range probes (both normal and “twofish” probes) images into environment maps suitable for image based lighting.

3Delight 8.5 and 3Delight for Maya 4.5 released
This release includes support for RSL 2.0 (shader objects and co-shaders) and further ray-tracing optimizations that should give significant performance gains when rendering displacements and motion-blur. 3Delight for Maya includes a new relationship editor to quickly explore and assign shaders and attributes as well as new “edge rounding” features to easily bevel edges on polygonal geometry.

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If you like this software,Buy it

Enjoy !
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3Delight 9 & 3Delight for Maya 5 x32Bit & x64Bit Windows Version

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3Delight 9 & 3Delight for Maya 5 x32Bit & x64Bit Linux Version

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In this series of lessons we’ll learn how to use Nuke’s tracker to create keyframes from real life footage. This is an important technique for matching an image or animation’s position, rotation, scale and perspective shift to film.

We’ll begin this project by learning the basics of the tracker node and create a one point track using some simple footage. We’ll then learn how to apply the tracker data to other nodes using expressions. We’ll then learn how to do a two point track on real footage and create a black-bar effect over someone’s eyes. We’ll track the four corners of a TV to replace the image on the screen. Lastly, we’ll then learn some tips for getting a track from difficult footage using color correct techniques.

More Info: