All posts for the month June, 2011

Elephorm – Apprendre le rendu 3D avec V-Ray 2 – Les fondamentaux
| Fran?ais | 5 H 20 Min | 6.2 Go + 2.7 Go

Chaosgroup V-Ray 2 is the 3D rendering engine the most popular in the world of architecture and design. Vincent Grieu, specializing in architectural visualization, will guide you through this training dedicated to 3D artists wishing to master the rendering engine V-Ray, a powerful engine that is associated with 3ds Max, fast and intuitive.
You will learn the fundamentals of VRay to achieve realistic 3D images with 3ds Max.

More Info:_





Xfrog 5 for Maya 2012 (Win/Linux/Mac)

Xfrog 5 adds many new Procedural Objects to Maya. By combining these with Maya components/objects you can create a wide variety of organic models and animations based on the building blocks of Nature.
These powerful Xfrog tools are added to your Maya modeling shelf :

Branch Object – Create multi-level branching structures with extremely realistic growth. Animate from seed to adult tree.

Phyllotaxis Object – Arrange components using the mathematical “golden section”. e.g. a sunflower’s petals and seed patterns.

Hydra Object – Arranges components in user defined specialized circular patterns. a wide variety of uses.

Curvature Object – Creates Splines which can be used as a basis for naturally curved leafs or twigs. A very powerful addition to Maya.

Variation Object – Combine different Objects with the Branch, Phyllotaxis and Hydra Objects, for example you can use different leaves scattered throughout a tree, or any sort of variations that you need for higher realism.

Tropism Object – Robust Photo and Gravitropism Simulator which pulls the entire hierarchy towards gravity and towards light, with infinite user controls over animation and strength.


Thanks to X-FORCE for the older keygen

http://www.url-dead/file/1341793634/Xfrog_5_170r_For_Maya_2012.rar - After Effects Apprentice 08: Nesting and Precomposition ? After Effects Apprentice 08: Nesting and Precomposition
Fileserve ? Filesonic ? Bitshare ? Hotfile ? Uploadstation ? WUpload | 1.74 GB

Course name: After Effects Apprentice 08: Nesting and Precomposition
Authors: Chris Meyer / Trish Meyer
Duration: 02h 05m
Released on: 6/29/2011
Exercise files: Yes

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This plugin allows to create chamfer (simple and advanced) selected edges and extrude

new polygons after chamfer.


3ds Max 2008 or higher



1: Copy the file “EdgeChEx.dlm” from the folder “32-bit” to the subfolder
“plugins” in the root folder of the 3ds Max 32-bit.


Copy the file “EdgeChEx.dlm” from the folder “64-bit”to the subfolder
“plugins” in the root folder of the 3ds Max 64-bit.

2: Start up 3ds Max (In Admin) and locate EdgechEx in the modifier stack.

3. Locate the? Authorization panel in edgechEx and copy the request code

4. Start up the keygen (in Amin) and paste the request code into the Id box and generate
a serial.

5. Copy the generated serial back into the serial box in EdgeChEx and click ok

6. Restart Max

7. Flux’d!

also note it will not actually say its registered succesfully it will just work without these limitations.

Limit for demo version:

  • Collapse modifier stack
  • Load and save parameters
  • Segment chamfering



Thanks to Lephar for supplying the retail 


To the FLuX boys for updating the keygen

As promised here is the vue 301 coarse from FXPHD

This course follows up on the Vue201 course, and offers intermediate and advanced Vue artists an opportunity to deepen their knowledge of the program and to acquire new practical techniques for production work. In the first half of the course we will concentrate on specific areas and tools in Vue, while the second half will essentially be a detailed work-through of a VFX shot involving Vue ? from initial planning stages to final Nuke compositing. Throughout this course we will also get a chance to explore and use the great new features of Vue 9.

Eran Dinur is compositing supervisor at Brainstorm Digital. Previously he was a senior digital artist at ILM Singapore and Framestore NY. He has created visual effects for films such as “Clash of the Titans”, “Salt”, “Transformers: Revenge of the Fallen”, “Surrogates”, “Terminator Salvation”, “Star Trek”, “Iron Man” and “Indiana Jones and the Kingdom of the Crystal Skull”. Dinur is a true Vue veteran, and has been using the app extensively since version 2 in numerous projects. He has written Vue tutorials for various publications, including 3D World Magazine (for which he is a regular contributor), and has created many sample scenes for Vue xStream, Infinite and Esprit.

Class 1: Modeling with displacement – Displacement can be used as a powerful modeling tool in Vue. We will create a custom ?rock generator? material, examine the potential of the world coordinates system, mix fractals, model high-detail cliffs with MetaBlobs and use the great new parameter publishing feature of Vue 9.

Class 2: HyperBlobs and sub-surface scattering – Building on the previous class, we will take a look at the new HyperBlob feature which combines displacement, volumetric shading and MetaBlobs. We will then move on to sub-surface scattering. By looking at how the different parameters affect the look of the material, we will create more natural-looking shaders for ice and marble.

Class 3: Relighting and advanced lighting techniques – The new relighting feature in Vue 9 is a fantastic tool, but requires a switch from the standard Vue lighting paradigm in order to fully exploit its potential. We will create a lighting rig with selective lighting and explore various lighting techniques.

Class 4: Terrain modeling with the Rocky Mountain fractal – Another great new feature in Vue, the rocky mountain fractal packs a lot of power, and we’ll spend the entire class not only uncovering its secrets but also looking deeper into the function editor and tgerrain modeling in general.

Class 5: Vue in production ? part 1 We will discuss different aspects of using Vue in production ? its strengths and weaknesses, its role as a matte painting tool, the use of Vue for 2D, 2.5D and 3D. We will then examine the shot and come up with an initial strategy, before heading off to 3D camera tracking.

Class 6: Vue in production ? part2 We will use Maya to create a master layout scene that will enable us to streamline the workflow in both Vue and Nuke. Next we will look at the correct process of importing the scene and camera into Vue and setting up a basic scene.

Class 7: Vue in production ? part3 In this class we will start creating elements in Vue and bringing them into Nuke. We will concentrate on the 2.5D elements, rendering out single frames and passes from Vue and setting up projections in 3D space in Nuke, while I finessing and retouching the Vue elements in comp.

Class 8: Vue in production ? part4 We will move on to creating fully 3D elements and renders. We’ll look at the different solutions, from importing Vue tree models directly into Nuke to rendering out animations in Vue. We will discuss subjects such as flicker reduction, correct lighting, motion blur and texturing.

Class 9: Vue in production ? part5 In this class we will continue working on the shot, adding more elements while finessing the comp. We will also take a look at creating volumetric and atmospheric effects, in Vue as well as in Nuke.

Class 10: Various subjects – In the last class we will take a closer look at Vue trees and see how we can re-generate and edit their textures to improve the way they look. We will also explore shadow-mate materials, as well as the new reflection-matte and ambient relighting control features of Vue 9.5. 301 – Advanced Vue Technques_CGPERSIA.part1.rar 301 – Advanced Vue Technques_CGPERSIA.part2.rar 301 – Advanced Vue Technques_CGPERSIA.part3.rar 301 – Advanced Vue Technques_CGPERSIA.part1.rar 301 – Advanced Vue Technques_CGPERSIA.part2.rar 301 – Advanced Vue Technques_CGPERSIA.part3.rar

Special Thanks:

To ‘THE MAN’ PDK for this awesome supply!

cmiVFX – Nuke Advanced Keying And Channel Operations with Expressions

| project files | .mov | 933Mb

In this in-depth training video you will learn, step-by-step, to create perfect mattes from green/blue screen footage (process screens) in Nuke. You will learn to use multiple keying approaches that will prepare you for any shot, and the various challenges that inevitably arise. You will learn proven ways to fix problems, such as preserving hair detail and removing color spill from process screens. Color spill is almost always a problem and dealing with it is one of the most important aspects of integrating your process screen elements into a shot. After learning these techniques Nuke will become an indispensible solution for even the most challenging keying and channel operations.

Simple Color Difference KeySimple Color Difference Key
In a green screen shot, for example, simply subtracting the green from the red channel can create a good starting point for a matte. All commercial keyers will take you some of the way there but, more often than not, your shot will require a multiple step solution. Having access to the component parts of a multiple layer keyer can help you hone in on problem areas and solve your keying issues in less time – freeing up time to refine the composite layers and blending. (see also Modular Keying)

Combining Mattes: Inside, Outside & Edge Approach
Nuke & NukeX come with a range of excellent keyers. All of them are able to produce (and output) an alpha channel and matte. These mattes can be combined for a more refined approach when a single key does not achieve the desired result. One method can create a solid, or hard, ?inside matte? that removes all the unwanted noise from the outside of the matte. Once this hard matte is created, the artist can focus on refining the edges of the subject to extract all the detail required. You will learn which shots are the most appropriate for this more advanced approach to keying. There are several training videos that focus on this approach to keying as well as some free ones in our library.

Combining Mattes: Individual Areas of Interest
A general key might give a good matte, but there are usually areas that need special treatment, i.e. hair, a dark shoulder etc. Utilizing what is known as an ?area of interest? we can focus on specific areas in the matte and produce a key that addresses the specific problems for just this selected area. When several mattes of this kind are combined into one matte it is possible to solve an array of complex keying problems. This method can also be used in conjunction with the “Inside, Outside & Edge Approach”. If you are familiar with “Maynard Keying” or “Blocking Out” techniques (please refer to further cmiVFX keying videos on these subjects) this section of the video will enable you to construct powerful procedural keyers with the utmost control.

When working with green or blue screen material it is very common for the color of the process screen to reflect onto the subject. This ?spill? will appear as a color cast on the subject when included in your composite. The use of some simple expressions can remove this color cast and enable you to achieve the best possible result. A substantial degree of control over the ?despill? area can be achieved in Nuke by the use of a despill node network. Expressions are non-intuitive to many beginners but just a limited knowledge of some simple expression code can save any artist a ton of valuable time. This portion of the video is a staff favorite!

Changing the Color of the Despill
Simply suppressing the spill color does not always improve the integration of the element into the shot. Usually this method simply introduces a different cast to the subject?s edges. When the ?despilled? color is not present in the background element it will be just as out-of-place as the spill itself! In this chapter you will learn how to change the spill color to integrate with the colors in the background plate. There are several ways to do this using one of several applications. However, one method is faster than the others in most scenarios. We will share the proven method that our research shows is the best and quickest process!

Retrieve Edge Detail
Even when a good, basic key is obtained it is still likely that some of the edge detail will be lost along the way. This is almost always true when one relies on the use of a single commercial keyer. You can make your life so much easier by learning an alternative solution that enables you to retrieve that missing detail. Using a clever method of applying the original foreground element over the background plate (prior to adding our keyed element on top) you can achieve an astounding result in no time ? a technique that you will use over and over again.

Evening / Leveling Green Screen
In order to use the above method to recover edge detail, you will need a consistent, flat process screen with no irregularities. Such a flat process screen would also be handy for other operations. By comparing a clean plate, the actual shot, and a solid green constant we can produce a matte that will enable us to level out any irregularities in the screen as it was shot on set or location. It is true that even the best Visual Effects Supervisor can be forced by time constraints or other circumstances to present you with a less than optimal process screen! This method of achieving a flat green screen is invaluable.

Mocking Up a Clean Plate
Quite often shortcuts in production, as illustrated above, can mean more work for the artist. An adequate clean plate is not always supplied with a set of shots. There are ways an artist can create such a clean plate from the available elements and solve various problems in the shot. One method is to remove the foreground that was shot in front of the process screen and use neighboring colors to fill in the void. This is known as ?color remapping?. Once a clean plate is produced it can be used to help produce a flat process screen that can be used to retrieve the finest edge detail. This technique can even be used to extract a key for an object on a background that was never intended as a keying scenario – without process screens.

Light Wrap
The effect of light coming from the background and engulfing the foreground element can be essential to make a shot look convincingly real. We will show you how to quickly build such a set up that will give you full control of this effect. This will allow you to produce realistic light wraps rather than just a bright fringe that other methods simply add around the foreground object.

This is not your basic keying video. We bring you in-depth, ?software impartial? and intuitive techniques to add to your arsenal – techniques that you will use in your own workflow every day. We are very excited to bring you these tools because we know they will make your job easier and much more fun!

Home page:

Download Links:-




There was a post of this before but it was all corrupted and bits were missing
here my version is fully complete contains no errors at all

Total Textures V19 ? “Destroyed & Damaged” contains a group of images relating to manmade destruction and includes damage caused by bullets and shells. Most of the textures have been crafted from original photography whilst a handful incorporates some hand-painted details. The effects of fire and vandalism are also covered, as well as acid spills. The textures would suit any war-torn environments, as well as being appropriate in almost any architectural context, and include damage to metal, stone and wooden surfaces.
This DVD contains 130 individual images comprising of over 440 individual handcrafted texture maps. Each texture has been hand crafted from 100% original photography, and each has their own unique bump and specular map included.
The ‘Tiff’ files included carry an appropriate alpha channel and can be saved out by using the ‘Save as’ option when ‘right-clicking’ (PC) or ‘option-clicking’ (Mac).

Product details

Texture format: jpeg, tiff,
Average texture resolution: 1600 x 1200
Interface: HTML interface providing easy browsing and map selection
Software: Compatible with all 3D software packages
Browser: Compatible with all browsers
Computer: PC and Mac compatible
Format: Texture DVD


Total Textures V18 ? “Sky Textures” is a collection of high resolution panorama textures that can be applied to a sky dome and are set up ready to work within such a 3D environment. Due to their huge size (over 17,000 x 5,000) they can alternatively be used as a background pass in 3D render composites or even mapped onto a plane. They incorporate different weather conditions ranging from stormy and overcast to clear and sunny and have also been taken at different times of the day from the morning through to afternoons and sunset.
This DVD contains 101 individual images. Each texture has been hand crafted from 100% original photography and is also of course totally flexible, meaning it can be used in many projects.

Product details

Texture format
: jpeg, tiff,
Average texture resolution: 17,430 x 5,137
Interface: HTML interface providing easy browsing and map selection
Software: Compatible with all 3D software packages
Browser: Compatible with all browsers
Computer: PC and Mac compatible
Format: Texture DVD


In this bundle you will receive both the Female and Male Pose tutorial. Learn how to paint a male and female in a standard standing pose. Each video has about 5 minutes of additional footage talking about basic measurements and more refining of the painting. Both of these videos are filmed in real-time so that you won’t miss a moment of the action. High res (1500 pixels wide) layered psd files of each painting are included in the bundle along with the brushes used for each painting.

Female Pose
Length – 44:43
Male Pose
Length – 44.50

Format – QuickTime HD 1440×900


fxphd – AFX205 – After Effects Motion Graphics II
English | AVC1 1152×720 | AAC 64 Kbps | project file | 2.49 GB

Genre: eLearning