Learn how to take your skills to the next level. This Advanced Rhino Tutorial Video is the ultimate in comprehensive learning for the discerning professional.

The training uses broadcast quality audio and video to deliver concise and informative training right to your desktop. The training comes complete with practical working files and presented via an intuitive, easy-to-use interface, allowing you to learn at your own pace.


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In this DVD Hristo Velev takes up from Part 1 in this series, to go deeper into the intermediate concepts of Thinking Particles. Everything from Raycasting, Referencing, Motion Inheritance, Generation, Driving Scene Objects, Shape Collision, Fragmentation, Caching, Joints, PhysX Dynamics, Deformation, Displacement, Map-Based Interaction, Particle Interaction, Custom Data Streams, FumeFX Interaction, and more are fully explored in this DVD.

This DVD is perfect for those who want to learn more about Thinking Particles and why many studios are using it in production today.






meh stupid seedbox WORK! will get this up asap

Thanks to the supplier!

RealFlow has become a commonly-used fx tool for film and commercial production, dominantly for creating fluids like water,
blood and molten chocolate, but increasingly for complex rigid and soft body dynamics.
Out-of-the-box, it can create beautiful, organic animations driven by physics, and with some practice and knowledge,
artists can achieve astounding, high-end, art-directed visuals at the cutting edge of visual effects.

Class 1: Oveview.
Like all mature CG packages, RealFlow is a maze of details, features and parameters.
This class functions as a quick overview to highlight those aspects that are crucially
important to most project work, to help you sort thru what’s important,
and what you can not worry about (for the most part).
In the class we’ll go over the elements of the UI that you need to know;
menu items that are important but often overlooked by even experienced fx artists;
the core functionalities so you know what’s RealFlow can do;
and the basic workflow that you’ll use over and over again in your work.

Class 2: Particle Fluids, Part 1
Art-directed pour into a glass – If you start using RF for production,
you will be surprised how often you find yourself doing a pour of fluid into a glass.
Weirdly, each time you do it, the project needs will be sufficiently different that you’ll
find it challenging, making it worth a class.
Also, it makes a great intro to dealing with particle emitters, daemons, object interaction
and the standard workflow.
Here we’ll pour fluid from a bottle into a glass according to specific shot needs,
and make the fluid behave in a naturalistic, yet art-directed way.
The art-direction is always the source of the challenge.

Class 3: Particle Fluids, Part 1
Forming a word out of rain hitting a windshield – In this class we’ll continue to explore
particle-based fluids and their interaction with objects, this time creating a rain storm
hitting a car, and using the fluid to form a logo on the windshield.

Class 4: Meshing and options for visualizing your sim results
After you’ve created your simulations, you have to render them.
There’s now quite a wide variety of ways to do that, but typically this involves generating
meshes around your particles first.
We’ll cover the ways of meshing in RealFlow. Also, we’ll discuss alternative methods of meshing
and also particle rendering, to give you a broader feeling for how to turn your results into images.

Class 5: Getting to know grid fluids
Flood-forming a logo – RealFlow 5 includes a brand new fluid solver called a grid fluid, and in this class
we’ll start working with it.
It’s designed for doing larger-scale simulations, so we’ll start by forming a logo with a giant flood.

Class 6: Grid fluids 2
Beach scene – In this class, we’ll extend our knowledge of the grid fluid solver by creating an oceanside
simulation of waves washing up on a beach.

Class 7: Realwaves Intro

Making a basic ocean surface – Construct a choppy, open ocean surface using the new rwc workflow,
including some floating debris, and make it tile to create a larger ocean patch.

Class 8: Rigid and soft bodies,and basic Python, Part 1
Shooting a basketball – Set up a rigid body sim for a basketball shot. Make the basketball a soft body.
Use a python script to set a target direction for the initial velocity.

Class 9: Rigid bodies and basic use of Python, Part 2

Firehosing a moving target near a swimming pool – Set up a rigid body sim of a swimming pool scene
and a moving target. Use the previous targeting script to shoot a fluid jet at a pinata swinging on the
end of a chain over a pool. When hit, have it break apart.
Have the rigid bodies and the fluid interact with the pool.

Class 10: Extending Python

Building a custom force field to make a lava lamp
Create a scripted force field that makes fluid oscillate up and down in a container,
making a lava lamp.

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Torrent will arrive when I have access to my new seedbox which is not yet available.


Build Order. Audi A5 Sportback (phase-1 model)

-Building the Roof Surface
-Building the Front Screen 1 & 2
-Building the Apex-less Hood
-Front (grill) pannel
-Headlamp Area phase-1
-Grille Aperture + Offset Backing Surf.
-Side Glass Aperture Theoretical Surf. Virtual Sheet Metal
-Cant -Rail
-Shoulder. Creating the Shoulder
-Rear Deck Curve
-C Pillar
-Body Side Surf.
-Fender Front
-Fender Rear
-Rocker Panel
-Bumper Rear
-Apron Rear
-Rear Panel
-Apron Front
-RS4 Wheel





Thanks to epiclulz folr the supply

Due to the dev coming here threatening one of our members here is the full set of Vertex Pusher tutorials
have fun

Introduction to Cinema and Modeling

This tutorial is designed to get you inside Cinema 4D quickly from scratch, it is for both beginners and advanced users.
It covers every aspect of modeling you will need, and it gives numerous tips about workflows.
After watching there will be no more questions on how Cinema 4D operates, or how do I model this or that?
You will feel at home in Cinema 4D and be able to know exactly how to model certain tasks.
Even most complex objects and forms, like human head will not present a problem.




Lighting, shading and rendering

You dont know how to create really good shaders? Have problems with lighting? cant pull that nice realistic render? Global illumination, ambient occlusion, caustics, channels, SSS, UVW projections, too many settings? Which value should I put here? what is this? what are this samples? and so on…so many questions did not have answers until now.
Find out in this great 10 hour in depth training, which leaves no questions unanswered, how to set up and calibrate your scenes, how to light them properly and create really good materials, understand all material channels and effects, learn how to render, optimize, tweak and understand all those settings and master Cinema 4D in lighting shading and rendering.




So you think rigging is complicated? You’ll find, with this tutorial, it’s actually much easier than it appears at first glance.

Find out with this unique, mind blowing training how to rig your characters, create setups with Xpresso and learn how to use scripting the easy way. This is only a small portion of the wonders inside!
This training is packed with valuable information and will open your eyes to an amazing toolset that lies inside Cinema 4D. A toolset that can truly take your skills to the next level.
You will learn how to build your rigs with complex setups involving xpresso and scripting from scratch, along with numerous workflow tips, including advice from seasoned professional.




Gain insight in high end workflows and techniques in this fantastic training. The training is project based in depth modeling course of a complete female character from scratch, that is built for rigging and animation purposes. Training can be followed independently of other trainings we offer however Vol.1 should be watched to be able to follow with ease. You can expect high-end modeling techniques including fantastic quad solving, topology guidance, upscaling/downscaling, detailing, referencing, golden ratio structuring and much more.




Project 2 – Breath of life

In this truly epic training that deserves even more than it’s Master series status, we will tackle one of the most difficult tasks imaginable – rigging a realistic human from scratch with accessories. We will start by creating joints, then proceed with various setups for automated behavior and natural appearance of the character.

We will create the final result with multitude of tools inside Cinema4D ranging from IK/FK, SplineIK, Constrains, Posemorph, weighting, mirroring, Mograph, deformers and Vertex maps to advanced setups made by Effectors, Tracers, Xpresso and Coffee. In the training we will create custom controllers and interface for our specific needs, and also both cloth and hair for our character and combine that into fully functional rig.
Through this rigging masterpiece, professional workflows and insider secrets are finally available for you to absorb. You can expect sea of information and useful tips and tricks, with fantastic problem solving, and the amount of tools and techniques used is simply overwhelming and cant fit into this brief description.




Bonus Classes.





Digital-Tutors : Introduction to Lighting in Maya 2012

Digital-Tutors : Introduction to Lighting in Maya 2012
Fileserve – Filesonic – Bitshare  – Uploadstation – WUpload | 500 MB | Single Link


Introduction to Lighting in Maya 2012
  • 1 hrs. 46 min.
  • Released on June 1, 2011
  • Project Files Included (22 MB)
  • Required Software: Maya 2012 and up Continue Reading

fxphd’s popular camera tracking specialist Victor Wolansky teaches this third PFTrack in production course continuing his tendency to tackle only the most difficult shots. You’re sure to pick up a ton of new, high-end techniques for both object and camera tracking.

Class 1:
Using the auto tracker node, cleaning the auto trackers by solving parts, the importance of initial frames and prep for geometry construction.
Class 2:
Image modeling, one of the key features of PFTrack.
Class 3:
Calibrating multiple cameras, with and without motion, and important step for object tracking and mocap tracking.
Class 4:
Object tracking from multiple cameras, perfect combination for more accuracy and automatic sizing of the tracked object.
Class 5:
Geometry tracking. Using geometry, OBJ and FBX to track an object, or camera. A non-conventional tracking that can save a lot of time in some cases.
Class 6:
Geometry tracking, a new kind, tracking non rigid objects and deformations.
Class 7:
Texture extraction, new tools with proper UV mapping.
Class 8:
Stereo tracking techniques.
Class 9:
Tracking water.
Class 10:
An experiment on facial tracking and replacement.




Special Thanks:

To PKD for this!

SynthEyes 2011 offers a complete high-end feature set, including tracking, set reconstruction, stabilization, and motion capture. It handles camera tracking, object tracking, object tracking from reference meshes, camera+object tracking, multiple-shot tracking, tripod (nodal, 2.5-D) tracking, mixed tripod and translating shots, stereoscopic shots, nodal stereoscopic shots, zooms, lens distortion, light solving. It can handle shots of any resolution—DV, HD, film, IMAX, with 8-bit, 16-bit, or 32-bit float data, and can be used on shots with thousands of frames. A nifty feature simplifies and speeds tracking for green-screen shots. The image preprocessor can help remove grain, compression artifacts, off-centering, or varying lighting; improve low-contrast shots; or shoe-horn shots into available RAM for quicker handling.
Textures can be extracted for a mesh from the image sequence, producing higher resolution and lower noise than any individual image.

SynthEyes offers complete control over the tracking process for challenging shots, including an efficient workflow for supervised trackers, combined automated/supervised tracking, offset tracking, incremental solving, a hard and soft path locking system, distance constraints for low-perspective shots, and cross-camera constraints for stereo. You can set up a coordinate system with tracker constraints, camera constraints, by aligning to a mesh, a line-based single-frame alignment system, or manually.


SynthEyes exports to about 25 different 2-D and 3-D programs. The Sizzle scripting language lets you customize the standard exports, or add your own imports, exports, or tools. You can customize the color scheme, keyboard mapping, and viewport configurations.





For starters we’ll use a simple shot and do the most obvious thing when you first open Syntheyes: A completely automatic track. In a matter of literally seconds you’ll have a pretty usable result, that will quickly improve by using some simple clean-up techniques. Orient the scene in 3d-space and insert 3D-objects into your scene to test if everything works, export your camera-solution and voilá – you have a decent matchmove in just a few minutes.

Solving a shaky handheld shot
Life not often makes it easy for you, and so you’ll often be confronted with things like motion-blur, camera-shake and lens-distortion. So for the more difficult shots we’ll have to bring the big guns in. Automatic tracker cleanup, manual control over each tracker-curve in the graphs-editor and fine-tune trackers can really improve your camera solution. To solve fast and shaky hand-held footage with lots of motion-blur it’s best to use supervised tracking to give you the most control over each tracker. If you’re footage was shot with a lens that has barrel-distortion then you have another problem that can make things more complicated. Tracks will have lots of errors, and 3D objects will not fit to the footage not matter what. Luckily Syntheyes has a clever way to get rid of lens-distortion. Or even to re-distort the CGI, if the director wants to work with the original footage later in compositing.

Modeling with Syntheyes
With the tracking-features and resulting 3d-points you can not only define the camera, but also re-model the scene, just use the points to define a mesh! And if there are not enough features for you to re-create the scene, insert zero weighted trackers (ZWT) that don’t affect the camera solution but will position themselves in the correct place in your 3d environment. And if you need more organic shapes to be rebuilt, add thousands of 3d-points all at once to build your mesh. You can even texture that mesh by using camera-projection right within Syntheyes, to test if camera-mapping will work later in your 3d- or compositing-application.

Solving Tripod shots – with 3d environment?
The common problem with tripod shots is that it is impossible to get any usable 3d information out of just a camera-pan. The solution of the camera movement might be good, still it can be hard to position it in a reasonable and exact way in 3d-space. That problem can quickly be solved with Syntheye’s lens-tools. Use any straight perspective lines in one frame of your tripod-shot to setup a coordinate system that let’s you position objects in your scene more easily – that makes life easier for the 3d-artist! You can even use that method on still images.

A moving camera – and a moving object!
Although primarily a camera-tracker, Syntheyes does a really good job at object-tracking. The last chapter of this tutorial shows you how to track camera and objects in one scene altogether, how to setup their coordinate systems and how to orient them in 3d-space. You can really do amazing things with this great software. Make sure you have some time and your favorite compositing and 3d application at hand! You’ll want to try out all these goodies immediately!



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All in One Torrent


Mark Christiansen, author of Adobe After Effects CS5 Visual Effects and Compositing Studio Techniques, returns for a new project-based course featuring composting and effects for PROJECT ARBITER. The short concept film, currently in post production, was shot with 2 RED cameras and fxphd members will be able to work through several shots on the film, potentially even having their shot find a place in the final release and their name featured in the credits. In addition, for April term members, there will be a small invite-only “Special Ops” group which will work through other shots on the film. Members will apply for Special-Ops by submitting a demo reel, CV, and a time commitment to work on the project. Details on applying will be provided to fxphd members.

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